Ron Livingston and Lili Taylor are in talks to join Patrick Wilson and Vera Farmiga in James Wan‘s upcoming thriller, formerly called The Conjuring. The film, which is now going by the working title Untitled Warren Files Project, centers around a husband and wife paranormal investigation team (Wilson and Farmiga) dealing with spirits in a Rhode Island farmhouse. Livingston and Taylor would play a couple that moves into the farmhouse with their children, and are terrorized by the supernatural beings who reside there. The story is inspired by the real-life tale of the Perron family and paranormal experts Ed and Lorraine Warren in the 1970s.

Livingston will next appear in HBO Films’ Game Change, which premieres March 10, and this summer’s The Odd Life of Timothy Green. Taylor co-stars in Paul Weitz’s Being Flynn, which opens March 2. The Conjuring is scheduled to enter production in North Carolina in March. [THR]

After the jump, Stephen Dorff goes down in ’80s Beirut, while Mark Webber and Chloë Sevigny get hitched.

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Marilyn Manson

A bunch of new casting bits hit over the weekend, and can be found after the jump including an update on who Cameron Crowe is in talks with a new star to play Marvin Gaye, Marilyn Manson and Evan Rachel Wood sign on for “a sexploitation-serial-killer-slasher-road-movie circa 1989″, Dustin Hoffman to star in a new adaptation of an Irwin Shaw novel and much more.

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lil-wayne-tbone2

Wow. After watching The Carter, the new all-access documentary on Lil’ Wayne, one might consider recommending it as the best doc about a hip hop icon ever. The problem with this superlative lies in its limitation. Similar to labeling Lil’ Wayne a rapper—even “the best rapper alive” as many profess—and leaving it at that, labeling this a great hip hop doc restricts it to the confines of a niche or genre coated in personal taste and stigmas. That is to say The Carter is foremost a fascinating portrait of a remarkable, modern artist and celebrity who has cooked most if not all bridges for comparison.

In The Carter we experience the exact moment when Wayne calmly finds out, overseas and perma-high, that his latest album, Tha Carter III, has sold one million plus physical units in its first week. As his friend and manager, Cortez Bryant, tells the camera, Wayne now undisputedly ranks with the world’s top pop stars; and this doc ranks with the best of the year. It’s also highly difficult to cite precedent for a film so privy to a superstar’s love of, and possible dependency on, drugs. Clearly, the recent, This Is It, failed in this regard.

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