Paramedic: Info From Jackson Doctor Didnt Add Up

LOS ANGELES, Calif. -- The doctor charged in Michael Jacksons death never revealed that he had given the singer a powerful anesthetic, a paramedic told a jury hearing the physicians involuntary manslaughter case Friday. Paramedic Richard Senneff said Dr. Conrad Murray told him that he had only given Jackson the sedative lorazepam. He said Murray initially said Jackson wasnt suffering from any condition. Murray eventually told medics that he was treating the singer for exhaustion and dehydration, he said. The doctor did not mention that he had been giving Jackson the surgical anesthetic propofol to help the singer sleep. Murray appeared frantic when the paramedic arrived in the bedroom on the day of Jacksons death in June 2009, Senneff said. He had to ask Murray three times about what condition Jackson had before the doctor answered. He said, Nothing. He has nothing, Senneff said. Simply, that did not add up to me. The veteran paramedic said Jackson was cool to the touch, his eyes were open and dry and had an IV in his leg. Senneff was one of four paramedics who worked to try to revive Jackson. Murray, 58, has pleaded not guilty to involuntary manslaughter. If convicted, Murray could face up to four years in prison and lose his medical license. Prosecutors contend the Houston-based cardiologist repeatedly lied to medics and emergency room doctors about medications he had been giving Jackson in the singers bedroom. Authorities contend Murray administered a fatal dose of propofol and other sedatives. Murrays attorneys claim Jackson gave himself the fatal dose after his doctor left the room. Senneff was the first paramedic to reach Jacksons bedroom and said within moments, he and three other paramedics were working to revive Jackson. After trying multiple heart-starting medications and other efforts, Jackson was still lifeless. Emergency room personnel at a nearby hospital advised Senneff to declare Jackson dead in his bedroom, but the singer was transported because Murray wanted life-saving efforts to continue. Prosecutors on Friday also called an executive for the maker of a fingertip medical device used by Murray to monitor oxygen in Jacksons blood. Nonin Medical executive Bob Johnson told jurors the $275 device was not adequate to continuously monitor patients because it did not have an audible alarm and other features that would alert a caretaker to problems. Jurors also heard from a former Murray patient who lauded the doctors treatment of him, but said his cardiologist became increasingly distant and hard to reach while working with Jackson. I felt like I was getting the best care in the world, said Robert Russell of Las Vegas, before Murray became the singers personal physician. After Murray began treating Jackson, Russell said he couldnt get answers about his own treatment. He called Murrays office on June 25, 2009 the day Jackson died and demanded to speak to the doctor. The doctor left him a voicemail at 11:49 a.m. Prosecutors are using records to show that Murray was on the phone in the moments before he realized Jackson was unconscious. Russell told jurors Murrays message seemed odd because the doctor said he was going on sabbatical, despite telling the salesman and his wife months earlier that he was going to work for Jackson. Prosecutors are expected to call another paramedic who treated Jackson. Murrays trial is expected to last five weeks and is in its fourth day. Copyright 2011 by Associated Press. All rights reserved.This material may not be published, broadcast, rewritten or redistributed.

Watch Movies Free Online Now

'Machine Gun Preacher' Makes Its Explosive Title, Stars Say

After we could tell within the trailer, Marc Forster's "Machine Gun Preacher" isn't among people overwrought, melodramatic, "with various true story," happy films. According to stars Gerard Butler and Michelle Monaghan, what sets it apart from individuals is the fact that it comes down to a problematic hero who finds his true calling using a violent, intense, and inspiring journey. "This isn't an account you hear every day,In . Monaghan told MTV news. "Hes type of quite the hero but a problematic hero, and thats what the title entails. As you see the story you realize the right path this person remains on." "A Few Things I found fascinating is niagra guy really switched his existence around which individual can definitely really make a difference," she ongoing. "You hear frequently, 'What difference is one to person make?', or that [philanthropic work] is if you were good inside their existence and hes not. He s experienced this journey which is an authentic example to everyone." Regarding just what the title in the film states in regards to the story, Butler mentioned it's explosive, however in many ways. "In my opinion its certainly a means to attract somebodys attention," he mentioned. "The story has everything explosiveness because there are many action inside, hes were living an very adventurous and exciting existence, but there is a lot a lot more for the story, the relations from the couple, what toll does that take along with his family while he fails them, his journey in Africa, journey against their very own personal demons. There is a lot within that Celebrate the title, 'Machine Gun Preacher.'" What can you consider the particular existence story? Reveal inside the comments or on Twitter!

Fast Schedule Forces Justin Lin To Exit Terminator, But He Might Be Back

EXCLUSIVE: Things are starting to move on The Terminator franchise, but a plan by rights owner Megan Ellison and Arnold Schwarzenegger to put the first of two pictures in production for the fourth quarter of 2012 has forced director Justin Lin to drop out. But borrowing the film’s signature phrase “I’ll be back,” Lin has left the door open to a return if Ellison and Schwarzenegger will wait until he completes the sixth installment of The Fast and the Furious franchise. The Terminator franchise has been under the radar since Ellisons Annapurna Films spent over $20 million to buy film rights during the Cannes Film Festival, with Lin and Schwarzenegger attached. Lin wants to make the film but simply won’t be available, the same situation that prompted him to withdraw from Summit’s Highlander. Lin has been working closely with Schwarzenegger and Ellison to figure a way to end the James Cameron-hatched battle between humans and the cyborgs of Skynet. It would require some effort for Ellison to get the film underway by late next year. She hasn’t got a script and I don’t think she’s even hired a screenwriter yet. She also hasn’t set a studio partner, even though several are interested. There is some reason to move quickly. One of the caveats involved in the rights deal with Pacificor (which spent $29.5 million to win the rights in bankruptcy court) is that certain rights revert back to Cameron due to a stipulation in copyrightlaw that if you assign your rights, you get them back in 35 years. Cameron assigned his rights to Hemdale, and the North American rights will revert back to him in 2018. Even that part of the story has gotten intriguing: While Cameron washed his hands of the Terminator franchise years ago, his close friend Schwarzenegger has dragged him into a brainstorming meeting or two, even though he is not officially involved. It’s also hard to imagine that Ellison can’t make two films and satisfactorily end the series by the time that rights situation develops.

X-Men: First Class Online Free

Flipping Police Cars and Spinning Mustangs: The Interview While using Stunt Driver From 'Drive'

About half way into the movie 'Drive,' Ryan Gosling -- playing the anonymous character only known to as Driver -- eventually eventually ends up concerning the wrong finish from the botched robbery. Minutes later, he's in the high-speed chase, moving his black Ford Mustang GT using the California slopes getting a charcoal gray Chrysler 300 hot on his tail. Driver soon realizes he's gonna need to take action drastic to get rid of his pursuer. In the split-second decision, he yanks the hands brake, changes into reverse and guns it full speed lower the highway. Another second passes -- he hits the E-brake again, this time around around forcing the Mustang in to a 270-degree spin. The 300 can't handle the turn -- it hits the barrier and shoots up as Driver speeds off into the distance. On film, the succession looks perfect it's a fantastically choreographed chase set for the appear of brake squeals and cars downshifting. But behind the curtain? Well, this can be a different story. "I had been attempting to behave else," states Jeremy Fry, the stunt driver, additionally to Ryan Gosling's double, for 'Drive.' "That which you were wanting was that [the Chrysler] can come from that turn and spin so the vehicle would transition. But instead ... it shot upright up.Inch Fortunately for Fry, director Nicolas Winding Refn ended up liking the "mistake" and made a decision to go away it inside the film. Most moviegoers rarely consider the task that switches into a fight or possibly a surge or possibly an automobile chase. Much less we blame them. Stuntmen will be the males who increase the risk for A-listers look wonderful. Almost all audiences showed up at start to see the eye chocolate, and possess no fascination with which stuntman did this scene or that scene (or that any stuntman aided to begin with). However, for just about any film like 'Drive,' which sees Gosling playing a stunt driver throughout your day and hired getaway driver by evening, Moviefone desired to give consideration towards the actual guy driving. Enter Fry, whose credits include films for instance 'Indiana Manley as well as the Kingdom in the Very Skull,' 'National Treasure: Book of Secrets' and 'State of Play.' For 'Drive,' Fry was triggered to complete the higher dangerous stunts additionally to double for Gosling. More youthful crowd aided pre-plan a couple of from the sequences themselves -- incorporated within this, the opening scene where Driver eludes two police cars together with a helicopter within a getaway, the moment where Driver is concentrating on a movie set and movies a cop vehicle (which, according to Fry, used an average tool known to like a cannon: "You start the automobile rotating while using E-break, it starts to rotate, at a certain point you hit control button [which] fires a thing that will roll the automobile over"), a scene where Driver is driving a normal vehicle around a race track as well as the aforementioned Mustang/300 chase scene while using 270-degree spin. Clearly, vehicle chases are actually implemented to dying to use it films, which explains why approaching with something totally new and exciting will be a large priority for Fry, particularly for your Mustang sequence. Clearly, finishing that stunt isn't as simple as just punching the gas pedal and turning the wheel. There's a great deal of preparation and timing involved. To hear Fry tell it, the opportunity to produce a mistake is certainly nearby. (Obligatory vehicle-related pun quota filled.) "Overturn 270, that was a thing that I had been practicing due to the fact I'd never observed someone do that ... which i simply thought it may be really awesome," confesses the stunt driver. "The most difficult part personally was the [Mustang going] forward into reverse ... because in the stick change, you have to change it out -- you are moving forward and also you spin it and also you Are going backwards, so somewhere inside you have to change it out from whatever gear you are in into reverse. The problem is, it provides a hands-pull emergency brake. So you have a hands-pull brake you are using and [concurrently you're intended to be shifting along with your right hands." The Mustang scene is unquestionably the most effective -- and, really, only major -- vehicle chase inside the movie. As much as that point, Bryan Cranston's character, Shannon, raves that whenever "you set this kid [Driver] driving, there's nothing he can't do." The scene is not just a perfect instance of Driver's abilities, it's a perfect example from the movie vehicle chase done correctly. "I'd like perfection," states Fry. "There's occasions you obtain close enough, and i am not always happy with that. It's nice when that's all [company company directors] should get is 'good enough,' however want perfect. So, I merely appear like there are many pressure -- a variety of it is self enforced -- there's however certainly real pressure there, too." On 'Drive,' that pressure converted in to a effective chase scene. Fittingly, Driver is targeted, yet completely calm with the sequence. The most effective stunt drivers, by character, have to remain in check, whether they are flipping a police vehicle or spinning a Mustang at high speeds. Pressure, as Fry recognized, is certainly there, but he didn't allow that stop him from finishing the stunt -- and the way could he for just about any film whose central character is founded on Fry's real-existence job? "I'm honored that Darrin [Prescott, the film's stunt coordinator] asked for me to make it happen because you will discover plenty of very gifted drivers available who love an chance... It's a movie of a stuntman. What stunt guy wouldn't wish to be because? You'll be able to contact Alex Suskind on Twitter. Follow Moviefone on Twitter. *Images because of FilmDistrict

REVIEW: I Don't Know How She Does It Has Plenty of Fear and Loathing to Go Around

The title phrase of I Don’t Know How She Does It is lobbed repeatedly at intrepid working mom heroine Kate Reddy (Sarah Jessica Parker, who also provides a Sex and the City-style pontifical voiceover) throughout this alleged comedy, sometimes in celebration, sometimes out of envy or condescension. Inherent in it is a swirl of self-doubt and competition. To be a mother, director Douglas McGrath’s film suggests, is to be in the constant grip of guilt and judgment, worried that you’re not giving enough, convinced that others are doing things better or more correctly than you, soothed when they appear to be doing worse. For Kate, who works at a Boston hedge fund, this sense of not measuring up comes from multiple directions. At home, she has to rely on a nanny (Gossip Girl’s Jessica Szohr) to assist with care of her two kids, toddler Ben and 6-year-old Emily; she falls asleep when she’s supposed to be canoodling with her husband Richard (Greg Kinnear); and she resorts to (gasp!) using a store-bought pie for her daughter’s school bake sale. At the office, she struggles to compete with coworkers (including a smarmy rival played by Seth Meyers) who are made never late because they had to drop their kids off at school, and to manage a demanding boss (Kelsey Grammer) who doesn’t want to hear that she already has plans with her family on Saturday and can’t fly to Atlanta for a meeting. I Don’t Know How She Does It is supposed to be a celebration of a woman trying to balance the high-powered job she loves and is good at and the children she adores and wants to spend as much time with as possible — and Parker sells this material for all it’s worth, strenuously sparkling at the camera whenever possible. But for a supposedly strong character, Kate infuriatingly allows herself to be victimized by everyone around her, even her kids, who withhold affection when they feel she’s gone too often because of work. Her husband scolds her for not pretending to laugh at his jokes, her coworker tries to steal her client when she takes a few days off for Thanksgiving, her nanny is late every morning, and when she finally lands the possibility of setting up a new fund, she thanks the man who OK-ed it, Jack Abelhammer (Pierce Brosnan), again and again as if he’s done her a favor, until he actually asks her to stop. After a while, you stop hoping she’ll tell her family to suck it up and watch some TV and then drink a bottle of ros all by herself, and instead settle for wishing she’d develop a smidgen of self worth. We’re no longer in the Mad Men era (though Christina Hendricks does make an appearance, wasted in the role of Kate’s sassy single-mom bestie), but postfeminist chick lit like the Allison Pearson novel on which this film is based can seem just as hard on women in new ways, the pressure and restrictions now applied from within or by other females. I Don’t Know How She Does It’s fundamental dilemma, one sidestepped at the film’s happy end, is that you can’t compete in a cutthroat 80-hour-a-week gig and still do all the things a full-time mom would in the raising of artisanal upper-middle children. The film never addresses why Kate is expected and expects to do just that, why she accepts being shamed, why, if she’s the primary breadwinner in the household — her husband is trying to get his own business of the ground — she can’t do some delegating and ask him to take care of the goddamn pie, since he has more time on his hands. I Don’t Know How She Does It’s halfhearted stabs at comedy come in the form of mild slapstick (Kate gets caught on a video conference hiking up her tights, Kate gets lice from her kids and keeps scratching during an important meeting) and in lampooning the smug stay at home moms (the “momsters”) who look down at Kate’s frantic running around and who spend all day at the gym. In the faux doc-style interviews that punctuate the film, momster number one Wendy Best (Busy Philipps) sanctimoniously preens that unlike Kate, she would never leave for a business trip right after Thanksgiving dinner, that family is just too important to her. The character’s so broad that to describe her as skewering a type seems generous, but the point is clear — we’re suppose to think the judgments she lays on Kate are ridiculous and lacking in empathy, that it’s only her own life choices that seem right to her. And yet I Don’t Know How She Does It unforgivably does the same thing, when Kate’s cold, highly competent underling Momo Hahn (played by Olivia Munn, and about an “h” away from a generic Asian stereotype), who insists she doesn’t want to get married or have children, has a slip-up with her birth control and ends up pregnant. We don’t know Momo’s relationship status, she’s obviously still got time and her career’s of great importance to her, but when she tells Kate her situation, our heroine unctuously immediately advises her to have the baby. It’s too much to expect a mainstream film to jeopardize potential audiences with a mention of the possibility of abortion these days, but to have one give its blessing to a character offering such an entitled suggestion as if the decision were that easy is incredibly off-putting. If this is how supposedly supportive characters act in the world of I Don’t Know How She Does It, well, Sterling Cooper Draper Pryce starts to look practically appealing. At least there the hostilities are open.

Trueba's 'Chico' tops Douro fest

MADRID -- Latin jazz scene-set "Chico and Rita," The the spanish language language helmer Fernando Trueba's first animated film, nabbed the Turismo p Douro prize at Portugal's third Douro Film Harvest, which wrapped on Saturday. The prize for your fest's Wine and Food Films sidebar visited "Avoiding Robert Parker," by Erection dysfunction Burley, who acquired the award personally. A seven-day umbrella event, organized in Portugal's attractive Douro wine valley, the DFH saw a substantial hike in Portuguese premieres, which composed 80% in the program, alongside fest faves that incorporated Woodsy Allen's "Evening amount of time in Paris" and Terrence Malick's "The Tree of Existence." Company company directors attending incorporated Solveig Nordlund ("The Dying of Carlos Gardel," which opened up in the fest), Brazil's Carlos Diegues (for just about any Tawny Tribute), Canadian-British artist-switched-helmer Zev Robinson ("Existence concerning the Douro") and helming duo Elena Gugliuzza and Patricia Boillart ("Isola, Where Bacchus' Language is Spoken"). Douro's first Ibero-American Lab, organized by Madrid-based Ocean Communications Boss Annabelle Aramburu, would be a business event dedicated to co-production between Portugal, The nation, Latin America and Africa, taking advantage of utilization of distribution channels, especially new media. Illustrating how Argentina's film sector taps into worldwide co-productions, Ukbar Filmes' Pablo Iraolo contended that Portugal, with low production costs, could follow. Aramburu spoken a good interactive documentary about pregnancy, "Mother Today," funded by an Icaa The the spanish language language Film Institute subsidy and pre-buys from regional Tv producers in Madrid, Castilla-La Mancha and Aragon. Portuguese producers Fernando Vendrell and also the planet the planet pandora da Cunha Telles spoken regarding their Africa-shot projects, co-funded with the EU's African, Caribbean and Off-shoreline support fund. Other good good examples of co-productions beneath the Lab microscope incorporated Zeze Gamboa's "The Fantastic Kilapy," a Portugal-Mozambique-Angola-South usa co-production, and Licinio Azevedo's debut feature, "Margarida," hooking up Portugal, Mozambique and France. Contact the number newsroom at news@variety.com

Ellen DeGeneres, Portia p Rossi Team for NBC Comedy

Alberto E. Rodriguez/Getty ImagesEllen DeGeneres and Portia p Rossi NBC has acquired a comedy project from Ellen DeGeneres together with her wife, Portia p Rossi, mounted on star. The network has agreed to make a pilot from the Warner Bros. TV multicamera project which is all about dueling siblings, with former Arrested Development star p Rossi set to experience one of these. DeGeneres, through her Warner Bros. TV-based An Excellent Production, is aboard to executive produce the untitled comedy, alongside Samantha Who's Don Todd, who'll pen the project. Lauren Corrao, who runs DeGeneres' shingle, will even professional produce. The project would mark p Rossi's first TV work since ABC's Best Ted was canceled this past year. DeGeneres' Emmy-winning daytime talker began its ninth season now. Email: Lesley.Goldberg@thr.com Twitter: @Snoodit RELATED: More TV Development news