Freida Pinto was born in Mumbai to Sylvia Pinto, now a principal of St. John’s Universal High School (Goregaon), and Frederick Pinto, a senior branch manager at the Bank of Baroda. Freida Pinto’s father is from Neerude and mother from Derebail, both towns in Mangalore. Her elder sister Sharon Pinto is an associate producer on the NDTV news channel.

Pinto studied at Carmel of St. Joseph School in Malad and completed her Bachelor of Arts (BA) degree in English Literature from St. Xavier’s College, Mumbai. She currently resides in Malad, a suburb of Mumbai.

She is also trained in different forms of Indian classical dance as well as Salsa.

Pinto met Rohan Antao while attending St Xavier’s College in Mumbai. The two began dating and got engaged in 2008, but Pinto called off the engagement in January 2009.

Before starring in Slumdog Millionaire, Freida anchored the international travel show, Full Circle on Zee International Asia Pacific in English between 2006-08. Pinto was also featured in several television and print advertisements for products such as Wrigley’s Chewing Gum, Škoda, Hutch, Airtel, and DeBeers. Pinto took time out in December 2008 to star in Canadian Award winning singer song writer Dal Hothi’s music video, I Promise You.Pinto modeled for ten years and appeared in runway shows and magazine covers. She learned acting from The Barry John’s Acting Studio in Andheri and was trained by his mentor Barry John. After six months of auditions, she received a call to audition for Slumdog Millionaire. Pinto auditioned for Danny Boyle and was short-listed and finally selected to star in Slumdog Millionaire.

Pinto made her film debut in 2008. Slumdog Millionaire tells the story of a young man from the slums of Mumbai who appears on a game show and exceeds people’s expectations, arousing the suspicions of the game show host and of law enforcement officials. In the movie, Pinto played the role of Latika, the girl with whom Jamal (Dev Patel) is in love. At the 2008 Toronto International Film Festival, the movie won the Cadillac People’s Choice Award. At the 2009 Golden Globe Awards, the movie won four awards. Pinto herself was nominated for “Best Actress in a Supporting Role” at the 2009 BAFTA Awards, and won the Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture alongside ten other cast members from Slumdog Millionaire.

Pinto has been cast in Woody Allen’s next film set in London. Other cast members include Josh Brolin, Anthony Hopkins, Antonio Banderas, and Naomi Watts. Shooting for the film starts in July 2009.

Links

• Freida Pinto – Wikipedia, the free encyclopedia
• Freida Pinto – Cool Chicks

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1. Jonas Brothers: 3-D Concert Experience — $4.8 million
2. Madea Goes To Jail — $4.6 million
3. Slumdog Millionaire –$3.2 million
4. Taken — $2.9 million
5. He’s Just Not That Into You — $1.9 million
6. Street Fighter: The Legend Of Chun Li — $1.7 million
7. Confessions Of A Shopaholic — $1.4 million
8. Paul Blart: Mall Cop — $1.3 million
9. Fired Up — $1.3 million
10. Coraline 3-D — $1.1 million

Jonas Brothers’ edges out ‘Madea’ on Friday at the box office

After directing Finding Nemo, Stanton felt Pixar had created believable simulations of underwater physics and was willing to direct a film set in space. Most of the characters do not have actual human voices, but instead communicate with body language and robotic sounds, designed by Ben Burtt, that resemble voices. In addition, it is the first animated feature by Pixar to have segments featuring live-action characters.

Walt Disney Pictures released it in the United States and Canada on June 27, 2008. The film grossed $23.1 million on its opening day, and $63 million during its opening weekend in 3,992 theaters, ranking #1 at the box office. This ranks the third highest-grossing opening weekend for a Pixar film as of July 2008. Following Pixar tradition, WALL-E was paired with a short film, Presto, for its theatrical release. WALL-E has achieved highly positive reviews with an approval rating of 96% on the review aggregator Rotten Tomatoes. It grossed $533 million worldwide, won the 2009 Golden Globe Award for Best Animated Feature Film, and the 2009 Academy Award for Best Animated Feature, and was nominated for five other Academy Awards.

Plot

In the early 29th century, the Earth is deserted and covered in trash. 700 years earlier, the world was governed by the Buy n Large (“BnL”) corporation, who evacuated humanity to live aboard fully automated luxury starliners for five years while garbage compacting WALL-E robots cleaned up the planet. Rising toxicity levels caused the evacuation to be extended indefinitely, and all of the WALL-E units broke down except for one, who survived by salvaging parts off his defunct brethren. He eventually developed sentience and became curious about love after watching a video of the film Hello, Dolly!. One day, a spaceship lands and deploys an advanced, feminine probe robot named EVE, with whom WALL-E falls in love at first sight. During a dust storm he brings her to his truck, showing her his collection of abandoned items. When WALL-E shows her a seedling plant he found earlier, EVE stores the plant inside herself and goes into standby. WALL-E protects her motionless body, even taking her out on dates, hoping that she will reboot, but to no avail.

When EVE’s ship returns to collect her, WALL-E desperately clings to the hull of the ship as it launches into space and returns to the Axiom, the flagship of the BnL starliners. WALL-E follows EVE as she is taken to the bridge. Along the way, it becomes apparent that after centuries of being reliant on the machinery around them, microgravity, and consuming liquid food, humanity has suffered severe bone loss, becoming extremely obese and unable to walk, reclining on moving chairs and communicating only through video messaging; even piloting the ship is handled by its computerized autopilot, Auto, rather than the human Captain. WALL-E perplexes several humans and robots with his peculiar behavior, particularly a cleaning robot named M-O, who obsessively follows and cleans WALL-E’s filthy tracks, and two humans, John and Mary, who talk to each other face to face for the first time when WALL-E distracts them. On the bridge, EVE is reactivated and shown to the Captain, who learns from a video recording by BnL CEO Shelby Forthright that if EVE’s plant sample is scanned by the ship’s holo-detector, the ship will make an automatic hyperjump back to Earth so that humanity can recolonize the planet. When EVE is opened, however, the plant is missing: she is deemed defective and sent to a repair ward with WALL-E whom the Captain orders to be cleaned.

In the repair ward, WALL-E mistakes EVE’s repairs for torture and tries to free her, but accidentally releases a host of malfunctioning robots, causing him and EVE to be designated “rogue robots” by security. Annoyed with WALL-E, EVE tries to send him back to Earth on an escape pod. Traveling to the pod launch room, they see GO-4, Auto’s security assistant, deposit the missing plant in a pod that he sets to self-destruct. WALL-E sneaks into the pod to retrieve the plant as the pod is ejected, and narrowly escapes with the plant. Overjoyed that WALL-E is alive and has recovered the plant, EVE dances with him around in space before returning to give the plant to the Captain. In his excitement, the Captain has EVE replay a visual recording of her mission on Earth, and discovers the planet is still devastated. During the replay, EVE realizes WALL-E protected her while she was inactive, and finally understands his feelings for her. The Captain realizes humanity must restore Earth and orders Auto to assist. Auto refuses and shows the Captain a secret recording from Shelby Forthright codenamed A113 that was made when the cleanup operation failed, in which Forthright ordered the autopilots to keep humanity in space. When the Captain resists, Auto imprisons him in his quarters, electrocutes WALL-E, and sends him and EVE down a garbage chute.

In the Axiom’s garbage hold, WALL-E and EVE are almost jettisoned into space with the trash until M-O – having followed WALL-E all this time in the hopes of cleaning him – arrives to rescue them. EVE, M-O and WALL-E fly to the holo-detector and rally the malfunctioning robots to their aid. The Captain escapes captivity by tricking Auto and battles him while the damaged WALL-E struggles to keep the holo-detector open, only to be jammed inside and crushed. The Captain summons the strength to stand up unaided and deactivates Auto, and with the help of the humans and robots, EVE places the plant in the holo-detector, releasing the damaged WALL-E. The Axiom makes a hyperjump to Earth and lands; EVE repairs and revives WALL-E with the spare parts he kept in his truck. Unfortunately, his memory and personality are corrupted, reverting him to his original programming as an unfeeling waste compactor. Heartbroken, EVE takes his hand and gives him a farewell “kiss”, causing an electric spark that restores his memory. WALL-E and EVE happily reunite as the humans and robots place the plant in the ground, and begin working together to rebuild their home.

Awards

WALL-E won the Academy Award for Best Animated Feature and was nominated for Best Original Screenplay, Best Original Score, Best Original Song, Sound Editing, and Sound Mixing at the 81st Academy Awards. Walt Disney Pictures also pushed for an Academy Award for Best Picture nomination, but it was not nominated, provoking controversy as to whether the Academy deliberately restricted WALL-E to the Best Animated Feature category, Peter Travers commented that “If there was ever a time where an animated feature deserved to be nominated for best picture it’s Wall-E.” Only one animated film, 1991′s Beauty and the Beast, has ever been nominated for the Academy Award for Best Picture, after which the category of Best Animated Feature was created. A reflective Stanton stated he was not disappointed the film was restricted to the Best Animated Film nomination because he was overwhelmed by the film’s positive reception, and eventually “The line [between live-action and animation] is just getting so blurry that I think with each proceeding year, it’s going to be tougher and tougher to say what’s an animated movie and what’s not an animated movie.”

WALL-E made a healthy appearance at the various 2008 end of the year awards circles, particularly in the Best Picture category, where animated films are often overlooked. It has won the award, or the equivalent of it, from the Boston Society of Film Critics (tied with Slumdog Millionaire), the Chicago Film Critics Association, the Central Ohio Film Critics awards, the Online Film Critics Society, and most notably the Los Angeles Film Critics Association, where it became the first animated feature to win the prestigious award. It was named as one of 2008′s ten best films by the American Film Institute and the National Board of Review of Motion Pictures.

It won Best Animated Feature Film at the 66th Golden Globe Awards, 81st Academy Awards and the Broadcast Film Critics Association Awards 2008. It was nominated for several awards at the 2009 Annie Awards, including Best Feature Film, Animated Effects, Character Animation, Direction, Production design, Storyboarding and Voice acting (for Ben Burtt); but it won none. It won Best Animated Feature at the 62nd British Academy Film Awards, and was also nominated there for Best Music and Sound. Thomas Newman and Peter Gabriel won two Grammy Awards for “Down to Earth” and “Define Dancing”. It won all three awards it was nominated for by the Visual Effects Society: Best Animation, Best Character Animation (for WALL-E and EVE in the truck) and Best Effects in the Animated Motion Picture categories. It became the first animated film to win Best Editing for a Comedy or Musical from the American Cinema Editors.

At the British National Movie Awards, which is voted for by the public, it won Best Family Film. It was also voted Best Feature Film at the British Academy Children’s Awards. WALL-E was listed at #63 on Empire’s online poll of the 100 greatest movie characters, conducted in 2008.

Cast & Credits

• Directed by: Andrew Stanton
• Produced by: Jim Morris, Lindsey Collins (co-producer), John Lasseter (executive producer)
• Written by: Andrew Stanton, Jim Reardon (screenplay), Pete Docter (story credit)
• Starring: Ben Burtt, Elissa Knight, Jeff Garlin, Fred Willard, John Ratzenberger, Kathy Najimy, Sigourney Weaver
• Music by: Thomas Newman, Peter Gabriel
• Editing by: Stephen Schaffer

Other Information

• Studio: Pixar Animation Studios
• Distributed by: Walt Disney Pictures
• Release dates: June 27, 2008 (USA); July 18, 2008 (UK); September 18, 2008 (AUS), (NZ)
• Running time: 98 min
• Country: United States
• Language: English
• Budget: $180 million
• Gross revenue: $533,692,120

Links

• Official site
• WALL-E at the Big Cartoon DataBase
• WALL-E at the Internet Movie Database
• WALL-E at Allmovie
• WALL-E at Box Office Mojo
• WALL-E at Rotten Tomatoes
• WALL-E at Metacritic

A “Friday the 13th” remake — which Warner Bros. bowed so well a week earlier — absorbed an enormous 81% drop from its first Friday-Sunday grosses to register $7.8 million in sixth place over the latest session. Paramount is handling international distribution on the New Line-produced horror pic, which has rung up $55 million over its first 10 days.

Sony Screen Gems’ youth comedy “Fired Up” fetched just $6 million in ninth place in the session’s only other wide opening. Yet aside from such occasional misfires with individual releases, it seems the industry boxoffice can do no wrong right now.

Collectively, the weekend’s $142 million represented a 29% uptick from the same frame a year earlier, according to Nielsen EDI. That made for six of seven up weekends so far this year.

Year to date, 2009 is pacing ahead of last year by just 1% — at $1.45 billion — in a deceptively modest increase shaped by seasonal fluctuations in the boxoffice year.

Elsewhere this weekend, Fox’s Liam Neeson starrer “Taken” refuses to shrink from the upper rankings. The action-thriller grabbed second place over its fourth weekend with $11.4 million and a $95.2 million cume.

Disney’s PG-13 comedy “Confessions of a Shopaholic” fell 53% in its second weekend to $7 million in seventh place, with a $27.7 million cume. Sony’s political thriller “The International” tumbled 52% in its sophomore session to $4.5 million in 10th place, with a $17 million cume.

Fox Searchlight’s Indian drama “Slumdog Millionaire” was again tops among films nominated in the Academy Awards best-pic category, improving 11% over its Friday-Sunday tally of a week earlier. Adding 610 theaters this session for a total 2,244 over its 15th week, “Slumdog” rung up $8.1 million to finish fifth on the frame and boost cume to $98 million.

The Weinstein Co. added 238 playdates for a total of 962 for Kate Winslet starrer “The Reader” and grossed $2.8 million, bringing its 11-week cume to $23.2 million.

Among notable exclusive runs, IFC Films added one location for a total of six in New York and Los Angeles for its Italian-language mob film “Gomorrah” and grossed $66,756, or a solid $11,126 per site. “Gomorrah’s” cume climbed to $211,046.

The outsized bow by “Madea Goes to Jail” — considerably better than expected — surpassed the $33.6 million bow by Lionsgate’s “Saw III” in October 2006. It also topped Perry’s previous opening high of $30 million by 2006′s “Madea’s Family Reunion.”

The multihyphenate’s releases tend to do better when they feature the maternal character of Madea — and apparently those with her name in the title perform the best.

As usual, the PG-13 pic drew audiences comprised largely of urban demos, with 72% of patrons black and 13% Hispanic. About 71% of its support came from females, and 65% of the pic’s patrons were age 25 and older.

“This monster opening demonstrates that Tyler remains one of the biggest stars in Hollywood,” Lionsgate distribution president Steve Rothenberg said.

“Fired Up” skewed 61% female, with 61% of patrons under 18 years old.
Sony execs emphasized that the pic’s production costs were modest, at less than $20 million.

“We’ll be OK,” Sony distribution president Rory Bruer said.

Looking ahead, two films are set for wide release next weekend: Disney’s music-filled “Jonas Brothers: The 3-D Concert” and Fox’s martial-arts actioner “Street Fighter: The Legend of Chun-Li.”

Madea’ locks up top boxoffice spot

While the film’s triumphs at the 81st annual Academy Awards marked an amazing outcome for a movie filled with subtitles, scenes of torture and a Bollywood dance sequence, the wins also cemented the reputation of distributor Fox Searchlight, which has become Hollywood’s top advocate of the kind of daring works that movie studios have all but abandoned.

Director Danny Boyle’s fictional account of a Mumbai orphan’s surprising winning streak on India’s version of “Who Wants to be a Millionaire” also won Oscars for direction, adapted screenplay, cinematography, editing, original score, original song and sound mixing.

The wins for the film — produced by a British company, co-financed by a French distributor and made by a largely Indian cast and crew — dramatized the global compass reading of contemporary movie production, as other top Oscar winners showed.

The best supporting actress winner was Spain’s Penelope Cruz for “Vicky Cristina Barcelona”; Australian actor Heath Ledger was posthumously named best supporting actor for “The Dark Knight”; and British star Kate Winslet won best actress for “The Reader.” The only acting winner with a U.S. birth certificate: Sean Penn, who played the title character in “Milk.”

Host Hugh Jackman opened the broadcast with a song and dance routine about the economic recession, and though he didn’t reference Hollywood cost-cutting specifically, belt-tightening was very much a part of the Oscar ceremony backdrop.

In a show business shakeup that has cost scores of film executives their jobs and left numerous movies in limbo, studios are scaling back not only on provocative dramas but also on the companies they established to produce and distribute them.

In the last year, Warner Bros. closed its two specialty film divisions, Warner Independent Pictures (the original distributor of “Slumdog Millionaire”) and Picturehouse, while Paramount closed the doors of its Paramount Vantage unit. ThinkFilm, a leading distributor of nonfiction films, has vanished, and the Weinstein Co. has scaled way back.

At the same time, the big movie studios are steering clear of highbrow literary dramas, aiming their resources at mass-appeal works including family-friendly animation, superhero stories and established franchises such as James Bond and Harry Potter.

As others have ditched movies that require patient marketing to build grass-roots audience interest — “Slumdog Millionaire” debuted in just 10 theaters last November and didn’t reach its widest national release until last weekend — Fox Searchlight has become Hollywood’s unequaled home for films made outside the normal studio channels.

A tiny cog in Rupert Murdoch’s global News Corp. media conglomerate, Fox Searchlight not only was able to steer “Slumdog Millionaire” to its multiple Oscar wins, but also turned it into a solid box-office hit, with domestic gross set to pass $100 million.

“It’s a triumph for this kind of film,” Boyle said backstage, minutes after he thanked Fox Searchlight from the lectern of the Kodak Theatre.

By far the most successful of the studio-owned specialty film divisions, Fox Searchlight had never before won the top Oscar, although it had best picture finalists three of the last four years with a varied slate of original, audience-pleasing works: 2007′s “Juno,” 2006′s “Little Miss Sunshine” and 2004′s “Sideways.”

While the best picture prize will make a nice ornament for Fox Searchlight’s lobby, the trophy also serves as a validation of the company’s patient, disciplined approach to making and distributing movies from outside the studio system — even as the company’s peers are folding their tents.

Some of these companies were done in by profligate spending and steep overhead, which Fox Searchlight has consistently avoided. The company refuses to pay its actors more than $500,000 — often a tiny fraction of their standard, multimillion-dollar salaries — and carries a staff of about 75.

Slumdog’ strikes it rich with 8 Oscar wins