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Oh No They Didn't! -

older | 1 | .... | 823 | 824 | (Page 825) | 826 | 827 | .... | 4449 | newer

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  • 09/24/14--12:19: Speedball coming to Shield?
  • Was it just leaked that Speedball will be coming to Marvel's Agents of SHIELD?
    A tweet by an actor known for being very involved in the Whedonverse was just sent to me and by the time I was able to respond said tweet was deleted...thank god for screencaps..

    Hmm...He mentions Bobbi/Mockingbird...


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  • 09/24/14--12:20: Tony Stewart's fate

  • Tony Stewart struck and killed a young driver named Kevin Ward Jr. The incident began when both drivers charged in to Turn 2, and Ward’s vehicle hit the wall, cut a tire, and spun out. The caution flag came out, as it does after a wreck, and the rest of the field slowed down to allow Ward time and space to get his wounded car off the track. But instead of firing it back up, Ward exited the vehicle. He appeared to be looking to confront Stewart, who he likely blamed for the wreck. A couple of cars whizzed by the clearly incensed driver, but Stewart’s car hit Ward, sending the 20-year-old to his tragic death.

    CANANDAIGUA, N.Y. -- A grand jury has decided Tony Stewart will........


    not face charges for his role in the on-track death of sprint car driver Kevin Ward Jr.

    Prosecutors in upstate New York made the announcement Wednesday, just hours after the grand jury finished hearing testimony in the case. Stewart could have been charged with second-degree manslaughter or criminally negligent homicide, Ontario County District Attorney Michael Tantillo said.

    Tantillo also said Ward was under the influence of marijuana at the time of his death, according to toxicology reports. The marijuana in his system "was enough to impair judgment," Tantillo said.

    Ward was killed Aug. 9 when a car driven by the three-time NASCAR Sprint Cup champion struck and killed him during a dirt-track race at Canandaigua Motorsports Park. The 20-year-old Ward, who had climbed from his car to confront Stewart, died of blunt force trauma.

    Tantillo looked at the evidence and could have brought charges or dropped the case himself, but said last week that the matter would be decided by the grand jury.

    Authorities said the first car to pass Ward had to swerve to miss hitting him. The front of Stewart's car appeared to clear Ward, but Ward was struck by the right rear tire and hurtled through the air. His father later told a newspaper there was "no reason" for the death given Stewart's skills and experience.

    Sheriff Philip Povero asked spectators to turn over photos and videos of the crash as investigators worked to reconstruct the accident. Among the things being looked at were the dim lighting, how muddy it was and whether Ward's dark firesuit played a role in his death, given the conditions. In submitting his findings to the district attorney, Povero said they included a "forensic video enhancement" from state police.

    Stewart issued a brief statement expressing deep sadness for Ward's death and then skipped three races before returning late in the Sprint Cup's regular season.

    After Ward's death, NASCAR announced a rule that prohibits drivers from climbing out of a crashed or disabled vehicle -- unless it is on fire -- until safety personnel arrive. The series also cleared the way for Stewart to make its Chase for the Sprint Cup championship with a win, despite missing the three races, but he didn't make the 16-driver field.

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  • 09/24/14--12:20: Beyonce & Jay Z Would NEVER

  • Well, North West is officially chicer than the rest of us. The 14-month old spawn of Kim Kardashian and Kanye West made her Fashion Week debut at Balenciaga today, sitting front row, obviously. The little tot wore a mini Yeezus tour concert T-shirt and what appears to be a leather skirt. Considering this is Kanye's daughter, we're assuming she's layered leggings underneath.

    A serene North sat on (coordinated!) mamma Kim's lap—who,'s Leah Chernikoff reports, "looked gorge" in the flesh—and next to dad, Kanye, who's sporting some delightful chevron-patterned hair this season.


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    Kathy Griffin will reportedly attempt to fill the late Joan Rivers’ giant comedic shoes come winter as the new host of E!’s scathing hit Fashion Police.

    The Daily Mail has learned that Joan’s daughter Melissa has given her blessing for Griffin to succeed her mother’s star role, and that E! is “already negotiating” the deal for the show’s premiere in January:
    Kathy has been told if she wants the gig she can have it because Melissa wanted someone who her mother would have approved of,’ says the show source. ‘Kathy will probably take the position but they are still working out the deal.’

    The legendary Joan has received glowing tributes since her too-soon death on September 4. She was universally hailed by the stars as a legend, a trailblazer, and the owner of a very dry vagina. Her legacy was covered flawlessly by CNN, who was first to interview Griffin in the wake of Joan’s death.

    Below, Melissa Rivers introduces an official Fashion Police recap featuring some of Joan’s most brilliant moments on air:

    No word yet on how Joan’s death will affect the ongoing and seemingly never-ending writers strikethat has plagued the show since April 2013.


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    One week after the launch of iOS 8, Apple has already released its first update for the new OS in iOS 8.0.1, which contains a slew of bug fixes.

    But you shouldn't hit the install button yet. Soon after the update hit, an abnormally high number of users immediately started reporting that the iOS 8.0.1 update is breaking cellular reception and other features like Touch ID. For those affected, "no service" is displayed after the update has been installed, and toggling airplane mode or powering the phone off and on again doesn't seem to be fixing it. Both of Apple's latest iPhones seem vulnerable to the massive problem. We've reached out to Apple for comment on just what's going on.

    If you've already installed the update and are experiencing these issues, a potential fix has arisen. Reinstalling the iOS 8.0.1 through iTunes (and not via the over-the-air software update) apparently restores both cell service and Touch ID functionality.

    According to the company's release notes, iOS 8.0.1 was intended to fix numerous problems, including an issue that held back HealthKit apps last week. iOS 8.0.1 also patches up issues with third-party keyboards, a bug that prevented some apps from getting at the photo library, reliability around Apple's Reachability feature, and more. The full changelog follows below. To install the update on your iPhone or iPad, just head into settings. This one shouldn't require as much space as the original iOS 8 release.

    Fixes a bug so HealthKit apps can now be made available on the App Store
    Addresses an issue where 3rd party keyboards could become deselected when a user enters their passcode
    Fixes an issue that prevented some apps from accessing photos from the Photo Library
    Improves the reliability of the Reachability feature on iPhone 6 and iPhone 6 Plus
    Fixes an issue that could cause unexpected cellular data usage when receiving SMS/MMS messages
    Better support of Ask To Buy for Family Sharing for In-App Purchases
    Fixes an issue where ringtones were sometimes not restored from iCloud backups
    Fixes a bug that prevented uploading photos and videos from Safari


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    What took Chadwick Boseman so long?

    The question suits the purpose of our conversation—age, reflection, wisdom—but it's really the most basic curiosity. You graduate from college and then eleven years later, at 35, you get your first starring role—and that starring role is Jackie Robinson in the baseball biopic 42. That's followed by a two-year, four-film stretch that includes another starring role, this summer, as James Brown in Get On Up. Two of the most ascendant and power-shifting showmen in the history of American entertainment. But to reach the top of that mountain without leaving a whole lot of breadcrumbs along the trail? With Boseman, there's just this whole big piece of time that's...missing.

    It was a decade—his twenties—in which mistakes were made ("What did I do right, man?"), but also in which excellence was pursued. See, Boseman never wanted to be an actor. He wanted to be a writer and a director, for stage and screen, who happened to act, too. He spent those ten years in an apartment in Brooklyn, secluding himself from friends in order to write plays ("Some of my best writing came when I was poor and hungry—living off water and oatmeal, mind clear") and dreaming literal dreams about becoming a poly-hyphenate.

    His reps told him he had to pick one route and double down, but Boseman insisted on pursuing "all the things." His writing won recognition, and he found work as a director, but he failed repeatedly to land a major film role. The day he committed to a life of the stage, of course, was the day he got the call to play Jackie Robinson.

    We meet in early August, a few days after the opening of Get On Up. The film is fine, but Boseman is just this vibrating stick of neon throughout—an outrageous physical performer (he did the splits ninety-six times in one day of filming) and absolutely the reason to see it. He's been through the promo gauntlet with42, but the attention for this film—or more precisely, its capacity (by virtue of not being a Disney movie) to reach an audience of peers from his past—is affecting him in not unsubtle ways.

    "I'm hearing from some people, man," he says, somewhat ominously. "And I've definitely closed things down. No new friends. My circle's a lot less open than it's been in the past." But there's a counterbalance to the disorientation of the moment. A new opportunity to pursue old dreams. "It took me a long time to recognize and accept that you really do have to choose a very clear path for your entry point," he says. "But once you define yourself, you can venture off into all those other arenas." That plan, from all those years ago, to get going doing "all the things."


    Do you read reviews? Do you know what they're saying about your James Brown performance in Get On Up?
    No, I don't let them tell me anything. I don't read reviews, but I do get feedback from my peers and people I know, like other actors and directors and producers. [smiling wide]

    The way you're smiling, it sounds like it's been pretty—
    No, I'm not smiling because of that. I'm just smiling because when you do that, you run the risk of hearing... You know, especially people you've worked with before, they say stuff like, "Oh, that was bullshit!" or "It was all right, but..." People tell you the truth. But with Get On Up, my reps have said enough to sort of let me know I'm gonna get another job. I think one of their lines was "We have a quote sheet, and if you're ever having a bad day, we'll just tell you one of them."

    The thing people are most enamored with is the physicality of the role. You can overdub the music, but you can't fake the dancing.
    You can't fake the singing, either.

    Has your body—in acting or otherwise—ever let you down?
    Shit! "Otherwise"? What "otherwise" is it, man? [laughs] These roles kill my body. When we were doing 42, I don't think people really get how extensive the training was. It was probably more so than even for Get On Up. We had more time. We had three and a half months of spring training, and it was two-a-days. So it was three hours of baseball practice in the morning, and then I would eat and go straight to conditioning sessions. And the conditioning sessions were, I mean, madness, how hard it is.

    They would shoot each moment at twenty-four frames, thirty-six, forty-eight, all the way up to ninety-six. So if I stole a base, I had to steal it four or five times just to have what they needed. And something might have gone wrong with the camera; something might have gone wrong with the person who's supposed to catch the ball; something might have gone wrong with me. So I did some takes, I know, fifty times. Then again, I did the splits ninety-six times one day on Get On Up. But I didn't give out then. I would say that particular day was probably harder than any baseball day I had, but the average baseball day, wow.

    Your last three roles—Brown, Robinson, an NFL prospect in Draft Day—have required some serious conditioning. What's your favorite fitness trick you've picked up in recent years?

    As in pureed fruits and vegetables, not steroids?
    [laughs] Yeah, juicing as in I got my own personal masticating juicer at home. Done some cleanses, too.

    What lets you know it's time for a cleanse? Does a switch go off that just says: "I'm disgusting."
    I mean, I never let it get too bad, but, like, last year I did a cleanse because of the press tour surrounding 42. Everybody wants to buy you a drink. Everywhere you go, somebody's like, "Hey, I loved your movie! I'll buy you a drink!" [laughs] "Drinks! Drinks!" So afterward I'm just like, "I need to get all this out of my system."

    Okay, so besides juicing, what's the one exercise you'd do forever—the thing that keeps you in shape for roles like these?
    The exercise I'd say I'd keep doing in some form or fashion would be boxing. I've been at it for seven years. I have some spots in New York I like to go.

    Speaking of New York, what's your split now? You grew up in South Carolina, went to college in D.C., lived your twenties out in New York. But are you in L.A. most of the time now?
    I'm nowhere most of the time. I've been living out of suitcases for the last two years with four movies stacked up—42, Draft Day, Get On Up, and then straight into Gods of Egypt [out in 2016]. I don't know where I'll really end up when the dust settles. Up until I started 42, I was pretty much fifty-fifty New York–L.A. Just before I got the Jackie Robinson role, I was planning to settle full-time in New York, but I had to come back out here to do spring training. So ever since, I've been here more than there and haven't really been able to get back that much.

    You spent your twenties in Brooklyn as a stage director and a playwright. What did you do right and wrong?
    I guess the best way to say it is, when you get out of school, you don't really understand the differences in the different aspects of the business. Like, what role does doing a play, where does that take you, versus, you know, I'm gonna concentrate on doing independent films, or I'm going to concentrate on... If you're working as a writer, that doesn't necessarily take you down the role of being a movie star. I said yes too much. I said yes to certain projects that weren't for me. It was somebody else's vision and somebody else's dream and somebody else's artistic endeavor, but it didn't necessarily fit in my grand scheme. I was just trying to be around the people who do what I want to do, and you know, I think it takes a little bit more investigation to figure out, does this road actually lead to what I want?

    I remember my first agent telling me—because they found me as an actor, but I was probably more interested in writing and maybe directing—they were like, "Well, you can't do both things." And I was like, "I'm gonna show you." And the truth of the matter is that we were both right. But you know, you have to choose a very clear path for your entry point, and then, once you define yourself as that clearly, you can venture off into other arenas, but especially at the beginning.

    You don't want to hear that when you're just getting going.
    You don't want to hear it, but it's very true. It's true, it's true. I was trying to do all the things—things I'd dreamed about, literally had dreams, saw myself doing—but it's formless, you know what I'm saying? It's not something that you can grasp.

    How much do early career decisions have to do with just making enough money to get by?
    Once you start getting big roles as an actor, everything pays. So what are you making decisions on? It's about the director or the script or whatever. But before you reach that point, you're taking jobs with, say, a theater company, in spite of the fact that it's not paying your bills. I think the most stressful time of my life was when I was in New York and I didn't have money to pay my rent. I was going to the mailbox every day waiting for the check to come. When you don't have money, when you've got, like, a jar full of change and each day it's "Okay, I've got enough to get on the train" and "Maybe that check's gonna come today..." There's nothing more stressful than your stomach growling. But interestingly enough, some of my best writing came when I was poor and hungry—living off water and oatmeal, mind clear.

    Eventually your writing started making waves and you got work as a stage director. You were prepared to give up on acting and pursue that full-time in New York.
    This was just a few years ago. I was waiting to hear about 42. Nobody had called me. Nobody had told me anything. I had gone in for it 100 percent, but there was no reason for me to think I'd done well. Nobody had called me and said, "Hey, they really liked your audition." Nobody was like, "Hey, they're really thinking about you." Nothing. But on that night, the play I was directing ended, and I went next door to a bar and was watching the end of the World Series, and I was like, "Yo, I'm about to get this role," and I knew it. And that was the night they called me. Just like—boom!—"It's yours."

    People look at your two breakout roles—Robinson and Brown—and maybe regard them as though you're actively choosing to play only the most important black men in the history of American entertainment. But I'm starting to think it just happened to work out that way.
    That year before 42, every pilot I went in for, it was like, "You're gonna test for it and then somebody else will get it." It was a frustrating year, because I was so close to getting things that would have taken me to another place. But it was never actually happening. For some reason I couldn't get anything. I only later realized that it was some divine intervention, because if I did some of those things, I wouldn't have been available. You don't get stuff, and it opens up other opportunities. But no, it's not like I'd been waiting around for only the biggest roles.

    Anything else you would've done differently during your pre-42 days in New York?
    I might have had too many friends in my twenties. I've definitely closed things down. No new friends now. I would go through these cycles of being really, really focused on work, and not being around anyone, to being around everyone. And that could be distracting. It was nothing or everything. I think my circle is a lot less open now than it has been in the past.

    Is part of that on account of the visibility of 42 and Get On Up?
    I'm hearing from some people, man. I think it's like, some people who, under normal circumstances, might be out of your life—they all come back to you. Everything returns. Everything returns, because the world condenses. The world condenses so that things you'd normally say, "Oh, that's the last time I ever see that person again," like, it all come back to you. Every day does that to me.

    With Get On Up holding in theaters—due in part to Oscar rumblings for your turn as Brown—are you finally in the position to take a breather?
    I'm not kicking back enjoying the spoils, because it's like I don't think I've done my best work yet, you know what I'm saying? It ain't no time to rest right now. It's the time to get your head clear and figure out what you're gonna do next, but it's not necessarily the time to go to the islands.[laughs]


    Source 1 and 2

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    Oscar Isaac has revealed that director JJ Abrams' Star Wars sequel will feature the return of the Empire's fighting force, the Stormtroopers.

    Star Wars: Episode VII sees a return to traditional filming techniques allied with CGI.

    Speaking to Entertainment Weekly Isaac revealed: "Everyone’s having a really good time. JJ sets that tone. There’s a lot of enthusiasm and it’s being done with a lot of heart. There’s nothing cynical about the way we’re doing this. Even in the way he's shooting it - he’s shooting on film and actually building the sets, so you’ve got hundreds of Stormtroopers or whatever, and hundreds of extras and all the ships. You actually see it. It's all real. Everyone can interact with the world."

    Asked about the film's tone Isaac, whose character is yet to be announced, added: "I'm constantly looking for a cheesy line to say to harken back to the old ones. No, what they’re trying to do and what’s really great is JJ's been loosening it up a little bit and trying to make it alive and energized. It's not formal. They're messy, energized people. We’ve all intentionally tried to do that. Just make it a little more fiery and messy."

    After supporting roles in Robin Hood and Drive, Isaac won acclaim last year for his performance skills as Llewyn Davis in the Coen brother’s folk music drama Inside Llewyn Davis.

    His most recent film, the thriller The Two Face of January, also stars Viggo Mortensen and Kirsten Dunst and is available now on DVD and Blu-ray.

    In other Star Wars news, C3PO actor Anthony Daniels has revealed his droid character will appear in Episode VII without the use of CGI trickery in the action scenes.

    Meanwhile, a set picture has been leaked that shows Adam Driver wearing an X-Wing fighter pilot's uniform. Various reports had speculated the Girls actor would be playing a villain but the image suggests he may not be fighting for the dark side of the force.


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    Radiohead frontman Thom Yorke has confirmed that recording has been taking place at the Radiohead studio for at least two days.

    In the latest update in a recent flurry of Twitter activity, the frontman tweeted that he was with Stanley Donwood – the band's long-time collaborator who has designed all of their album and poster art since 1994 – going through 15 years' worth of unused artwork and words.

    In addition, he wrote that overdubs were happening in the Radiohead studio on the second day of recording.

    Thom Yorke has been teasing fans all week with bits of information about forthcoming work. Yesterday, he posted an image of the lyrics to Radiohead track 'A Wolf At The Door' with some new lines added.

    On Monday, he linked to an image of a white vinyl 12-inch record playing on a turntable, which led fans to speculate that there could be new music coming soon. A link to the image, which Yorke posted on his Tumblr page, was also tweeted by another long-time Radiohead collaborator, producer Nigel Godrich.

    Radiohead drummer Phil Selway recently revealed to NME that the band are due to begin sessions on the follow-up to their 2011 album 'The King Of Limbs' this month and said that they felt it was the right time to "start making music" together again.

    He later told BBC 6Music: "There's always that sense that our best record is still to come… There’s still a lot creativity we can do together."

    Selway will release his new solo album 'Weatherhouse' on October 6. Speaking to NME recently, the drummer was asked what a new Radiohead album may sound like. "I have absolutely no idea," he said. "And that's what keeps us all there until the end."

    Earlier this month Radiohead updated their PolyFauna app with new music and visuals.


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    YOUR NEW RELEASES: Kenny Chesney holds a slight edge for next week�s #1, but the Tony Bennett/Lady Gaga collaboration is within striking distance. Here are this week�s key debuts:

    Kenny Chesney (Blue Chair/Columbia Nashville) 125-135k
    Tony Bennett & Lady Gaga (Interscope) 115-125k
    Alt-J (Atlantic) 55-65k
    Pentatonix (RCA) 40-50k
    5 Seconds of Summer �Amnesia� EP (Capitol) 35-45k
    Joe Bonamassa (J&R) 24-27k
    Jackie Evancho (Sony Masterworks) 21-24k
    Leonard Cohen (Columbia) 19-22k
    Jennifer Hudson (RCA) 19-22k
    Lenny Kravitz (Roxie) 17-20k
    John Mellencamp (Republic) 12-15k

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    Naomi Watts is often admired as one of Hollywood’s biggest risk takers — but the actress doesn’t view herself that way.

    The movie star opened up about her life off and onscreen in a cover story for the October issue of More magazine.

    The Oscar nominee, who is known for choosing eclectic and adventurous movie roles, including parts in upcoming films “St. Vincent” and “Birdman” out this fall, revealed that while others might think of her as a risk taker, she doesn’t always “feel like a person who’s full of courage.”

    “Maybe in the workplace I have more courage than other areas in my life,” she added.

    But Watts did admit that moving to Hollywood at age 25 was “a bit reckless and a gigantic risk.”

    “Thankfully, I was young and naive enough just to do it,” she said. “As you get older, you overthink and can talk yourself out of anything. It’s good to be a bit reckless and experimental.”

    One major risk the 45-year-old undertook was portraying the late Princess Diana on the big screen. The 2013 biopic flopped at the box office and received negative reviews, and Watts said that it was a challenge to play a real person that was internationally well-known.

    “We all know I’m not 5-10 or have any resembling features of hers except blue eyes, and I don’t speak like her. It was going to be hard. People knew her too well or felt like they owned her. I was up against that.”

    As for her personal life, Watts said she no longer indulges in risky adventures such as skydiving and swimming with sharks, because of her children: Alexander, 7, and Samuel, 5, with longtime partner Liev Schreiber.

    “Now that I have kids, I don’t want to do so many daredevily things anymore,” the actress said, echoing her pal Nicole Kidman, who recently shared similar sentiments in Interview magazine.

    But Watts did have a good time filming “St. Vincent,” with Bill Murray, another Oscar nominee who’s known as a Hollywood risk taker. She plays a pregnant Russian stripper in the movie, and would channel her character while off set too.

    “I’d bust into Bill’s trailer and say (she adopts a thick Russian accent), ‘I need a drink! Gif me a drink!’” the star recalled.

    “I had to stick with that character because otherwise my fear of being not worthy would take over.”


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    Jessica Chastain arrives at her hotel in San Sebastian.



    J. C. Chandor’s A Most Violent Year will have its world premiere as the opening night film at AFI Fest on Nov. 6. The film stars Oscar Isaac and Jessica Chastain as a couple contending with the crime-ridden New York City of 1981. Also starring Albert Brooks, David Oyelowo, Alessandro Nivola, Elyes Gabel and Catalina Sandino Moreno, Year will be released by A24 on Dec. 31.

    "J.C. Chandor has put together a remarkable crime drama, which is also an immersive period piece and morality tale that resonates on an emotional level. Chandor is a talented director who takes risks with every film that he makes and A Most Violent Year is no exception," Jacqueline Lyanga, AFI Fest director, said.

    AFI Fest will run from Nov. 6 to Nov. 13 in Hollywood at the TCL Chinese Theatre, the TCL Chinese 6 Theatres, the Egyptian Theatre and the Hollywood Roosevelt Hotel. As previously announced, Sophia Loren will be honored with a tribute on Nov. 12. The full festival lineup will be unveiled in October.

    Co-financed by Participant Media and Image Nation Abu Dhabi, Year was produced by Before the Doors' Neal Dodson and Washington Square Films' Anna Gerb, along with Chandor. Executive producers are Participant's Jeff Skoll and Jonathan King, Joshua Blum, Kerry Orent and Glen Basner of FilmNation Entertainment, which handled foreign sales.

    For the 11th year, Audi is the festival’s presenting sponsor.


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    The onscreen passion for drumming that Miles Teller demonstrates in Whiplash is completely authentic, as the actor had a personal fervor for refocusing his own career, following a particularly tangential project: Divergent.

    "When I first read Whiplash, I was feeling dead inside," Teller told W magazine of the film festival favorite, in which he is berated by his art college professor (J.K. Simmons) to become the next great name in jazz.

    "I didn’t have an interesting part [in Divergent], and I’d taken the film for business reasons: It was the first movie I’d done that was going to have an international audience. I called my agent and said, 'This sucks.' He told me about Whiplash."

    Teller's rep issued the following response to The Hollywood Reporter regarding the Divergent-related comments in W: "Accustomed to being more involved in the process of filmmaking, Miles regrets those words. He does value his relationship with Lionsgate and his participation in the franchise."


    Divergent was lame, but probably shouldn't shit talk a franchise when you're about to film the sequel. Oop....

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    Andrew Garfield gets ready for a fun night out at the Drake vs. Lil Wayne concert at the Hollywood Bowl on Monday (September 22) in Hollywood.

    The 31-year-old actor was joined by his pal, director Spike Jonze. Spike and Andrew collaborated on the 2010 film I’m Here.

    The Drake vs Lil Wayne show is set to wrap up by the end of the month and will hit a few more stops on the west coast before finishing up on September 27.


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    Lindsay Lohan Pitched Tina Fey a 'Mean Girls 2' Sequel!

    Lindsay Lohan just came up with a brilliant idea for a sequel to Mean Girls 2 and pitched it to Tina Fey!

    “People really love the movie: how do you top that?,” the 28-year-old actress told Time Out London. “I was with Tina Fey the other day and I said we should do another ‘Mean Girls,’ like an older version where they’re all housewives and they’re all cheating. That would be really funny. I’ll harass Tina to write it.”

    Tina wrote the screenplay to Mean Girls over ten years ago. We’d love to see a sequel with Lindsay, Rachel McAdams, Amanda Seyfried, and Lacey Chabert as housewives.


    thanks for your input, lilo.

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    Diane Kruger keeps it chic and sophisticated while posing for photographs at the Ministere of Culture on Monday (September 22) in Paris, France.

    The 38-year-old actress was accompanied by her boyfriend Joshua Jackson, who suited up to show his support while Diane was honored with the insignia of Officer of the Order of Arts and Letters from French minister of Culture and Communication, Fleur Pellerin.

    DailyMail + JustJared

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    SEP 22, 2014
    (Note: This posting is for educational purposes only.)

    Watch film at source.

    I’m assuming the phrase “staging” came out of the theatre world, but it’s equally at home (and useful) in the movie world, since the term (roughly defined) refers to how all the various elements of a given scene or piece are aligned, arranged, and coordinated. In movies the role of editing adds something unique: the opportunity to extend and/or expand a visual (or narrative) idea to the limits of one’s imagination—a crazy idea that works today is tomorrow’s normal.

    I value the ability to stage something well because when it’s done well its pleasures are huge, and most people don’t do it well, which indicates it must not be easy to master (it’s frightening how many opportunities there are to do something wrong in a sequence or a group of scenes. Minefields EVERYWHERE. Fincher said it: there’s potentially a hundred different ways to shoot something but at the end of the day there’s really only two, and one of them is wrong). Of course understanding story, character, and performance are crucial to directing well, but I operate under the theory a movie should work with the sound off, and under that theory, staging becomes paramount (the adjective, not the studio. although their logo DOES appear on the front of this…).

    So I want you to watch this movie and think only about staging, how the shots are built and laid out, what the rules of movement are, what the cutting patterns are. See if you can reproduce the thought process that resulted in these choices by asking yourself: why was each shot—whether short or long—held for that exact length of time and placed in that order? Sounds like fun, right? It actually is. To me. Oh, and I’ve removed all sound and color from the film, apart from a score designed to aid you in your quest to just study the visual staging aspect. Wait, WHAT? HOW COULD YOU DO THIS? Well, I’m not saying I’m like, ALLOWED to do this, I’m just saying this is what I do when I try to learn about staging, and this filmmaker forgot more about staging by the time he made his first feature than I know to this day (for example, no matter how fast the cuts come, you always know exactly where you are—that’s high level visual math shit).

    At some point you will say to yourself or someone THIS LOOKS AMAZING IN BLACK AND WHITE and it’s because Douglas Slocombe shot THE LAVENDER HILL MOB and the THE SERVANT and his stark, high-contrast lighting style was eye-popping regardless of medium.

    In love with the use of "In Motion" from The Social Network in the opening shots. Seriously, if you've got a couple of hours to kill, check this out.

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    This Is England '90 is to start filming next month.

    The final installment in Shane Meadows's dramatic saga will shoot in and around Sheffield from September.

    The series' return was confirmed via an eBay auction, offering the chance to appear as an extra in support of the Teenage Cancer Trust.

    At the time of writing the auction - which ends later today (August 29) - has reached a top bid of £2,500.

    Meadows confirmed to Digital Spy last year that This Is England '90 would be the last entry in the series.

    Originating with the film This Is England in 2006, Meadows's story - which follows a gang of youths in the North - moved to television for the acclaimed series This Is England '86 (2010) and This Is England '88 (2011).

    Screen shot 2014-09-24 at 1.15.44 PM


    I am so excited that it FINALLY began filming! I miss Woody sfm

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    Tamera can never get her thoughts out
    and Loni talks about sex so much that I don't believe she's really having as much as she says

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    This show. I don't even know anymore. I literally don't care about anyone except the kids and Juice. What a mess.

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    James McAvoy has been announced as one of the judges for this year's London Film Festival.

    The festival launches next month and X-Men star James is among those asked to join the prestigious panel for the competition part of the event, according to The Hollywood Reporter.

    Head of the judging panel is producer and former BFI chair Jeremy Thomas, whose films include The Last Emperor, Crash, Naked Lunch and Only Lovers Left Alive.

    He will be joined by Luc Roeg, Sophie Fiennes and Finola Dwyer for the first feature, documentary and best British newcomer competition juries, respectively.

    Others joining the competition jury as well as James include Egyptian director Ahmad Abdalla, Oscar nominee Sally Hawkins, producer Lorna Tee and Variety chief film critic Scott Foundas.

    The festival has also announced that James' film with Jessica Chastain, The Disappearance Of Eleanor Rigby, has been added to the screening list for October 17 at Leicester Square's Odeon West End and that James will attend.


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