But during testimony Monday, when she was asked why she nonetheless took Trump to court, Jacqueline Goldberg replied firmly that “Somebody had to stand up to him.”

Goldberg says “The Apprentice” star enticed her into buying two condos at Chicago’s Trump International Hotel & Tower with an offer to share profits of the entire building.

But she told jurors at the civil trial in Chicago that she felt “conned” when Trump withdrew the profit-sharing plan after she bought the condos.

Testifying last week, Trump denied the allegations. He also told reporters that Goldberg was in fact trying to rip him off.

Crown Publishers announced Monday that CNN national security analyst Peter Bergen has a deal for a definitive book on homegrown terrorism. The book will cover topics including the Boston Marathon bombings and the impact of government surveillance. It’s tentatively titled “The United States of Jihad.” The release date has not yet been determined.

Bergen’s previous works include “The Osama bin Laden I Know,” ”Holy War Inc.” and “The Longest War.” His most recent book, “Manhunt,” was adapted into an HBO documentary.

The French film festival has rolled out the red carpet for Indian cinema this year, with events including a gala dinner and screening Sunday of “Bombay Talkies,” a portmanteau movie with four directors and a star-studded cast including Rani Mukerji, Nawazuddin Siddiqui, Randeep Hooda and Saqib Saleem.

Several other Indian films are screening at the festival, which runs through May 26, including Amit Kumar’s police-corruption story “Monsoon Shootout” and Anurag Kashyap’s psychological thriller “Ugly” — though none is in competition for the coveted Palme d’Or prize.

Indian stars such as Aishwarya Rai, Freida Pinto and Amitabh Bachchan — who appears in festival opener “The Great Gatsby” — have a significant presence at Cannes’ red carpet galas and parties.

A hundred years after India released its first feature film “Raja Harischandra,” the country has the world’s most prolific film industry, turning out more than 1,000 movies a year and creating stars adored by millions around the world.

Now, its filmmakers want critical respect. Many feel the rest of the globe thinks Indian cinema is only limited to all-singing, all-dancing Bollywood extravaganzas.

“I just feel that the Indian film industry has its own identity and to be referred to in matching terms with Hollywood is perhaps not correct,” Indian film icon Bachchan told reporters at a “Gatsby” press conference.

Filmmakers in the country of a billion people are keen to stress that Indian cinema is far more diverse than Bollywood — both in terms of language and of style.

“If Indian cinema can break out of the shadow of Bollywood and be seen just as cinema from another country, like Thailand or Japan or Turkey, that would be the greatest achievement for Indian cinema,” said Dibakar Banerjee, one of the four directors of “Bombay Talkies.” ”And that’s started to happen, so that’s what I’m happy about.”

“Bombay Talkies” is certainly no Bollywood romp.

One of its four sections focuses on a man’s epic quest to meet Bachchan, while in another a young man longs to become a dancer. One centres on a failed actor struggling to prove his worth to his young daughter, and a fourth is about a man coming to terms with his sexuality.

That section features a gay kiss, a scene its director, Karan Johar, called a minor revolution for Indian cinema.

He said to have “two mainstream actors indulging in a scene like this … That hasn’t happened on a large scale like this before.”

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Associated Press Writer Reetu Rupal contributed to this report.

Jill Lawless can be reached at http://Twitter.com/JillLawless

“I was gonna sit this season out,” Hough said in a recent interview. “My mom hurt herself and she was in the hospital (but) I had this overwhelming feeling, ‘You know what? I feel like this isn’t the season I should be taking off. This isn’t the one.’ Now looking back, I’m really glad I made that decision because it’s been one of my favourite seasons as far as creating and working with people.”

Besides teaching his celeb partner, country singer Kellie Pickler, how to ballroom dance, he’s also performed with a blind dancer and danced in a rotating room.

Hough, 28, pushed for these opportunities to keep challenging himself.

“For me, I like to push myself … I hate feeling complacent or that I’m not learning,” he said.

His sister, Julianne Hough, also a professional dancer, left “Dancing With the Stars” in 2009 to focus on her music and acting career. She said Derek is “the most talented person” she knows.

“He has an insane ability to create. I don’t know what special gifts God gave him, but he can pick up any instrument and self-teach himself. He plays guitar, drums, piano,” she said.

“He’s one of the most amazing photographers I’ve ever seen. We’ll take the same exact picture in the same exact spot and there’s something amazing and beautiful about what he’s taken. He’s got an incredible voice. He is an amazing actor. I think the sky is the limit for my brother.”

Hough said he wants to do everything.

“It’s such a cliche thing to say,” he laughed. “I want to choreograph, I want to direct, I want to act, I want to write music, I want to play music, I want to sing. For me, it’s never-ending. I want to do it all, really.”

Hough has won the mirror-ball trophy three times since he joined the show in 2007 (he sat out one season), but said he hasn’t always been happy with his performances.

“There’ve been seasons where I’ve looked back and maybe been proud of one routine the entire season,” he said. “That bothered me for a while, so that’s why a couple seasons ago I started doing my own thing I suppose. I didn’t want restrictions and I didn’t want to restrict my ideas and choreography and concepts because I was afraid I was gonna get a seven or an eight or a six” score from the judges.

He decided what mattered most is the dance itself.

“I said, ‘You know what? Whatever happens, when the show finishes, the season’s over, the judges’ comments and the scores disappear, all you’re left with are the dances.’”

Hough’s celeb partners, who have also included Ricki Lake, Nicole Scherzinger, Brooke Burke, Jennifer Grey and Maria Menounos, tend to look back and marvel at what they were able to do.

“When I signed up … I was praying I would get Derek,” said Lake, who danced with Hough in season 13. “I love all of them (the pro dancers) but he’s hands-down one of the most talented people I’ve worked with in my life. I watch the show now and I cannot believe what he’s able to do all day, every day. He’s a genius.”

Hough said he loves being on the show, but he’s not sure he’ll return next season.

One problem is the time commitment. Hough said dancers don’t get a single day off because of rehearsals. “It’s been a huge factor in me not being able to do other certain projects.”

Another problem: “I’ve been offered certain roles on certain shows that would’ve been fantastic but unfortunately they were (on) competing networks. It’s been difficult to juggle both things but I feel like it’s coming to a point now where there’s a lot more support” from ABC.

One project in the works: Derek and Julianne will co-executive produce and choreograph a scripted series for Starz. Julianne describes it as the “Black Swan” side of ballroom dancing.

Hough recalled something his mother told him.

“We were at a gas station getting the oil changed and the guy did a terrible job and (my mom) looked at me and said, ‘Derek, whatever you become, just be the absolute best at it.’ That’s kind of stuck with me for all my life. I always want to be the best at what I do. That doesn’t mean compared to other people but just in what you do.”

The season finale of “Dancing With the Stars” will air at 8 p.m. EDT Monday and 9 p.m. EDT Tuesday on ABC. Other celebs and their partners: Olympic gold-medal gymnast Aly Raisman and Mark Ballas, actress-singer Zendaya Coleman and Val Chmerkovsky, and pro football player Jacoby Jones and Karina Smirnoff.

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Online:

http://beta.abc.go.com/shows/dancing-with-the-stars

http://www.derekhough.com/

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Alicia Rancilio covers entertainment for The Associated Press. Follow her online at http://www.twitter.com/aliciar

Producers said Monday that Zachary Levi and Krysta Rodriguez will headline the new romantic musical comedy “First Date” by “Gossip Girl” writer Austin Winsberg.

The music and lyrics are by Alan Zachary and Michael Weiner.

“First Date” centres on a successful young investment banker who meets a serial-dater at a local bistro. A chorus of diners become various characters — parents, clergy and old lovers.

The show will be seen at The Longacre Theatre beginning July 9.

The rest of the cast includes Sara Chase (“Arrested Development”), Kristoffer Cusick (“Wicked”), Blake Hammond (“Sister Act”), Kate Loprest (“Boardwalk Empire,” and Vicki Noon (“Wicked”).

The show, co-produced by The 5th Avenue Theatre, played at A Contemporary Theatre in Seattle last year. It will be directed by Bill Berry, the producing director of The 5th Avenue Theatre.

Levi, who will be in the film “Thor: The Dark World,” follows fellow “Churck” alum Yvonne Strahovski to make his Broadway debut. She made a strong impression in the Lincoln Center Theater revival of Clifford Odets’ “Golden Boy.”

Rodriguez, who plays Ana Vargas on “Smash,” was last on Broadway in “The Addams Family,” originating the role of Wednesday Addams alongside Nathan Lane and Bebe Neuwirth. She also was in the original Broadway casts of “In the Heights,” ”Spring Awakening” and “Good Vibrations.”

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Online: http://www.FirstDateTheMusical.com

A Broward County judge ordered Johnson jailed Monday until he posts a $1,000 bond. Another hearing was set for June 3. An arrest warrant was issued earlier this month when Johnson failed to meet his probation officer.

The six-time Pro Bowl player formerly known as Chad Ochocinco is serving a year of probation after Lozada said he head-butted her during an argument last August. She quickly filed for divorce. They had been married only since July 4.

Johnson was released by the Miami Dolphins after the incident. He also played for the Cincinnati Bengals and New England Patriots.

Lozada is on the “Basketball Wives” TV show.

The offbeat show chronicling the lives of the quirky Bluth family makes its much-anticipated comeback next week in typically atypical fashion.

As most fans know, “Arrested Development” — which ran for three seasons on Fox before it was cancelled in 2006 — isn’t returning to network TV and can only be seen on Netflix, with all 15 new episodes available to stream starting May 26.

Hurwitz’s pitch to the cast went something like this: The new episodes would be edited so they could be watched in any order. They’d all follow a similar timeline with each focused on a different character. For example, if George Michael walks into a scene as a secondary character on his father’s episode, that same scene may be shown from his perspective in his own episode.

“It was incredibly ambitious and complex, what (Hurwitz) and his writers constructed and scheduled to shoot … it’s like a big, huge puzzle, it’s really admirable,” said star Jason Bateman in a recent interview.

“He’s just got incredible taste and talent…. There’s such a faith in him by us, he’s just completely unsatisfied with anything that is not worthy of accolade.”

But Hurwitz wasn’t able to pull off his convoluted vision completely, as he revealed to fans on Twitter.

“Done! Just finished the final mix last night. In two weeks ‘Arrested Development’ will be yours to do with as you please,” he tweeted last week.

“Except for one thing! You gotta watch them in order. Turns out I was not successful in creating a form where the setup follows the punch line.”

But fans will no doubt be forgiving and Bateman said he was confident all along that the cast and crew could take risks with this crop of new episodes.

“I think, I hope, people will be really satisfied with the format of these episodes, that has that kind of complexity and is that ambitious and is that unique,” Bateman said.

“I’m not sure there’s an audience that is better suited for that kind of effort, really. (Hurwitz) is trying to do something that is not a retread, he just feels the specific — albeit small — audience that really appreciates what he does deserves something more than just a repackaged version of what they’ve already seen.”

Bateman figures the new “Arrested Development” can pull in relatively strong audience numbers, now that it’s no longer being held to the benchmarks of prime-time network TV.

“That number doesn’t need to be more than a couple million people nowadays. Look at the biggest hits on cable television, the most respected shows are only seen by a million or two million people a week,” he said.

Most fans will instinctively consider the group of new episodes the show’s fourth season, but Bateman is quick to point out that’s not really the case.

Although the series went off the air after three seasons, Hurwitz insisted that the new set of 15 episodes not be referred to as “season 4.” Instead, the episodes serve as a prequel of sorts to a long-awaited “Arrested Development” movie, which now finally seems closer to reality.

Bateman said the cast took a pay cut to revive “Arrested Development” on Netflix and he thinks there’s a willingness to craft another creative deal to get the movie done too.

“If Fox wanted us to bring the show back as a television series again everybody would be making a much different number on the show. But it’s not that, it’s a specific package of episodes that tee up Act 2 and Act 3, which will either live in a movie or another package. So we all just want to get back together again and do it in such a way that’s financially tolerable for people who are willing to shoot it for us,” he said.

“If you want to get it out there and the creatives are willing to roll up their sleeves and do it, it’ll get done.”

In his Chelsea studio, among various film posters and piles of moviemaking mementos, he has a few paintings in progress, including a new, livelier, “more Hendrix” version of a U.S. dollar bill. It’s only one of the many artistic endeavours he bounces between now that he’s begun his long-predicted hiatus from filmmaking.

On Tuesday, he will bring his Liberace film, “Behind the Candelabra,” to the Cannes Film Festival, where it will compete for the same Palme d’Or he won 24 years ago for his first film, “Sex, Lies and Videotape.”

Soderbergh has said this — a $23 million HBO movie starring Michael Douglas as the flamboyant pianist and Matt Damon as his lover, Scott Thorson, airing Sunday in the U.S. — will be his last film, at least for now. The 50 year-old’s career in film — 26 protean features including “Out of Sight,” ”Traffic” and the “Ocean’s” franchise — will effectively conclude in Cannes, the same place it was internationally launched.

“It’s not often you get the opportunity to arrange that kind of symmetry,” Soderbergh says. “It’s funny to think about how long ago that was.”

Shortly after Soderbergh began tweeting a sparse novella and gave a remarkable speech at the San Francisco Film Festival in which he vented his frustration at Hollywood studios, he sat for a lengthy interview as he steps away from movies. “In theory,” he says, “I’m finished.”

AP: When you look back on your filmography, what do you think of it?

Soderbergh: It feels like one big movie to me, like chapters of a novel. There’s continuity. There’s evolution. I shot “Sex, Lies” in 35 days and “Candelabra” in 30 days. I’m more economical. I’d probably make them all a few minutes shorter. Shorter is always better.

AP: The break from movies you’ve long talked about is now effectively underway. How’s it going?

Soderbergh: It’s been a little quieter for me. My wanting to consider what my relationship to movies is can sort of happen while I’m doing this other stuff. . It’s hard for me to do nothing.

AP: You’ve recently tweeted a novella, “Glue,” and given a wide-ranging speech about how Hollywood could function better.

Soderbergh: It was kind of an opportunity to organize in one place a lot of thing I’ve either said in interviews or bars. It was just a way for me to structure it all, get it out and close the door on it. . As I walked out the door, I felt there were some things I wanted to memorialize about what I’ve seen.

AP: It felt like a goodbye.

Soderbergh: I spend a lot of time trying to figure out how I can optimize my process as a filmmaker, and I haven’t seen a lot of effort expended on the part of the studios to optimize their process. And I don’t understand it. . The biggest stumbling block to this paradigm being revised is the cost of putting a mainstream movie out. It’s truly the tail that’s wagging the dog. It’s influencing every decision at every level. I can’t believe — unless there’s some aspect of the relationship between the studios and the theatre owners that I’m not aware of — that this is the only way it can be done.

AP: Is your stepping back motivated equally by industry frustration and by your desire to grow in some new way as a filmmaker?

Soderbergh: Yeah, absolutely, it’s a combination of a lot of different things. Some of them have to do with the way the business is working now, some of them have to do with me just wanting a break from the social aspect of it. The fact that you’re the target for tens of thousands of questions. It’s a very intense process and you can feel worn down after a while. And then my own feelings just about the grammar of it, the language of it: Is there some other way to transmit and release information that isn’t so prescribed? It’s quite possible that I could end up making something that is designed more to be seen in a museum than a movie theatre.

AP: Was there something you were bumping up against that made you feel like you weren’t evolving?

Soderbergh: It felt like: I need to tear everything down and start over. I’ve been thinking about that and thinking about what it might be. I want to take advantage of what people bring to a movie when they watch a movie. The fact that we’re so image driven and that we’ve been watching images since we were infants, and we have associations that are carried with them. I want to figure out a way to take advantage of that, so that I’m sort of using those associations as fuel for what I want to do. I think that’s going to require me taking some time to think about what those associations are, how I can use them, how I can build off of them, how I can subvert them. And see if there’s some way that I can reverse engineer a narrative in which you, by the end of it, understand everything that happened but you’re not quite sure how or why you did.

AP: It seems your search for a new kind of narrative is connected to what you’ve said about the confusing, fractured nature of life today.

Soderbergh: Especially in this country now, it’s really hard not to look around and go: What the hell is going on? Is it possible to get anything done? Is the centre of this country going to hold or is it just going to be completely marginalized by extremists on every side of every issue? I don’t know. I’m alarmed.

AP: The private sexuality of “Behind the Candelabra” bears some similarities to “Sex, Lies.”

Soderbergh: It was a great way to express my appreciation for a kind of movie I’ve watched my whole life but never got to make, which is kind of a melodrama. I looked at as being in line with all the Douglas Sirk movies and “Sunset Blvd.” and “All About Eve” and “Valley of the Dolls.” . It was interesting to look around and wonder when I’ll be doing this again.

AP: What will you miss the most?

Soderbergh: Editing.

AP: What’s surprising about you stepping away from filmmaking is that you seem to relish the process so much, shooting and editing your own films.

Soderbergh: I have a plan. I have an idea of how it can go, and I’m willing to throw it all out at a moment’s notice to go somewhere else with it. I expect to discover things. I expect accidents. I expect something that somebody suggests or says will move me in another direction. I’m creating an environment in order to conjure that kind of things. I want my experience of making something to be fluid and to be surprising. I want it to come alive in front of me.

AP: Some filmmakers spend years carefully constructing the films they hope will be masterpieces. That kind of approach has never been appealing to you?

Soderbergh: No, mostly because it makes my work worse. I discovered early on, the more time I had to mull something over, the worse it got — or the more insular it got, the more introspective, the more self-conscious. I needed to treat it like a sport.

AP: HBO picked up “Candelabra” after no studio would take it, and you’re currently contemplating several TV projects. Are you excited about television?

Soderbergh: Very. Very. There’s a lot of great stuff being made. You can go narrow and deep, and I like that. And this is all David Chase. He single-handedly rebuilt the landscape. Anything that’s on now that’s any good is standing on his shoulders. I don’t hear anybody talking about movies the way they talk about TV right now. . Knowing that I can’t swim upstream forever, it seems to me that if I want to work, that I need to move to a medium in which the way I like to do things is viewed as a positive and not a negative.

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Follow AP Entertainment Writer Jake Coyle on Twitter at: http://twitter.com/jake_coyle

His Cannes Film Festival entry “Shield of Straw” is a robust thriller about a team of police tasked with escorting a child-killer with a bounty on his head across the country.

Although touched with serious themes of loyalty and duty, it’s an old-fashioned action flick, bursting with car chases, gunfights and explosions to rival anything from Hollywood.

The director says he felt Japanese cinema had lost the art of making “spectacular scenes — so I gave myself a challenge.”

He succeeded, but only after travelling to Taiwan to film. He said Monday that in Japan, “it was impossible to close down the highways and get so many police cars on the road.”

The French actor depicts a maverick academic counselling Benicio Del Toro’s Native American war vet in “Jimmy P.: Psychotherapy of a Plains Indian,” director Arnaud Desplechin’s Cannes Film Festival contender.

Based on a true case study from the late 1940s, it’s the story of two men — doctor and patient — who go on difficult journeys into their own minds.

Amalric says he went on a similar trip himself. Before making the movie, psychoanalysis “frightened me so much that I rejected it, because my parental culture that told me maybe psychoanalysis had to do with weakness.”

“You are not supposed to show weakness. You are supposed to ‘be a man’ … That’s what my father would think of psychoanalysis.”

What the 47-year-old actor found through the movie was something different — “a world of adventure: of research, of physical danger and how the body and the mind expand.”

Analysts could put that on their calling cards. No wonder Desplechin says the movie is “a manifesto for psychoanalysis,” as well “a film about a man who needs to heal his own soul.”

Amalric — most famous internationally as the villain in James Bond adventure “Quantum of Solace” — plays real-life French analyst Georges Devereux, who moved to the United States in the 1930s. He spent time living with Mojave Indians and helped develop the field of ethnopsychiatry, which studies the ways mental illness is understood in different cultural contexts.

Del Toro is his patient Jimmy Picard, who returned from World War II service in France with a head injury and debilitating psychological symptoms his doctors were unable to diagnose.

One of 20 films competing for the Palme d’Or at Cannes, the movie is a trans-Atlantic hybrid — an American story told by a French writer-director with a cast including Amalric, Puerto Rico-born Del Toro and British actress Gina McKee as Devereux’s sophisticated love interest.

Desplechin says he sees it less as a specifically American tale than as a story of displaced people: both Jimmy, living on a Montana reservation, and Devereux, who initially struggled to find support for his ideas in the U.S.

Amalric, one of France’s busiest actors, is such a Cannes darling he once appeared in three competition films in the same year. This year he’s in two — “Jimmy P.” and Roman Polanski’s “Venus in Fur.”

He says he enjoyed his time as a fish out of water filming in the U.S. “Jimmy P.” was shot in Monroe, Michigan, a place Amalric remembers with a shudder of Gallic horror: “There was nothing there. Nothing.”

“It was very intense, and the situation of the shooting itself made it even stronger, the fact that we would live all together in a hotel where there was nothing to do,” he said during an interview on a Cannes rooftop terrace that would be idyllic if not for a bitter wind off the Mediterranean. “It was very close to the situation they were living in the middle of nothing.”

The actor and Del Toro share a strong onscreen bond in the talk-heavy film. For long stretches the movie is an intense two-hander, with the slight Amalric and the beefy Del Toro making a compelling double act. Del Toro plays Jimmy with stoic understatement, while Amalric’s Devereux is a piano-playing bundle of energy.

Amalric said he was initially surprised by Del Toro’s working method. The actor didn’t like to socialize off the set, or to rehearse — a technique Amalric now says turned out to be invaluable.

“During psychoanalysis, the words surprise you,” he said. “You don’t know why these words are coming out. But an actor is supposed to know his lines by heart, so you have this paradox.

“I didn’t understand it,” he said. “I understood it yesterday after seeing the film.”

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Jill Lawless can be reached at http://Twitter.com/JillLawless