Mayoral debate focuses on city's troubled finances

In the highest-profile debate so far in the Los Angeles mayoral race, three longtime city officials defended their records Monday night as two long-shot challengers accused them of putting the city on a path to insolvency.

The city's chronic budget shortfalls dominated the event at UCLA's Royce Hall, televised live on KNBC-TV Channel 4. Entertainment lawyer Kevin James and technology executive Emanuel Pleitez sought to maximize the free media exposure, portraying themselves as fresh alternatives to business as usual at City Hall.

James, a former radio talk-show host, described himself as an independent and accused rivals Wendy Greuel, Eric Garcetti and Jan Perry — all veteran elected officials — of being cozy with unions representing the city workforce.

"Bankruptcy doesn't happen overnight," said James, the only Republican in the race. "This happened over a period of time and it happened because of a series of bad decisions."

Pleitez struck a similar note.

"Our politicians in the last decade made decisions on numbers they didn't understand," he said.

"I'm the only one that has worked in the private sector and on fiscal and economic policies at the highest levels," Pleitez said, citing his experience as a special assistant to economist Paul Volcker on President Obama's Economic Recovery Advisory Board.

Greuel, Garcetti and Perry, in turn, pledged to show fiscal restraint as the city grapples with projected budget shortfalls totaling more than $1 billion over the next four years.

City Controller Greuel cited the "waste, fraud and abuse" her office's audits have identified at City Hall, saying they demonstrate her independence.

"As mayor of Los Angeles, I get not only being the fiscal watchdog, and showing where we can find this money, and knowing where the bodies are buried," said Greuel, who served on the City Council for seven years. "I've learned as city controller, you don't always make friends when you highlight what can be done better."

Garcetti, a councilman for more than a decade, said he had a record of "not just talking about pension reform, but delivering on it." When tax collections dried up in the recession, he said, the council and mayor eliminated 5,000 jobs and negotiated a deal with unions requiring some city workers to contribute to their health and pension benefits.

"Those are the things that kept us away from our own fiscal cliff," he said.

Perry also stressed her support for increasing worker contributions to health and retirement benefits.

"This is about long-term survival," she said.

By the normal standards of election campaigns, it was a remarkably genteel debate, at least among the three city officials.

Only Perry attacked her rivals, and even then, not by name.

Recalling her work with Garcetti and Greuel in talks with city unions, she faulted them for engaging in "side meetings and side negotiations," saying she was more transparent.

"As mayor, I will make sure that practice stops, that everything is done on the record — that all employees are treated fairly and all employees are given the same information," Perry said.

Neither Greuel nor Garcetti answered the attack.

As in previous forums, the most obvious contrasts among the candidates Monday night were in biography and style — rather than policy positions.

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Supernova Remnants: Dazzling Entrails of Violent Stellar Death

Even in death, there can be great beauty. Consider supernova remnants, the results of massive stars dying in great explosions, creating some of the most spectacular cosmic objects around.

Every 50 years or so, a star in our galaxy with more than 10 times the mass of our sun will expire. When such stars die, they go supernova, one of the most violent events in our universe. These explosions shoot off tons of material from the central star at up to 10 percent the speed of light.

Though the area surrounding stars seems empty, it is usually home to vast amounts of interstellar gas and dust. The supernova’s outburst runs into this surrounding material, creating a shockwave and heating it to temperatures greater than 10,000 Celsius. Over thousands of years, the local structure of the gas and dust shapes the stellar outpouring into shells, filaments, and other diffuse forms. Astronomers call these objects supernova remnants.

Supernova explosions and the remnants they leave behind have wide-ranging effects. They heat up the interstellar medium, creating complex chemistry out in space, and are responsible for accelerating protons and other atomic nuclei, which go zipping around the universe as cosmic rays. Perhaps most importantly, supernova explosions generate and liberate heavy elements, such as oxygen, carbon, and all metals, distributing them out into the wider cosmos. These elements eventually find their way into planetary systems, making life possible on at least one world that we know of.

Here, we take a look at some of the most famous and beautiful supernova remnants, giving you a chance to contemplate life, death, and cycles of renewal in the universe.

Above:

The supernova remnant N186 D appears as a bright pink spot at the top of this new image released by NASA on Jan. 28, spewing off tremendous amounts of X-rays. Located in the Large Magellanic Cloud about 160,000 light-years away, the remnant is blowing a huge bubble (the giant structure below the bright spot) as hot wind carves out a shock wave in the surrounding material.

Image: X-ray: NASA/CXC/Univ of Michigan/A.E.Jaskot, Optical: NOAO/CTIO/MCELS

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How Fox Searchlight made the biggest deal at Sundance $9.75 million on an egg sandwich

NEW YORK (TheWrap.com) – The biggest sale at Sundance this year – “The Way, Way Back” – began with a promise and ended with a fried egg sandwich.

Producer Kevin J. Walsh, a former assistant to Scott Rudin, told the agents selling his movie that he’d make everyone food if they closed a big deal. But before he could cook, a bidding war broke out that would pit the favored Fox Searchlight against a half-dozen other studios, including Lionsgate, Paramount, Magnolia, FilmDistrict and Open Road.

Fox Searchlight won out and paid one of the highest prices for a Sundance movie in recent years – $ 9.75 million – for the story of an alienated 14-year-old (“The Killing’s” Liam James) on summer vacation.

The one big thing in their favor: Once “The Way, Way Back” premiered on Monday, everyone knew it would sell. The film not only drew a standing ovation, but almost every distributor stayed through the Q&A session with the filmmakers – a “rare” occasion, as one person close to the deal told TheWrap.

Fox Searchlight was an early starter out of the gate. It had already won an Oscar with Rash and Faxon, who co-wrote Alexander Payne’s “The Descendants.”

And at one point it was going to produce the film, back when Shawn Levy was going to direct and it was called “The Way Back.” Rash and Faxon’s script had charted on the 2007 Black List, which ranks the industry’s favorite unproduced screenplays.

The project stalled. Levy moved on to other films, and the script bounced around until Walsh came aboard as producer and decided Faxon and Rash should direct.

In hopes of sealing the deal, Searchlight sent more than a dozen of its executives to the Sundance debut, many of whom began firing off ardent emails to the filmmakers after they had seen it.

“They came wanting to love that movie, and they were going overboard in an impressive way,” a person with knowledge of the deal told TheWrap. “Multiple people at the company talked about how much they loved the film. It still didn’t mean they’d get it. Sometimes you have a distributor who does all that to justify lowballing.”

But Searchlight didn’t have a clear field. As the filmmakers attended an after party at the Grey Goose Blue Door on Main Street, several other distributors circled. These ranged from the massive, Paramount and Warner Bros., to the very large Lionsgate, to the medium-sized FilmDistrict, Open Road and Magnolia.

Another factor was that rival agencies CAA and WME had to play nice. The movie was written and directed by CAA‘s Faxon and Rash and stars WME clients Steve Carell and Toni Collette.

Around 7 p.m., the dealmakers retired to the WME house, where the discussions began. Alexis Garcia, Deb McIntosh and Graham Taylor from WME would handle the deal with Laura Lewis and Dina Kuperstock from CAA.

“We had some in-person meetings, some phone calls and a lot of the offers were apples and oranges,” Tom Rice of Sycamore Pictures, which produced and co-financed the movie with OddLot Entertainment, told TheWrap.

Fox Searchlight was an early starter out of the gate. It had already won an Oscar with Rash and Faxon, who co-wrote Alexander Payne’s “The Descendants.”

And at one point it was going to produce the film, back when Shawn Levy was going to direct and it was called “The Way Back.” Rash and Faxon’s script had charted on the 2007 Black List, which ranks the industry’s favorite unproduced screenplays.

The project stalled. Levy moved on to other films, and the script bounced around until Walsh came aboard as producer and decided Faxon and Rash should direct.

In hopes of sealing the deal, Searchlight sent more than a dozen of its executives to the Sundance debut, many of whom began firing off ardent emails to the filmmakers after they had seen it.

“They came wanting to love that movie, and they were going overboard in an impressive way,” a person with knowledge of the deal told TheWrap. “Multiple people at the company talked about how much they loved the film. It still didn’t mean they’d get it. Sometimes you have a distributor who does all that to justify lowballing.”

But Searchlight didn’t have a clear field. As the filmmakers attended an after party at the Grey Goose Blue Door on Main Street, several other distributors circled. These ranged from the massive, Paramount and Warner Bros., to the very large Lionsgate, to the medium-sized FilmDistrict, Open Road and Magnolia.

Another factor was that rival agencies CAA and WME had to play nice. The movie was written and directed by CAA‘s Faxon and Rash and stars WME clients Steve Carell and Toni Collette.

Around 7 p.m., the dealmakers retired to the WME house, where the discussions began. Alexis Garcia, Deb McIntosh and Graham Taylor from WME would handle the deal with Laura Lewis and Dina Kuperstock from CAA.

“We had some in-person meetings, some phone calls and a lot of the offers were apples and oranges,” Tom Rice of Sycamore Pictures, which produced and co-financed the movie with OddLot Entertainment, told TheWrap.

“When we went over there, we didn’t tell them it was exclusive. But quickly getting there, it was clear they were intending to make it work as quickly as possible,” an individual close to the deal said. “And it still dragged out for several hours.”

As they haggled over numbers, the two sides moved in and out of the condo. The agents would move while Fox talked about it. The Fox team had to move when the agents wanted to call people back at the WME house.

Meanwhile, over the night, Searchlight increased its offer significantly. Making a big bet on the first-time directors, $ 9.75 million, at 4:30 a.m. it finally closed one of the richest deals in Sundance history.

“Fox Searchlight considers Jim and Nat a real part of their family,” Rice said. “They made their interest known for a long time.”

The deal done, the negotiating team headed back to the WME house to play pool, listen to music, drink champagne and down vodka. Whiskey would have been ideal given the frigid weather, but Utah’s Byzantine liquor laws had dashed the hopes of a late-night liquor run. The local whiskey from High West Distillery would have to wait.

“We didn’t plan ahead for celebrations, and it isn’t too easy to improvise in Park City,” one person there recalled.

With a couple hours until the papers would be signed, pre-planned improvisation would have to do.

And Walsh made good on his promise: Fried egg sandwiches with asparagus.

“We cracked a bottle of champagne at about 6 a.m.,” he said. Good morning.

Movies News Headlines – Yahoo! News

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Rescuer Appears for New York Downtown Hospital

Manhattan’s only remaining hospital south of 14th Street, New York Downtown, has found a white knight willing to take over its debt and return it to good health, hospital officials said Monday.

NewYork-Presbyterian Hospital, one of New York City’s largest academic medical centers, has proposed to take over New York Downtown in a “certificate of need” filed with the State Health Department. The three-page proposal argues that though New York Downtown is projected to have a significant operating loss in 2013, it is vital to Lower Manhattan, including Wall Street, Chinatown and the Lower East Side, especially since the closing of St. Vincent’s Hospital after it declared bankruptcy in 2010.

The rescue proposal, which would need the Health Department’s approval, comes at a precarious time for hospitals in the city. Long Island College Hospital, just across the river in Cobble Hill, Brooklyn, has been threatened with closing after a failed merger with SUNY Downstate Medical Center, and several other Brooklyn hospitals are considering mergers to stem losses.

New York Downtown has been affiliated with the NewYork-Presbyterian health care system while maintaining separate operations.

“We are looking forward to having them become a sixth campus so the people in that community can continue to have a community hospital that continues to serve them,” Myrna Manners, a spokeswoman for NewYork-Presbyterian, said.

Fred Winters, a spokesman for New York Downtown, declined to comment.

Presbyterian’s proposal emphasized that it would acquire New York Downtown’s debt at no cost to the state, a critical point at a time when the state has shown little interest in bailing out failing hospitals.

The proposal said that if New York Downtown were to close, it would leave more than 300,000 residents of Lower Manhattan, including the financial district, Greenwich Village, SoHo, the Lower East Side and Chinatown, without a community hospital. In addition, it said, 750,000 people work and visit in the area every day, a number that is expected to grow with the construction of 1 World Trade Center and related buildings.

The proposal argues that New York Downtown is essential partly because of its long history of responding to disasters in the city. One of its predecessors was founded as a direct result of the 1920 terrorist bombing outside the J. P. Morgan Building, and the hospital has responded to the 1975 bombing of Fraunces Tavern, the 1993 and 2001 attacks on the World Trade Center, and, this month, the crash of a commuter ferry from New Jersey.

Like other fragile hospitals in the city, New York Downtown has shrunk, going to 180 beds, down from the 254 beds it was certified for in 2006, partly because the more affluent residents of Lower Manhattan often go to bigger hospitals for elective care.

The proposal says that half of the emergency department patients at New York Downtown either are on Medicaid, the program for the poor, or are uninsured.

NewYork-Presbyterian would absorb the cost of the hospital’s maternity and neonatal intensive care units, which have been expanding because of demand, but have been operating at a deficit of more than $1 million a year, the proposal said.

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DealBook Column: Mary Jo White, Nominee for S.E.C.'s 'New Sherrif,' Has Worn Banks' Hat

“You don’t want to mess with Mary Jo.”

That’s what President Obama said about his pick to run the Securities and Exchange Commission, Mary Jo White. The nomination of Ms. White, a former prosecutor who took on the terrorists behind the bombing of the World Trade Center in 1993 and the Mafia boss John Gotti, was meant to signal that the S.E.C. would be getting tough on Wall Street. CBS called her “Wall Street’s new sheriff.” The Wall Street Journal said she would be “putting a tougher face on an agency still tainted by embarrassing enforcement missteps in the run-up to the financial crisis.” The New York Times said her appointment represented a “renewed resolve to hold Wall Street accountable.”

Hold on.

While Ms. White is a decorated prosecutor, she has spent the last decade vigorously defending — and billing by the hour — Wall Street’s biggest banks, as a rainmaking partner at the white-shoe law firm Debevoise & Plimpton. The average partner at the firm was paid $2.1 million a year, according to American Lawyer; but she was no average partner, very likely being paid at least double that. Her husband, John W. White, is a corporate partner at Cravath, Swaine & Moore. He counts JPMorgan Chase, Credit Suisse and UBS as clients. The average partner at Cravath makes $3.1 million. He, too, was a former official at the S.E.C. — he left Cravath to run the corporate division of the S.E.C. starting in 2006 just in time for the run-up to the financial crisis. He left in November 2008, a month after the bank bailouts, to return to Cravath.

It seems Mr. and Ms. White have made a fine art of the revolving door between government and private practice.

So how conflicted is Ms. White? Let’s count the ways.

They are well documented: she was JPMorgan Chase’s go-to lawyer for many of the cases brought against it relating to the financial crisis. She was arm-in-arm with Kenneth D. Lewis, Bank of America’s former chief executive, keeping him out of trouble when the New York attorney general accused Mr. Lewis of defrauding investors by not disclosing the losses at Merrill Lynch before completing Bank of America’s acquisition of the firm. (And empirically, Mr. Lewis did keep crucial information about the deal from investors.)

This is what she had to say about Mr. Lewis, in a court filing submitted on his behalf: “Some have looked to assign blame for every aspect of the financial crisis, even where there is no evidence of misconduct. This case is a product of that dynamic and does not withstand either legal or factual scrutiny.” It was a refrain she often made about her clients related to the financial crisis.

And then there was Senator Bill Frist, the Republican from Tennessee, whom she successfully represented when the S.E.C. and the Justice Department started an investigation into whether he was involved in insider trading in shares of HCA, the hospital chain. She persuaded them to shut down the investigation.

She also worked with Siemens, the German industrial giant, when it pleaded guilty to charges of bribery, paying a record $1.6 billion penalty.

And then, of course, there was John Mack. She worked for the board of Morgan Stanley during a now well-publicized 2005 investigation into insider trading that ended soon after she made a phone call to the S.E.C. Using her connections at the top of the agency, she dialed up Linda Thomsen, then the commission’s head of enforcement, to find out whether Mr. Mack, who was being considered for Morgan Stanley’s chief executive position, was being implicated. He ultimately wasn’t. As the Huffington Post pointed out in a recent article about Ms. White, Robert Hanson, an S.E.C. supervisor, later testified, “It is a little out of the ordinary for Mary Jo White to contact Linda Thomsen directly, but that White is very prestigious and it isn’t uncommon for someone prominent to have someone intervene on their behalf.”

All of Ms. White’s previous engagements create not only an “optics” problem, but a practical, on-the-job problem. She will most likely need to recuse herself from just about anything related to her previous work.

“I will not for a period of two years from the date of my appointment participate in any particular matter involving specific parties that is directly and substantially related to my former employer or former clients, including regulations and contracts,” is the language in an ethics pledge that she will have to agree to follow.

Some appointees, including Mary L. Schapiro, the former chairwoman of the S.E.C., recused themselves from any involvement in work that was related to a previous employer even after the two-year moratorium. Gary Gensler, the chairman of the Commodity Futures Trading Commission, recused himself from the investigation into MF Global because of his previous employment at Goldman Sachs, where Jon Corzine was the firm’s head, even though it had been years since the two had worked together.

And then there is the issue of Mr. White’s husband, who will have a continuing role at Cravath, one of the most pre-eminent firms in the country, whose clients include some of the nation’s largest corporations.

“This president has adopted the toughest ethics rules of any administration in history,” said Amy Brundage, a White House spokeswoman, “and this nominee is no exception. As S.E.C. chair, Mary Jo White will be in complete compliance with all ethics rules.”

None of these conflicts gets at another potential problem for Ms. White. The job of chairwoman of S.E.C. isn’t simply about enforcement; she has a deputy for that. The biggest challenge anyone who takes the job will have to confront over the next several years will be executing and enforcing provisions of Dodd-Frank and working to regulate electronic trading — something that even the most sophisticated financial professionals, let alone a lawyer, often have a tough time understanding. She has zero experience in this area.

Of course, there can always be a value to inviting a onetime rival onto the team.

“I believe she is one of those people who will understand that her public role will be very, very different than her role as a defense lawyer,” Dennis M. Kelleher of Better Markets, a watchdog group, told me. “I don’t think she’s going to be like so many others who don’t get that they have a very different role when they hold high public office.

“No question, she’s said some things that are controversial and questionable,” Mr. Kelleher said. “Moreover, I hope and expect that she will be asked publicly about them in the confirmation process and that she will have convincing answers.”

Of course, if she is confirmed, we must all hope that she can put her previous client relationships behind her and work for her new client — us.

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Unarmed man killed by deputies was shot in the back, autopsy says

A Culver City man who was fatally shot by Los Angeles County sheriff's deputies after a pursuit in November was struck by bullets five times in the back and once each in the right hip and right forearm, also from behind, according to an autopsy report obtained by The Times.

Jose de la Trinidad, a 36-year-old father of two, was killed Nov. 10 by deputies who believed he was reaching for a weapon after a pursuit. But a witness to the shooting said De la Trinidad, who was unarmed, was complying with deputies and had his hands above his head when he was shot.

Multiple law enforcement agencies are investigating the shooting.

De la Trinidad was shot five times in the upper and lower back, according to the Los Angeles County coroner's report dated Nov. 13. The report describes four of those wounds as fatal. He was also shot in the right forearm and right hip, with both shots entering from behind, the report found.

"Here's a man who complied, did what he was supposed to, and was gunned down by trigger-happy deputies," said Arnoldo Casillas, the family's attorney, who provided a copy of the autopsy report to The Times. He said he planned to sue the Sheriff's Department.

A sheriff's official declined to discuss specifics of the autopsy report because of the ongoing investigation. But he emphasized that the report's findings would be included in the department's determination of what happened that night.

"The sheriff and our department extend its condolences to the De la Trinidad" family, said Steve Whitmore, a sheriff's spokesman.

"Deadly force is always a last resort," he said. "The deputies involved were convinced that the public was in danger when they drew their weapons."

On Saturday, relatives of De la Trinidad and about 100 other people marched through the streets of Compton, shouting, "No justice, no peace! No killer police!"

His widow, Rosie de la Trinidad, joined the march with the couple's two young daughters.

"He was doing everything he was supposed to," she said of her husband, fighting back tears. "All we're asking for is justice."

Jose de la Trinidad was shot minutes after leaving his niece's quinceañera with his brother Francisco. He was riding in the passenger seat of his brother's car when deputies tried to pull them over for speeding about 10:20 p.m., authorities said. After a brief car chase, De la Trinidad got out of the car in the 1900 block of East 122nd Street in Compton and was shot by deputies.

The Sheriff's Department maintains that the deputies opened fire only after De la Trinidad appeared to reach for his waist, where he could have been concealing a weapon.

But a woman who witnessed the officer-involved shooting told investigators that De la Trinidad had complied with deputies' orders to stop running and put his hands on his head to surrender when two deputies shot him. The witness said she watched the shooting from her bedroom window across the street.

"I know what I saw," the witness, Estefani — who asked that her last name not be used — said at the time. "His hands were on his head when they started shooting."

According to the deputies' account: De la Trinidad jumped out of the passenger seat. His brother took off again in the car. One of the four deputies on the scene gave chase in his cruiser, leaving De la Trinidad on the sidewalk and three deputies standing in the street with their weapons drawn.

The deputies said De la Trinidad then appeared to reach for his waistband, prompting two of them to fire shots at him. The unarmed man died at the scene.

Unbeknown to the deputies at the time, Estefani watched the scene unfold from her bedroom window. A short while later, she told The Times, two sheriff's deputies canvassing the neighborhood for witnesses came to her door.

The deputies, she said, repeatedly asked her which direction De la Trinidad was facing, which she perceived as an attempt to get her to change her story.

"I told them, 'You're just trying to confuse me,' and then they stopped," she said. Authorities later interviewed Estefani a second time.

Whitmore said the two deputies involved in the shooting were assigned desk duties immediately after the incident but returned to patrol five days later. He said this was standard practice for deputies involved in shootings.

Although such investigations typically take months, Whitmore said the department has given special urgency to this case and hopes to complete its probe in a timely manner.

"We want to have answers about what happened that night soon rather than later," he said. "Even then, we know it doesn't change the grief the family is experiencing."

As with all deputy-involved shootings, De la Trinidad's killing is subject to investigation by the district attorney, the sheriff's homicide and internal affairs bureaus and the Sheriff's Executive Force Review Committee.

wesley.lowery@latimes.com

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‘Argo’ on a roll with big win at SAG Awards

LOS ANGELES (AP) — A few weeks ago, the Oscar race looked wide open. The stately, historical “Lincoln” seemed like the safe and likely choice, with the provocative “Zero Dark Thirty” and the quirky and inspiring “Silver Linings Playbook” very much in the mix for the Academy Award for best picture.

But now, an “Argo” juggernaut — an “Argo”-naut, if you will — seems to be rolling along and gathering momentum as we head toward Hollywood’s top prize.

The international thriller from director Ben Affleck, who also stars as a CIA operative orchestrating a daring rescue during the 1979 Iranian hostage crisis, received the top honor of best ensemble cast in a movie at Sunday night’s Screen Actors Guild Awards, their equivalent of the best-picture Oscar. It’s a decent indicator of eventual Academy Awards success, with the two matching up about half the time.

The film, which also stars John Goodman and Alan Arkin as Hollywood veterans who help stage a fake movie as a cover, has received nearly unanimous critical raves and has proven to be a box-office favorite, as well, grossing nearly $ 190 million worldwide.

But “Argo” also won the Producers Guild of America Award on Saturday night, which is an excellent Oscar predictor, and it earned best picture and director statues from the Golden Globes two weeks earlier. The Directors Guild of America Awards next Saturday will help crystallize the situation even further.

The one tricky thing at work here: Affleck surprisingly didn’t receive an Academy Award nomination in the director category, which most often goes hand in hand with best picture. (There are nine best-picture nominees but only five slots for directors.) Only once in modern times has a film won best picture without a directing nomination: 1989′s “Driving Miss Daisy.” The other two times came in the show’s early years, at the first Oscars in 1929 with “Wings” and for 1932′s “Grand Hotel.”

Asked backstage at the SAG Awards what might happen when the Oscar winners are announced Feb. 24, Affleck said: “I don’t do handicapping or try to divine what’s going to happen down the road with movies.

“I didn’t get nominated as a director and I thought, ‘OK, that’s that.’ Then I remembered that I was nominated as a producer,” said Affleck, who already has an original screenplay Oscar for writing 1997′s “Good Will Hunting” with longtime friend Matt Damon. “Nothing may happen but it’s a wonderful opportunity to be on the ride and I’m really honored.”

Many of the usual suspects throughout the lengthy awards season heard their names called again Sunday night, including Daniel Day-Lewis as best actor for his intense, deeply immersed portrayal of the 16th U.S. president in “Lincoln.” Accepting the prize on stage, he gave thanks to several of his colleagues including “The Master” star Joaquin Phoenix (who did not receive a SAG nomination), Leonardo DiCaprio and Liam Neeson.

Backstage, Day-Lewis elaborated for reporters that DiCaprio urged him to stick with Steven Spielberg‘s project, which was in the works for many years.

“He said, ‘Don’t give up, he’s the greatest man of the 19th century,’” Day-Lewis said. “So this is all Leo’s fault.”

His co-star, Tommy Lee Jones, also won again in the supporting-actor category for his lacerating portrayal of abolitionist Thaddeus Stevens in Spielberg’s Civil War epic.

Anne Hathaway, the front-runner for best supporting actress at the Oscars and a winner already at the Golden Globes, won at the SAGs for her performance as the doomed prostitute Fantine in the gritty musical “Les Miserables.”

“I’m just thrilled I have dental,” Hathaway joked on stage.

But in the already-tight best actress race, Jennifer Lawrence made things a little more interesting in winning for the drama “Silver Linings Playbook.” The 22-year-old plays a damaged young widow opposite Bradley Cooper, whose character is fresh out of a mental institution. Jessica Chastain, the winner at the Golden Globes, has been her main competition as a driven CIA operative searching for Osama bin Laden in “Zero Dark Thirty.”

Lawrence said on stage that she got her SAG card at 14 — which was only eight short years ago — for a promo for the MTV reality series “My Super Sweet 16,” which she said felt like the best day of her life.

“And now I have this naked statue which means that some of you even voted for me, and that is an indescribable feeling,” she said.

On the television side, the popular PBS series “Downton Abbey” bested more established shows like “Mad Men” to win the TV drama cast award in just its first nomination. “Modern Family won the comedy cast prize for the third straight year.

And Dick Van Dyke received the guild’s life-achievement award, an honor he presented last year to his “The Dick Van Dyke Show” co-star, Mary Tyler Moore.

After receiving a lengthy standing ovation from the audience, he asked his fellow actors, “Aren’t we lucky that we found a line of work that doesn’t require growing up?”

____

Contact AP Movie Writer Christy Lemire through Twitter: http://twitter.com/christylemire

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California still hasn't bought land for bullet train route

Construction of California's high-speed rail network is supposed to start in just six months, but the state hasn't acquired a single acre along the route and faces what officials are calling a challenging schedule to assemble hundreds of parcels needed in the Central Valley.

The complexity of getting federal, state and local regulatory approvals for the massive $68-billion project has already pushed back the start of construction to July from late last year. Even with that additional time, however, the state is facing a risk of not having the property to start major construction work near Fresno as now planned.

It hopes to begin making purchase offers for land in the next several weeks. But that's only the first step in a convoluted legal process that will give farmers, businesses and homeowners leverage to delay the project by weeks, if not months, and drive up sales prices, legal experts say.

One major stumbling block could be valuing agricultural land in a region where prices have been soaring, raising property owners' expectations far above what the state expects to pay.

"The reality is that they are not going to start in July," said Anthony Leones, a Bay Area attorney who has represented government agencies as well as property owners in eminent domain cases.

State high-speed rail officials say it won't be easy, but they can acquire needed property and begin the project on time.

"It is a challenge," said Jeff Morales, the rail agency's chief executive. "It is not unlike virtually any project. The difference is the scale of it."

Quickly acquiring a new rail corridor is crucial to the project, which Gov. Jerry Brown touted last week as the latest symbol of California's tradition of dreaming big and making major investments in its future.

Delays in starting construction could set in motion a chain reaction of problems that would jeopardize the politically and financially sensitive timetable for building the $6-billion first leg of the system. Under its deal with the Obama administration, which is pushing the project as an integral part of its economic and transportation agenda, the state must complete the first 130 miles of rail in the Central Valley by 2018, an aggressive schedule that would require spending about $3.6 million every day.

California voters in 2008 approved plans for a 220-mph bullet train system that would initially link the Bay Area and Southern California at a cost of $32 billion, less than half the estimated cost of the project.

If the construction schedule slips, costs could grow and leave the state without enough money to complete the entire first segment. Rail agency documents acknowledge initial construction may not get as close to Bakersfield in the southern Central Valley as planned.

In addition to property, the rail authority still needs permits from the Army Corps of Engineers and approval by the San Joaquin Valley Air Pollution Control District, two more potential choke points that Morales says can be navigated.

The land purchases are waiting on the hiring of a team of specialized contractors, but they cannot start their work until the rail agency gets approval from another branch of the state bureaucracy. About 400 parcels are needed for the first construction segment, a 29-mile stretch from Madera to Fresno.

The formal offers will start an eminent domain action, the legal process for seizing land from private owners. The owners have 30 days to consider the offer, and then the state must go through a series of steps that can add 100 more days of appeals and hearings, assuming the state can get on the court calendar, according to Robert Wilkinson, an eminent domain litigator in Fresno. If the state fails to convince a judge that a quick takeover of property is justified, formal trials could stretch on for 18 months, he added.

"I would think a lot of these are going to end up in litigation," he said. "It is a tight schedule, no question about it."

Indeed, the rail authority's formal right-of-way plan indicates it does not expect to acquire the first properties until Sept. 15, despite other documents that indicate construction would start in July. Rail officials said they padded the schedule to avoid claims for additional payments by construction contractors should land not be available by July.

Last month, the federal Government Accountability Office reported that about 100 parcels were at risk of not being available in time for construction.

That assessment was based on information the office collected last August. Susan Fleming, a GAO investigator, testified at a House hearing last month: "Not having the needed right of way could cause delays as well as add to project costs."

Morales said in a recent interview that he would not argue with the warning in the GAO report but still sees nothing that would delay the start of construction. Technically, the rail authority could meet the July target date by beginning demolition or other construction on a single piece of property, he said.

Anja Raudabaugh, executive director of the Madera County Farm Bureau, which is suing to halt the project under the California Environmental Quality Act, said the rail authority will face strong opposition to condemnation proceedings in the Central Valley. The bureau has hired a condemnation expert to help battle the land seizures.

"It is a harried mess," she said.

She noted that agricultural land prices rose rapidly last year across the nation. In the Central Valley, the average price of farmland is $28,000 per acre, while the rail authority's budget anticipates an average price of $8,000 per acre, she said.

Kole Upton, an almond farmer who leads the rail watchdog group Preserve Our Heritage, questioned the rail agency's expertise in conducting complex appraisals of agricultural land that has orchards, irrigation systems and processing facilities.

"I am not sure this thing has been well thought out by people who have a deep understanding of agriculture," Upton said. "I live on my farm, and my son lives on my farm. My dad started it after World War II. This is our heritage and our future."

Morales said he believes the agency's budget for property acquisitions is adequate and he did not want to negotiate prices publicly.

"We don't think we are wildly off," he said.

ralph.vartabedian@latimes.com

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A Google-a-Day Puzzle for Jan. 27

Our good friends at Google run a daily puzzle challenge and asked us to help get them out to the geeky masses. Each day’s puzzle will task your googling skills a little more, leading you to Google mastery. Each morning at 12:01 a.m. Eastern time you’ll see a new puzzle posted here.

SPOILER WARNING:
We leave the comments on so people can work together to find the answer. As such, if you want to figure it out all by yourself, DON’T READ THE COMMENTS!

Also, with the knowledge that because others may publish their answers before you do, if you want to be able to search for information without accidentally seeing the answer somewhere, you can use the Google-a-Day site’s search tool, which will automatically filter out published answers, to give you a spoiler-free experience.

And now, without further ado, we give you…

TODAY’S PUZZLE:

Note: Ad-blocking software may prevent display of the puzzle widget.

Ken is a husband and father from the San Francisco Bay Area, where he works as a civil engineer. He also wrote the NYT bestselling book "Geek Dad: Awesomely Geeky Projects for Dads and Kids to Share."

Read more by Ken Denmead

Follow @fitzwillie and @geekdads on Twitter.

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“Sleepless in Seattle” musical sets world premiere with new director

LOS ANGELES (TheWrap.com) – A musical adaptation of “Sleepless in Seattle” has set its world premiere for May 24 at the Pasadena Playhouse with a new director in place.

Pasadena Playhouse Artistic Director Sheldon Epps will take over directing chores from Lonny Price, who was originally supposed to stage the show. Price was dropped because of “creative differences” with members of the creative team as well as other commitments, an individual with knowledge of the production told TheWrap.

“Sometimes it seems that life in the theatre is all about change,” Epps said in a statement. “I am pleased that a recent change in my own schedule allows me to take on the joy and excitement of directing this musical.”

The production will run from May 24, 2012, to June 23, 2013, with a press opening night scheduled for June 2.

The musical is aiming for a move to London or to Broadway after its run at the Playhouse, perhaps following the path of “Sister Act,” which opened on London’s West End before transferring to Broadway, another individual with knowledge of the musical told TheWrap.

Epps has been tasked with re-imagining the hit romantic film, which starred Tom Hanks and Meg Ryan in two of their best known roles and boasted a crackling script from the late Nora Ephron, as a love story set to music. Like the film, the play will center on a widower and single father, who ends up attracting the interest of a woman across the country after his son calls into a talk radio program looking for a new mother.

Epps staged has directed “Blues in the Night,” “Play On!,” “Baby It’s You” and “Scenes and Revelations” on Broadway. The theater company is partnering with David Shor Productions on the world premiere of “Sleepless in Seattle – The Musical.”

A developmental workshop is also scheduled to take place in early March.

The musical version of the hit romantic comedy has a book by Jeff Arch, music by Ben Toth and lyrics by Sam Forman. The theater company said casting will be announced at a later date.

The change in directors is not the only shakeup the play has endured during its journey to the stage. Last July, Toth and Forman were tapped to replace the previous songwriting team of Michelle Citrin, Michael Garin and Josh Nelson, with producer David Shor explaining that they had not composed enough “great music” to justify an entire show.

Music News Headlines – Yahoo! News

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