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- 07/19/14--20:11: _Rita Ora's album hi...
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- 07/19/14--18:17: Beyonce Headlining The Fifty Shades of Grey Soundtrack
- 07/19/14--18:17: Man Superglues His Hand To His Penis On Sex Sent Me To The ER!
- 07/19/14--20:11: Rita Ora's album hits problems after split with Calvin Harris
- 07/19/14--20:15: GOTHAM post; Wayne Manor looks bangin
- 07/19/14--21:24: Kylie Jenner Instagramming While Driving
- 07/19/14--21:25: Jessica Chastain ALREADY Getting A Career Tribute!
- 07/19/14--21:25: Hilary Duff Gets Matching Ghost Tattoo With Best Friend
- 07/19/14--21:25: Documentary About Richard Stanley’s Island of Dr. Moreau is Complete
- 07/19/14--22:13: Actress Skye McCole Bartusiak dead at 21
- 07/19/14--22:36: The VERY awkward first episode of Dating Naked...
- 07/20/14--20:55: One Direction- You & I Fragrance Backstage Video
Bey('s people) just posting this on instagram...
Partition Pt. 2 please
A Chicago man made a visit to the emergency room after he accidentally superglued his hand to his junk. "The night before, [the patient] was fixing his lamp next to his bed and he left the superglue tube on the nightstand," Dr. Matthew Valente explained on an upcoming episode of Sex Sent Me To The E.R. on TLC.
The glue was right next to a tube of lubrication that the unidentified man and his wife used when they were making sweet love. "Only he went a little too fast, and — voila! — his hand became stuck to his penis," Valente said.
It was a spectacle, according to the doctor. "This was a large amount of skin that was affixed together," Valente said. "There wasn't just a small amount of glue. It wasn't just one finger. It was, in fact, his entire palm and all his fingers, which were tightly affixed to his genitals.”
The story about how the man finally removed his hand from privates won’t be revealed until the episode airs on June 19. But his wife suggested using nail polish remover, applying scalding water to the glue or simply waiting two to three days for the outer layer of skin to fall off.
what is youse all's embarrasing sex stories?
Here's the roundup of the Hip Hop Singles Sales: Week Of 07/13/14 featuring Iggy Azalea, Nicki Minaj and Eminem, among others.
An Iggy Azalea’s single remains #1, Nicki Minaj has two songs in the Top 20 and Eminem has nine songs among the Top 100 songs on the R&B/Hip-Hop singles chart this week.
Iggy Azalea has two singles in the Top 10 of the R&B/Hip-Hop singles chart this week. Her “Fancy” single is the #1 single on the R&B/Hip-Hop singles chart for the eleventh consecutive week.
The rapper’s single has been on the charts for 19 weeks and sold 153,703 copies this week, a 10 percent decrease from last week’s 171,075 units sold.
“Fancy,” which also features Charli XCX, is double platinum with sales of 2,857,545 units.
Iggy Azalea’s “Black Widow” is the #6 single this week. The song, which features Rita Ora, sold 41,474 units this week, a 118 percent increase from last week’s sales of 18,991.
In 12 weeks on the charts, “Black Widow” has sold 133,185 copies.
Nicki Minaj’s “Pills N Potions” is the #8 song on the charts this week. It sold 36,209 copies this week and will likely surpass 400,000 units sold this week.
In eight weeks on the charts, the tune has sold 395,363 copies.
The Queens, New York rapper also appears on Usher’s “She Came To Give It To You.” It made the highest debut on the chart this week, entering at #20 with sales of 18,777 copies.
Eminem appears on nine of the 100 songs on the R&B/Hip-Hop singles chart this week.
Eminem’s “The Monster” and “Lose Yourself” are the #38 and #39 songs and have sold 3,575,701 and 6,170,054 units, respectively.
Eminem appears on Busta Rhymes’ “Calm Down” single, the #44 cut this week. The Detroit rapper’s “Rap God” checks in at #49.
The Shady Records owner has five songs other songs in the Top 100: “The Real Slim Shady” at #91, “Love The Way You Lie” at #92, “Not Afraid” at #94, “‘Till I Collapse” at #97 and “Berzerk” at #100.
Eminem’s best-selling song on the chart is his Rihanna collaboration “Love The Way You Lie.” It has sold 6,255,164 copies.
The official list is as follows:
Hip Hop Singles Sales: Week Of 07/13/14
#1. Iggy Azalea f. Charli XCX - “Fancy” - 153,703 (2,857,545)
#2. Jason Derulo f. Snoop Dogg - “Wiggle” - 90,401 (1,268,498)
#3. John Legend - “All Of Me” - 67,146 (4,435,174)
#4. Pharrell Williams - “Happy” - 57,586 (5,864,733)
#5. Pharrell Williams f. Miely Cyrus - “Come Get It Bae” - 44,572 (371,721)
#6. Iggy Azeala f. Rita Ora - “Black Widow” - 41,474 (133,185)
#7. Lil Wayne f. Drake - “Believe Me” - 37,207 (405,992)
#8. Nicki Minaj - “Pills N Potions” - 36,209 (395,363)
#9. Michael Jackson f. Justin Timberlake - “Love Never Felt So Good” - 33,877 (653,374)
#10. Trey Songz - “Na Na” - 32,865 (721,708)
The numbers speak for themselves. Keep drinking out of your imaginary tea cup Nicki!
Thirty years ago, a killing machine from 2029—assuming the form of an Austrian bodybuilder—arrived with a lethal directive to alter the future. That he certainly did. The Terminator, made for $6.4 million by a couple of young disciples of B-movie king Roger Corman, became one of the defining sci-fi touchstones of all time. Its $38 million gross placed it outside of the top-20 box-office releases for 1984, yet the film grew into a phenomenon, spawning a five-picture franchise that’s taken in $1.4 billion to date and securing a place on the National Film Registry, which dubbed it “among the finest science-fiction films in many decades.”
The movie launched the career of James Cameron, who went on to direct the top two box-office earners of all time, Avatar and Titanic. It also boosted Arnold Schwarzenegger, whose monotone delivery and muscle-bound swagger made a cyborg assassin the height of cool. The actor, now filming next summer’s Terminator: Genesis in New Orleans, took a break to reminisce about his most indelible role. Settling for a landline call after four failed attempts to FaceTime—the former California governor’s favorite mode of communication—Schwarzenegger quipped, “Obviously we need James Cameron to provide the technology to link us.” His Terminator comrades also shared their memories via phone—just like it was 1984 again.
DEATH METAL NIGHTMARE
It all started in 1981 with a dream. Cameron, then a 26-year-old model maker and art director for Corman, was in Rome attempting to get his name off the ignominious Piranha II: The Spawning, a low-rent horror sequel he had directed for five days before being fired.
JAMES CAMERON (director-coscreenwriter) Nightmares are a business asset; that’s the way I look at it. I was sick, I was broke, I had a high fever, and I had a dream about this metal death figure coming out of a fire. And the implication was that it had been stripped of its skin by the fire and exposed for what it really was. When I have some particularly vivid image, I’ll draw it or I’ll write some notes, and that goes on to this day.
Returning to Los Angeles, Cameron showed his sketches to Gale Anne Hurd, a 26-year-old Corman assistant. She would soon become, in succession, Cameron’s writing partner, producer, wife, and ex-wife.
CAMERON Gale was working for Roger on a movie called Humanoids From the Deep, and they were doing reshoots of some teenagers in a pup-tent getting raped by slimy creatures from the swamp. She was young and supersmart. I showed her what I was working on, and she thought it was pretty cool.
GALE ANNE HURD (producer-coscreenwriter) He told me about the dream he had of the metal endoskeleton, and the whole story came together as a result of that stirring image.
CAMERON We both were committed to the same principle. It could be shot out in the streets of L.A., cheaply, guerrilla-style, which is how I was trained by Roger Corman. And it involved visual effects elements that I could bring to the table that another director couldn’t and do them economically, because I knew all those tricks.
HURD We had what we called a scriptment. It was 40 pages, single-spaced typed. We batted ideas back and forth and always kept in mind that if we wanted to not only sell this script but produce and direct, it had to be at a budget level that wasn’t intimidating to investors.
THE WAR ZONE
Crucial to both Cameron and Hurd were the ideas of a strong heroine—hence Sarah Connor, a waitress who is targeted by the Terminator because she will give birth to a rebel leader—and an annihilated future world.
HURD For me and Jim, always, was the idea that heroic people are the ones who least expect to be heroes. There’s a tradition of male characters who go to war, who are in the boxing ring, who rise to be the corporate titan, you name it. But Jim has always found women to be the more compelling parts to write. Culturally, they’re the ones who feel less equipped, because that’s what society tells them.
CAMERON People think that I was a typical male director who was brought to task by a strong female producer and forced to do these themes. But they have connected the dots in the wrong way. My respect for strong women is what attracted me to Gale. It’s what made me want to work with her. Ultimately, it’s what made me want to be married to her. When we went into [1989’s] The Abyss, we were already divorced but we still wanted to work together because we knew how strong the creative partnership was.
james cameron gave a speech when gale got her star on the hollywood walk of fame. they are super qt!
MICHAEL BIEHN (Kyle Reese): In preparation for the film I’d read a book about the guys that held out in Warsaw during World War II. When they were killing all the Jews or taking them away and putting them on trains, there was a bunch of Jewish guys who were hiding in the rubble. And they fought the Germans against insurmountable odds, like 30 or 40 of them, some women, some children. That grittiness and that mentality—that there’s no time for love or tenderness or music or religion, there’s only time for survival. I said to myself, “This is where this guy came from. This is how he would feel.”
HURD Being of Jewish descent, of course I also read all those things. I don’t think we explicitly wanted to say that this future world was inspired by stories of living underground in Warsaw. But on the other hand, whatever I read as historical fact was going to influence our work by virtue of the verisimilitude of that experience and how profound it was. It’s that same kind of a violent harrowing experience.
CAMERON The Terminator themes had been important to me since high school. Those apocalyptic visions, ideas about our love/hate relationship with technology, our tendency as a species to move in a direction that might ultimately destroy us, and a central faith in the resourcefulness of humanity. And those are motifs that have gone through all my films—Titanic has a lot in common with Terminator for those reasons.
Once they had a full script, Hurd and Cameron shopped it around to studios, eventually getting it to Orion Pictures and two allies from their Corman days.
CAMERON We saw it as a low budget guerrilla-style production, but we had aspirations to do something that was somehow world-class within those limitations. It was pretty clear that the studios were only interested in buying the script; they were not interested in me as a filmmaker. I was actually worse than a first-time director because I had directed a little bit on Piranha II and it was a piece of garbage.
HURD We pitched it to every studio. All the usual suspects, followed by all the unusual suspects. Then we took it to Barbara Boyle, who had been one of my mentors when she worked for Roger Corman. She had taken a job at Orion, as had Frances Doel, who had also worked for Roger.
FRANCES DOEL (Orion creative executive) I defended it as a very good story and a very good script, which I definitely thought would have an audience. One of the senior Orion partners in New York said, “But I don’t understand these comic-book pictures.” He was a very cultured gentleman and I could well understand he had never read comic books and probably looked down on them.
BARBARA BOYLE (Orion’s executive VP of production) I completely loved the script. When we finally pitched it to [Orion president] Mike Medavoy, Gale and I did all the talking. I had this whole yap, saying it’s about taking control of the present to influence what will happen in the future.
DOEL Jim at that time was essentially unknown as a director, but Gale I knew to be an absolutely terrific hands-on producer with a great sense of story and taste. Barbara and I both had great faith in them to make the picture.
BOYLE I had such a deep investment in seeing the picture get made because of what I saw as its artistic, philosophical meaning, as opposed to being a straight sci-fi battle show. To me, it said: stop complaining about what you can’t do because of the men in the world.
DOEL It did not seem to be the kind of movie Orion was likely to be interested in. But I was interested in having a female character who was active, not simply somebody’s girlfriend.
Orion chief Mike Medavoy agreed to finance the film, but on one condition: It needed a major star.
HURD Initially Jim and I thought in order to keep the budget down we would use a fairly unknown cast. Lance Henriksen was originally going to play the Terminator.
CAMERONMedavoy came to me and Gale and he said, “Are you sitting down? You must sit down. I want O.J. Simpson for the Terminator and Arnold Schwarzenegger for the good guy, whatever his name is.”
MIKE MEDAVOY That did come out of my mouth. At the time, O.J. Simpson had one of those commercials for Hertz where he jumped over a counter and ran to get a rental car. It was all of that athletic stuff, which I thought the Terminator should have.
CAMERON Gale and I just looked at each other and thought, “You’ve got to be f- - -ing kidding me.” Mind you, this was before O.J. was actually a killer. We might have reconsidered after he had killed his wife. [Laughs] This was when everybody loved him, and ironically that was part of the problem—he was this likable, goofy, kind of innocent guy. [Laughs] Plus, frankly I wasn’t interested in an African-American man chasing around a white girl with a knife. It just felt wrong.[In 1995, Simpson was acquitted of the murders of Nicole Brown Simpson and Ronald Goldman; a civil court later awarded a judgment against him for their wrongful deaths.]
ARNOLD SCHWARZENEGGER (The Terminator) Mike Medavoy came up to me at a screening and told me that they already had the Terminator cast with O.J. Simpson, but they would like me to play Kyle Reese. And he told me I should go meet with the guy who’s going to direct it.
CAMERON The Arnold thing was harder to deal with, because he had just come out with Conan the Barbarian, so I had to think of a way to torpedo the idea. I was walking out to meet Arnold for lunch to discuss Reese, and the last thing I said to my roommate was “Do I owe you any money? Because I have to go pick a fight with Conan.”
SCHWARZENEGGER I could visualize very clearly what the Terminator should look like. And so when I met Cameron to talk about Kyle Reese, I gave him all these points: This is what you should do with the Terminator, this is how the Terminator should act.
CAMERON I went to lunch to pull “creative differences,” but I actually liked him. I was studying him at the restaurant, just watching the light from the window on his face and thinking, “Holy crap, what a face! Forget the Reese thing. Arnold would make a hell of a Terminator.”
SCHWARZENEGGER I said, “No, no, no—look, the guy has 17 lines.” I didn’t want to do that. I was building my career, being a leading man and not being a villain. But Cameron said that he’d shoot it in such a way that all the evil stuff that I do will be totally excused by audiences because I’m a cool machine. And so cool that some of the people will cheer.
HURD He has that intensity. You could believe that he could be a killing machine, that he would not stop until you’re dead. And so when he committed that was enough to get us financed.
CAMERON We didn’t change a line of dialogue. I didn’t change my storyboards, but all of a sudden he was this big formidable guy—a human bulldozer, like a panzer tank. Originally, the Terminator was supposed to be this anonymous guy in the crowd, you know, the killer could be anybody. Arnold stands out in a crowd. But it gave the film power in a way I hadn’t anticipated.
TV actress Linda Hamilton was chosen to play Sarah Connor, and Michael Biehn (The Fan) was cast as Kyle Reese, who also comes from the future to guard Sarah.
BIEHN Jim had seen The Fan, where I play an obsessed fan who stalks Lauren Bacall. At the beginning of that film I start out as a nice guy and he turns out to be a really bad guy. That’s what Jim wanted to do with Reese. I never do anything in the first hour of The Terminator that makes you think I’m a nice guy until I come out at the bar and start shooting at Arnold to protect Sarah.
HURD Jim and I auditioned quite a few actresses and Linda was the only one who captured the essence of Sarah—her relative innocence as well as the strength of character she develops over the course of the film.
LINDA HAMILTON (Sarah Connor) I was going to be a Shakespearean actress when I came out of the Strasberg studio in New York. And so I wasn’t as excited about The Terminator as my people were. Maybe I was a little snobby. I thought, “Oh, Arnold Schwarzenegger. I’m not sure about that.” I was little nervous about whether all the pieces would fit together.
BIEHN Arnold has obviously gone on to prove himself over and over again, but you have to remember what people thought of him at the time. When I told my actor friends that I was doing a movie with Arnold Schwarzenegger they kind of snickered at me and said, “Well, good luck with that.”
HAMILTON Believe me, I did go to the set to check Arnold out. And I remember standing back and watching him and going, “Hmm, this might work.” There was something so utterly robotic and terrifying about him. I realized that we were doing something new here, and all of the sudden I believed.
For the integral special effects work, Hurd enlisted Stan Winston and his team of young F/X gurus to create the machine look of the title character and put it into action.
HURD We were told by the bond company that they only wanted to finance the movie if we got Dick Smith [Little Big Man, The Godfather], who was the biggest name in makeup effects at that point. So I called him at his home in New York and he told me that he didn’t do these types of machine effects. But he gave me the name of Stan Winston.
CAMERON Stan and I started a collaboration that went along essentially until his death. I miss him terribly, first of all because we were great friends but we also shared this view of what it took to impress and entertain and create new things.
JOHN ROSENGRANT (special effects) We were all in our early 20s. We were all kids. And we were really eager to get working on something that had some merit. The script certainly had that. And Stan and Jim as collaborators certainly offered that.
SHANE MAHAN (special effects) Ultimately the goal was to make it real and convincing—to make the unbelievable believable.
TOM WOODRUFF JR. (special effects) Jim had done this incredible color pencil work on black paper. He is a phenomenal artist—the final version of the Terminator endoskeleton is pretty close to what Jim had envisioned from the very beginning.
ROSENGRANT Jim and Stan went to junkyards and looked at all kinds of mechanical truck housings and car transmissions, trying to get the flavor and feel of what the machine would look like.
WOODRUFF Arnold came in to Stan’s shop. To look at him, he was a man-mountain, but actually a very nice congenial guy. And the perfect person to play a human form wrapped over a metal skeleton because you looked at him and he didn’t seem 100 percent natural.
ROSENGRANT Doing the full-body life cast of Arnold Schwarzenegger—wow, that took a lot of plaster bandage. He was huge.
WOODRUFF We all sat down with a clay casting of Arnold’s head and just started sculpting it away, putting in glass eyes and acrylic teeth and pieces of metal details and trying to come up with how it would look fleshed out as a three dimensional puppet.
MAHAN I took the head cast of Arnold and sculpted it down. It was kind of a reverse forensics study, and the result is that the metal skull incorporates Arnold’s cheekbones, brow lines, and jawline.
WOODRUFF Stan broke the endoskeleton all down among John and Shane and myself. We were all sculpting different pieces and I ended up working on the spine and the pelvis. I sculpted the spine around a casting of my wrist and forearm because I was puppeteering the head for close-ups.
ROSENGRANT We were developing different types of materials to cast the robot out of and we were also starting to play with silicone molding. And figuring out how we were going to get the chrome finish on there—Stan came up with this process of vacuum-metalizing plastic, which was something that wasn’t really being done up to that point. There was technical ground being broken.
WOODRUFF For wide shots, we had a waist-up version of the endoskeleton that was mounted to a backpack that Shane wore and had a radio controlled head on it. But for more specific action I was able to put my arm inside a vertebrae in the neck and grab a handle inside the head and lock my arm into the back of the rig.
MAHAN All the effects are done in camera—except for a few sequences that are stop-motion, which for their day are very brilliantly done. The signature of time is the only thing you can really detect. It’s all a credit to Stan and Jim and what we were able to figure out in terms of illusions and intercutting.
WOODRUFF For all the shots at the end when the Terminator is getting pounded by a lead pipe by Michael Biehn, it was my hand in there also getting pummeled. At one point, I lost the feeling in my fingers, and later that year Cameron sent me a Christmas card that said, “Merry Christmas. Hope the feeling comes back to your fingers someday.”
Filming began in March 1984 in L.A., with most of the shooting done at night to keep costs down.
CAMERON I went around Los Angeles with the location scout and we looked for streets that had mercury-vapor lights, because I knew we were going to need available lighting. We didn’t have any time, and we didn’t have the electrical budget. Even when we did interiors, we did them at night because we’d been knocked off the street if it was raining.
BOYLE Nighttime, inexpensive, guerrilla filmmaking—it was so typically Corman in its execution.
CAMERON [Cinematographer] Adam Greenberg had a thick Polish accent and he would say [imitating the accent], “There is nothing here! How I expose the negative?” And he’d just throw up his hands. But we got so lucky with Adam. His close-ups are lit so beautifully. Linda and Michael inside the Cadillac—that was lit with a couple of little fluorescent lights but their eyes are so luminous.
SCHWARZENEGGER Jim was always aware of that blue look, giving the movie the look of steel at all times—that night look, chilly look, the kind of look that made you say, “I don’t want to be stuck there.”
ROSENGRANT We were in downtown L.A. and Arnold went into a restaurant in full Terminator dress and said, “I need a table for four, please,” and the host guy freaked out.
MAHAN The energy was so high, even though it was very exhausting. I think we shot it in 44 days or something like that.
BIEHN It seems kind of ridiculous when you think of these guys at four in the morning in downtown L.A., running around with a half of a Terminator propped up on a two-by-four.
MAHAN Night shoots are tough in general, but especially when you’re going at that speed. So there wasn’t much time for levity. We were constantly in serious mode.
HAMILTON We were working in the Kern’s fruit factory, slick juice running on the floor, covering holes you couldn’t see. And we had to work eight days in a row, and this was day nine. And that 250 pound metal arm that they had created—it wasn’t a special effect—they were shoving it at me and that arm had gotten me in the throat. And I finally thought, “This director is definitely rooting for the machines and not the people.”
WOODRUFF Terminator was a grueling shoot. You hear all these stories about how sharp and critical Jim can be—all true, but all in an effort to make the best movie possible. Maybe he steps on a few toes or cracks a few eggs, but God bless him that’s why he makes the movies he makes.
CAMERON In the last reel of the film, every other shot or every third shot is some kind of an insert. All of those shots were done in post-production in a frenzied three or four days of shooting. I got a freebie for some stage space down at Corman’s place from a friend of mine. Gale and I threw in $40,000 of our own money. I literally put every penny that I had been paid already back into the movie, which was stupid, but it turned out to be a good investment.
HAMILTON The movie’s early scenes of me as a young waitress were actually filmed at the end of the shoot. I’m supposed to be young and fresh and they had to spend two hours covering the bruises on my body with makeup.
CAMERON I was sitting in the office at Gale’s house and I remembered that we didn’t have a shot of the Terminators boot outside a glass sliding door at night. So I put black paper tape on a production assistant’s Bass Weejuns shoes. We used the sliding door at Gale’s house and I exposed the shot day for night so it would turn all blue and match the lighting that we’d done in the scene. And that scene’s in the movie—handheld, hunched down on the carpet, just a tiny glimpse of the Terminator’s boot outside the door. Not for nothing, you know.
NOT FEELING THE LOVE
In the summer of 1984, Cameron showed a rough cut of the movie to Orion executives. According to the director, the screening was “disastrous.”
BOYLE [Orion chairman] Arthur Krim said to me, “You made exactly what I was afraid you’d make: an exploitation picture in the Corman style.”
DOEL Jim was adamant about what he just would not tolerate in terms of notes or criticism. Gale had to do—and did do—a wonderful job to support Jim and stick by him, but also deal very calmly and diplomatically with Orion.
HURD They had such little faith in the movie that they didn’t want to screen it for critics. The head of marketing almost said as much. And if you were Orion and you had Amadeus, which they had released five weeks before, and which did go on to win Best Picture, well, I can imagine them saying, “Amadeus, The Terminator—which one doesn’t fit?” I can’t blame them now, but at the time I was devastated when they didn’t like it.
CAMERON Mike Medavoy was very negative. He was pretty much the opposite of a helpful, supportive executive. He never understood the film. But after the movie came out, he was falling all over himself taking credit for it.
MEDAVOY I don’t remember that to be the case, but if he says so, then that’s what he felt. Jim’s looking at it from his point of view and I’m looking at it from my point of view and we’re now looking back to 30 years ago. And like in all of these things, everything gets conflated and changed over time.
HAMILTON When it was being released we were supposed to go to New York to do press, and at the last minute I was uninvited because no one was really interested.
HURD Certain agents saw it and loved it. They are truly the heroes in all of this, surprisingly. [Michael Biehn's Agent] Ed Limato, my hero, called up everyone in Orion in New York and said, “This movie is fantastic, guys. I’m going to have to reconsider having my stable of stars being in your films if you don’t believe in them.” That included Mel Gibson and Richard Gere.
BOYLE I’ve spoken to other executives at other studios who told me, even though it was quite successful, that it would’ve easily broken $100 million if they had properly advertised it.
CAMERON I was on a panel with Medavoy years later. And he’s talking about how he supported young filmmakers and nurtured them. And he points down to me and says, “Like Jim Cameron on The Terminator.” And I laughed and said, “Whoa, whoa, whoa, let me set the record straight. He didn’t help me at all.” And Mike laughed, and he thought I was kidding.
MEDAVOY He got the freedom to make the movie he wanted to make. No less, no more. We didn’t interfere with anything, we didn’t make his life miserable, we didn’t recut the movie. The fact that Jim gets angry because he feels he didn’t get the love he deserved, that’s a different issue.
FORGIVE JIM EVERYTHING
The Terminator hit theaters on Oct. 26, and audiences loved it. Time Magazine named it one of the 10 best pictures of 1984, and it became the second-most-rented videocassette of 1985. Hurd and Cameron used their new clout to pitch Aliens to Twentieth Century Fox.
HURD Success for us meant being able to make another movie. It didn’t mean box-office success or critical success—our goal was to be able to do it again. Anyone who doesn’t feel that way should not be in the business.
CAMERON Both of us really grew up fast on that film. The filmmakers that came out of that film were very different than the ones that went into it because we had so many battles to fight, just the daily battles of getting the shots done and the later battles of getting the film released. We came out of it with a sense of confidence.
BIEHN I meet kids all the time who come up to me and say, “My name is Kyle and my parents named me after you.” But one of the bittersweet occurrences that happens is that guys come up to me on the street and say “I went into the military because of you.” And usually they’re okay—or they look okay—but that’s a heavy burden, especially if you know how I feel about war.
HAMILTON What I imagined while reading the script and what eventually came out were worlds apart. But that’s the Jim Cameron factor. After I saw the finished film, I said, “Oh my God, I forgive Jim Cameron for everything. The man’s a genius.”
BOYLE Jim is a sweetheart. A year or so ago he introduced me to someone and said, “This is the woman who gave me my career.” But it was the picture that made his career. It was just a stunning piece of work.
WOODRUFF Thirty years later, I feel like we’ve gone backwards in turns of minimal moviemaking. I understand the $200 million dollar Marvel movies and all the CG that’s necessary to make it happen, but not many people know how to make a practical effects film like The Terminator anymore. Today the audience knows that they’re looking at these expertly rendered frames but they don’t feel like that have any connection with the actors—and therefore the actors don’t have as much connection to them either.
MAHAN I’m not sitting here trapped in the ’80s saying that everything needs to be done with an animatronic or makeup effect. But it becomes the trend in certain movies, all that anti-gravity CG where everything is flying weightlessly through the air, and people detect those layers. It’s the mixing of technologies—which is where Jim and Stan were so innovative—that keeps an audience guessing.
WOODRUFF Today on movies its like every little thing we try to do gets questioned and second-guessed to death by producers. Nobody understands like Jim did how to make a movie by just grabbing pieces and putting them together and making them work.
HAMILTON When Jim came to me and said that he was going to make a sequel, we collaborated. I said to him, “If that woman knows what’s coming and has sat with it for seven years, she’s going to be crazy. You’ve got to make her crazy.”
SCHWARZENEGGER The Terminator was very important for me. The studios said they didn’t want to cast me because of my accent. And Cameron came along and said, “F- - -, if you wouldn’t have this accent, if you wouldn’t talk like a machine, I don’t think we ever would have had a Terminator.” He told everybody about how my accent was a huge plus. For me that was huge breakthrough.
ON THE HORIZON
The film’s gorgeous, ominous final image features Sarah driving toward darkening clouds. Guerrilla filmmakers to their cores, Hurd and Cameron had to break some rules to get it.
HURD We shot that final scene out in the middle of nowhere. My assistant doubled as Linda because Linda wasn’t available. My mother’s dog doubled as the dog. We added the mountains afterward, as well as the dark clouds. It was just Jim, myself, and a couple of other people. And we had to wait until the heat was just right so that we could get those heat ripples, because you couldn’t add them the way you could easily now. Not a car had driven by us all day.
CAMERON All of a sudden this dot appears on the horizon. We see this car coming down this desert road. It’s a cop, and he pulls up and busts us.
HURD The police officer said, “I need to see your permit for filming here.” And we didn’t have one. We said, “Oh, officer, we’re making a UCLA student film. We didn’t know you needed permits.” And he said, “Okay, you’re fine, just take the camera off the road.” I don’t know if that cop ever figured it out. [Laughs] Wherever he is, we thank him for not shutting us down.
Marvel's next blockbuster Guardians of the Galaxy screened for some critics Friday night and without an embargo, many shared their thoughts on writer/director James Gunn's intergalactic epic.
With no negative reviews to see, many of the critics swooned over everything Guardians had to offer. Many pegged the fun action, hilarious moments by some of the characters, stunning cinematography, and the all-around good time that the film was as the best parts of the film.
SlashFilm's Germain Lussier tweeted, "Marvel's Guardians is magnificent. Hilarious, touching, action packed, I don't think I could've liked it more. James Gunn killed it. Wow." He added on Saturday morning that he didn't want to hype it up too much, but he woke up still energized from the movie.
Collider's Steve Weintraub tweeted, "GUARDIANS OF THE GALAXY opens up the Marvel universe in a great way. Movie is awesome & extremely funny. Congrats James Gunn. You did it."
Weintraub also said that to those who thought a talking raccoon and tree wouldn't work would be mistaken as they contributed to many of the movie's best scenes. He is referring to the characters of Rocket and Groot, voiced by American Hustle's Bradley Cooper and Fast and Furious' Vin Diesel.
#GuardiansOfTheGalaxy press screening: Holy crap, you guys, this is EVERYTHING you could ever want in a Marvel movie.— Alisha Grauso (@AlishaGrausoMP) July 19, 2014
#GuardiansOfTheGalaxy is also hands-down the most beautiful film Marvel has ever done. Seriously eye-popping. Just stunning!— Alisha Grauso (@AlishaGrausoMP) July 19, 2014
GUARDIANS OF THE GALAXY is, even with its Marvell-y flaws, jolly good fun, like John Badham doing STAR WARS. Space opera, with a wink.— James Rocchi (@jamesrocchi) July 19, 2014
GUARDIANS OF THE GALAXY is pretty damn irresistible. Unerring balance of comedy, action and Groot. Had a blast with it.— Jeremy Smith (@mrbeaks) July 19, 2014
Guardians of the Galaxy tells one story. It's cool and confident enough not to leave behind a bunch of loose threads.— Jack Giroux (@JackGi) July 19, 2014
Directed by James Gunn from a script by Gunn and Nicole Perlman, the film features Star-Lord (Chris Pratt) teaming up with a group of criminals, including Groot, Rocket Raccoon, Gamora (Zoe Saldana), and Drax (Dave Bautista) to rid the universe from Ronan the Accuser (Lee Pace). The film also stars Glenn Close, John C. Reilly, Michael Rooker, Karen Gillan, Djimon Hounsou, Benicio Del Toro and Josh Brolin as the voice of Thanos.
Other comments made said that Guardians of the Galaxy was Marvel's best film to date, with one saying that it had the best third act of any of their films so far.
Let's play "Guess the opening weekend/Tomatometer rating," ontd!
An army of Sherlock Holmes fans have donned their deerstalkers and picked up their pipes in an attempt to break an unusual Guinness World Record to mark TV star Benedict Cumberbatch’s birthday.
Dressed as the enigmatic detective, the group of 113 people recorded a message for their favourite Holmes actor, who turned 38 today.
But first the group, including children, showed off their crime-fighting attire outside University College London.
Strict rules dictated that they also had to be wearing a cape and holding a magnifying glass to qualify for the record attempt, which is being considered by judges.
The event was organised by the Undershaw Preservation Society which is working to preserve the former home of the book’s author, Sir Arthur Conan Doyle.
While the BBC recently revived the world-famous detective stories, Undershaw in Hindhead, Surrey, where they were written, remains in a neglected state.
A spokesman for the Undershaw Preservation Society - which has the support of actor Stephen Fry and Mark Gatiss, co-producer of the BBC series Sherlock - said it was a ``brilliant day''.
“We are all massive Benedict fans so we’re hoping that he spots our birthday message for him and hears about what we’re doing,” he said.
“Everybody in the Sherlock community recognises that Conan Doyle is the father of modern crime fiction so it’s an important project.”
Undershaw is to be refurbished into a school for children with disabilities next year, but the study where Conan Doyle wrote is to be returned to its original Victorian state by the society and opened to the public.
Gotham’s marketing machine has been ramping up in anticipation of the pilot’s world premiere at Comic-Con later this month. Just a couple of days ago we got a new TV spot to go along with these new character posters. You can get a sampling of the villains that will appear in the show here, or just read our preview to get a feel for the overall show. Today’s latest contribution to the early looks comes via a handful of new images, one of which reveals the first glimpse of Wayne Manor.
Starring Ben McKenzie, David Mazouz, Donal Logue, Barbara Kean, Jada Pinkett Smith, Robin Lord Taylor, Camren Bicondova, Sean Pertwee, Cory Michael Smith, and Zabryna Guevara, Gotham debuts on Fox this fall. Hit the jump to check out the new images.
The new Gotham images come courtesy of EW (via CBM):
source 1, 2, 3, 4
This girl is seriously a moron. Her friend could have easily taped this, but girl is too busy trying to keep her Instagram angles... smh...
Acknowledging that the #naturalhair movement was created to embrace Afro textured hair is not excluding white women. Please stop.— Franchesca Ramsey (@chescaleigh) June 29, 2014
CurlyNikki, reigning queen of the natural hair blogosphere, featured a white woman with curly hair on her site. This caused a bit of controversy, resulting in an editorial done by Jamilah Lemieux at Ebony, questioning the necessity to broaden the natural hair movement to include people on non-African decent.
"Alas, Curly Nikki is obviously not a Black woman’s space and it’s not my job to tell its creator that it has to be one (nor does that mean that it can’t be a source of affirmation for Black women.) However, I think we all need to consider the need for us to have places that we go to that are exclusive, be they physical, via technology or otherwise. We often confuse integration with equality and acceptance, when we are so often the ones who find ourselves left out in the cold. I assure you that a White woman with silky, curly hair will be just fine if we’d rather keep our hair chatter to ourselves."
The topic blew up on the Black Blogopsphere, and FranChescaleigh made some important points on twitter regarding her thoughts on the issue.
Feeling insecure about your Caucasian curly hair is not the same as being told that your #naturalhair is dirty, unprofessional & distracting— Franchesca Ramsey (@chescaleigh) June 29, 2014
I've lost acting jobs because casting "didn't understand the hair" this is why people w Afro textured hair need the #naturalhair movement— Franchesca Ramsey (@chescaleigh) June 29, 2014
CurlyNikki responded to the backlash on her site.
"Now, unless you’ve been in the natural hair game for less than 15 minutes, you know this whole argument is old as hell. I’ve come down clearly on the side of inclusion before. The reasons are simple, but I’ll state them again. Success in the natural hair movement is defined by the total acceptance of our hair by ourselves, and then ultimately, others. I and other bloggers have been working hard to make the natural hair movement popular. It’s obvious now that our impact on the hair care industry and popular culture has been tremendous. Generally, this has led to good outcomes like a crap load more product options, and a warmer reception among friends, family and colleagues. Without popularity, none of this would have been possible. However, we can't have popularity without sacrificing privacy. Is it worth the trade? Hmmm...who knows. As a practical matter, what I do know, is that it is difficult to try to make something popular and accepted by not sharing it with others. #WhereTheyDoThatAt".
FranChescaleigh elaborated on her thoughts on the issue on her site.
"Le sigh. This response is so petty and completely misses the point. Nikki can feature whoever she wants but Sarah’s comments were out of like. Point blank. What does Nikki’s charity work have to do with Jamilah’s article? Nada. But ok."
We were discussing this in the last natural hair post and thought it needed a post of it's own. Curly Nikki, you in danger girl.
PARIS — Jessica Chastain will join the growing list of luminaries at this year's Deauville festival, organizers announced Friday.
The festival will pay tribute to Chastain's career.
"The tribute is a token of our affection, admiration, recognition and esteem for the talent of the recipient. For the past few years, we have been paying tribute to those actresses who embody the cinema of today and who will form the legacy of tomorrow," said festival director Bruno Barde. "When we first discovered Jessica Chastain, we had the definite feeling that here was someone special onscreen. Through her successive roles, she has confirmed her emotional capacity to grab the limelight. We salute her grace and talent, and the beauty of the truth she brings to her performance."
The Oscar-nominated actress, who received the New Hollywood award at Deauville just three years ago, follows recent career honorees Julianne Moore, Naomi Watts and last year's tribute recipient, Cate Blanchett.
The Deauville American Film Festival runs Sept. 5 through 14.
ONTD, which actor would you give a career tribute to?
Hilary Duff has some seriously spooky ink.
The actress-singer and her BFF Alanna Masterson, who plays Tara on The Walking Dead, got matching ghost tattoos (with “ride or die” written into the bottom of the spirit’s sheet) at Los Angeles’ Shamrock Social Club on Saturday.
“Another set of bestie tattoos for two of the best besties I know @lucytwobows @hilaryduff,” the tattoo artist Dr. Woo captioned the pic on Instagram.
Earlier in the day, Hilary — who will be debuting her comeback single next Thursday! — hinted at what she and Alanna were up to at Shamrock with a pic of her bestie sitting in the tattoo chair (and seemingly in pain).
ONTD, have you ever gotten matching tattoos with anyone?
A smattering of Emmy make-goods and perhaps a bit of prognosticating, winners of the 2014 Television Critics Association Awards run the gamut from the expected (True Detective and Orange Is the New Black) to complete surprises (RuPaul's Drag Race).
Perhaps the biggest referendum among the 13 honorees is The Good Wife. The CBS drama, coming off of a critically-lauded sixth season, earned the kudo for outstanding achievement in drama. That honor comes just a week after its absence from the list of Emmys best drama nominees was called out as one of the bigger snubs. ("I admit it, I'm still really pissed," CBS chairman Nina Tassler told the same crowd just days earlier.)
The Good Wife was one of just three broadcast series getting any love during Saturday's private ceremony at the Beverly Hilton. Fox's COSMOS: A SpaceTime Odyssey earned a news and information nod, and NBC's Saturday Night Live walked away with the Heritage Award.
HBO's True Detective and Veep were the only series to get multiple awards. Matthew McConaughey and Julia Louis-Dreyfus walked away with the TCA Awards' lone acting kudos; True Detective scored a win for miniseries (despite its series status at the Emmys), and Veep shared a comedy victory with FX's Louie.
Orange Is the New Black scored outstanding new program, RuPaul's Drag Race got the top honor in reality and Breaking Bad received a warm TCA goodbye during its final year of eligibility. The late AMC drama was named program of the year for the second year in a row.
The Complete List of TCA Awards Winners
Individual Achievement in Drama
Outstanding Achievement in News and Information
COSMOS: A SpaceTime Odyssey (FOX and National Geographic Channel)
Outstanding Achievement in Reality Programming
Outstanding Achievement in Youth Programming
Outstanding New Program
Outstanding Achievement in Movies, Miniseries and Specials
Outstanding Achievement in Drama
Outstanding Achievement in Comedy
Career Achievement Award
Program of the Year
Breaking Bad (AMC) – second consecutive
The Facebook page for Severin Films posted the below photo today. Accompanying the gruesome and bizarre image it reads: “Severin Films original documentary LOST SOUL coming soon.” Filmmaker Richard Stanley (Hardware, Dust Devil) commented beneath the photo shortly after it was posted. He said:
"Welcome to the ‘house of pain’. You’re looking at the miracle of birth, the moment of creation itself – courtesy of Dr Moreau’s ground breaking work on unraveling the secrets of the human genome – although this rare behind the scenes still scarcely conveys the full horror and intensity of the moment as originally conceived. The mutant mother has just given birth to something entirely new, something that will live in our nightmares…"
What does this all mean? Well, Severin’s David Gregory directed a documentary about the arduous journey Richard Stanley embarked on in the ’90s to bring The Island of Dr. Moreau to the screen. If you’re not familiar with this 1996 film’s background: Stanley spent years of his life developing the project for New Line and just days into photography, he was fired and replaced by John Frankenheimer. The script was changed, cast alterations were made and everything Stanley sought to do with the film turned into the train wreck that made its way to the screen with Marlon Brando, David Thewlis and Val Kilmer.
The doc is playing at FrightFest UK – you can read more about it right here! The film premieres August 24th. Hopefully we’ll see it hitting the U.S. festival circuit soon.
I've been dying for a creepy post, can this be one, please?
Over the past two years, Keke has appeared in three Lifetime original movies — Abducted: The Carlina White Story, CrazySexyCool: The TLC Story, and The Trip to Bountiful. Keke discussed the upcoming Lifetime Whitney Houston biopic and revealed why she decided against it.
“Initially, I was thinking about the Whitney Houston [Biopic] … to play Whitney,” Keke said. “But I don’t know if that was a story I wanted to tell, because the family’s not involved, and that’s a big part for me. If you’re going to do a movie or biopic about someone, the family needs to be involved, because you want it as honest as possible. I think that's what didn’t make me go for it.”
Keke, who is friends with Bobbi Kristina, also weighed in on her harsh words for Angela Bassett for not considering casting her to play the role of her mother in the Lifetime biopic.
“I can’t say that everything said was perfectly said or anything like that, but I can understand her frustration. I think it came more from the family not being involved at all… It feels as if you’re trying to use the name but you’re not really even caring about the people that are gonna be affected by it, like the family.”
<3 her on Degrassi!
Hello ONTD Midnight Society , everybody loves a good soundtrack right ?
Let's take it back a few years and celebrate some of those great cds we used to bop to in our disc mans shall we ?
1. Pokemon : The First Movie
Year : 1998
This was truly a bubblegum pop and star studded masterpiece . This album was pretty damn awesome considering how most artists who were often being compared at the time were able to get shine and represent the biggest craze since The Teenage Mutant Ninja Turtles .
1. Pokemon Theme - Billy Crawford
2. Don't Say You Love Me - M2M
3. It Was You - Ashley Ballard - (with So Plush)
4. We're A Miracle - Christina Aguilera
5. Soda Pop - Britney Spears
6. Somewhere, Someday - N'Sync
7. Get Happy - B*Witched
8. (Hey You) Free Up Your Mind - Baby Spice
9. Fly With Me - 98 Degrees
10. Lullaby - Mandah
11. Vacation - Vitamin C
12. Makin' My Way (Any Way That I Can) - Billie
13. Catch Me If You Can - Angela Via
14. Have Some Fun With The Funk - Aaron Carter
15. If Only Tears Could Bring You Back - Midnight Sons
16. Brother My Brother - Blessid Union Of Souls
Popular Track -
M2M - Don't Say You Love Me
2. Nutty Professor 2 : The Klumps
1. Doesn't Really Matter - Janet Jackson
2. Hey Papi - Jay-Z featuring Memphis Bleek
3. Just Friends - Musiq
4. Missing You - Case
5. Even If - Method Man
6. I'm Gonna Crawl - DMX
7. Thinkin' Bout Me - Brian McKnight
8. Here With Me - Dru Hill presents Jazz
9. No You Didn't Say" Kandice Love
10. Let Me Be - Eve
11. Get With Me - Shorty 101
12. Do You Remember (Once Upon A Time)" Montell Jordan
13. Thong Song UNCENSORED - Sisqo featuring Foxy Brown
14. Off The Wall - Redman/Eminem
15. Just A Touch - R. Kelly
16. Snippets - LL Cool J
Year : 2000
A good selection of songs from artists like Sisqo , DMX , Jay-Z , and the fabulous Janet Jackson made up for this bland follow up to the first film .
Doesn't Really Matter
3. Never Been Kissed
1. Never You Mind - Semisonic
2. Standing By - Willis
3. Lucky Denver Mint - Jimmy Eat World
4. Problem - Remy Zero
5. Erase & Rewind - Cardigans
6. Closer To Myself - Kendall Payne
7. At My Most Beautiful - R.E.M.
8. Catch A Falling Star - Block
9. Candy In The Sun - Swirl 360
10. Until You Loved Me - The Moffatts
11. Cumbia De Los Muertos - Ozomatti
12. Watching The Wheels - John Lennon/Yoko Ono
13. Please, Please, Please, Let Me Get What I Want - The Smiths
14. Innocent Journey - Sonichrome
15. Don't Worry Baby - The Beach Boys
16. A Girl Named Happiness (Never Been Kissed) - Jeremy Jordan
Although it featured quite a bit of older songs , certain tracks became synonymous ( Erase and Rewind ) with this film .
Until You Loved Me - The Moffatts
4. The Wood
Year : 1999
1. Neck Uv Da Woods - Mystikal & Outkast
2. Think About You - Blackstreet
3. Ya All Know Who! - The Roots
4. I Can I Can - DMX
5. Tha Hood (It's All Good) - Cash Money Millionaires
6. Belts To Match - UGK
7. It's All Good - R. Kelly
8. I Wanna Know - Joe
9. Crave - Marc Dorsey
10. 24-7 (Lil' Jon Dirty South Mix) - Liberty City Fla.
11. Jane's Law - Jane Blaze
12. Still Strugglin' - Too $hort
13. Dante's Girl - NIGHT & DAY
14. Love Letter - Imajin
15. Freaks Come Out At Night - Whodini
16. Make The Music With Your Mouth Biz - Biz Markie
17. Back In The Day (Remix) - Ahmad
18. If This World Were Mine - Luther Vandross & Cheryl Lynn
This film was truly underrated but it's soundtrack has some pretty good R&B gems for fans of the genre . If that is the type of music you are into give this a listen.
Love Letter -
5. 13 Going on 30
1. Head Over Heels - The Go-Go's
2. Jessie's Girl - Rick Springfield
3. Burning Down The House - The Talking Heads
4. Mad About You - Belinda Carlisle
5. I Wanna Dance With Somebody - Whitney Houston
6. What I Like About You - Lillix
7. Ice Ice Baby - Vanilla Ice
8. Crazy For You - Madonna
9. Vienna - Billy Joel
10. Why Can't I? - Liz Phair
11. Tainted Love - Soft Cell
12. Love Is A Battlefield - Pat Benatar
13. Will I Ever Make It Home - Ingram Hill
This film was a huge tribute to children of the 80s and as a result there are many classics of the past on the track listing , however this soundtrack has been praised and enjoyed by people of all ages .
Why Can't I - Liz Phair
6. A Walk To Remember
1. I Dare You To Move - Switchfoot
2. Cry - Mandy Moore
3. Someday We'll Know - Mandy Moore,Jonathan Foreman
4. Dancing in The Moonlight - 2001 Remix Toploader
5. Learning To Breathe - Switchfoot
6. Only Hope - Mandy Moore
7. It's Gonna Be Love - Mandy Moore
8. You - Switchfoot
9. If You Believe - Rachael Lampa
10. No One - Cold
11. So What Does It All Mean? - West, Gould & Fitzgerald
12. Mother, We Just Can't Get Enough - New Radicals
13. Cannonball - The Breeders
14. Friday On My Mind - Noogie
15. Empty Spaces - Fuel
16. Only Hope - Switchfoot
A mix of romance and pure emotion , aside from Tangled this probably showcases Mandy Moore's most popular work .
It's Gonna Be Love - Mandy Moore
Year : 1998
1. No Way In, No Way Out - Lady
2. Devil's Pie - D'Angelo
3. Grand Finale - DMX, Method Man, Nas & Ja Rule
4. Never Dreamed You Leave In Summer - Jerome
5. What About - Sparkle
6. Two Sides - Hot Totti
7. Movin' Out - Mya
8. Top Shotter - DMX, Sean Paul & Mr. Vegas
9. Story To Tell - Ja Rule
10. Crew Love - Jay-Z
11. Sometimes - Noreaga
12. We All Can Get It On - Drag-On
13. Militia Remix - Gang Starr
14. Windpipe - Wu Tang Clan
15. Pre-Game - Sauce Money
16. Tommy's Theme - Made Men
17. Some Niggaz - Half-A-Mil
18. I Wanna Live - Braveheart
Before DMX said Drake sounded like a washing machine , Nas ethered Jay-Z , and Ja Rule's opinion mattered , Hip Hop / R&B heads were blessed with this star studded track listing. Black excellence indeed .
Grand Finale - DMX ft Method Man , Nas , Ja Rule
8. Romeo Must Die
Year : 2000
1. Try Again - Aaliyah
2. Come Back In One Piece - Aaliyah
3. Rose In A Concrete World (J Dub Remix) - Joe
4. Rollin' Raw - BG
5. We At It Again - Timbaland & Magoo
6. Are You Feelin' Me? - Aaliyah
7. Perfect Man - Destiny's Child
8. Simply Irresistable - Ginuwine
9. It Really Don't Matter - Confidential
10. Thugz - Mack 10
11. I Don't Wanna - Aaliyah
12. Somebody Gonna Die Tonight - Dave Bing
13. Woozy - Playa
14. Pump The Brakes - Dave Hollister
15. This Is A Test - Chante Moore
16. Revival - Non-A-Miss
17. Come On - Blade
18. Swung On - Stanley Clarke
Timberland shut it down , some of his best work is featured on this album . Also we can't forget to show love to the late and great baby girl Aaliyah for her lovely tunes that were featured , especially the lead track that is pretty much a classic now .
Try Again - Aaliyah
Source : Good music + Amazon for the track listings
Happy Saturday ONTD !!
Child star Skye McCole Bartusiak, best known as the daughter of Mel Gibson in “The Patriot,” died Saturday at age 21.
The blond Bartusiak reportedly died in her sleep at her home in Texas, although the cause of death was unknown, according to Variety.
Bartusiak, a native of the Lone Star State, recently produced and appeared in a number of short movies.
After several high-profile roles on the big screen, she appeared on network television shows like “House,” “24” and “Lost.”
Her movie career included roles in “The Cider House Rules” with Charlize Theron and Tobey Maguire, and in “Don’t Say a Word” with Michael Douglas.
She was just 7 when picked to play Gibson’s daughter, Susan, in the hit movie about the American Revolutionary War.
Bartusiak always said the part opposite Gibson was her favorite.
The cast also included Heath Ledger, the charismatic young actor who died of a prescription drug overdose in 2008.
The contestants on the first episode of VH1's reality show Dating Naked, in which couples court in the nude, were primarily concerned with one thing: where to keep their eyes.
Watch Episode 1 NOW:
Sophie Turner has moved past the negativity towards her "Game of Thrones" character Sansa Stark.Turner explained why many find Sansa annoying or unlikeable and it has nothing to do with the character herself.
"I think it's because people see their own faults in her character, and they don't like facing their own weaknesses," Turner told Nylon. "I think if anyone was a 13-year-old girl put in her situation, they would probably act exactly the same. When I was younger, Maisie, who plays my sister, and I were in scenes together and people loved her character and they hated mine, and it really used to affect me."
Turner enjoys her storyline and the transformation of Sansa. Though her character is still very young, she's come to turns with the "Game of Thrones" and knows she's a key player.
"I really like the fact that she is quite a silent character," Turner said. "If she had spoken up in court at any point she would have gotten herself killed. She is being compliant with the people she hates just so that she can bide her time and then she can actually get her own back. It's fun because then a lot of the acting is in the face, and not in the words, which is nice for me to experiment with."
However, Turner admitted she isn't sure she would've been a "Game of Thrones" fan before joining the production. Turner was 13-years-old when she started working on the set, and wasn't allowed to read the novels except for Sansa's point-of-view chapters.
"The idea of medieval fantasy never quite intrigued me but I think because there has been a lot of hype about it, I may have watched an episode to see whether it got me," Turner told Nylon. "Because you're in it, you have no outside perspective, so I have no idea if it's actually a good show or not!"