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HBO acquired this week the docu, which shows later this week at the fest. HBO plans to air it later this year,

The documentary was shot during last year’s Cannes Film Festival. It follows Toback, the Oscar-nominated screenwriter of Bugsy (1991) and Alec Baldwin, the Oscar-nominated actor, as they try to raise financing for a new project and assess the current state of the film industry.

The duo spoke not only with anonymous financiers and distributors, but also some A-list directors, such as Scorsese, Coppola, Bertolucci and Polanski.

Despite mixed reviews, Baz Luhrmann’s “The Great Gatsby” is having a ball at the U.S. box office.

The 3D adaptation of F. Scott Fitzgerald’s classic novel is sporting a robust $18.5 million Friday for a weekend tally north of $50 million, according to early estimates.

The Leonardo DiCaprio-starrer could finish even higher depending on Mother’s Day sales, analysts predict.

Budgeted at $100 million, “Gatsby” reps one of the few female-targeted pics in a summer full of male-driven action tentpoles. Tobey Maguire, Carey Mulligan and Joel Edgerton co-star in the stylized feature.

This weekend’s othertop performer, “Iron Man 3,” should easily beat “Gatsby” for first place, with an impressive $70 million in its second week of release.

Disney/Marvel’s 3D “Iron Man,” bowing a few weeks earlier overseas, could reach the $1 billion mark worldwide early next week.

Worldwide, including the overseas openings last week, the tentpole has accumulated $680.1 million thus far. Disney has crossed the $1 billion mark at the global box office for 2013 for the 19th consecutive year, the fastest it has ever done so.

This time last year, following a similar trajectory and similarly exceeding pre-weekend expectations, “Avengers” opened to $207.4 million Stateside. “Avengers” went onto a domestic lifetime total of $623 million, and a global lifetime total of $1.5 billion.

Among the musical revivals, “Pippin” took ten and “Cinderella” nabbed nine.

In the play categories, “Golden Boy” was the one to beat with eight nomination, but “Lucky Guy” did well (with six nods including one for Tom Hanks) as did “Vanya and Sonia and Masha and Spike” (also taking six).

There were so many stars onstage this season that it seemed inevitable that many of them were left out. Perhaps the most notable absence was Bette Midler, who despite strong reviews for her perf in solo show “I’ll Eat You Last” didn’t get a nom. The entire production, in fact, walked away empty-handed, including Bond scribe John Logan (“Red”) and helmer Joe Mantello (“Wicked”).

Also left out in the cold were well-known thesps including Scarlett Johansson (“Cat on a Hot Tin Roof”) and Alec Baldwin, although his co-star in “Orphans,” Tom Sturridge, snagged a place in the lead actor race.

The Tony noms come at the end of a hectic season that started slow and didn’t really yield a strong crop of competitors until the last few weeks before the April 25 eligibility cutoff. Although both “Kinky Boots” and “Matilda” could easily be pegged as the frontrunners even before the nominations were announced, there’s no odds-on favorite this year as there has been in prior years with, for instance, “The Book of Mormon” or “The Producers.”

Aside from “Kinky” and “Matilda,” it was anyone’s guess as to which two other shows would have filled out the category for new musical, generally acknowledged as the only Tony Award to have any real influence on box office. “Motown” seemed a likely candidate, if only because the production proved a box office powerhouse right out of the gate, and a number of observers expected a nod to the short-lived “Hands on a Hardbody,” which had its share of admirers (and took three noms including one for Trey Anastasio and Amanda Green’s score).

Instead the nominators unexpectedly tapped cheerleader tuner “Bring It On” as well as “A Christmas Story,” which earned solid notices and posted strong sales in its limited holiday run.

In the new play race, “Lucky Guy” vies with Richard Greenberg’s warmly received “The Assembled Parties,” Christopher Durang’s “Vanya and Sonia and Masha and Spike” (which nabbed four acting nods, including one for David Hyde Pierce) and Colm Toibin’s “The Testament of Mary.” The latter scored also snagged nods for lighting designer Jennifer Tipton and sound designer Mel Mercier, but no nominations for its solo star Fiona Shaw or its helmer Deborah Warner.

NOMINATIONS FOR THE 2013 TONY AWARDS

PLAY
•“The Assembled Parties” – Author: Richard Greenberg. Producers: Manhattan Theater Club, Lynne Meadow, Barry Grove
•“Lucky Guy” – Author: Nora Ephron. Producers: Colin Callender, Roy Furman, Arielle Tepper Madover, Roger & William Berlind, Stacey Mindich, Robert Cole & Frederick Zollo, David Mirvish, Daryl Roth, James D. Stern/Douglas L. Meyer, Scott & Brian Zeilinger, Sonia Friedman Productions, The Shubert Organization
•“The Testament of Mary” – Author: Colm Toibin. Producers: Scott Rudin, Stuart Thompson, Jon B. Platt, Roger Berlind, Broadway Across America, Scott M. Delman, Jean Doumanian, Roy Furman, Stephanie P. McClelland, Sonia Friedman Productions/Tulchin Bartner Productions, The Araca Group, Heni Koenigsberg, Daryl Roth, Eli Bush
•“Vanya and Sonia and Masha and Spike” – Author: Christopher Durang. Producers: Joey Parnes, Larry Hirschhorn, Joan Raffe & Jhett Tolentino, Martin Platt & David Elliott, Pat Flicker Addiss, Catherine Adler, John O’Boyle, Joshua Goodman, Jamie deRoy/Richard Winkler, Cricket Hooper Jiranek/Michael Palitz, Mark S. Golub & David S. Golub, Radio Mouse Entertainment, ShadowCatcher Entertainment, Mary Cossette/Barbara Manocherian, Megan Savage/Meredith Lynsey Schade, Hugh Hysell/Richard Jordan, Cheryl Wiesenfeld/Ron Simons, S.D. Wagner, John Johnson, MacCarter Theater Center, Lincoln Center Theater

MUSICAL
“Bring It On: The Musical” – Producers: Universal Pictures Stage Productions/Glenn Ross, Beacon Communications/Armyan Bernstein & Charlie Lyons, Kristin Caskey & Mike Isaacson

“A Christmas Story, The Musical” – Producers: Gerald Goehring, Roy Miller, Michael F. Mitri, Pat Flicker Addiss, Peter Billingsley, Timothy Laczynski, Mariano Tolentino, Jr., Louise H. Beard, Michael Filerman, Scott Hart, Alison Eckert, Bob Bartner, Michael Jenkins, Angela Milonas, Bradford W. Smith

“Kinky Boots” – Producers: Daryl Roth, Hal Luftig, James L. Nederlander, Terry Allen Kramer, Independent Presenters Network, CJ E&M, Jayne Baron Sherman, Just for Laughs Theatricals/Judith Ann Abrams, Yasuhiro Kawana, Jane Bergère, Allan S. Gordon & Adam S. Gordon, Ken Davenport, Hunter Arnold, Lucy & Phil Suarez, Bryan Bantry, Ron Fierstein & Dorsey Regal, Jim Kierstead/Gregory Rae, BB Group/Christina Papagjika, Michael DeSantis/Patrick Baugh, Brian Smith/Tom & Connie Walsh, Warren Trepp, Jujamcyn Theaters

“Matilda The Musical” – Producers: The Royal Shakespeare Company and The Dodgers

REVIVAL OF A PLAY
“Golden Boy” – Producers: Lincoln Center Theater, Andre Bishop, Bernard Gersten

“Orphans” – Producers: Frederick Zollo, Robert Cole, The Shubert Organization, Orin Wolf, Lucky VIII, Scott M. Delman, James P. MacGilvray, StylesFour Productions

“The Trip to Bountiful” – Producers: Nelle Nugent, Kevin Liles, Paula Marie Black, David R. Weinreb, Stephen C. Byrd, Alia M. Jones, Kenneth Teaton, Carole L. Haber/Philip Geier, Wendy Federman/Carl Moellenberg/Ricardo Hornos, Fifty Church Street Productions/Hallie Foote/Tyson and Kimberly Chandler, Joseph Sirola, Howard and Janet Kagan/Charles Salameno, Sharon A. Carr/Patricia R. Klausner, Raymond Gaspard/Andrea M. Price, Willette Murphy Klausner/Reginald M. Browne

“Who’s Afraid of Virginia Woolf?” – Producers: Jeffrey Richards, Jerry Frankel, Susan Quint Gallin, Mary Lu Roffe, Kit Seidel, Amy Danis & Mark Johannes, Patty Baker, Mark S. Golub & David S. Golub, Richard Gross, Jam Theatricals, Cheryl Lachowicz, Michael Palitz, Dramatic Forces/Angelina Fiordellisi, Luigi & Rose Caiola, Ken Greiner, Kathleen K. Johnson, Kirmser Ponturo Fund, Will Trice, GFour Productions, Steppenwolf Theatre Company

REVIVAL OF A MUSICAL

“Annie” – Producers: Arielle Tepper Madover, Roger Horchow, Sally Horchow, Roger Berlind, Roy Furman, Debbie Bisno, Stacey Mindich, James M. Nederlander, Jane Bergère/Daryl Roth, Eva Price/Christina Papagjika

“The Mystery of Edwin Drood” – Producers: Roundabout Theatre Company, Todd Haimes, Harold Wolpert, Julia C. Levy

“Pippin” – Producers: Barry and Fran Weissler, Howard and Janet Kagan, Lisa Matlin, Kyodo Tokyo, A&A Gordon/Brunish Trinchero, Tom Smedes/Peter Stern, Broadway Across America, Independent Presenters Network, Norton Herrick, Allen Spivak, Rebecca Gold, Joshua Goodman, Stephen E. McManus, David Robbins/Bryan S. Weingarten, Philip Hagemann/Murray Rosenthal, Jim Kierstead/Carlos Arana/Myla Lerner, Hugh Hayes/Jamie Cesa/Jonathan Reinis, Sharon A. Carr/Patricia R. Klausner, Ben Feldman, Square 1 Theatrics, Wendy Federman/Carl Moellenberg, Bruce Robert Harris/Jack W. Batman, Infinity Theatre Company/Michael Rubenstein, Michael A. Alden/Dale Badway/Ken Mahoney, American Repertory Theater

“Rodgers + Hammerstein’s Cinderella” – Producers: Robyn Goodman, Jill Furman, Stephen Kocis, Edward Walson, Venetian Glass Productions, The Araca Group, Luigi Caiola & Rose Caiola, Roy Furman, Walt Grossman, Peter May/Sanford Robertson, Glass Slipper Productions LLC/Eric Schmidt, Ted Liebowitz/James Spry, Blanket Fort Productions, Center Theatre Group

BOOK OF A MUSICAL
•“A Christmas Story, The Musical” (Joseph Robinette)
•“Kinky Boots” (Harvey Fierstein)
•“Matilda The Musical” (Dennis Kelly)
•“Rodgers + Hammerstein’s Cinderella” (Douglas Carter Beane)

ORIGINAL SCORE (MUSIC AND/OR LYRICS) WRITTEN FOR THE THEATER
•“A Christmas Story, The Musical” – Music and Lyrics: Benj Pasek and Justin Paul
•“Hands on a Hardbody” – Music: Trey Anastasio and Amanda Green; Lyrics: Amanda Green
•“Kinky Boots” – Music & Lyrics: Cyndi Lauper
•“Matilda The Musical” – Music and Lyrics: Tim Minchin

PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A PLAY

•Tom Hanks, “Lucky Guy”
•Nathan Lane, “The Nance”
•Tracy Letts, “Who’s Afraid of Virginia Woolf?”
•David Hyde Pierce, “Vanya and Sonia and Masha and Spike”
•Tom Sturridge, “Orphans”

PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A PLAY

•Laurie Metcalf, “The Other Place”
•Amy Morton, “Who’s Afraid of Virginia Woolf?”
•Kristine Nielsen, “Vanya and Sonia and Masha and Spike”
•Holland Taylor, “Ann”
•Cicely Tyson, “The Trip to Bountiful”

PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A MUSICAL

•Bertie Carvel, “Matilda The Musical”
•Santino Fontana, “Rodgers + Hammerstein’s Cinderella”
•Rob McClure, “Chaplin”
•Billy Porter, “Kinky Boots”
•Stark Sands, “Kinky Boots”

PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A MUSICAL
•Stephanie J. Block, “The Mystery of Edwin Drood”
•Carolee Carmello, “Scandalous”
•Valisia LeKae, “Motown The Musical”
•Patina Miller, “Pippin”
•Laura Osnes, “Rodgers + Hammerstein’s Cinderella”

PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A PLAY

•Danny Burstein, “Golden Boy”
•Richard Kind, “The Big Knife”
•Billy Magnussen, “Vanya and Sonia and Masha and Spike”
•Tony Shalhoub, “Golden Boy”
•Courtney B. Vance, “Lucky Guy”

PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A PLAY

•Carrie Coon, “Who’s Afraid of Virginia Woolf?”
•Shalita Grant, “Vanya and Sonia and Masha and Spike”
•Judith Ivey, “The Heiress”
•Judith Light, “The Assembled Parties”
•Condola Rashad, “The Trip to Bountiful”

PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A MUSICAL
•Charl Brown, “Motown The Musical”
•Keith Carradine, “Hands on a Hardbody”
•Will Chase, “The Mystery of Edwin Drood”
•Gabriel Ebert, “Matilda The Musical”
•Terrence Mann, “Pippin”

PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A MUSICAL
•Annaleigh Ashford, “Kinky Boots”
•Victoria Clark, “Rodgers + Hammerstein’s Cinderella”
•Andrea Martin, “Pippin”
•Keala Settle, “Hands on a Hardbody”
•Lauren Ward, “Matilda The Musical”

SCENIC DESIGN OF A PLAY
•John Lee Beatty, “The Nance”
•Santo Loquasto, “The Assembled Parties”
•David Rockwell, “Lucky Guy”
•Michael Yeargan, “Golden Boy”

SCENIC DESIGN OF A MUSICAL
•Rob Howell, “Matilda The Musical”
•Anna Louizos, “The Mystery of Edwin Drood”
•Scott Pask, “Pippin”
•David Rockwell, “Kinky Boots”

COSTUME DESIGN OF A PLAY
•Soutra Gilmour, “Cyrano de Bergerac”
•Ann Roth, “The Nance”
•Albert Wolsky, “The Heiress”
•Catherine Zuber, “Golden Boy”

COSTUME DESIGN OF A MUSICAL
•Gregg Barnes, “Kinky Boots”
•Rob Howell, “Matilda The Musical”
•Dominique Lemieux, “Pippin”
•William Ivey Long, “Rodgers + Hammerstein’s Cinderella”

LIGHTING DESIGN OF A PLAY
•Jules Fisher & Peggy Eisenhauer, “Lucky Guy”
•Donald Holder, “Golden Boy”
•Jennifer Tipton, “The Testament of Mary”
•Japhy Weideman, “The Nance”

LIGHTING DESIGN OF A MUSICAL
•Kenneth Posner, “Kinky Boots”
•Kenneth Posner, “Pippin”
•Kenneth Posner, “Rodgers + Hammerstein’s Cinderella”
•Hugh Vanstone, “Matilda The Musical”

SOUND DESIGN OF A PLAY
•John Gromada, “The Trip to Bountiful”
•Mel Mercier, “The Testament of Mary”
•Leon Rothenberg, “The Nance”
•Peter John Still and Marc Salzberg, “Golden Boy”

SOUND DESIGN OF A MUSICAL
•Jonathan Deans & Garth Helm, “Pippin”
•Peter Hylenski, “Motown The Musical”
•John Shivers, “Kinky Boots”
•Nevin Steinberg, “Rodgers + Hammerstein’s Cinderella”

DIRECTION OF A PLAY
•Pam MacKinnon, “Who’s Afraid of Virginia Woolf?”
•Nicholas Martin, “Vanya and Sonia and Masha and Spike”
•Bartlett Sher, “Golden Boy”
•George C. Wolfe, “Lucky Guy”

DIRECTION OF A MUSICAL
•Scott Ellis, “The Mystery of Edwin Drood”
•Jerry Mitchell, “Kinky Boots”
•Diane Paulus, “Pippin”
•Matthew Warchus, “Matilda The Musical”

CHOREOGRAPHY
•Andy Blankenbuehler, “Bring It On: The Musical”
•Peter Darling, “Matilda The Musical”
•Jerry Mitchell, “Kinky Boots”
•Chet Walker, “Pippin”

ORCHESTRATIONS
•Chris Nightingale, “Matilda The Musical”
•Stephen Oremus, “Kinky Boots”
•Ethan Popp & Bryan Crook, “Motown The Musical”
•Danny Troob, “Rodgers + Hammerstein’s Cinderella”
•Recipients of Awards and Honors in Non-competitive Categories

SPECIAL TONY AWARD FOR LIFETIME ACHIEVEMENT IN THE THEATER
•Bernard Gersten
•Paul Libin
•Ming Cho Lee

REGIONAL THEATER AWARD
Huntington Theater Company, Boston, MA

ISABELLE STEVENSON AWARD
Larry Kramer

TONY HONOR FOR EXCELLENCE IN THE THEATER
Career Transition For Dancers
William Craver
Peter Lawrence
The Lost Colony
The four actresses who created the title role of “Matilda The Musical” on Broadway – Sophia Gennusa, Oona Laurence, Bailey Ryon and Milly Shapiro

TONY NOMINATIONS BY PRODUCTION
“Kinky Boots” 13
“Matilda The Musical” 12
“Pippin” 10
“Rodgers + Hammerstein’s Cinderella” 9
“Golden Boy” 8
“Lucky Guy” 6
“Vanya and Sonia and Masha and Spike” 6
“The Mystery of Edwin Drood” 5
“The Nance” 5
“Who’s Afraid of Virginia Woolf?” 5
“Motown The Musical” 4
“The Trip to Bountiful” 4
“The Assembled Parties” 3
“A Christmas Story, The Musical” 3
“Hands on a Hardbody” 3
“The Testament of Mary” 3
“Bring It On: The Musical” 2
“The Heiress” 2
Orphans 2
“Ann” 1
“Annie” 1
“The Big Knife” 1
“Chaplin” 1
“Cyrano de Bergerac” 1
“The Other Place” 1
“Scandalous” 1

Grossing $195.3 million international, Disney-Marvel’s “Iron Man 3” soared past last year’s $185.1 million overseas debut of “The Avengers,” marking the biggest opening weekends in many territories in Asia and Latin America.

The nearly $200 million bow for “Iron Man 3,” which bowed Wednesday in a few markets and rolled out to 42 total territories, still trails the benchmark international openings of such blockbusters as “Pirates of the Caribbean: On Stranger Tides” ($260.4 million) and the reigning champ, “Harry Potter and the Deathly Hallows: Part 2,” with its $307 million overseas start.

“The surprise is the magnitude of this opening, not necessarily that audiences are responding to the movie,” said Disney distribution exec Dave Hollis. “We believe this opening to be a strong indication of what will lead to extraordinary word-of-mouth worldwide. As people start reading headlines of the size of this opening, I suspect it will act as a catalyst for the Thursday night opening Stateside.

The feeling of an early summer kickstart, provided by “Iron Man 3,” may have helped Paramount’s Stateside launch of its mid-budgeted Michael Bay laffer “Pain and Gain,” which overperformed with an estimated $20 million through Sunday. The $26 million film was tracking somewhere in the mid-to-high teens.

Meanwhile, Lionsgate’s nuptial comedy “The Big Wedding” struggled, collecting just $7.5 million. Pic was expected to land north of $10 million.

But the big question now for the Stateside box office is whether “Iron Man 3″ can translate its boffo overseas bow domestically the way “Avengers” did last year, when it shattered records with a $207 million domestic opening. So far, tracking for “Iron Man 3″ has been in the $120 million range, though that should increase after this weekend.

“The world seems to be responding to this movie as if it’s a sequel to ‘The Avengers,’” said one rival studio exec.

“Iron Man 3″ earned top coin in every market led by the U.K., where it grossed $21.5 million. South Korea followed, with $19.2 million, while in Australia, the film grossed an estimated $18.4 million in five days, a studio best for both Disney and Marvel.

Imax also earned a company high for any Marvel release with “Iron Man 3,” contributing $7.2 million on just 113 screens. That translates to a whopping average of $64,000 per screen.

Disney still has to launch the film in Russia, Germany and China, the latter of which has seen stellar advanced ticket sales ahead of its May 1 local launch.

Domestic

Film (Weeks in release): 3-day gross*; Locations; Per-theater average; Cume*; Percent change
1.Pain and Gain (1): $20.0; 3,277; $6,103; $20.0; –
2.Oblivion (2): $17.4; 3,792; $4,600; $64.7; -53%
3.42 (3): $10.7; 3,405; $3,150; $69.1; -39%
4.The Big Wedding (1): $7.5; 2,633; $2,848; $7.5; –
5.The Croods (6): $6.6; 3,283; $2,010; $163.0; -29%
6.G.I. Joe: Retaliation (5): $3.6; 2,707; $1,337; $116.4; -37%
7.Scary Movie 5 (3): $3.5; 2,733; $1,265; $27.5; -44%
8.Olympus Has Fallen (6): $2.8; 2,334; $1,186; $93.1; -38%
9.The Place Beyond the Pines (5): $2.7; 1,584; $1,704; $16.2; -45%
10.Jurassic Park (3D re) (4): $2.3; 1,848; $1,250; $42.0; -43%

There is huge buzz about the film, and strong critical support. According to Rotten Tomatoes, thus far, over 90 percent of the reviews have been favorable.

Marvel’s 3D superhero, released by Disney, has accumulated a robust $36.5 million through Thursday from 27 territories, including $8.1 million in Australia and $4.7 mil in France.

The Robert Downey Jr.star vehicle also generated $3 million in Korea, surpassing “The Avengers” as the region’s biggest Thursday opening for Marvel.

Thursday’s grosses represent 49% of the international market. The movie, which opened in 12 foreign locations on Wednesday, April 24, rolls out to 46 markets Friday, the day that it will finally opens in the U.S.

According to Disney, Marvel’s flagship picture also bumped up its China release from May 3 to May 1. Having shot a number of scenes in China, “Iron Man 3″ received a special Chinese version in order to facilitate the movie’s release in the country.

“Iron Man 3,” produced by Kevin Feige, opens Stateside May 3.

If the deal takes off with consumers, it could become a new source of revenue for Hollywood’s majors while altering the way potential spectators go to the movies.

The retail giant will offer nearly 1 million tickets to Warner’s “Man of Steel” at 3,700 stores nationwide beginning May 18, at 8 a.m., for screenings scheduled June 13. The film officially bows on June 14. Advance tickets won’t become available to more traditional outlets until May 21 or 22, giving Walmart a three-to four-day advance on sales.

The 6,372 exclusive screenings will take place at 2,379 theaters, with consumers able to purchase up to four tickets for either 2D or 3D showings in their area. Walmart will promote the early sales on Facebook and Twitter with #SeeSteelFirst. The amount of tickets available per store will be determined by their size and the cities in which they’re located.

The ticket price will include a free code to pre-order a Blu-ray combo pack or HD digital download of “Man of Steel,” which will contain exclusive film content. They also will get a free original digital comic book penned by “Man of Steel” screenwriter David Goyer.

Walmart sees the deal as a way to prove that it’s still the biggest company in the retail pond.

The ticket sales will boost the box office of “Man of Steel,” they’re also meant to pump up early demand for the film’s eventual homevideo release. Despite declining DVD sales, Hollywood has hardly given up on the rest of its homevideo divisions just yet and the Walmart deal is an innovative move to generate more profit from Blu-ray and digital.

Warner, having the nation’s largest retailer on its side gives the studio a marketing muscle, and help launch “Man of Steel” to greater heights than 2006’s “Superman Returns.”

The success of “Man of Steel,” which introduces Henry Cavill in the red cape, is key to Warne’ efforts to introduce other DC Comics characters in their own franchises or lead to a “Justice League” film that already has fans. Warner Bros. is guaranteed a lot of exposure for its superhero.

“We know the movie delivers and believe this unique partnership will kick off strong word of mouth that, thanks to the reach and immediacy of social media, will propel moviegoers to theaters nationwide,” said Dan Fellman, Warner president of domestic distribution.

In addition to selling tickets to early screenings, it will also start offering “Man of Steel” merchandise, beginning April 28, that includes T-shirts, electronics, posters and other items on shelves and online at Walmart.com.

Superman has always been one of DC’s top sellers when it comes to licensed merchandise, and with a new film in theaters, Warner Bros. is eager to exploit the character across various age groups this summer — something Walmart is eager to support.

Walmart is backing the “Man of Steel Experience” mobile app, using augmented reality technology to enable customers to take photos with Superman using their smartphones at various locations around stores. App is available from Apple’s App Store and Google Play.

“Man of Steel” will likely be just the first film Walmart offers its customers, should ticket sales take off. And its manager are already learning the ropes of the exhibition biz, as they’re the ones that determined which local theater chains would be part of the early Superman screenings.

The test using Walmart stores will also dictate whether studios expand the offer to other retailers like Target, Best Buy, Toys R Us, and Amazon in the future.

The members are: Vidya Balan (Indian actress); Naomi Kawase (Japanese director); Nicole Kidman (Australian actress/producer); Lynne Ramsay (British scriptwriter/director/producer); Daniel Auteuil (French actor/director); Ang Lee (U.S.-based Taiwanese director/producer/scriptwriter); Cristian Mungiu (Romanian scriptwriter/director/producer), and Christopher Waltz (Austrian Actor)

In between performances from Wynton Marsalis and Liza Minnelli, there were speeches by Amy Irving, Blythe Danner, George Segal, Pierce Brosnan and Kris Kristofferson, all of whom reminisced about working with Streisand.

Ben Stiller, after revealing that he was forced to “cold call” Barbra to convince her to star in the Focker franchise, surprised the packed Alice Tully audience when he introduced the 42nd president, who was joined by Hillary Clinton.

After a lengthy standing ovation, Clinton proceeded to get the biggest laughs of the night. Like when he suggested that Stiller and he should get together for a “Meet the Fockers” screening in Chappaqua, where they both own homes, so they could “watch Barbra give sex advice to old people–like me!”

The laughs continued when Clinton said, “Someone told me when I was elected president that politics was show business for ugly people. That was before Hillary got into it.”

When the night’s honoree was finally introduced, Streisand reflected on her film career and the way the industry has perceived her throughout the years.

“Ever since I can remember people have been calling me bossy and opinionated,” she noted. “Maybe that’s because I am. Three cheers for bossy women!”