Bad Girls Club 11 Trailer - featuring Justin Bieber's mistress
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The Nekci Menij Show - Episode 17: 'Butifel Lier'
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Krista Siegfrids (of Eurovision fame) - ‘Amen!’ [MV]
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Mariah & Miguel screwed up #Beautiful on GMA Concert Series, but slayed We Belong Together
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Justin Lin explores race in Fast & Furious franchise
The movie Fast & Furious 6 hits theaters tomorrow. It is director Justin Lin's fourth film in the franchise, and is far different from his very first film, Shopping for Fangs, which starred a young John Cho and became a cult classic among Asian-American indie film fans.
Or is it so different?
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Fast & Furious 6 — starring Sung Kang (left) as Han and Tyrese Gibson as Roman — is director Justin Lin's fourth movie in the franchise.
The action-packed, billion-dollar movie franchise follows a crew of daredevil street racers who go from being criminals to being heroes. But the 42-year-old director was convinced that even in a bang-bang, big-budget movie, he could explore something deeper: race.
Lin, who was born in Taiwan, came to the states when he was 8. And throughout his career, his work reflects a mix of indie and action films — the former usually catered to an Asian-American audience. His comedic film Finishing the Game was based off of the production of a Bruce Lee movie. He also helped start the Web comedy community You Offend Me You Offend My Family, which highlights the work of Asian-Americans.
But back in 2001, when Lin was still a film student, he saw the original Fast & Furious. He liked it, he said, but he was bothered by how the movie's Asian characters were portrayed.
"I'm probably overly sensitive as an Asian-American, growing up, watching Hollywood films," Lin said."It was cool to see Asian-Americans on screen. ... But to see they always have to be next to Buddha statues or pagodas, they were always the antagonists, the bad guys who hung out in Chinatown."
So, fast-forward: Lin left film school, became a director and made a name for himself on the indie film scene. And then The Big Opportunity rolled around: He was asked to direct the third Fast & Furious movie, Tokyo Drift. But hold up. An indie director? Asked to come on board a blockbuster franchise?
"I said nah, probably not," Lin recalled.
That was only his first answer. Truth is, he just wanted some conditions.
![]()
Justin Lin's first movie was Shopping for Fangs, which became a cult classic among Asian-American indie film fans.
"I remember reading the script. It's Tokyo. It's about cars drifting around Buddhist statues and geisha girls and ... just stuff that you see when Hollywood cinema portrays other cultures," said Lin. (WTF so the third movie could have been even worse than it ended up being? How is that even possible...)
He hadn't hung out much in Tokyo, he admitted, but he knew that the city was "much more postmodern," as he put it. So he said he wanted to make a film that was on a more global and worldly scale.
And it wasn't so easy.
"It takes a lot of discourse. It goes all the way down to — sometimes — subtitles. I remember having a couple of characters in the franchise where I felt like it was natural for them to be speaking in their native tongue," Lin said. "And [people] were saying, 'Oh, it's a big summer movie and people don't want to read.' I don't think it was out of malice or anything, but every time you try to do something different, you have to expect obstacles and discourse."
As for what Lin is searching for, it's complicated. He wants Hollywood to avoid stereotyping Asians. But he doesn't want that fight to define him.
"As an Asian immigrant coming in, for the longest time I still had problems getting in the lot because they're just not used to seeing someone like me who's directing these films," Lin said. "I do think ultimately there's a point where we can kind of just shed that label and become filmmakers. ... Sometimes, I think it's important to be a filmmaker first and be able to talk about whatever you want to after that."
source (npr)
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Saw the movie last night in a packed theater. Really liked it, but... OMG
RIP GISELE. (but we didn't see a body and we all know that you're not really dead in Hollywood until there's a body!!!!!)
*sob*
Now that my wailing and gnashing is out of the way, I do remember being surprised - not in a bad way - at how much of the dialogue in Fast Five was subtitled. Didn't realize that he had had to fight to put that sort of thing in, although I'm not surprised.
Or is it so different?
Fast & Furious 6 — starring Sung Kang (left) as Han and Tyrese Gibson as Roman — is director Justin Lin's fourth movie in the franchise.
The action-packed, billion-dollar movie franchise follows a crew of daredevil street racers who go from being criminals to being heroes. But the 42-year-old director was convinced that even in a bang-bang, big-budget movie, he could explore something deeper: race.
Lin, who was born in Taiwan, came to the states when he was 8. And throughout his career, his work reflects a mix of indie and action films — the former usually catered to an Asian-American audience. His comedic film Finishing the Game was based off of the production of a Bruce Lee movie. He also helped start the Web comedy community You Offend Me You Offend My Family, which highlights the work of Asian-Americans.
But back in 2001, when Lin was still a film student, he saw the original Fast & Furious. He liked it, he said, but he was bothered by how the movie's Asian characters were portrayed.
"I'm probably overly sensitive as an Asian-American, growing up, watching Hollywood films," Lin said."It was cool to see Asian-Americans on screen. ... But to see they always have to be next to Buddha statues or pagodas, they were always the antagonists, the bad guys who hung out in Chinatown."
So, fast-forward: Lin left film school, became a director and made a name for himself on the indie film scene. And then The Big Opportunity rolled around: He was asked to direct the third Fast & Furious movie, Tokyo Drift. But hold up. An indie director? Asked to come on board a blockbuster franchise?
"I said nah, probably not," Lin recalled.
That was only his first answer. Truth is, he just wanted some conditions.
Justin Lin's first movie was Shopping for Fangs, which became a cult classic among Asian-American indie film fans.
"I remember reading the script. It's Tokyo. It's about cars drifting around Buddhist statues and geisha girls and ... just stuff that you see when Hollywood cinema portrays other cultures," said Lin. (WTF so the third movie could have been even worse than it ended up being? How is that even possible...)
He hadn't hung out much in Tokyo, he admitted, but he knew that the city was "much more postmodern," as he put it. So he said he wanted to make a film that was on a more global and worldly scale.
And it wasn't so easy.
"It takes a lot of discourse. It goes all the way down to — sometimes — subtitles. I remember having a couple of characters in the franchise where I felt like it was natural for them to be speaking in their native tongue," Lin said. "And [people] were saying, 'Oh, it's a big summer movie and people don't want to read.' I don't think it was out of malice or anything, but every time you try to do something different, you have to expect obstacles and discourse."
As for what Lin is searching for, it's complicated. He wants Hollywood to avoid stereotyping Asians. But he doesn't want that fight to define him.
"As an Asian immigrant coming in, for the longest time I still had problems getting in the lot because they're just not used to seeing someone like me who's directing these films," Lin said. "I do think ultimately there's a point where we can kind of just shed that label and become filmmakers. ... Sometimes, I think it's important to be a filmmaker first and be able to talk about whatever you want to after that."
source (npr)
---------------------------
Saw the movie last night in a packed theater. Really liked it, but... OMG
RIP GISELE. (but we didn't see a body and we all know that you're not really dead in Hollywood until there's a body!!!!!)
*sob*
Now that my wailing and gnashing is out of the way, I do remember being surprised - not in a bad way - at how much of the dialogue in Fast Five was subtitled. Didn't realize that he had had to fight to put that sort of thing in, although I'm not surprised.
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Sean Paul wanted to perform with Beyoncé at Super Bowl
Sean Paul has revealed that he wanted to join exotic dancer Beyoncé on stage for this year's Super Bowl Halftime Show.
The rapper admitted that although it "meant a lot" to hear her perform their 2003 hit 'Baby Boy' at the event earlier this year, he wished he could have joined her on stage for the track.
"I was in my little studio watching it and everyone around me was upstairs watching it on TV screaming," he told Digital Spy.
"I was just sat there with my mouth open. It was great. It's always great to hear her do that song.
"It would have been better if I'd got to perform it with her as we've only ever done two or three performances of that song together. It's been years since, but the Super Bowl was her opportunity and she did great."
He continued: "What meant a lot to me was that fans voted for five songs that they wanted to hear and one of them was 'Baby Boy'. I'm glad people still remember that track and have kept it in earshot."
Sean Paul is currently on the European leg of his tour, which reaches the UK for a show in London on June 5 and Manchester the following day.
Source
"Baby Boy" was the only highlight of her boring performance (along with the bad pictures) I hope she sent him a thank you card.
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'Orphan Black': Watch the first two minutes of Saturday's new episode
Orphan Black is flying a little bit under the radar over on BBC America — but it might be in your best interest to catch up before the last two episodes of this sci-fi nail-biter’s freshman season. Why? Because stuff’s about to go down…
In this exclusive sneak peek at the penultimate episode, airing Saturday at 9 p.m., we pick up moments after last week’s episode, which saw Kira getting hit by a car. Naturally, mom Sarah (recent Critics’ Choice nominee Tatiana Meslany) is freaking out and feeling quite a bit of guilt about the whole situation.
If the description for the episode is to be believed, however, Sarah’s sadness will soon be replaced with a big appetite for revenge. (“Sarah is on the warpath,” it reads).
Watch the video at the source.
Source
Watch the video at the source.
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amfAR's 20th Annual Cinema Against AIDS
Audrey Tautou
Kylie and Andres Velencoso
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Rosie Huntington Whiteley
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Liberty Ross
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Jessica Chastain
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Dita Von Teese
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Kristin Scott Thomas
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Olivia Palermo and Johannes Huebl
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Nicola Roberts
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Paz Vega
Rosie Huntington Whiteley
Liberty Ross
Jessica Chastain
Dita Von Teese
Kristin Scott Thomas
Olivia Palermo and Johannes Huebl
Nicola Roberts
Paz Vega
Sharon Stone
Bonnie Wright
Milla Jovovich
Adrien Brody
Stacey Keibler
Irina Shayk
Goldie Hawn
Ellie Goulding and Jeremy Irvine
Paris Hilton
Tamara Ecclestone and Jau Rutland
Melanie Laurent
Hoft Golan
Anna Dello Russo
Alessandra Ambrosio
Joan Smalls
Karlie Kloss
Chanel Iman
Isabeli Fontana
Toni Garn
Selita Ebanks
Lily Donaldson
Louise Roe
Izabel Goulart
Jeremy Renner
Nicole Kidman
Heidi Klum
Karolina Kurkova
Giovanna Battaglia and Julia Restoin
Petra Nemcova
Janet Jackson
Aishwarya Rai
Rosario Dawson
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President's 1979 prom photo released
Tucked away in someone else’s shoe box of adolescent artifacts, there might be a picture of you in garish clothes and with an outdated ‘do, your arm around a high school squeeze. The President of the United States is no different. These previously unpublished photos, obtained exclusively by TIME from Obama’s schoolmate Kelli Allman (née McCormack), show a 17-year-old Barack Obama on the night of his senior prom.
Barry spent his days at the Punahou School in Hawaii studying, shooting hoops and goofing off with his friends. Greg Orme, a fellow varsity basketball player, was Obama’s constant companion. “They were like brothers,” says Allman. On prom night, the pair double-dated. Obama and his date Megan Hughes, a student at the Hawaii School for Girls at La Pietra, joined Orme at Allman’s house, where the two couples sipped champagne before going to the dance and then an after-party. “It was a really fun, happy time. We were all cracking up, and everyone was smiling,” says Allman. “It was pretty typical from there out as far as what happens at prom: the dinner and the dancing and the photos.”
Millions of American teenagers will go to proms this year. Their photos are more likely to be stored on Facebook than in a shoe box. But it’s fun to imagine that in one of those pictures, there’s a girl in a pastel dress or a lanky guy in a white sport coat who will end up becoming the leader of the free world.
A couple more pics at the source, and you can hear Ann Curry slaughter the pronunciation of Punahou in NBC's story here.
How was your prom ONTD? I bet you didn't look as cool as Barry!
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Rocky Horror Show star Tim Curry, 67, recovering at his LA home after suffering a major stroke
Rocky Horror Show actor Tim Curry is recovering after suffering a major stroke at his home in Los Angeles.
The British star, 67, is said to be 'doing great' following the collapse.
Curry rose to fame as Dr. Frank-N-Furter in the cult musical and went on to a successful stage and film career.
Few details were available about the stroke last night, but sources close to the actor refused suggestions that the stroke had made it difficult for him to speak.
'Tim is doing great,' said his longtime Los Angeles agent Marcia Hurwitz.
'He absolutely can speak and is recovering at this time and in great humour', she added.
Unmarried, he lives in the Hollywood Hills in a Spanish colonial-style villa.
The son of a Methodist Royal Navy chaplain, James, and his school secretary wife, Patricia, Curry is one of Britain’s best-loved character actors.
In 2011, he was scheduled to portray the Player in a Trevor Nunn production of Tom Stoppard’s 'Rosencrantz and Gildenstern are Dead' at the Chichester Festival Theatre and then in London, beween May and August, but he withdrew from the production at the last minute on May 27 citing ill health.
At the time, he was said to be suffering from debilitating asthma attacks after a chest infection.
source
oh no! but glad he is at home and doing better. bless his light.
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Justice League: The Flashpoint Paradox trailer
Source
I don't care for Flash unless him and GL are together, fucking things up and being embarrassingly hilarious
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This is a Nico Mirallegro post to hold you off until Mad Fat Diary returns
Exclusive: 'Spike Island' trailer: Legendary Stone Roses concert in new film
Ick at his hair... Also where the fuck is Ser Jorah, how is that one allowed to touch Khaleesi?
Accused Writer's New BBC1 drama on legal doctrine of joint enterprise also stars Jodhi May and Michael Gambon
Nico Mirallegro, star of The Village, is to appear alongside Daniel Mays in a new one-off BBC1 drama by Accused creator Jimmy McGovern– about the centuries-old legal doctrine of joint enterprise, and how it affects four young men who flee the scene of a fatal stabbing.
Common, which will be feature-length, weaves a story around the potential injustice of a legal principle that was founded in order to prevent aristocratic dueling and is now used to stem gang violence, but which campaigners say can lead to innocent people being jailed.
Along with Mirallegro and Mrs Biggs star Mays, the drama will feature Jodhi May (The Ice Cream Girls), Robert Pugh (Game of Thrones) and Susan Lynch (Monroe).
McGovern said: "When it comes to casting you always have a 'wish list' - a list of actors who'd be perfect for the parts you have written. You never get them of course. They're often too busy or away on holiday or they hate the script or whatever. But on this occasion, I got them all, every single one on my wish list. And I am over the moon.”
Mirallegro, who played First World War soldier Joe in acclaimed BBC1 period saga The Village earlier this year, here plays a 17-year-old called Johnjo who gives his friends a lift to what he thinks is a trip out for pizza. In fact they plan a violent confrontation that ends in death. Under the doctrine of joint enterprise, Johnjo is charged along with the gang.
Mays and Lynch play the victim's parents, with Jodhi May and Andrew Tiernan (Prisoners' Wives) as Johnjo's parents. The supporting cast includes Michelle Farley (Game Of Thrones, Misfits), Jack McMullen (Waterloo Road) and, as a court judge, Michael Gambon.
Common will be directed by regular McGovern collaborator David Blair, who was behind two episodes of last year's run of Accused, including Mo and Sue's Story, for which Olivia Colman won a Bafta. Blair also directed Snodgrass for Sky Arts 1's Playhouse Presents series.
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Man Of Steel Producer Talks Lois Lane, Costume Choices, Alpha Male Rivalry And More…
With Man Of Steel a mere three weeks from release, SFX talks exclusively to Deborah Snyder, producer of this summer’s high-stakes reboot of the Superman legend.
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With a summer blockbuster everyone focuses on the visuals and the spectacle, but what’s the heart of this story, emotionally?
Someone said to me it’s the greatest adoption story in all of history. I think that’s an interesting way of looking at it – maybe because I was just in the process personally of adopting my two children. The people of Earth adopt him and he adopts us, as well. A lot of the messaging in this film is about family, and who makes you who you are. Clark is on this journey of self discovery, trying to figure out who he is and where he fits in, and in the end he comes to see what Jor-El, his Kryptonian father, has sacrificed and given for him. And he also realises how his Earth parents made him who he is. All those themes and notions follow him throughout the whole film. That’s something that resonated with me, even from when we started reading the script and started talking about doing this film.
What about the Lois and Clark relationship? How does that relate to previous incarnations of Superman we’ve seen?
I think that our Lois is a little feistier and stronger. I think both characters are more realistic to us, to society now. Clark to me was always too good to really relate to. He was a little too much this perfect boy scout, and although Lois was feisty and strong she was still always the one being rescued. Not to say that she doesn’t get rescued in our movie, but she rescues him right back, in so many other ways, emotionally. And in our film, in our last setpiece, she has a very strong position. There’s something that she needs to accomplish in this plan in order for it to work. I like seeing that she’s a really strong female character, and very proactive.
So she isn’t just falling off skyscrapers?
No! (laughs) And her apartment is a little more realistic to her job, I think. With the Richard Donner films I was always like “Wow, that apartment – how could she afford that? It’s amazing!”
What were you looking for in the person that would bring your Lois to the screen?
Amy [Adams] is an amazing actor.With all the casting we tried to get the best actors we could, because it just gives it credibility. In so many ways we didn’t look at it as a genre superhero movie – we looked at it as a great story that we were telling, and we wanted to get the best people. Amy embodied so much of Lois – she’s feisty herself and she’s so versatile, and she was really just perfect for the role.
![]( "Hosted by imgur.com")
And what does Michael Shannon bring to Zod? He’s clearly going to be compared to Terence Stamp, who was such an iconic take on that villain…
Michael Shannon is again such a respected actor. He had never done something of this physicality before, so it was challenging for him. All his armour is CG, so he embodied this role by looking at the pictures of what he was going to look like, and how he would move in his armour when he was in a mo-cap suit. You need someone who’s super-seasoned as an actor to pull that off, and he really does. It’s funny, because he’s the nicest guy, but sometimes on set he would be super-serious. He’d be in character and I’d be like “Oh my goodness, he is super-scary!” And then all of a sudden he would finish the scene, he’d break a joke and you’d be like “Oh, that’s Michael, he’s funny…” I forgot that because he’s kind of terrifying too! He just has this intensity that he brings to the role.
And a physicality that has to match what Henry brings to Superman…
He’s a giant, but we really put him through the motions. The training for the role was so much a part of the process of making the film. The guys carried themselves differently as they went through their process of transforming their bodies. It was a really important part of the preparation. You saw Michael’s posture change. As we went along in prep he kept becoming more and more Zod-like, and I’d say the same thing about Henry too. It’s like they would carry themselves differently. It wasn’t that they were wearing a padded suit, they actually filled the suit, but it did something to their performance at the same time, and I think helped them get in the head of their character.
Was there any alpha male competition going on between the two guys?
[laughs] Maybe in the gym. Mark Twight, who trained them, usually pitted them against each other and would post their scores on the board. They’d do the workout and the timings or the weight would be up there for everyone to see. It keeps everyone kinda honest, I think, but also competitive.
Sounds like some serious psychology there…
Yeah!
Was that part of Zack’s plan, to get performances out of them?
I think in a way it was. Over our films we’ve learned a lot about how training really affects the actors and the performances, and I think the mental preparedness they get from the training is really transferable to their role. So I think it does affect it and there is a plan there.
The costume is obviously a crucial part of the Superman iconography. How did you go about bringing it to the screen?
It’s a daunting process, because you want to be true, and we’re very respectful of the canon. But you also have to look at what’s happening on the screen right now with superhero costumes. It has to be relatable to a modern audience. But at the same time you don’t want to say “Who is that? That kinda looks like Superman…” It has to read, at first blush, as Superman. We went through so many iterations of the costume and yes, Zack did try very hard to make the underpants on the outside of the costume work – there are nods to it, with the belt and with some of the side detail on the costume, and that just felt more appropriate to the movie we were making. The other thing that was important for Zack was that the costume not come out of nowhere. It had to have a reason. We were building a world. We go to Krypton and we see this world, and we see that everything has its place. If they’re in space he wanted it to feel like a space suit, and he wanted it to feel like the underlayer that they would maybe put armour over.It’s also a caped society, so when you go to Krypton he wanted to see variations of this costume. And knowing that it was a caped society he wanted that to be evident when we were on Krypton, so when Clark finally finds the costume and puts it on you’ve established where it’s come from.
Were there any comic book touchstones that inspired you, visually or storywise?
It wasn’t one thing in particular – it was more the whole canon of who he is. David Goyer was always our great fact-checker. As we were going along this process of design and development, if there was something we weren’t sure about we’d always call David and he would usually know the answer. And if he didn’t then DC would. But it wasn’t any one particular thing or comic that influenced the film, it was more just generally respecting the canon.
Is it daunting knowing there’s this huge fanbase who know every detail of Superman and who’ll be judging this movie as the latest take on the character they love so much?
Listen, yes, it is daunting. And given our prior work with 300 and Watchmen we’ve kind of taken on these daunting projects! But I don’t think you can look at it that way, because if you do you get paralysed. You have to do your best to respect the canon but also you have to service the story that you’re doing. And you just have to keep focus, because if you start thinking about all these things you lose sight of what’s really important, which is the story, and telling it as best you can, as creatively as you can. So that’s what we focused on.
ALSO You can create the glyph of your Kryptonian House over here. it's super nerdy and fun, I'm House Lor, which means I'm superior, obvs.
Source
3 more weeks. Crying because they still don't sell tickets to this where I live. Thank you for your time.
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With a summer blockbuster everyone focuses on the visuals and the spectacle, but what’s the heart of this story, emotionally?
Someone said to me it’s the greatest adoption story in all of history. I think that’s an interesting way of looking at it – maybe because I was just in the process personally of adopting my two children. The people of Earth adopt him and he adopts us, as well. A lot of the messaging in this film is about family, and who makes you who you are. Clark is on this journey of self discovery, trying to figure out who he is and where he fits in, and in the end he comes to see what Jor-El, his Kryptonian father, has sacrificed and given for him. And he also realises how his Earth parents made him who he is. All those themes and notions follow him throughout the whole film. That’s something that resonated with me, even from when we started reading the script and started talking about doing this film.
What about the Lois and Clark relationship? How does that relate to previous incarnations of Superman we’ve seen?
I think that our Lois is a little feistier and stronger. I think both characters are more realistic to us, to society now. Clark to me was always too good to really relate to. He was a little too much this perfect boy scout, and although Lois was feisty and strong she was still always the one being rescued. Not to say that she doesn’t get rescued in our movie, but she rescues him right back, in so many other ways, emotionally. And in our film, in our last setpiece, she has a very strong position. There’s something that she needs to accomplish in this plan in order for it to work. I like seeing that she’s a really strong female character, and very proactive.
So she isn’t just falling off skyscrapers?
No! (laughs) And her apartment is a little more realistic to her job, I think. With the Richard Donner films I was always like “Wow, that apartment – how could she afford that? It’s amazing!”
What were you looking for in the person that would bring your Lois to the screen?
Amy [Adams] is an amazing actor.With all the casting we tried to get the best actors we could, because it just gives it credibility. In so many ways we didn’t look at it as a genre superhero movie – we looked at it as a great story that we were telling, and we wanted to get the best people. Amy embodied so much of Lois – she’s feisty herself and she’s so versatile, and she was really just perfect for the role.
And what does Michael Shannon bring to Zod? He’s clearly going to be compared to Terence Stamp, who was such an iconic take on that villain…
Michael Shannon is again such a respected actor. He had never done something of this physicality before, so it was challenging for him. All his armour is CG, so he embodied this role by looking at the pictures of what he was going to look like, and how he would move in his armour when he was in a mo-cap suit. You need someone who’s super-seasoned as an actor to pull that off, and he really does. It’s funny, because he’s the nicest guy, but sometimes on set he would be super-serious. He’d be in character and I’d be like “Oh my goodness, he is super-scary!” And then all of a sudden he would finish the scene, he’d break a joke and you’d be like “Oh, that’s Michael, he’s funny…” I forgot that because he’s kind of terrifying too! He just has this intensity that he brings to the role.
And a physicality that has to match what Henry brings to Superman…
He’s a giant, but we really put him through the motions. The training for the role was so much a part of the process of making the film. The guys carried themselves differently as they went through their process of transforming their bodies. It was a really important part of the preparation. You saw Michael’s posture change. As we went along in prep he kept becoming more and more Zod-like, and I’d say the same thing about Henry too. It’s like they would carry themselves differently. It wasn’t that they were wearing a padded suit, they actually filled the suit, but it did something to their performance at the same time, and I think helped them get in the head of their character.
Was there any alpha male competition going on between the two guys?
[laughs] Maybe in the gym. Mark Twight, who trained them, usually pitted them against each other and would post their scores on the board. They’d do the workout and the timings or the weight would be up there for everyone to see. It keeps everyone kinda honest, I think, but also competitive.
Sounds like some serious psychology there…
Yeah!
Was that part of Zack’s plan, to get performances out of them?
I think in a way it was. Over our films we’ve learned a lot about how training really affects the actors and the performances, and I think the mental preparedness they get from the training is really transferable to their role. So I think it does affect it and there is a plan there.
The costume is obviously a crucial part of the Superman iconography. How did you go about bringing it to the screen?
It’s a daunting process, because you want to be true, and we’re very respectful of the canon. But you also have to look at what’s happening on the screen right now with superhero costumes. It has to be relatable to a modern audience. But at the same time you don’t want to say “Who is that? That kinda looks like Superman…” It has to read, at first blush, as Superman. We went through so many iterations of the costume and yes, Zack did try very hard to make the underpants on the outside of the costume work – there are nods to it, with the belt and with some of the side detail on the costume, and that just felt more appropriate to the movie we were making. The other thing that was important for Zack was that the costume not come out of nowhere. It had to have a reason. We were building a world. We go to Krypton and we see this world, and we see that everything has its place. If they’re in space he wanted it to feel like a space suit, and he wanted it to feel like the underlayer that they would maybe put armour over.It’s also a caped society, so when you go to Krypton he wanted to see variations of this costume. And knowing that it was a caped society he wanted that to be evident when we were on Krypton, so when Clark finally finds the costume and puts it on you’ve established where it’s come from.
Were there any comic book touchstones that inspired you, visually or storywise?
It wasn’t one thing in particular – it was more the whole canon of who he is. David Goyer was always our great fact-checker. As we were going along this process of design and development, if there was something we weren’t sure about we’d always call David and he would usually know the answer. And if he didn’t then DC would. But it wasn’t any one particular thing or comic that influenced the film, it was more just generally respecting the canon.
Is it daunting knowing there’s this huge fanbase who know every detail of Superman and who’ll be judging this movie as the latest take on the character they love so much?
Listen, yes, it is daunting. And given our prior work with 300 and Watchmen we’ve kind of taken on these daunting projects! But I don’t think you can look at it that way, because if you do you get paralysed. You have to do your best to respect the canon but also you have to service the story that you’re doing. And you just have to keep focus, because if you start thinking about all these things you lose sight of what’s really important, which is the story, and telling it as best you can, as creatively as you can. So that’s what we focused on.
ALSO You can create the glyph of your Kryptonian House over here. it's super nerdy and fun, I'm House Lor, which means I'm superior, obvs.
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3 more weeks. Crying because they still don't sell tickets to this where I live. Thank you for your time.
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Amanda: Arrested for Marijuana Possession and Bong Tossing + Mug shot
Amanda Bynes Mug Shot -- Short Hair and a Scowl
Amanda Bynes had to remove her platinum blonde wig when she posed for her mug shot last night ... revealing a super short hair cut ... and Bynes didn't appear happy about it.
Bynes sported a scowl and a black shirt when she posed for the photo ... following a bong-throwing arrest in NYC last night.
The 27-year-old actress arrived to court this morning to face a judge -- wearing the wig again -- but it was clear she didn't want to be photographed.
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Bynes sported a scowl and a black shirt when she posed for the photo ... following a bong-throwing arrest in NYC last night.
The 27-year-old actress arrived to court this morning to face a judge -- wearing the wig again -- but it was clear she didn't want to be photographed.
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Amanda Bynes -- Arrives to Court ... with Platinum Wig
Amanda Bynes has just arrived to court to face a judge about her bong-throwing arrest in NYC last night ... sporting the same clothes and platinum blonde wig she was wearing last night.
Bynes was led into the courtroom in handcuffs ... after spending the night in jail ... and asked photogs not to shoot her as she tried to hide her face.
As we previously reported, Bynes was booked for marijuana possession, tampering with evidence and reckless endangerment after cops say she chucked a glass bong out of her apartment window.
Story developing ...
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Bynes was led into the courtroom in handcuffs ... after spending the night in jail ... and asked photogs not to shoot her as she tried to hide her face.
As we previously reported, Bynes was booked for marijuana possession, tampering with evidence and reckless endangerment after cops say she chucked a glass bong out of her apartment window.
Story developing ...
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Amanda Bynes -- Arrested for Marijuana Possession and Bong Tossing
Amanda Bynes was arrested in her NYC apartment Thursday night for marijuana possession and throwing evidence out the window ... TMZ has learned.
According to law enforcement sources ... a building official called police after spotting Amanda in the lobby with a joint, acting erratically and talking to herself. We're told when cops arrived they knocked at her door and she let them in.
Our sources say when police saw the bong Amanda quickly tossed it out the window ... which fortunately didn't hit anyone on the street below.
Amanda, who was wearing a platinum blonde wig, was placed under arrest and went ballistic, yelling, "Don't you know who I am?"
She was booked for criminal possession of pot, as well as reckless endangerment and FELONY tampering with evidence.
Our law enforcement sources say Amanda was briefly taken to a hospital for psychiatric evaluation and then taken to the station for booking.
But the cop shop wasn't the last stop. A cuffed Amanda was then taken to night court just before midnight. She's still there in a holding cell, waiting for a judge. She should get a hearing sometime this AM.
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According to law enforcement sources ... a building official called police after spotting Amanda in the lobby with a joint, acting erratically and talking to herself. We're told when cops arrived they knocked at her door and she let them in.
Our sources say when police saw the bong Amanda quickly tossed it out the window ... which fortunately didn't hit anyone on the street below.
Amanda, who was wearing a platinum blonde wig, was placed under arrest and went ballistic, yelling, "Don't you know who I am?"
She was booked for criminal possession of pot, as well as reckless endangerment and FELONY tampering with evidence.
Our law enforcement sources say Amanda was briefly taken to a hospital for psychiatric evaluation and then taken to the station for booking.
But the cop shop wasn't the last stop. A cuffed Amanda was then taken to night court just before midnight. She's still there in a holding cell, waiting for a judge. She should get a hearing sometime this AM.
src
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Cannes fashion post
AMFAR gala
Un Certain Regard Jury Call
Only God Forgives premiere
Dior Cruise Collection
Great Gatsby premiere
Jeune et Jolie premiere
Vie d'Adele première
Vie d'Adele photocall
The Great Gatsby premiere
Jeune et Jolie
Bling Ring photocall
Bonus Katie Chang
Bling Ring premiere
The Past photocell
The Past premiere
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Only God Forgives Clip
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TM2's Leah Gets A New Tattoo
Leah's new ink features a flock of birds flying up her shoulder, along with the quote "Sometimes you've gotta fall before you fly … J.L.C." J.L.C stands for Jeremy Lynn Calvert, the full name of Leah's doting husband.</b> </b>The happy couple have been married for a little over a year, and Leah gave birth to their daughter, Adalynn, back in February.
Of course, this isn't Leah's first time at the tattoo rodeo. This Southern belle has a heart tattoo on her wrist (which she got with the rest of the Teen Mom 2 cast), a fleet of colorful stars behind her ear (which she got on a romantic date with her ex-hubby, Corey Simms), "Grace" and "Hope" written on each foot, and a huge tree on her mid-back.
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Michelle Rodriguez: People don't respect sluts
Michelle Rodriguez doesn't just play a butt-kicking babe in the The Fast and the Furious franchise -- she's just as tough offscreen, too. Before the first film began production in 2001, the 34-year-old actress fought with producers to make her character, Letty Ortiz, more than just eye-candy for Vin Diesel's Dominic Toretto and Paul Walker's Brian O'Conner.
"Originally this girl was a slut. Girls don't respect girls that are this way, and guys don't respect girls that are this way. They want to bang them, or they make a good one-night stand, but no man respects a floozy," Rodriguez tells Vulture. "If you're an individual within this franchise, the third lead, or the fourth lead, nobody's going to be paying attention to your story but you. Because you know what, the writers and producers are a little bit busy coming up with all the action and the last thing on their mind is the integrity of the individual character's story lines. So it's the people who actually fight for their characters who win in the end."
Rodriguez's efforts proved to be successful, as she convinced writers to give her character more depth. "I was crying on the set. I was like, 'Look, dude, I love you guys, I really want to be a part of this, but I can't play a slut in front of millions of people around the world,'" she recalls. "I'd rather go back to Jersey City, doing my small little indie movies."
The actress credits one particular superstar for paving the way for female heroines. "It's not until now, post–Angelina Jolie, doing her thing as a woman who can actually bring box office, that you can make money with a woman who's respectable and kicking ass in a movie," Rodriguez explains of Jolie, 37. "It changes the game for writers. Before there was no incentive for them to take the girl out of being captured or being the girlfriend."
Though Letty was presumed dead in 2009's Fast & Furious (the series' fourth installment), Rodriguez held out hope her character would return. "I begged them to leave open the possibility of me coming back," she recalls.
When Rodriguez got the call that producers wanted her back for Fast & Furious 6, she was overcome with emotion. "There's two things that happen. First you feel this love, this warm, fuzzy feeling in your chest, where you're like, 'Wow, all that hard work I put into making Letty a respectable character, that work was appreciated.' Then there's the second part that happens, and that's that sense of responsibility and massive amount of pressure. 'All right, they brought you back, now prove you're worth it,'" she tells Vulture. "It was a mixture of emotions that I went through when I found out that the people wanted me back and that the studio was receptive to that."
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Alia Shawkat Talks ARRESTED DEVELOPMENT, Discovering Maeby Fünke As an Adult
Much to the surprise and joy of every Arrested Development fan, the Emmy Award-winning comedy series following the wildly eccentric and entertainingly dysfunctional Bluth family is back with 15 new episodes debuting on Netflix on May 26th. Having seen the first new episode, I can say that the show is as twisted and funny as ever, and feels like it hasn’t missed a beat in the seven years since the last episode aired. From creator/writer Mitch Hurwitz, the series stars Will Arnett, Jason Bateman, Michael Cera, David Cross, Portia de Rossi, Tony Hale, Alia Shawkat, Jeffrey Tambor and Jessica Walter.
At the show’s press day, actress Alia Shawkat spoke to Collider for this exclusive interview about when she realized that the show’s return was actually real, the concern that they wouldn’t live up to the memory fans have of it, what it was like to read that first script again, the constant spontaneity they had on set, how easy it was to get confused while shooting 15 episodes simultaneously, what the first day back was like, why binge watching is the best way to watch these episodes, that she had to discover who Maeby Fünke was, as an adult, how exciting it was to have an episode centered around her character, just how little improvisation actually goes on, on set, and how, even though there are no firm plans for more episodes or a movie, at this point, that she’s always willing to keep playing Maeby. Check out what she had to say after the jump.
Collider: Was there a specific moment when you realized that it was finally going to actually happen?
ALIA SHAWKAT: Yeah. For seven years, it happened sporadically, throughout, thinking it was going to happen. I never really thought it was going to happen, honestly, until Netflix got involved. That’s when it became more serious and a deal was made. I was actually out of the country shooting and I got a call from the wardrobe designer who said, “We are having a fitting next week.” I was in the Middle East, so I was like, “Well, I don’t know when that’s going to happen.” And then, I got a call the next day that was like, “You’re flying back because you’re shooting in three days.” I was like, “Okay, good.” That’s when I really knew it was happening. Even half-way through shooting, I still didn’t know. I still don’t know if it’s happening.
Were you worried, at any point, that even if everything came together, it wouldn’t live up to the memory that fans had of it?
SHAWKAT: Yeah, I think that’s always a concern for anything that comes back. But, as an actor, that pressure was never on my shoulders. Maybe it was for (show creator) Mitch [Hurwitz] and the writers, but they never seemed like it. I think the spirit of the show, just wanting to make something funny, interesting and edgy, and just doing everything that they think is funny and new, continued in these episodes. There was such a big excitement. It was so cool for Netflix to take interest, but the spirit was the same. They were like, “Let’s just make a funny, great show.” They made it such a great shooting experience, just because it was fun.
What was it like when you when you read the first script back?
SHAWKAT: I remember getting the first one and being very, very excited about it. It was hilarious! And then, after a couple weeks, I told them not to bring me any more scripts because they would change every 10 minutes. Just to save paper, I was like, “Don’t send it to me anymore.” Also, they would change a lot, on the day. We’d show up and they’d be like, “Scratch that scene, we’re doing this. Here it is.” We’d do it fresh, and then Mitch would be like, “Okay, keep rolling and I’m going to shout out lines.” Everything was just so fresh that, for me to maintain my sanity, I didn’t want the scripts ahead of time. Also, I was shooting stuff from episodes that hadn’t even been fully written yet. As an actor, I was like, “I just need to know what I’m doing right now.” Mitch was the only one who could give me that answer, so we just went step by step.
Did you have that same kind of spontaneity when you did the show before?
SHAWKAT: To a degree, but not as extreme because we would at least just be shooting one episode at a time. But, they would change scenes moments before, back then, too. It was always about, “What’s the funniest thing now?” They’d write the plotlines and those would remain the same, as they did this time around too, but the actual dialogue or strange little jokes that were put in the background were all added in, last minute. And that definitely was the case, this time around. I think it felt more on an extreme level because we were shooting 15 episodes, simultaneously. Within one day, I would be shooting scenes from five different episodes, which is hard to keep track of. Mitch was the only one who really knew how to do that.
Does that make it strange to see it all put together, then?
SHAWKAT: Yeah. I’ve only seen “Michael Pt. 1″ and “Michael Pt. 2,” so I’m really looking forward to seeing how it all ties together. But, watching those first two episodes is very surreal. The timing, the editing and the music is just like the show was, but with so much more content and higher stakes. I’m really excited to see how the rest of it pulls together ‘cause we shot so much. I think all of it is being used, but I just don’t know in whose episode. I’m in almost everyone’s episode, but I don’t know what’s going to be shown or how they decided to work storylines together. It’s very exciting to see how they weave it.
Was it hard not to get confused, on set?
SHAWKAT: Oh, yeah. I was very confused. I was confused, all the time. But, because of the style of the show, performance wise, I trust Mitch so much. He was there the whole time, so if I had any questions, he could answer them fully. So, I always felt like we were able to get the moment that we needed for the funniest performance to come out. But, yeah, it was definitely unsettling for the first two weeks. I was like, “I really don’t know if I’m even acting, at all. I don’t know what I’m doing.” But, Mitch reassured me.
What was the first day back on set like?
SHAWKAT: The first day, we were shooting at Occidental College, and it was me, Michael Cera and Jason Bateman. I couldn’t believe we were doing it. Especially having only read a couple of episodes, I still had no idea where it was going to go, so it was very surreal. It didn’t even sink in until the second week, when I was like, “Oh, my gosh, we’re really doing this.” The more scenes we did, the closer we got to understanding this whole storyline.
Do you think Netflix releasing all of these episodes at once will be helpful, and is that the way you like to watch television?
SHAWKAT: Definitely. I’m not a huge TV person, but when I do watch, it’s always after the fact because I like to binge watch. It’s more entertaining for me to watch these characters fresh, after one episode, instead of waiting a whole week. Even though it sounds cheesy, it’s the wave of the future. I think Netflix is on top of things and ahead of the curve, in that way. Just the way people are watching entertainment, in general, this just seems like the natural progression of where things are going to go. I think Arrested Development is the perfect marriage with Netflix, for that reason, because it is so plot heavy and there are so many jokes that tie in throughout all the episodes. The show was like that before, but it’s even more like that now because it’s been made to frame this format. I think it’s the perfect combination because that’s just the way the show should be seen.
Is it nice to feel like Netflix is very much about letting the artists have their creative freedom?
SHAWKAT: Yeah, very much so. Ted Sarandos, the head of Netflix, would just show up on set and have lunch with us, and we’d be laughing and talking about jokes. They’re very confidant and very supportive. Who couldn’t be, in the hands of Mitch Hurwitz? But, they have a very good relationship. Netflix has just been so great to us, the way that they’re advertising and really pushing it. It says a lot. It’s really nice.
Did you feel like you had a sense of closure with the show, the first time around, or did it feel like it needed more?
SHAWKAT: American shows can go on for 20 years. I respond more to the British format. Three seasons is a long run for them to tell a story. In a way, I think the first three seasons were a great amount. It was lucky to have that, and it told the story in a beautiful way. I think the characters are so interesting and so fun, and audience members still wanted more. The fact that so many people, after the fact, have discovered the show and love it so much, proved that it wasn’t done and that people haven’t had enough of it. People are discovering it, as we speak, and that’s a very rare thing.
Because it had been a few years, did Maeby Fünke feel like a character that you had to find again, or did she just come right back to you?
SHAWKAT: It definitely was a character that I had to find again, especially because I was a teenager when we wrapped, and not only am I an adult now, but I’ve had all of these experiences, work wise and with life experience. Maeby now is an adult, too. The writing definitely guided me that way, to see where she took off and where she is now. But, it took a couple weeks to really get back into the saddle and figure out the rhythm again and see where she is now. Maeby has actually kind of regressed. In the last season, she was a child, acting like an adult. Now, she’s an adult, acting more like a child. I think it’s an interesting shift. It’s very well written, so I’m excited to see how it pans out.
Did the dynamics between the actors feel different on set, especially with you and Michael Cera both being adults now?
SHAWKAT: Yeah, definitely. I think I was a little intimidated, when I first came back, because I was projecting all over myself. I was like, “I’m not a kid anymore. I need to prove I’m not a kid anymore.” That faded within a couple of days, just because I realized it was my own shit that I had to deal with. When you get back together and see people, after many years, it always changes, in any work environment. But in acting and making a TV show, it’s definitely different because you have scenes with these people and maybe the way you approach the characters is different. It definitely was a different shift, but it was really fun to discover it on set, even though it was nerve-wracking at times.
How much fun was it to have a “Maeby” episode, centered around your character?
SHAWKAT: It was exciting. It was a weird present to look forward to. I was like, “I wonder what my episode will be like.” It was really fun. It was greater and funnier than I ever thought it could be. My character is in a lot of the other episodes, so I was shooting a lot of scenes before I even knew what was happening in my episode, but it was really fun. It is pretty cool to be a part of nine cast members, and be able to be one person who has their own episode. It was really special. I think Mitch gives a lot of respect to the characters because there is so much content. It’s like one huge episode, instead of a bunch of different episodes. It’s an interesting format, and I think it gives the fans more time with each character, which the characters deserve, after all these years.
Will fans get to learn things about your character that they didn’t know before?
SHAWKAT: Yeah, definitely. There were things revealed that I didn’t even know about my character. There’s a lot of weird shit that she gets involved with. She does regress. She’s a very confident character, who used to get away with a lot of shit when she was younger, but that bites her in the ass a little more, this time around. She’s still always trying to get the attention of her parents, but her old ways aren’t working as well as they used to, anymore.
When comedy works and a show is funny, people tend to assume that you guys all must be improvising because you’re such funny people and it seems so natural to you. Is there much improvisation actually going on, on set?
SHAWKAT: Very little. I think that’s a testament to the writing, that it seems like improv. I think David Cross, more than anyone, does improvise, but it’s always added on to the end, or it’s something at the beginning. When I was younger, I think on the second season, there’s a scene where I come in and I have a C–, and I go, “C–, m-i-n-e-s,” because it’s spelled with a “u-s.” I improvised that and I was really nervous. I thought of the line and I thought it was funny, but we were waiting to roll and I was nervous and intimidated and like, “Oh, I hope they like it.” So, I did it and they thought it was funny, and I was like, “Oh, my god, it worked!” But, the show is so funny, why mess with a good thing? So, it’s a very slight amount. I never felt the need to really do it too much, but I did have that one.
Now that these 15 episodes are done, does it feel like things are finished again, or does it feel like there’s a possibility of more episodes or a movie?
SHAWKAT: It’s strange because 15 episodes took six months to shoot, and it’s been a long journey to get here, and people are still like, “So, what’s next?” It’s like, “Wait! The freakin’ episodes haven’t even come out yet!” As an actor, I’m just taking it one step at a time. When I wrap a job, I disconnect with it and I’m done, even if they said we’d shoot more next year, at this time, which is not the case at all because nobody knows what’s happening. So, I’m just taking it one step at a time. This was great. This was so much fun. I’m always willing to keep playing Maeby. But for now, it’s just this.
Arrested Development is available on Netflix on May 26th.
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Is India.Arie copying Legendtina with new album cover artwork?
We have been waiting for years for a new India.Arie disc. It has been a while since the singer/songwriter graced our playlists with new music. But, as you might know, we are huge fans of music artwork and this struck a chord with us. It seems that the motif, colors and pose of the new India Arie album SongVersation looks and feels like Christina Aguilera’s Lotus. India’s sleeve looks like the GCC censored version of the Lotus cover! The resemblance is uncanny, we thinks.
What do you guys think?
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More Pages to Explore .....
