(darkhorizons.com)
Even though the first film is still two months off, filmmaker Joss Whedon is already looking ahead to a potential sequel to Marvel's "The Avengers" he tells SFX (via Digital Spy).
Of his aims for the first film, Whedon says "I want to know what makes them tick, what makes them flawed, what makes them fight - and ultimately, what makes them awesome. I go to these movies for those moments when the heroes define themselves, either through action or deliciously overwritten speeches."
How could a sequel possibly top that, by going bigger? "By not trying to. By being smaller. More personal, more painful... By being the next thing that should happen to these characters, and not just a rehash of what seemed to work the first time. By having a theme that is completely fresh and organic to itself."
‘Prometheus’ To Be Released in IMAX 3D
(latino-review.com)IMAX Corporation and Twentieth Century Fox today announced that Prometheus, the summer’s scariest action event picture and director Ridley Scott’s return to the genre he helped define, will be digitally re-mastered into the immersive IMAX® 3D format and released in IMAX® digital and film theatres domestically and in a select number of IMAX theatres internationally, starting June 8, 2012.
Sir Ridley directs and produces the film, which is written by Jon Spaihts and Damon Lindelof. Prometheus: An IMAX 3D Experience features a stellar international cast that includes Noomi Rapace, Michael Fassbender, Guy Pearce, Idris Elba, Logan Marshall-Green and Charlize Theron.
Greg Foster, Chairman and President of IMAX Filmed Entertainment said:
“Ridley Scott is one of the best storytellers of our time, whose groundbreaking films Alien and Blade Runner changed the landscape of the science-fiction genre. We’re excited about Prometheus and proud to add him to the prestigious list of directors whose films have been presented in IMAX.”
The IMAX release of Prometheus will be digitally re-mastered into the image and sound quality of The IMAX 3D Experience® with proprietary IMAX DMR® (Digital Re-mastering) technology. The crystal-clear images coupled with IMAX’s customized theatre geometry and powerful digital audio create a unique environment that will make audiences feel as if they are in the movie.
FX Makeup Honcho Rick Baker Tips 'Men In Black 4'
(slashfilm.com) Empire Magazine has a feature on the upcoming Men in Black 3 in which director Barry Sonnenfeld talks at length about the film’s troubled production. They also speak to Oscar-winning effects man Rick Baker, back for his third MIB film, and in his interview he says something which, depending on the interpretation, could be considered a MAJOR SPOILER going ahead. If you are worried, skip to the next bolded set of words below to avoid.
Here’s the SPOILER quote from Baker, courtesy of Comic Book Movie:
At least we’ve got Josh Brolin now to carry on with Tommy’s part…
We know that Men in Black III is a time travel film featuring J (Will Smith) going back in time to meet a younger version of Tommy Lee Jones’ character K, played by Josh Brolin. So, knowing that, Baker’s statement could mean a few things. The most obvious would be that K dies in the film. But if that’s the case, how does his younger self survive? Well, maybe the younger self comes back to the future. Or, it’s possible Men in Black 4 will be some sort of K centric prequel. Either way, it’s a juicy tidbit of information.
Disney Gets Things Started With Muppets Movie Sequel
(spinoff.comicbookresources.com) Disney’s rejuvenation of Jim Henson’s Muppets franchise with a new film last year not only introduced a new generation of fans to the characters, but also made bank — nearly $155 million worldwide — attracted all kinds of cross promotion and even won an Oscar for best original song. So, it should come as no surprise that a sequel is in the works.
Variety reports the follow-up will be written by Nicholas Stoller, who collaborated on the first film with star Jason Segel. The actor won’t be co-writing the sequel because of commitments to How I Met Your Mother, This Is 40 and other projects, but director James Bobin will be step in to help Stoller.
The sequel has been talked about by everyone, including Miss Piggy and Kermit on the press tour, but now it’s official.
Cinesite Gets its VFX to Mars for John Carter
(digitalartsonline.co.uk)VFX house Cinesite has completed over 800 visual effects shots and converted over 87 minutes into steroescopic 3D for Disney’s John Carter, which is hits cinemas today (unfortunately generating some hilarious bad reviews).
Cinesite created the majority of the film’s environments, including the opposing cities of Zodanga and Helium, and the Thern Sanctuary, as well as a big air battle and full-screen CG digi-doubles of John Carter and Princess Dejah. The environments were populated with CG crowds and hundreds of CG props.
Cinesite spent over two and a half years working on Oscar-winning filmmaker Andrew Stanton’s first live-action feature film, which based is Edgar Rice Burroughs 'Mars' series of novels. Senior visual effects supervisor Sue Rowe headed up Cinesite’s efforts, working closely with Stanton and spending several months on set in the UK and Utah.
For the travelling city of Zodanga, Jon Neill and his team created the mile-long myriapod-like rusty metal tanker that roams the surface of Mars extracting the vital fuel element ‘radium’. Cinesite populated the city with an arsenal of warships and troops, before furnishing it with more than 200 CG props. The city was heavily textured to give it an industrial look and feel, and a sense of scale needed to be cleverly depicted to give the audience the full experience of a huge moving city. Timed animation caches were used to ensure the 674 digital legs moved randomly. The team also had to scale up and efficiently manage Cinesite’s render farm to cope with the challenge of rendering two-billion-polygon shots with up to 20,000 objects.
Christian Irles oversaw Princess Dejah’s city, Helium (above), which houses the Palace of Light (seen at the back). Seen from various angles and used as the backdrop for the final battle sequence, Helium has a clean and elegant look and feel. The team created a matte painting of the outside of the city and, using photogrammetry projections, built up the terrain using high-res stills taken on location in Utah.
For the Palace of Light, dubbed by Stanton as ‘the jewel of the city’, the team modelled the exterior as a full CG building and digitally extended the live-action set to create the interior and the illusion of the palace scaling up to hundreds of feet. The cathedral-like structure has solid vertical ribs supporting glass feather-like wall panels. Dealing with a glass structure in a moonlit scene presented a huge challenge for shaders, reflections and refractions.
Ben Shepherd supervised the huge aerial battle between Zodanga and Helium. His team created each side’s airships, which use solar wings to travel on light, as well as explosions, cannon fire, digital people, a CG Thark City environment and set extensions based on photogrammetry. The giant airships are seen at close proximity so the detailing needed to be precise. The challenge was to achieve the desired look, which was a 19th Century-style sailing ship to reflect the time the novels were written, while giving them a modern twist with the use of solar wings. Each of the solar wings was covered in hundreds of tiles which were individually animated to create a shimmering effect as the airships fly through the sky.
Simon Stanley-Clamp led Cinesite’s work on Thern, the mysterious power controlled by the Thern priesthood which appears in various guises throughout the film. Briefed by Stanton to create something ‘that has never been seen before’, the initial challenge was defining what the effect would look like.
The Thern effect system was built using a combination of Maya, Houdini and in-house software. Based on the principles of nanotechnology, it provided a semi-automated way to ‘grow’ Thern into any environment and geometry. It took a full year of development time to evolve and bring to the big screen. Thern’s most impactful state is in the Thern Sanctuary, a huge cavern where its scale, depth and complexity can be fully appreciated by the audience in stereo 3D.
When Two Monitors Aren't Enough
(pcadvisor.co.uk)More and more people are working with more than two monitors. But does piling on the displays boost productivity and justify the cost?
"The more monitors, the merrier" seems to be the philosophy of a growing number of consumers who have taken advantage of historically low prices for flat-screen displays, along with improved hardware and software support, to connect two or more monitors to a desktop.
Is this a good thing? People who have made the transition to multiple monitors seem to think so. Studies performed for monitor makers show that people appreciate having a second display that they can use to get to information quickly without having to toggle or resize windows.
But while most people who use two displays like having them, that doesn't establish that such setups make workers more productive. "You could be playing solitaire on two screens," says James Anderson, professor of communications at the University of Utah.
"It's all about the kind of work you do and how you manage available resources," says David E. Meyer, a University of Michigan psychology professor who specializes in cognition and perception. Meyer says that extra monitors improve your productivity only if they put tools and information that you need within easy reach. For example, a lawyer benefits from having multiple law books handy, and a researcher can write reports on one display while perusing spreadsheet data on another screen.
Unfortunately, Meyer says, people all too often devote extra screen real estate to applications that may distract them from work. Keeping an email application, a Facebook page, or a Twitter feed open on a separate screen creates an ongoing temptation to drop what you're doing in favor of a little diversion. As yet, no rigorous studies have assessed the productivity costs involved in switching between unrelated tasks--but presumably there is some overhead involved in figuring out where you left off--or what Meyer describes as "regaining situational awareness." This takes at least several seconds, and such adjustment time can add up over the course of a working day.
"People dramatically overestimate their ability to manage their environment," Meyer says, adding that in some ways, using multiple monitors to keep all sorts of data visible is analogous to using a cell phone while driving.
Multiple Monitors Become More Popular
Whether or not people need and benefit from multiple monitors, sales data suggests that such setups--once found primarily in niche markets such as Wall Street--are becoming more common. Rhoda Alexander, senior monitor and tablet analyst for IHS iSuppli, says that monitor sales of 179 million in 2011 far outpaced PC sales of about 130 million, suggesting that many people are buying more than one display for their new desktops.
But IDC analysts Stephen Buehler and Linn Huang point out that in some of the surplus sales may not be associated with multiple-monitor setups. Instead, they say, buyers may be planning to use them in connection with docking stations for laptop PCs, so that travelers whose primary computer is a laptop can use a larger display when they're working at their desk. Some of these users undoubtedly keep their notebook displays open as well, but others simply substitute a single larger display for the laptop's smaller one.
Users who opt for additional monitors find that adding a second display to a desktop setup is easy and typically entails no more cost than the price of the display and a cable. The built-in Intel graphics on most current PCs support two displays, and Windows Vista and Windows 7 simplify setup.
However, if you want to operate three or more displays from one PC, things get more complicated, and you have to make some choices. At the high end, DisplayPort technology, which is making some inroads in the market, lets you run multiple monitors from a single graphics processor. For example, AMD's EyeFinity-enabled graphics boards support up to six DisplayPort-enabled displays.
The problem for users is that DisplayPort adoption on the monitor side has been slow and even now is available only in a handful of high-end displays. However IDC's Buehler and Huang say that they expect DisplayPort to gain traction later in the decade.
Another option is to add traditional graphics boards to your system, assuming that your PC has empty slots. This approach makes it easier to use legacy monitors since you can choose graphics cards with the connectors you want (such as VGA analog hookups, DVI-I, or HDMI). On the other hand, buying multiple graphics cards is expensive, and installing them (even when your computer has available slots) isn't always fun.
Full article: http://www.pcadvisor.co.uk/news/pc-peripheral/3343463/ when-two-monitors-arent- enough/
3D Animated "Gnomeo & Juliet" Sequel Moves Forward
(slashfilm.com) Elton John‘s Rocket Pictures is getting the ball rolling on Gnomeo & Juliet: Sherlock Gnomes, a sequel to last year’s 3D animated adventure about lively lawn ornaments. John has begun composing new tunes for the film, while returning writers Andy Riley and Kevin Cecil are at work on the script. No director is attached at this time, though the search has already begun. The new film will see Gnomeo and Juliet calling on “the great ornamental detective” Sherlock Gnomes to find out why gnomes have been mysteriously disappearing from suburban England.
Rocket CEO Steve Hamilton Shaw describes the film as “a fun, broad family film” with “strong musical elements.” James McAvoy and Emily Blunt, who voiced the title characters in the first movie, will likely return, though their involvement has not been confirmed at this time. [Deadline]
James Cameron Plans Mariana Trench Dive/Shoot - 7 Miles Down
(Reuters) - "Titanic" film director James Cameron on Thursday unveiled plans to pilot a specially designed submarine to the deepest point on the planet, the Mariana Trench in the Pacific Ocean southwest of Guam.
The real-life adventure, as opposed to the ones Cameron has created in films such as "Avatar" and "Aliens," will see Cameron travel 7 miles (11.2 km) below the ocean's surface, where he will collect research samples for marine biology and geology.
The lowest point of the Mariana Trench, known as "Challenger Deep," has been reached only once before in 1960 when U.S. Navy Lt. Don Walsh and Swiss oceanographer Jacques Piccard spent 20 minutes there in the bathyscaphe Trieste. Cameron plans to spend six hours there.
"The deep trenches are the last unexplored frontier on our planet, with scientific riches enough to fill a hundred years of exploration," Cameron said in a statement.
The exploration is a joint project by Cameron, the National Geographic Society, and watchmaker Rolex that is being called the "Deepsea Challenge" and is designed to expand knowledge of unknown portions of Earth.
Cameron's submersible represents breakthroughs in materials science, structural engineering and imaging through an ultra-small, full ocean depth-rated stereoscopic camera.
While he is perhaps better known for movies, Cameron is no stranger to underwater exploration. For "Titanic," he took 12 dives to the famed shipwreck in the North Atlantic, leading him to develop deep see film and exploration technology.
Since then he has led six expeditions, authored a forensic study of the Bismarck wreck site and done extensive 3-D imaging of deep hydrothermal vents along the Mid-Atlantic Ridge, the East Pacific Rise and the Sea of Cortez.
"Mission: Impossible – Ghost Protocol" Sequel? Oh Yes
(slashfilm.com)After the fantastic fun that was Mission: Impossible – Ghost Protocol, I’m eager to see Tom Cruise (and/or Jeremy Renner) return for another go. Thanks to the film’s box office performance, it seems Paramount is as well. Asked at a shareholder meeting whether the studio had “any plans to develop an additional sequel,” Philippe Dauman, CEO of Paramount’s parent company Viacom, answered “Oh, yes.” It’s not big news and it’s not surprising news, but it’s welcome news all the same.
Journey 3 Targets 2014 Release
(The Wrap) Earlier this week, we learned that a follow-up to Journey 2: The Mysterious Island is in the works now that the 3D family adventure has earned $272 million worldwide on a budget of $79 million.
The Wrap adds that Dwayne Johnson is in talks with New Line/Warner Bros. to return in the role of Hank Parsons, the stepfather of Josh Hutcherson's Sean. Hutcherson, who starred in the first Journey as well with Brendan Fraser, is also expected to return.
Brad Peyton will again sit in the director's chair and will be using a script by Brian and Mark Gunn. Beau Flynn, Tripp Vinson and Charlotte Huggins are producing.
There's no word yet on whether Michael Caine, Vanessa Hudgens, Luis Guzman and/or Kristen Davis will return for the third installment.
The studio is targeting a 2014 release for Journey 3.
2012 CG STUDENT AWARDS NOW ACCEPTING SUBMISSIONS
(awn.com) London, UK (March 5th, 2012) – The Tasman Theory Pty Limited is now accepting submissions for the 2012 CG Student Awards. The event is split into three categories: Student of the Year, Studio Internships, People’s Choice. There is a prize pool of over $100,000USD and ten (10) Studio Internships. The deadline for submissions is 20th May, 2012. Winners announced 1st June, 2012.
The rules and online submission form are available at: http://www.cgstudentawards.com.
The CG Student Awards has an extensive list of high profile companies sponsoring the event. Our five platinum sponsors include Autodesk, Ballistic, Conceptshare, Digital-tutors, and Next Limit Technologies. Other notable industry sponsors include: Pixologic, NVIDIA, Adobe, The Foundry, Stash Media, Side Effects Software, Smith Micro, and 3D Artist Magazine.
Leading production studios Double Negative, MPC, Framestore, Prime Focus, The Mill, and BlueBolt are also offering 10 professional internships throughout Europe, Canada, USA, and India. Each studio offers slightly different internships, but an internship winner can expect to receive 2-4 month professional experience, support and guidance from industry leading experts, standard intern salary, and an amazing opportunity to network and prove your skills.
“We've been amazed by the quality of our interns we picked up from the CG Student Awards. During their time with us, the interns gained the respect of our senior crew members and made a tremendous contribution to the lighting, fx, rigging, modelling and texturing of all our current movies” said Karl Wickens, Co Head of 3D Double Negative.
"I never really thought I would win the title of Student of the Year. It opened the door for me into the visual effects industry. After the Internship at Framestore, they hired me straight away" said Maximilian - Gordon Vogt.
"This opportunity changed my life and I now find myself rigging on major blockbuster movies, a dream come true" said Elliot Stammers.
About CG Student Awards
Formerly hosted at CGCoach.com, the CG Student Awards is an annual event which showcases and rewards excellence in computer graphics from students and recent graduates. To date, the event has already helped kick-start the careers of countless digital artists and given away over $100,000 in prizes. Qualified students at schools from all over the world are encouraged to submit their demo reel and artwork to our judging panel and compete for prizes and internships at the world's leading production studios.
Full details can be found here: http://www.cgstudentawards.com
Official event logos can be downloaded here: http://www.cgstudentawards.com/media-kit
Warner Bros. Picks Up Comic Book Lucid
(Variety) Warner Bros. Pictures has picked up the film rights to Archaia Entertainment's comic book mini-series "Lucid" for writer-producer Akiva Goldsman to develop and produce, reports Variety. Zachary Quinto's production company Before the Door, which created the book, also is on board. The title is described as follows:
Welcome to the world of LUCID, the action-packed pop-fantasy that draws inspiration from the spy genre, Arthurian legend and 21st-century folklore! Dark forces are conspiring to prevent humankind from reaching its true potential. Thankfully, as newly appointed �Protector of the Realm,� Agent Matthew Dee uses his skills as a covert spy and Combat Mage to ensure America�s freedom from the grip of evil.
The four-book series was written by Michael McMillian (Steve Newlin in HBO's "True Blood") and illustrated by Anna Wieszczyk. The trade adds that a screenwriter has not been hired yet.
"Lucid" is the second deal for Archaia with Warner Bros. and Goldsman after recently picking up dinosaur-tale Bolivar.
Israeli President To Visit DreamWorks Animation Today
LOS ANGELES (CBS) — Israeli President Shimon Peres is scheduled to meet with entertainment industry leaders Friday as part of his four-day visit to the Southland.
Peres, 88, will discuss the link between Hollywood and education, as well as peace and tolerance, when he meets with the heads of DreamWorks Animation.
He sat down with former CNN anchor Campbell Brown Thursday night at the Beverly Hilton for a wide-ranging discussion, telling roughly 1,000 audience members that other options will be taken if diplomacy is unable to cut back Iran’s nuclear ambitions.
“President (Barack) Obama said it very clearly – he doesn’t exclude even a military option,” Peres said. “If we can do it without shooting, far better, but if not, there will be other options.”
Peres wrapped up a tour of Northern California earlier this week, where he also received a warm welcome from Gov. Jerry Brown and the mayor of San Francisco, who presented him with a ceremonial key to the city.
He will be honored at a Hollywood reception Saturday night and meet with Latino and Jewish leaders in Beverly Hills on Sunday morning.
The Argument: Why War Horse’s Puppets Win by Flaunting Their Artificiality
(torontolife.com)War HorseSince it was first staged more than four years ago, War Horse has enjoyed the kind of success that’s usually reserved for Disney extravaganzas and jukebox musicals. The show, adapted from a 30-year-old children’s novel by the British author Michael Morpurgo, is about Joey, a spirited, rust-coloured stallion sold to the British cavalry during the First World War, and the valiant quest of his young former owner to retrieve him. After premiering at London’s National Theatre in 2007 and shattering box office records, it quickly moved to the West End and then to Broadway, earning the Tony Award for best play last spring.
On paper, War Horse seems like another formulaic tearjerker—a variation on Black Beauty or Seabiscuit, with some trench warfare thrown in. What sets the show apart is its use of puppets: Joey, like the other horses in the play, is a clunky-looking mechanical contraption made of wooden planks and nylon stretched over a corset-like cane frame. He bears little resemblance to a real animal. The three puppeteers who control him make no effort to conceal their presence. The one in charge of major head movements is not even inside the frame of the horse—he stands next to it in full view of the audience.
But from the moment Joey hobbles onstage as a young foal, stick-legged and unsteady, he’s as alive, and emotionally resonant, as any of his human co-stars.
Joey is the creation of the Handspring Puppet Company of South Africa. In 2004, the company created a life-size giraffe puppet for a production called, coincidentally enough, Tall Horse. The British theatre director Tom Morris saw the show and asked Handspring to fashion a rideable equine version of the giraffe for War Horse. Starting with a plank of wood suspended between two men, Handspring designers Adrian Kohler and Basil Jones went through a long process of experimentation before arriving at a lightweight, three-dimensional frame and a lever-based operating system. Joey’s original puppeteers spent months visiting horse farms, watching videos of horses and studying horse psychology to ape the mannerisms, bulk and power of a full-size stallion.
The results are uncanny. Joey stands patiently through stretches of dialogue, craning his neck and poking around for food. He whinnies softly, snorts, flicks his tail and twitches his ears. When stressed, he rears back and neighs, and when sent into battle, he breaks into a heart-pounding, thundering gallop. It’s this counterintuitive realism that makes Joey such a marvel—the play’s ability to make you believe in him is its most staggering achievement.
War Horse’s reliance on old-fashioned screw-and-joint puppetry is an anomaly in this era of hyper-realistic CGI and theatrical pyrotechnics. We watch Pixar movies and can count the characters’ pores, and play immersive, multi-dimensional video games enriched with motion-capture technology. It’s effortless magic, requiring nothing from us except to sit back and marvel at the display. The puppets in War Horse engage the audience on an entirely different level—Joey’s conspicuous puppetness doesn’t merely create an illusion, it adds a degree of wonder missing from attempts at seamless realism. When Joey is injured trying to clear a barbed-wire fence, we feel for him as we would a real horse.
Joey is a throwback to a more engaging form of theatre. The show also flips a defiant middle finger at the laboured theatrical attempts at mimicking movie magic. Historically, theatre has asked its audiences to do some of the heavy imaginative lifting. In The Tempest, a bare stage is a deserted island because Shakespeare says so. In Sarah Ruhl’s Eurydice, a father builds his daughter a room out of one long strand of string. Our mental participation enriches the experience: we get a hand in bringing that theatrical world to life. Film, by contrast, is a much more passive medium—its location scouts, cinematographers and special effects technicians do most of the work, and anything that might disrupt the illusion is digitally erased.
Big-budget theatre, instead of embracing its own limitations and offering an alternative to the perfect realities conjured by film, TV and video games, has gravitated toward splashier, movie-like productions. The strategy has worked on an economic level—theatres are now routinely filled with people who would never have bought tickets to see the latest Neil Simon drama or Sondheim musical—but the result has been an artistic flatline, with more and more marquees touting musical versions of movies best left undisturbed.
Worse, the special effects that are increasingly worked into theatrical productions often flounder onstage. In her film incarnation, Mary Poppins appears to glide ethereally over the foggy rooftops of London. Onstage, this signature moment becomes a far less enchanting zip-line ride into the balcony of the Princess of Wales. Half the thrill of Spider-Man: Turn off the Dark is waiting to see if the cast makes it to the final curtain unharmed. Theatre simply can’t compete on that level—the space is too restrictive, and the proximity of a live audience makes every crack in the façade painfully obvious. Seeing Poppins hanging from the ceiling doesn’t enhance our belief in her magical nature, it kills it.
Mirvish Productions has made a fortune putting on wham-bam theatrical blockbusters, so it’s somewhat ironic that at the centre of its latest hit is a puppet made from a tangle of wood and screws. Puppets embody the collaborative process of the theatre, coaxing the audience to imprint life onto an otherwise inanimate object. They demand the ultimate suspension of disbelief.
VIDEO - Artificial Horse: http://www.youtube.com/watch?v=h7u6N-cSWtY
The Osbournes Producing Stop-Motion ‘The F’n Osbournes’
(screenrant.com)The legendry Heavy Metal rocker Ozzy Osbourne and his family (Sharon, Jack, and Kelly) will be lending their voices to stop-motion animated versions of themselves in a new Cuppa Coffee Studios-developed comedy, creatively dubbed The F’n Osbournes. Although, according to the Canadian animation house, the “F” stands for “family.”
Cuppa Coffee Studios’ president and show creator Adam Shaheen says the new primetime series “combines absurd animated sitcom premises that only the Osbournes can pull off!” Shaheen, goes on to add “Although it is a cartoon, [The F'n Osbournes] is certainly not one for little kids, bearing in mind the family that are at the root of it.”
Shaheen, whose Toronto-based company also developed Comedy Central’s Ugly Americans will co-executive produce the series, along with both Sharon and Jack Osbourne. In a statement, Sharon Osbourne said, “Teaming up with Cuppa Coffee has spawned a great opportunity to produce a unique animated prime-time show, I’ve been excited about animating our often crazy lives for a while now.”
Cuppa Coffee looks to finalize sales of the series to a television network this April at the MIPTV gathering in Cannes. Twenty episodes of The F’n Osbournes have been planned – and, if all goes as designed, production will begin this summer.
The F'n Osbournes - Ozzy
Since the Osbournes’ self-titled MTV reality show saw its final episode in March 2005, the family’s matriarch has been keeping busy with her on and off screen projects. Sharon can be seen co-hosting CBS’ daytime talk show The Talk, as well as appearing as the “nice” judge on America’s Got Talent.
The F’n Osbournes also marks another collaboration of Osbourne and her son Jack, as the two co-produced a few documentaries based on their family, the most resent being the upcoming, Wreckage of My Past: The Story of Ozzy Osbourne.
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