I’ve never heard of Emma Rigby before but according to Wiki, she is a British soap star. She’s also a girl who looks pretty damn good in a red bikini. Here she is vacationing in Miami and hopefully we’ll get to see more pictures of her in the upcoming days.
Three Oscar nominees including Kirby Dick ( The Invisible War ), Malik Bendjelloul ( Searching for Sugar Man ) and David France ( How to Survive a Plague ) are among the five nominees for the Directors Guild of America’s “Outstanding Directorial Achievement in Documentary” award. The winners will be unveiled at the 65th annual DGA Awards Dinner on February 2nd at the Ray Dolby Ballroom at Hollywood and Highland in Los Angeles. Kelsey Grammar will host the DGA Awards. “Whether shining a light on sweeping injustice or bringing us along on an intimate journey, the best documentaries challenge and enlighten us and this year’s nominees are no exception,” said DGA president Taylor Hackford in a statement. “The powerful work of these nominated directors is a true testament to the skill and significance of non-fiction storytellers.” The nominees for the 2012 Directors Guild of America Award for Outstanding Directorial Achievement in Documentary: Kirby Dick , The Invisible War , (First-time nomination) Rise Films, ITVS, Fork Films, Cuomo Cole Productions, Canal Plus, Chain Camera Pictures Malik Bendjelloul , Searching for Sugar Man , (First-time nomination) Sony Pictures Entertainment, Passion Pictures Production, Canfield Pictures & The Documentary Company, Red Box Films Lauren Greenfield , The Queen of Versailles , (First-time nomination) Magnolia Pictures, Evergreen Pictures, BBC Storyville, Impact Partners, Candescent Films, Plus Pictures, DR, VPRO, Queen of Versailles LLC David France , How to Survive a Plague , (First-time nomination) Public Square Films, Ford Foundation/Justfilms Impact Partners, How to Survive a Plague LLC Alison Klayman , Ai WeiWei: Never Sorry , (First-time nomination) United Expression Media, Muse Film and Television, Never Sorry LLC
From Hugh Jackman and his Mrs. to Jessica Chastain, MTV News takes you behind the scenes of Sunday’s dementedly delightful celebapalooza. By Josh Horowitz Photo: Josh Horowitz/MTV News
According to reports, director Zack Snyder is developing a ‘Star Wars’ film separate from the upcoming trilogy. By Kevin P. Sullivan Zack Snyder Photo: Polk Imaging/FilmMagic
‘Django Unchained’ filmmaker shocks press backstage at Golden Globes by addressing his film’s controversies head-on. By Josh Wigler, with reporting by Josh Horowitz Quentin Tarantino at the 2013 Golden Globes Photo: Getty Images
Argo received eight Oscar nominations and has grossed over $166.4 million at the box office worldwide and now Iran wants in on the action. But don’t expect the Islamic Republic to toe the line of how events transpired in the version directed and starring Ben Affleck . [ Related: Iran A Possible Oscar No-Show After Boycott Threat AND Ben Affleck Goes For Gracious Post-Oscar Passover ] Iranian director Ataollah Salmanian an Iranian news agency that he is making a counter-feature to Affleck’s film which is based on the true story of a C.I.A. plan to rescue six Americans from Tehran during the outset of the Iran hostage crisis in 1979. Titled The General Staff , Salmanian told the news agency his film “should be an appropriate response to the ‘a-historic’ film Argo ,” according to BBC. Not surprisingly, Argo has ruffled feathers in the Iranian hierarchy and Salmanian is hoping to receive funding from the Middle Eastern country’s government. Iran has long had a contentious relationship with its filmmaking community even as its filmmakers won awards around the world. Last year Asghar Farhadi’s A Separation won the Academy Award for Best Foreign-Language film. Despite praise for the win at the time, the country’s establishment banned its filmmakers from submitting to the Oscars race officially due to the controversy surrounding the anti-Islam video that hit YouTube last year, Innocence of Muslims . Others have faced persecution and silence including celebrated director Jafar Panahi who served house arrest and later prison. The director documented his house-arrest in This Is Not a Film , which was smuggled out of Iran in a Flash-Drive and hidden inside a cake. It later screened at the 2011 Cannes Film Festival and other festivals. [ Source: The Guardian ] Follow Movieline on Twitter .
New in theaters, Emma Stone is bringing a hefty dose of sex appeal to the crime drama Gangster Squad (2013), but stays skingy by only baring a hint of side boob. Also non-nude, Alanna Ubach will tickle your funny bone in the paranormal spoof A Haunted House ( 2013 ) , but to get your other bone tickled, see her 3B’s in the series Hung . Finally, Zero Dark Thirty is expanding in theaters this week, and star Jessica Chastain can cause some expansion in your pants thanks to her previous nude roles in Lawless (2012) and Jolene (2008). More after the jump!
The Berlin International Film Festival added nine titles to its 2013 competition lineup, including Steven Soderbergh ‘s latest, Side Effects , starring Jude Law and Channing Tatum , which will have its International Premiere at the February event. [ Related: Matt Damon’s ‘Promised Land’ Among Early Berlin Film Festival Titles ] Also joining the competition is Shia LaBeouf and Evan Rachel Wood starrer The Necessary Death of Charlie Countryman about a guy who falls for a woman who’s ‘claimed’ by a violent crime boss. And celebrated Iranian filmmaker whose house arrest was documented in a feature last year titled This Is Not a Film will premiere is latest, Closed Curtain . Added Berlinale Competition films: Camille Claudel 1915 , France By Bruno Dumont (The Life of Jesus, Humanity, Flanders) With Juliette Binoche, Jean-Luc Vincent World Premiere Elle s’en va ( On my Way ), France By Emmanuelle Bercot (Clément, Backstage, Les infidèles) With Catherine Deneuve World Premiere Epizoda u životu berača željeza ( An Episode in the Life of an Iron Picker ), Bosnia and Herzegovina/France/Slovenia By Danis Tanovic (No Man’s Land, Hell, Circus Columbia) With Senada Alimanovic, Nazif Mujic, Sandra Mujic, Semsa Mujic World Premiere Gold , Germany By Thomas Arslan (Dealer, Vacation, In the Shadows) With Nina Hoss, Marko Mandic, Uwe Bohm, Lars Rudolph, Peter Kurth, Rosa Enskat, Wolfgang Packhäuser World Premiere La Religieuse ( The Nun ), France/Germany/Belgium By Guillaume Nicloux (The Flying Children, A Private Affair, That Woman) With Pauline Etienne, Isabelle Huppert, Louise Bourgoin, Martina Gedeck World Premiere Layla Fourie , Germany/South Africa/France/Netherlands By Pia Marais (The Unpolished, At Ellen’s Age) With Rayna Campbell, August Diehl, Rapule Hendricks World Premiere The Necessary Death of Charlie Countryman , USA By Fredrik Bond – feature debut With Shia LaBeouf, Evan Rachel Wood, Mads Mikkelsen, Til Schweiger, Rupert Grint, James Buckley International Premiere Parde ( Closed Curtain ), Iran By Jafar Panahi (The Circle, Offside, This Is Not A Film) and Kambozia Partovi (The Fish, Café Transit) With Kambozia Partovi, Maryam Moghadam,Jafar Panahi, Hadi Saeedi, Azadh Torabi, Agha Olia, Zeynab Khanum, Boy World Premiere Side Effects , USA By Steven Soderbergh (sex, lies, and videotape; Erin Brockovich, Haywire) With Jude Law, Rooney Mara, Catherine Zeta-Jones, Channing Tatum International Premiere
Quentin Tarantino probably had a vastly different idea of how the months leading up to the 85th Academy Awards would transpire for him. As he began to promote Django Unchained , he no doubt expected to spend the majority of Awards Season talking about America’s legacy of slavery, about his decision to portray it as unambiguously horrific, and how the peculiar institution has historically been treated in film. That’s how this awards season started, of course. At the beginning of December, Tarantino was explaining that his goal was to make audiences feel, viscerally, the brutality of slavery. Later in the month, he was making the very excellent point that the legacy of slavery continues to this day , in the form of America’s massive prison complex and the war on drugs. ‘Django Unchained’ & The Sandy Hook Shooting Unfortunately, just 10 days before Django Unchained premiered, the massacre in Newtown, CT happened. Making matters worse, in the weeks since Sandy Hook there have been a succession of other mass shootings. (In fact, there was another school shooting Thursday, near Bakersfield, CA). As a result, all anyone is talking about is the influence of violent media on actual, real world violence, and unluckily for Tarantino, the conversation about slavery has been terminated and replaced with nearly constant demands to address the dubious notion that his violent films may contribute to that problem. Perhaps that’s why he’s beginning to lose his shit about the issue. Now generally, Tarantino’s responses to these questions have been measured; he’s made the excellent case again and again that, no, his movies are not responsible for societal violence. That’s changed somewhat since the beginning of the new year. Speaking to NPR on January 3, Tarantino got rather testy with Terry Gross , but that was nothing, compared to his low-temperature freak-out aimed at the U.K.’s Channel 4 news host, Krishnan Guru-Murthy. The Question About Violence In Movies That Shut The Interview Down “Why are you so sure there is no link between people enjoying movie violence and people enjoying real violence?,” Guru-Murthy asked, during an interview that aired last night. Tarantino’s response revealed, like nothing else, that he’s getting goddamned tired of talking about this. “I’m going to tell you why I’m so sure? You’re not asking me a question like that. I’m not biting. I refuse your question. I refuse your question,” he said. “I’m not your slave and you are not my master,” he continued. “You can’t make me dance to your tune. I’m not a monkey. I am saying I refuse.” Tarantino then added, “The reason I don’t want to talk about is because I’ve said everything I have to say about it. If anyone cares what I have to say about it, they can Google me and see 20 years of what I have to say about it.” It’s hard to blame Tarantino for being extremely annoyed with the whole thing. Hell, I’m annoyed with the whole thing. Django Unchained has been unfairly singled out for scorn despite hardly being unique in how violent it is, and one can’t help but feel that the conversation about it has changed less because of a sudden rediscovered concern about how violent his films are, but because people would so much rather talk about something that feels nebulous, like societal violence, rather than talk about something that remains, almost 150 years after being abolished, a very taboo subject. So it’s absolutely appropriate that Tarantino rejects the premise. However, this conversation is happening whether he likes it or not, especially after Django Unchained’ s five Oscar nominations. And outbursts like this are going to make him an easy target for stupid people who think Americans are so impressionable that we can’t watch a fictional depiction of violence without immediately running out to kill our neighbors. (Not to mention rather dishonest people who enjoy stirring up tabloid-levels of moral outrage just for fun.) Falling back on the dodge that he’s already said everything that must be said on the issue is just going to make media-concern trolls even more determined to play gotcha with him — especially when his angry outbursts contain terminology that, considering what Django Unchained is actually about, are rather… unfortunate. So if nothing is going to make the question go away, maybe the time has come for him to figure out a way to change the subject back to what it should be. I keep waiting for someone to ask him what I think is a far more interesting question about violence in America. America has a long history of pretending half the country didn’t start a war that killed nearly a million people just to keep their slaves, The manufacturers of our popular culture also have a history of minimizing just how bad slavery actually was for the enslaved, and of course,there’s also the country’s unwillingness to discuss the continued disenfranchisement and oppression of the descendants of those slaves. Doesn’t that, more than any film ever could, contribute to a national culture that seems terrifyingly comfortable with acts of massive public violence? Maybe, maybe not, but since no one else is asking, maybe it’s time Tarantino said it for them. It might not make the idiotic conversation stop, but it makes for a better quote than the word ‘monkey.’ Ross Lincoln is a LA-based freelance writer from Oklahoma with an unhealthy obsession with comics, movies, video games, ancient history, Gore Vidal, and wine. Follow Ross Lincoln on Twitter. Follow Movieline on Twitter .
After Lindsay Lohan’s got busted for allegedly slugging another woman at a New York nightclub in November, I wrote her off as a lost cause , but Stephen Rodrick’s fascinating New York Times piece about Paul Schrader’s making of The Canyons with Lohan left me thinking that there’s still a talented actress in that scandal-ravaged psyche worth saving. Although Lohan exhibits plenty of ridiculous (and tragic) behavior in the story that would prove my original point, and the media has predictably chosen to run with that, I was struck by a few passages in the story that indicate Lohan is more than just a self-destructive starlet whose career is hanging by a thread. Here are three of them: “The next day, Lohan arrived relatively on time for a makeup test. She sat behind a table with a can of Sprite, looked into the camera and flashed a wholesome smile that would not have been out of place in the world’s best soda commercial. Schrader grabbed my arm and pointed at Lohan’s image. ‘See? That’s why we put up with all the crap. You can shoot bad movies with actresses who are always on time. But look! The rest is just noise.’” Then there’s Rodrick’s description of Lohan’s preparation for a scene in which she was required to be scared and emotionally naked: “All that remained was to get a close-up of Deen touching Lohan’s face with a blood-streaked finger. Only half of Lohan’s face would be in the shot. Most actresses would pop in some Visine to well their eyes with tears and be done with it. Instead, Lohan went back to her room, and everyone waited. I was standing by her door, and soon I could hear her crying. It began quietly, almost a whimper, but rose to a guttural howl. It was the sobbing of a child lost in the woods. She came out of her room, and I watched the shot on a monitor. Now, without the garish makeup, Lohan looked sadly beautiful, and it was easy to see why men like Schrader were willing to put their lives in her hands.” The last excerpt appears at the very end of the story when, after all of the drama of shooting The Canyons, Rodrick asks the writer of Taxi Driver and the director of Affliction and the underrated Auto Focus , if he regretted casting Lohan: “He shook his head. “No, she’s great in the film.” Schrader then told me a secret. Until the screening disaster, Schrader had been in talks with Lohan to star in a remake of John Cassavetes’s “Gloria,” about a woman on the run from the mob. The director lighted up, childlike; hope triumphing over memories of being stripped naked. “It doesn’t involve a co-star. She would be perfect for it.” One of the things that makes Rodrick’s piece so good is that with passages like that, the reader has to make a judgement call: Is Schrader deluded because he really needs this film to move the needle, or is that the veteran filmmaker in him — the one who’s worked with Robert De Niro , Martin Scorsese and his brilliant, late brother Leonard Schrader — talking? I say it’s a mixture of both, but more of the latter. And though Rodrick certainly leaves the impression that The Canyons is a problematic film (that was rejected by the Sundance Film Festival), he also writes this passage about Lohan’s performance that suggests that, with a lot of tough love and self-discipline, her career is salvageable. “But about 15 minutes in, something clicked….Lohan was equal parts vulnerable and dissolute.” I know what you’re thinking: That line is a distillation of Lohan’s recent life, but go back and re-read the description of Lohan’s crying scene. In the right hands, Lohan is capable of tapping into all of chaos and pain she’s experienced and putting it into her performance. It’s too bad that Exorcist: The Beginning was such a debacle for Schrader. LiLo could probably turn in quite a performance as a woman possessed. As the Times piece demonstrates, the promising actress that Lohan once was is still alive in her. It’s just that the demons keep dragging her down. More on Lindsay Lohan: Lindsay Lohan Busted Again − Is She Beyond Help? Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
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