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The latest news about classic actor Robert Wagner
Wood and Beatty began a romance while shooting 1961 movie Splendor in the Grass together, leaving Wagner heartbroken and distraught.
According to reports, the actor confesses hatching a plan to murder Beatty in his new book Pieces of My Heart: A Life.
A publishing source tells the National Enquirer, "Wagner was ready to kill Beatty. He describes hanging around his house with a gun, hoping he would walk out so he could take a shot.
"Wracked with despair, Wagner started drinking heavily and considered suicide. He wondered if he couldn't kill Beatty, maybe he should kill himself. But an old friend pulled him out of his desolation and got him into analysis."
Wagner won Wood back, but she died in 1981 after disappearing from the actor's yacht off the California coast.
The book, due to go on sale next month (Sep08), also lifts the lid on Wagner's many love affairs, including romances with Dame Elizabeth Taylor, Barbara Stanwyck and Yvonne De Carlo.
In Pieces of My Life, the 78-year-old former Hart To Hart star describes the moment he discovered the actress was missing from the boat they were sailing on over Thanksgiving (Nov) in 1981, and his heartache when she was found dead in the ocean.
Publishing sources tell the National Enquirer that Wood disappeared while Wagner was arguing with pal Christopher Walken onboard Splendour, the star's yacht.
The insider says, "When Wagner went below, Natalie wasn't there. He went back up on the deck and the dinghy was gone. He knew she wouldn't have taken it because she was terrified of dark water and they would have heard its loud engine."
Wood's body was pulled from the water the following morning after the dinghy had been found floating and unused.
The death aroused suspicion at the time, and has never been explained. But Wagner maintains Wood died accidentally.
The source continues, "Having several decades to think about what happened, Wagner concluded that Natalie heard the dinghy banging against the side of the boat and went to re-tie it. But she slipped on the always-wet swim step and was knocked unconscious, rolling into the water.
"After Natalie's death, Wagner went to bed for eight days in a catatonic state of profound emotional pain and blamed himself."
The memoir will hit stores in the U.S. on 23 September (08).
Download the article from the National Enquirer by clicking here.
Who doesn't cry at the end of It's a Wonderful Life when the town comes together for Jimmy Stewart and sings "Auld Lang Syne"? Tonight there's a tribute program of film clips and conversation with family, friends and colleagues from Stewart's film career. It will be hosted by Robert Wagner and guests include Shirley Jones, Ann Rutherford and two of Stewart's daughters.
8 pm // Samuel Goldwyn Theatre // 8949 Wilshire Blvd., Los Angeles // $3-$5.


One of the most recognizable comic strip characters ever created returns in live action form for the third time
BURBANK, Calif.--Just when you thought it was safe to celebrate the holidays, the Menace returns to jingle your bells and deck your halls in A Dennis The Menace Christmas. The DVD is set for release by Warner Premiere on November 6th. This holiday season, naughty or nice, Dennis “The Menace” Mitchell is going to deliver Mr. Wilson the Christmas spirit whether he likes it or not. A Dennis The Menace Christmas will be available on DVD for $19.97 SRP.
Continuing on with the success of the franchise, A Dennis The Menace Christmas combines A Christmas Carol with the live action version of one of America’s most widely recognizable, chaos wreaking comic strip characters. Taking the reigns of a reimagined Mr. Wilson, film and television star Robert Wagner (Hart To Hart, It Takes A Thief, and the Austin Powers films) picks up where previous Mr. Wilsons (Walter Matthau and Don Rickles) left off. Rounding out the all-star cast is Academy Award winner Louise Fletcher (One Flew Over The Cuckoo’s Nest) as Mrs. Wilson and newcomer Maxwell Perry Cotton (Brothers and Sisters) as the newly defined Menace.
This Christmas Dennis will face his greatest challenge to deliver Mr. Wilson the “Holiday Spirit” and secure Santa’s delivery of his ultimate present… the Raleigh Mite-Y-Max bike. Along the way, he’ll ruin his school’s Thanksgiving pageant, take on the neighborhood bully, and, as always, make life miserable for poor Mr. Wilson. However, all is not as it seems, and for the first time Mr. Wilson will come away from the holidays with a newfound understanding of himself and his next-door Menace, thanks in part to Bob The Christmas Angel, played by comedian Godfrey (Phat Girlz, Zoolander).
The DVD also comes with a stocking's worth of bonus features including, a “Making of…” featurette, bloopers, outtakes, deleted scene, an audio commentary with Robert Wagner and director Ron Oliver, and a video commentary of key moments of the film - featuring Maxwell Perry Cotton (aka “Dennis the Menace”).
Originally created as a comic strip by the late Hank Ketcham in 1951, the Dennis The Menace comic strip appears in over 1,000 newspapers in 48 countries and 19 languages. Throughout the years the character has evolved into an animated series, two feature films, as well as the face of the Dairy Queen Franchise.
Email requests for materials to greg_longstreet@polarispr.com or fax to 323-939-1566.

I liked the opening, the first year, but then we had a very difficult time. It started out as a kind of documentary but in the end they had the prisoners out sitting on deck chairs and they’d be singing away. The guys in Colditz never sang; they were starving to death. I said, ‘What is this, a bloody musical?’ I turned my back on the camera and walked out because they took something that could really have been great and put it in the toilet. The reason I reacted so strongly was because I really loved doing it, and I hated to see it wasted.”
I always knew that this was what I wanted to do but I never knew if I would make it. I had a lot of people stroking me over the years — a lot of good people like Spencer Tracy and Elia Kazan who boosted me. I could have gone down. I had a lot of enthusiasm but I don’t think I was really so talented. I don’t think I’ve had all that talent within me that was bursting loose, that couldn’t wait to be seen and captured on the screen. I think I was really fortunate.
I know what that sounds like but it’s the truth. It’s the truth. I mean, you look back at some of those pictures and you say, ‘Whew!’ But I kept going and in some of the stuff I was good, you know? Some of the stuff, I was O.K. I look back, and some of it wasn’t so bad for the time.
I’ve had a lot of ups and downs. It’s not been particularly a case of not getting the parts that you want but of not working at all. When I came back from Europe in the early ’60s, I had a soft spot for a while. I was out of work for a long time.
The guy who pulled me out of it was Paul Newman in ‘Harper.’ I think I loosened up a little bit in that film too. I’ve been really fortunate to have worked with people who have encouraged me, who’ve said, ‘Come on, you know it’s not gonna be that bad. Do it.’
I was sitting around the other day with a guy who started out in the picture business the same time I did and, I don’t know, it’s a real phenomenon: if you’re there and you keep going, if you just keep punching at it, somehow you stick around.
Changes are afoot for Seattle Symphony subscribers with today's announcement of the orchestra's 105th season in 2007-08.
The symphony has done away with such series designations as Masterpiece, Encore and Bravo for its 10th season in Benaroya Hall. Instead, the orchestra's main concert lineup of 21 programs, 13 of them led by music director Gerard Schwarz, will be called the UBS Masterworks Season. For the first time, there is a season sponsor (UBS Wealth Management US) and a season-long theme: a celebration of the work of immigrant composers.
In the lineup of more than 200 concerts, orchestra fans are likely to be most excited about an artist roster that includes an Opening Night Gala with stellar cellist Yo-Yo Ma on Sept. 15, and recitals featuring piano legends Lang Lang and Murray Perahia and violinist Anne-Sophie Mutter.
Among the other stars to appear next season: violinists Nadja Salerno-Sonnenberg, Gil Shaham, Jaime Laredo, James Ehnes and Kyoko Takezawa; pianists Garrick Ohlsson, Yefim Bronfman and Awadagin Pratt; cellist Lynn Harrell; and soprano Jane Eaglen. Schwarz's son Julian, a cellist, will appear with the orchestra's principal cellist Joshua Roman in a Vivaldi double concerto.
The conducting roster will include Stéphane Denève, Rossen Milanov, Ingo Metzmacher, Jun MÃÆ’Æ'Ãâ€Å¡Ãƒ‚¤rkl, Jaime Laredo, Gunther Herbig, Christopher Seaman, Bernard Labadie, Douglas Boyd, Michael Stern and Xian Zhang.
The Visiting Orchestras series will present the return of the St. Petersburg Orchestra (with conductor Yuri Temirkanov and pianist Nelson Freire), the Russian National Orchestra (with conductor Vladimir Jurowski) and pianist/conductor Barry Douglas with his Camerata Ireland.
A spring festival in May and June 2008 will feature the "Genesis Suite" (co-written by seven composers, including Schoenberg and Stravinsky), with visuals by Dale Chihuly, and narration by actors Jill St. John and Robert Wagner.
Already announced is another big event, in May 2008: a collaboration with the Seattle Theatre Group and the Mark Morris Dance Group, presenting Morris' famous work "L'Allegro, il Penseroso ed il Moderato" (with music by Handel) in the Paramount Theatre, with Schwarz conducting.
As in the past, the symphony will present several other series, including Musically Speaking, Mainly Mozart, Basically Baroque, Popular Classics, Distinguished Artists and other recital series devoted to the organ and the guitar.
The Seattle Symphony Pops concerts will span sci-fi, holiday, musical theater and Hollywood themes, with guest artists Jack Everly, Jeff Tyzik, Marvin Hamlisch and Robert Moody.
Ruling in what it called an “unusually complex case” that required multiple briefs and two oral argument sessions, Div. Seven agreed with Los Angeles Superior Court Judge Conrad Aragon that the unambiguous language of the contract supported Columbia Pictures’ argument that Wagner had no rights in the films.
Columbia purchased all of the assets of Spelling-Goldberg Productions, Inc. in 1982. Those assets included rights under a contract that Wagner and his wife, Natalie Wood, who died in 1981, had signed with Spelling-Goldberg years earlier.
The primary purpose of the agreement was to secure the couple’s services for a television movie that Spelling-Goldberg was preparing to produce. The contract, however, also included a provision under which Wagner and Wood would join Spelling-Goldberg in submitting ideas to ABC for a television series for the 1974-75 season.
If ABC agreed to produce a series pilot based on one of those ideas, Wagner and Wood were to receive one-half the net profits derived from the “exploitation of all ancillary, music and subsidiary rights...in connection with” the “right to exhibit photoplays of the series.”
One of the concepts was for a series called “Harry’s Angels,” later renamed “Charlie’s Angels.” The series ran for five years.
During the mid-1990’s, Columbia made a deal with the heirs of the show’s writers to obtain the rights to make one or more films based on the series. The films were released in 2000 and 2003.
After Columbia rejected Wagner’s claim that he and his family trusts, which had succeeded to Wood’s rights after her death, were entitled to half the company’s profits under the “subsidiary rights” provision of the old agreement, Wagner sued, but Aragon ruled that no triable issue existed and granted summary adjudication on the plaintiff’s breach of contract claim.
The parties then stipulated that the rejection of that claim effectively resolved Wagner’s claims for declaratory relief and an accounting, and judgment was entered for Columbia.
Justice Earl Johnson Jr., writing for the appellate court, explained that under copyright law, the pilot script was a “work[ ] made for hire,” giving Spelling-Goldberg absolute rights to exploit it in other media, except as otherwise provided by contract.
A provision of the writers’ contract with Spelling-Goldberg, however, incorporated a collective bargaining agreement between the producers and the Writer’s Guild. Under the “separated rights” provision of that agreement, Johnson explained, the writers retained the right to exploit the material for certain purposes, including making a motion picture.
That right was subject to a qualification, the justice added. If the writers had offered the film rights for sale within five years, the producer would have had a right of first refusal.
Had that occurred, Johnson explained, Wagner would have had a possible claim based on the “subsidiary rights” language. But because Columbia’s predecessor’s contract with the writers was completely independent of the company’s negotiations with their heirs—who could have sold the film rights to anyone—more than a decade later, the film rights were not ancillary to the television series, the justice wrote.
Attorneys on appeal were Samuel R. Pryor, Sally S. Liu and Matthew R. Belloni of Alschuler Grossman Stein & Kahan for Wagner and Martin D. Katz, Lisa N. Stutz and Jean-Paul Jassy of Sheppard Mullin Richter & Hampton for Columbia.
The case is Wagner v. Columbia Pictures Industries, Inc., B184523.