This “what do you stand for?” Google/You Tube promotion for Robert Redford‘s Lions for Lambs (MGM, 11.9), which offers a $25,000 cash prize for the best short political video piece submitted, might raise awareness and get the word going. Maybe. What would really help, I suspect, would be for MGM to release stills that show costars Meryl Streep and Tom Cruise doing something besides sitting in that damn Washington, D.C., office with Cruise instructing/lecturing Streep about the hard choices facing America in the fight against terrorism.

For weeks and weeks I’ve been looking at the two of them in trailers and stills, wearing those same outfits and talking, talking, talking to each other — Cruise clenched and focused, Streep doubting and sardonic. Do they do anything else in the film? At all? I’m starting to wonder.

“The lion and the lamb shall lie down together, but the lamb won’t get much sleep.” — a quote attributed to Woody Allen.

Steve Guttenberg is alive and well and 49 and doing (I presume) pretty well, but the fact that he’s cut a deal with Thomas Dunne Books to write a memoir about his early years in Hollywood (the late ’70s to mid ’80s) indicates he’s either got time on his hands or is looking to jump-start things.

It’s generally agreed that Guttenberg’s peak artistic period was between Barry Levinson‘s Diner (’82) and Curtis Hanson‘s The Bedroom Window (’87). His last bona fide hit was Three Men and a Little Lady (’90). I used to hate him before Diner. I remember being elated when his character got killed in Franklin J. Schaffner‘s The Boys From Brazil (’78). I also remember a New York critic writing about his performance in Nancy Walker‘s Can’t Stop The Music (’80) and observing that Guttenberg had “all the charm of a barking dog.”

Ad art for Scott Coffey‘s Ellie Parker (’05) and Michael Haneke‘s Funny Games (due in February ’08).

No biggie, but interesting that the Warner Independent ad art guys chose the same Naomi Watts eye to be running the tears and mascara.

A 9.30 report by Elle‘s Tracey Lomrantz that Robert Rodriguez will be directing real-life squeeze and Planet Terror star Rose McGowan in a remake of Barbarella is at least…what, four months old? But it reminds us that Rodriguez is an old hand at dressing his leading ladies in skimpy outfits and turning them into objects of lascivious attention (as he did with Salma Hayek in Desperado and From Dusk to Dawn). And it seems to once again confirm R.R.’s absolute opposition to making a film of any attempted soul or substance or delicacy for the rest of his life. He’s a thick-fingered genre-wallower.

For years the once-great Carroll Ballard (The Black Stallion, Duma, Never Cry Wolf) has been tagged as the go-to guy when you’re making a spiritual-poetic animal movie, so it was no surprise when he was hired to direct Hachiko: A Dog’s Story, a feature that will star and be produced by Richard Gere. Also produced by Vicki Shigekuni Wong, it’s based on a true-life Japanese legend about of a college professor’s bond with the abandoned dog he takes into his home.

The problem is that Ballard wound up butting heads with Gere and, according to a trusted source, walked off the shoot last week just 21 days before the start of principal photography. The informer says it was “apparently due to creative differences with Gere over the film’s ending.” People on the production have told him that Ballard “was acting strange and cantankerous,” and that the producers are scrambling right now to find someone to come in and take over “while the production team sits up in Rhode Island twiddling their thumbs.”

The source has read Stephen Lindsey‘s script and calls it “good, but it needs a strong sensitivity that won’t come easily with a director just dropping in at the last minute. “

I can’t remember the last time I saw a fiery volcano explode in a film, but we know we won’t be seeing one from Roman Polanski any time soon with the plug recently pulled on his Pompeii movie. But look at this — a real-life volcano blowing fire and fury just hours ago about 130 kilometers off the coast of Yemen. I can only hope for a YouTube video down the road. It looks like the fire-breathing monster effect in the trailer for J.J. Abrams’ Cloverfield.

A better-than-ILM display of fire, lava and massive ash clouds following an actual volcano eruption on a Red Sea island off the coast of Yemen, in this photo taken from the deck of the Canadian frigate HMCS Toronto.

The story was filed this morning by the Toronto Star.

Every time I read a story about certain political forces wanting smoking in Hollywood movies to be restricted or stopped, which is the topic of this Michael Cieply story in the 9.30 N.Y. Times, I have the same reaction. Europeans, people under heavy stress, 20-something clubgoers and low-rent rubes often smoke cigarettes, and as offensive as this habit can seem to ex-smokers like myself it’s absurd to say that filmmakers shouldn’t show people sucking smoke into their lungs when it’s appropriate for the story or theme they’re trying to convey.

And yet it wouldn’t be bad to see less movie-smoking as a general rule. Actors would be forced to do lean on some other tic or mannerism — it would push them to be more creative.

I was reading Jennifer Pearson‘s Tomkat cover story (“Tom and Katie’s Big Blow-up!”) in the latest Star in the checkout line at Gelson’s last night, and was startled to read that Valkyrie, Bryan Singer and Tom Cruise‘s still-shooting WWII thriller, is now being called Rubicon. That’s dead wrong, I found out. I just want to clarify that in case anyone else reads this Star story over the next three or four days and goes “whoa” when they read this.

I called Pearson and her Florida-based editor, Larry Brown, to see what the source was, but Brown dummied up and Pearson said the Rubicon title was inserted into the story by a news editor in the Star‘s Manhattan editorial offices. MGM publicist Dennis Rice wasn’t in (he’s in Berlin) but Allan Mayer of 42 West, who represents MGM and/or Valkyrie, said the Star “got it wrong,” that the film’s title is definitely Valkyrie and that Rubicon is an old boilerplate title that was never officially used.

As this trailer proves, the voice that Daniel Day Lewis uses in There Will Be Blood (Paramount Vantage, 12.26) doesn’t resemble his Gangs of New York/ “Bill the Butcher” voice in the least. Anyone who says this has no ear. It’s actually a blend of two voices — the late John Huston‘s and ThinkFilm honcho Mark Urman‘s. Huston + Urman + a little raspiness + a measured, conniving quality.

This out-of-synch Bill Maher riff about Hilary vs. Rudy on Larry King Live was taped six weeks ago, but the situation hasn’t changed. Knowing deep down that Maher is almost certainly right is enough to give anyone indigestion. Obama vs. Thompson would have been an interesting race, but Hilary vs. Rudy is going to be the smelliest campaign in human history. I can’t believe it’s come down to this. It’s so dispiriting…God.

A portion of the only first-rate scene in an otherwise dated and often irritating film, especially due to some horribly banal dialogue and some truly atrocious acting by some child actors.

I first saw Armageddon at an Academy screening in June of 1998. It gave me a headache because of the machine-gun-like cutting, which I was later told was a result of a deliberate Michael Bay strategy of cutting out as many frames as possible in each scene order to make the film play as fast, hard and compressed as possible. This information came from Armageddon screenwriter Jonathan Hensleigh, who claimed that the film was “frame-fucked” as a result.

In any event, when I saw Armageddon producer Jerry Bruckheimer in the lobby after the screening I did the usual chickenshit industry thing — I half-lied. I told Jerry that the film “rocked” or felt like “rocket fuel.” (Which wasn’t a total lie — it did feel like that, sort of.) As soon as I said this, however, Bruckheimer cocked his head and gave me a “look.” He knew I was snowing him, and I knew that he knew. I felt like a snivelling coward, possibly due to the fact that I was being precisely that.

I shared this moment with a director friend earlier today, and he told me one of his own. A very big (one could use the word “legendary”) producer-director told him that an actress in a scene he was directing was “fucking smiling” too often, “just like fucking Tom Cruise…always smiling, always with the teeth. Tell her to cut it out.” The director later spoke to the actress, who had seen him speaking with the big-name producer. “Did he say anything about me?” she asked. The director replied, “He compared you to Tom Cruise.”