Tom Hanks is a multiple-time Oscar winner who is beloved for such roles as Forrest Gump and that dude in Castaway. Ellen DeGeneres is an Emmy-winning talk show host who has emceed awards shows and judged American Idol. But to most kids around the world, Hanks is simply known as Woody from the Toy Story franchise, while Ellen is known as Dory from Finding Nemo and Finding Dory. Yup, both of these stars are members of the Pixar family. So when Hanks stopped by Ellen on Friday afternoon, he had no choice but to challenge the comedian to what we think is the first-ever Pixar-Off. At least we think this was the first-ever Pixar-Off. Feel free to tell us we're wrong. Who came out on top?!? It wasn't really that sort of competition. Instead, Hanks had audience members close their eyes and pretend they were in a room with Woody and Dory. Yes, that means you, woman in the audience! Close your eyes! What would their exchange be like? Woody would be all worked up and Dory would be very forgetful. Hanks, who is working on Toy Story 4, also talked about the stresses of voice acting, such as the constant clenching of one's diaphragm. It's not exactly fun to say the same words and phrases over and over, either. No, these aren't the biggest complaints on the planet. But the following exchange does provide some insight into the whole voiceover universe. Earlier in the week, Ellen cracked us up when she visited a mall with Britney Spears… … and moved us to tears when she helped bring Katy Perry together with an Orlando nightclub shooting survivor: We adore Ellen. She's the best. Check out her latest celebrity back and forth below:
Experts predict animated film will hit #1 just as all 12 previous Pixar films have done. By Ryan J. Downey A scene from “Brave” Photo: By most accounts, “Brave” is expected to hit a box-office bull’s-eye this weekend. Industry watchers have predicted the latest from Disney/Pixar will continue the studio’s tradition of claiming the top spot. All 12 previous Pixar films hit #1 in wide release. The 3-D animated story of a free-spirited Scottish princess possessed of major bow-and-arrow prowess is set to debut in an estimated 4,000 locations. “The goodwill people feel for Pixar gets it to $62 million this weekend, even in the face of middling reviews,” IMDb’s Keith Simanton told MTV News. Jeff Bock, box-office analyst for Exhibitor Relations , and HitFix.com co-founder/ editor in chief Gregory Ellwood predicted an opening in the $60 million range for “Brave” as well, although NextMovie.com editor Kevin Polowy put the movie’s bow closer to $50 million. The Los Angeles Times estimated the movie’s opening as high as $65 million. Critics have been mostly kind to “Brave” thus far but have withheld the type of loving adoration reserved for the “Toy Story” movies. The consensus is that the movie is good, but not great in the way fans of the brand have come to expect. ” ‘Brave’ Is No ‘Incredibles’ — but See the Latest Pixar Flick Anyway …,” was the headline for E! Online ‘s review, which went on to say the movie “may not boast the pitch-perfect storytelling of ‘Ratatouille’ ” but “it has belly laughs aplenty.” Nevertheless, a $60 million opening would be very strong. “That’s similar to what ‘Cars 2’ and ‘WALL-E’ debuted with, which is nothing to sneeze at,” Ellwood noted. “Madagascar 3: Europe’s Most Wanted” managed to hang on to the top spot against new movies from Tom Cruise and Adam Sandler (which both flopped) last weekend and could pose somewhat of a problem for Pixar. ” ‘Madagascar 3’ is fast on its way to becoming the highest-grossing movie in the series, has tremendous word-of-mouth and benefits from being a better-known and trusted brand than ‘Brave,’ despite the Pixar connection,” Polowy pointed out. Simanton, on the other hand, said “Brave” doesn’t have much to worry about from last weekend’s #1 movie. ” ‘Madagascar’ benefited from having no competition for kids’ money during its run, but it’s winding down now. It likely makes $16 to $17M this weekend, but that won’t directly harm ‘Brave.’ ” Bock predicted $17 million for “Madagascar 3” as well, which will make for an excellent three-week total for a kid-franchise threequel. Simanton placed much of the movie’s success on its streamlined sense of purpose. “[It] went the same route as ‘Ice Age 3,’ almost dispensing with the need to continue to tell the story and heading instead to an almost purely comedic offering. The accountants would say that going for the laughs is good for the revenue stream. A parallel that I find interesting is ‘Kung Fu Panda 2.’ It opened better than ‘Ice Age 3’ with a higher per-theater average. However, it quickly suffered from its reviews and bad word-of-mouth. Things really changed when they hit the international stage: [‘Ice Age: Dawn of the Dinosaurs’] made more internationally than ‘Panda 2’ made in total.” Where the third “Madagascar” movie goes straight for the laughs, the first-ever Pixar movie to feature a female protagonist at the center of the story is filled with action, swordplay, hulking bears and themes of tradition, honor and independence. “Pixar films aren’t just family films, they reach out to every demographic, so having a film that is a bit more mature shouldn’t affect business much,” Bock said. “Female heroines have been hot, with ‘Twilight,’ ‘The Hunger Games’ and ‘Snow White and the Huntsman.’ It’s just a surprise it’s taken forward-thinking Pixar 12 films to give females a shot at headlining glory.” At times, “Brave” is much darker in tone than any previous Pixar movie. “It is much scarier than the standard Pixar offering and that will affect it,” Simanton said, adding that he found the film to be better than “Cars 2” but not as good as “Wall-E.” “Its comedic bits lack the Pixar touch. They’re loud and clumsy and not very much in character,” he said. As a result of all of these factors, he concluded, ” ‘Brave’ won’t likely have the same legs as other Pixar films in the coming weeks.” Whereas Pixar and the “Madagascar” franchise are well-known brands, the other big studio picture this weekend will likely suffer from a lack of awareness. Based on the book of the same name, “Abraham Lincoln: Vampire Hunter” is a mixture of action and horror that re-imagines the Civil War president as a stake-wielding badass. ” ‘Lincoln’ is looking at $20 million for the weekend,” Ellwood predicted. “Considering the early buzz, that’s face saving for 20th Century Fox.” “I think Fox would be fortunate if ‘Abe’ opened with $20+ million,” agreed Bock. “Mash-ups are typically a difficult sell, and historical/horror has never had a hit that I’m aware of. This is probably the riskiest endeavor of the summer, and the fact that it looks more like a video game than a movie certainly doesn’t help its cause.” “Director Timur Bekmambetov has gone up against Pixar before, when 2008’s ‘Wanted’ opened against ‘Wall-E’ and held its own, grossing $50 million,” Bock added. “But honestly, that had more to do with Angelina Jolie than anything else. With a cast of relative unknowns, ‘Lincoln’ may find itself without much public support.” Opening in more than 3,000 locations, “Lincoln” will need to match the $24 million collected by “Zombieland” in order to be considered a success, according to Simanton. “I’m putting it at $19 million, but it may be closer to $17 million,” he said. If “Lincoln” isn’t a success, it could spell more trouble for “Pride and Prejudice and Zombies,” which has already had a rough road going from the page to the screen. Even with Lionsgate behind the film and Natalie Portman attached as producer, the project has already been through three directors since it was first announced. “If ‘Abe’ outright bombs this weekend, [‘Pride’] may just be dead,” Bock said. “Even the undead know that’s not a good thing. With an estimated budget of $70 million, ‘Abe’ isn’t that big of risk for Fox, but they need more than just fanboys to convert the masses. Odds are this is headed more towards pennies than $5 bills, though, as this is the strangest-looking film to open since ‘Howard the Duck.’ And we know how that ended.” Simanton likened “Lincoln” to one of last week’s bombs. “It falls into that nether realm occupied by ‘Rock of Ages.’ Guys were supposed to go to it but didn’t. Those exit poll demographics will harm ‘Pride and Prejudice and Zombies’ if they don’t skew towards the coveted 18-35 male.” Whether or not “Seeking a Friend for the End of the World” does decent business this weekend shouldn’t have any long-term effects for Steve Carell and his post-“Office” career. “It’s a low-budget indie he shot that is being released semi-wide,” Ellwood noted. “If it was a big studio release, it would be much more important.” “It’s not a big studio film and isn’t being presented as one in the marketing or [as] a film Carell is supposed to carry,” agreed Simanton. “Steve Carell is already a bona fide movie star. ‘The 40 Year Old Virgin’ solidified that,” Bock added. ” ‘The Office’ certainly helped bring him to the forefront, but he’s so popular now, he can afford to take some risks. ‘Seeking a Friend’ probably won’t be a huge hit, but it will definitely have its fans.” “If the guy survived the mega-budgeted bomb ‘Evan Almighty,’ he can survive anything,” Polowy said. Woody Allen’s “To Rome With Love” will open in even fewer theaters than Carell’s picture. Last year, Allen had his biggest success to date ($56.8 million domestically) with Sony Pictures Classic’s “Midnight in Paris,” which boasts a 93 percent score on Rotten Tomatoes . This weekend’s follow-up sat at 53 percent at press time. “Woody Allen had the biggest gross of his career with ‘Paris,’ but as is the case with ‘The Woodman,’ for every amazing film he unspools, there are two or three misfires,” Bock said.”That’s the risk you take making a movie every year as he has done. Nobody can churn out quality every time.” ” ‘Rome”s reviews have been unkind and that typically does handicap an Allen film,” Simanton said. ” ‘Midnight”s immediate predecessor, ‘You Will Meet a Tall Dark Stranger’ — which isn’t all that bad, in my opinion — barely made $3.2 million domestically in its entire run.” Ellwood predicted that “Rome” will perform “closer to a traditional Allen movie” than “Paris,” with somewhere between $5 million to $10 million domestically. For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Videos MTV Rough Cut: ‘Abraham Lincoln: Vampire Hunter’
Also rounding out Friday’s round up of news briefs, Harvey Weinstein receives UCLA honors, New York’s LGBT Festival sets its opener, the Austin Film Festival touts its record submission and California is chided for not doing enough to keep productions from ditching the state. Harvey Weinstein Receives UCLA Honors The Weinstein Company chief was feted by UCLA’s student directors as the school’s Champion Spirit Award recipient. The ceremony took place Thursday night at the Directors Guild of America as part of the UCLA School of Theater, Film and Television Film Festival. The award was created in 2010 recognizing a person in the entertainment industry who has “courage, integrity, insight and inspiration and is dedicated to fostering and nurturing emerging talent.” Recent winners include Stacey Snider and Roger Corman. Joshua Sanchez’s Four to Kick Off NYC LGBT Festival The film follows four people as they spend a holiday encountering life changing moments, both subtle and writ large and learn to cope with the lack of honesty in their lives. Closing the event will be Marialy Rivas’ acclaimed Chilean film Young & Wild . Based on the life of co-screenwriter Camila Gutiérrez, the film is a sexually-charged, stunning and energetic look at family and youth culture in contemporary Chile. The film was the recipient of the World Cinema Screenwriting Award at the 2012 Sundance Film Festival. NewFest will take place July 27 – 31 at the Film Society of Lincoln Center’s Walter Reade Theater. Austin Film Festival Touts Record Submissions The event said it has received a record number of entries for its 19th annual Screenplay competition. 6,500 entries came in, up by 12% from last year’s 5,800. The 19th annual Austin Film Festival & Conference will be held Oct 18 – 25, 2012 in Austin, TX. Around the ‘net… Madagascar 3 Should Win Box Office Father’s Day Weekend New comers Rock of Ages and That’s My Boy are expected to perform modestly this weekend, which should see Madagascar 3 reigning at the box office, Variety reports . Christina Ricci Boards Australian Indie Set in an inner-city beset with riots, Ricci stars as an American drama teacher who forms a connection to a troubled Aboriginal teen. The project is the debut feature of writer-director Sarah Spillane, Deadline reports . Report Warns California Not Doing Enough to Keep Movie/TV Productions The Milken Institute says the state’s efforts to halt runaway production falls short even with an extension of the $100 million annual tax incentive, THR reports .
Too cute not to share: Pixar has cut a very special Brave promo, just in time for Father’s Day, celebrating all that fathers teach us — how to acquire an inner strength and confidence as children that carries us into adulthood, how to shoot arrows, how to ride horses and become deadly sword-fighting killing machines… you know, the basics. It’s a nice reminder of what Pixar’s first female-led animated feature represents — a strong heroine whose quest concerns self-possession and courage rather than romance. And archery. Between this and The Hunger Games , a whole new generation of little girls are going to grow up ready to tackle the world with a bow and arrow. Brave screens at the LA Film Fest before opening nationwide on June 22.
If you enjoyed watching Liam Neeson battle territorial wolves in Joe Carnahan’s The Grey — and plenty of moviegoers have — then you’d be well-advised to look into Lee Tamahori’s 1997 thriller The Edge . Starring Anthony Hopkins and Alec Baldwin and perhaps best characterized by screenwriter David Mamet’s trademark clipped dialogue, the film is an unusually strong entry in the survival-story tradition — and one to which The Grey owes at least a spiritual debt (if not more). This genre is certainly well-trod territory, and perhaps for good reason: Dramatically speaking, it’s pretty hard to get it wrong. You strand characters in the harsh wilderness. They experience hardship. Eventually they learn to face mortality with some measure of grace. They make it out, or they don’t. The Grey is the more genre-typical of the two films and draws more readily from those aspects that are common to all stories of its type, with the added attraction of some great camera work and a strong performance from Liam Neeson. The Edge , however, transcends those trappings to offer a more philosophical, character-centered naturalist meditation. Don’t let the overcranked trailer fool you: The difference between the two films is all the more striking if only because their plot points are so remarkably similar, even for a genre that necessarily has to hit a few key points. In both, a plane crashes in a forest, and the survivors are forced to fend for themselves against the elements and wild beasts. While in The Grey , we see a marauding pack of arctic wolves randomly picking off crash survivors one by one, The Edge features an equally bloodthirsty grizzly bear. Both films have leaders emerge in the forms of Neeson’s Ottway and Hopkins’s Charles Morse, who each tries to save his respective group from starvation and creeping despair. And in each film there is a character who vocalizes the direness of the situation at every turn, a stock role that should probably be known as the “Game over!” guy, after Bill Paxton’s panicky emergency-narrator from Aliens . Thematically, both films juxtapose the behavior of modern men with the untamed wild, showing that the safety of civilization can be blinding to what is essentially human. The Grey is a lot harder-nosed, preoccupied with the endurance of man as an animal; The Edge , meanwhile, focuses on the ingenuity of man as a thinking being. And while the latter film’s emphasis on reason ultimately makes it the stronger of the two, that isn’t to say that The Edge is all profound rumination. There is still a ravenous bear to be faced, a lot of great action and one of the greatest motivational speeches in film history: The idea that being stranded in the wild eventually amounts to a spiritual boon for those stranded — even as they are exposed to all sorts of peril and privation — is present in almost every survival story. But this theme comes off especially well in The Edge , because as a survivalist, Morse understands that mere survival is not enough. He’s more than just a Robinson Crusoe-figure, whose main goal is to persevere by taming the wilderness. Instead, Morse allows himself to be changed. He doesn’t feel the loneliness of, say, Tom Hanks’s character in Cast Away , or the alienation of the protagonist of Into the Wild — both of whom experience a character arc that could have happened in a different setting. With Morse, Nature itself, and his right relationship with it, is the point. His communion with Nature doesn’t have an ulterior motive, which achieves a strong personalization of a universal idea: Getting right with the material world and, in the process, regaining his own humanity. Nathan Pensky is an associate editor at PopMatters and a contributor at Forbes , among various other outlets. He can be found on Tumblr and Twitter as well.
A trade report last month suggested that Disney’s March sci-fi tent pole John Carter was in serious trouble owing to Pixar vet Andrew Stanton ’s relative inexperience directing live-action film, citing rumors that production reshoots and late-game rejiggering had bloated the budget from $200 million to as much as $300 million. Speaking with press Thursday, Stanton called the report “a complete and utter lie,” insisting that he stayed on time and on budget – but it’s easy to see how the Pixar way of moviemaking may have made for a bumpy transition for the filmmaker. John Carter , adapted from Edgar Rice Burroughs’s Barsoom sci-fi/fantasy series (created in 1912), introduces a hero and world that influenced many an iconic property that followed, from Star Wars to Avatar ; Stanton, a lifelong fan of the series, makes his live-action directing debut with the pic which combines live-action and CG to create an entirely new world on which its titular hero ( Taylor Kitsch ) finds himself a stranger in a strange land populated by eight-foot tall, four-armed aliens and fantastical creatures. The scope and detail of John Carter ’s alien world and its inhabitants is ambitious, which is both the draw and the risk. The Hollywood Reporter ’s Jan. 19 report cited insiders close to the production and talent in its assessment calling the costly Disney actioner out as being plagued with various problems stemming from Stanton’s inexperience with live-action filmmaking. “Industry sources with links to the project believe it might lead to a staggering write-down,” wrote Kim Masters, portending doom for the ambitious potential trilogy-starter. At the film’s press junket, Stanton and Co. were eager to refute the rumors. “I want to go completely on record that I literally was on budget and on time the entire shoot,” Stanton said. “Disney is so completely psyched that I stayed on budget and on time that they let me have a longer reshoot because I was such a good citizen, so I find it ironic that we’re getting accused of the opposite.” That said, Stanton and producer Lindsey Collins confirmed that the process of hammering out the John Carter story was a long and laborious one even after a first cut of the film was submitted. Collins, a Pixar producer who worked with Stanton on WALL-E , described it as a learning process for translating the Pixar way of doing things into huge-scale live-action filmmaking – first working out the basics, then moving around the pieces until a satisfying film falls into place. “It’s the way we’ve always worked and certainly at Pixar that’s how we work – we get it all up there and put it up and we watch it and go, ‘That’s not working, let’s move that over here,’” she said. “So it doesn’t surprise me at all that that’s how Andrew worked on this one.” That process has resulted in stellar storytelling at Pixar, where films are famously developed and worked over for years with seasoned teams of writers and animators before coming together. The problem comes when that way of working is applied to a project like John Carter , in which live-action footage must first be shot with actors against green screen, sent off to VFX houses to be merged with CG environments, creatures, and effects, and then returned in order to even begin the editing process. Because of his background, Stanton was involved in the animation process more than many directors might have been. The level of involvement was unusually demanding of visual effects vendors who were working on various moving parts with the director, according to Collins. “[Stanton] himself was drawing in all of these draw-overs,” she said, “because when you shoot that stuff 90% of it’s not there. He’s actually cut together these shots of Taylor, by himself, acting to nothing. Andrew was like, for us to be able to look at it narratively I have to be able to draw in these other characters that should be there. It was the only way that we could watch it as a narrative film and see what’s working and what’s not, ‘That’s dragging or that’s playing too fast’ or ‘I don’t understand what’s happening here.’” As reported by THR , even after putting together a first cut Stanton was rewriting major character arcs and story sequence. The lead female character of Martian princess Dejah Thoris, played by actress Lynn Collins, wasn’t quite as strong initially as she is in the final cut, according to producer Collins. Stanton then rearranged key character reveals and scenes — nothing new or shocking to any filmmaking process, live-action or otherwise, but a process that could become incredibly demanding of resources if story was still being hammered out after principal photography. Meanwhile, rumors of skyrocketing budgets aren’t the only issues facing John Carter , which opens March 9. Poor tracking numbers and audience confusion about the project are also concerns Disney is trying to address in the weeks leading up to release. The film’s title, for one, was changed from John Carter of Mars to John Carter to avoid too much of a science fiction/genre association to general audiences, but the truncated title now leaves those unfamiliar with the Burroughs book scratching their heads wondering what John Carter is about. Despite a great initial trailer , subsequent spots have lent too much of a Star Wars feel to the proceedings, and the studio is scrambling to convey that the John Carter of Mars tale isn’t derivative of many of the genre properties of the last few decades, but is in fact the series that spawned many of them. But while nobody’s talking yet in definitive terms about sequels, Stanton’s already prepared to continue; he’s already outlined a full trilogy, filtering the entire John Carter saga down from eleven books, and last week delivered a 25-page outline for the first sequel. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Last summer’s Cars 2 marked a notable footnote in the history of Pixar Animation , just not a good one; despite opening to the studio’s sixth-highest worldwide take to date, the sequel to 2006’s Cars earned middling reviews, prompted critics to deem it a commercial cash-grab, and eventually – maybe most shockingly, given the studio’s track record – became the first Pixar film not to nab an Oscar nod for Best Animated Feature since the category was inaugurated. Could it be, as Pixar producer Lindsey Collins suggests, that Cars 2 was Oscar-snubbed because of anti-Pixar backlash? Speaking with press today in Phoenix, Arizona for John Carter , which she produced for longtime Pixar collaborator Andrew Stanton, Collins assessed why Cars 2 was overlooked in favor of five other animated films ( A Cat in Paris , Chico and Rita , Kung Fu Panda 2 , Puss in Boots , and Rango ). “The fact that [ Cars 2 ] was a sequel — in a way it’s funny, because obviously from a franchise standpoint people love sequels,” Collins explained. “And certainly from a franchise standpoint Cars 2 did insanely well, such that we can’t even count it as a good metric to tell us whether or not to do sequels.” Sequel status aside, Collins surmised a larger reason was working against the John Lasseter-directed pic, which was the first Pixar film to earn an overall “rotten” score on Rotten Tomatoes. “I think it had the fact that Pixar has dominated going against it,” she added. “At a certain point there was going to be somebody who was going to take the fall a little bit. It was going to be like, ‘Eh, we don’t like that one.’” Then again, Cars 2 ’s nomination miss could also be chalked up to the relatively deep field of animated films in the running for Oscar this year – many of which surprised Collins and defied her own expectations of the competition. “I see every single one of these things because my kids drag me to them all, and to me it felt like God, there are some great animated films this year. I actually had one of those, ‘There’s two hours of my life that I’m never going to get back’ [thoughts], and then you walk out like, ‘Actually, that was quite good!’” Among the “great pictures” not spawned from Pixar that Collins had praise for? “I loved Rango ,” she admitted. “There were actually some great pictures this year.” As for the cold critical reception and accusations of crass commercialism Cars 2 received, Collins maintains that Lasseter “truly, truly loves” the sequel — and Pixar, she says, supports the films its stable of directors want to make. “John loves that world, he loves those characters. We got accused of being very commercial with it and it’s kind of funny, it’s so ironic because if you’ve met John Lasseter there’s not a disingenuous bone in that man’s body.” Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
The year is drawing to a close, which means that it is time to start thinking about all the things you did not accomplish in 2011. (That Ghostbusters 3 script ? Still unread. That copycat Wedding Crashers crime you committed in college? Still unresolved in court.) But before you do that, let’s take a look back at some of my favorite Movieline stories that punctuated this remarkably unproductive calendar year. Sylvester Stallone Shirtless: Over the Years In anticipation of Stallone’s latest topless role in the upcoming Bullet to the Head , Movieline looks back on the action hero’s 30-year shirtless evolution. Kate Hudson Rom-Com Comparability By now, you’ve rightly forgotten about Something Borrowed , the movie adapted from the book that your mom and sister read last year at the beach. That’s fine! To refresh your memory about what happened in that chickfest, you only need to look as far as EVERY OTHER KATE HUDSON ROM-COM to see what it is about. Bridesmaids 101 Cast members Kristen Wiig, Maya Rudolph, Melissa McCarthy and Wendi McLendon-Covey along with director Paul Feig and producer Judd Apatow met in Hollywood earlier this year to reveal what went into making one of the best comedies of the year. Porn Stars on Porn Stars Leave it to a real porn actress to find redeeming value in the critically-detested Adam Sandler joint, Bucky Larson: Born To Be a Star . The lovely and insightful adult-film superstar Joanna Angel met me at a matinee screening of the feature and then explained why Bucky was better than Boogie Nights . The Monkey Speaks In the run-up to The Hangover Part II , Movieline tracked down Crystal, the scene-stealing Capuchin monkey star for an exclusive 1:1 about breaking big in comedy, working with Zach Galifianakis and that ugly cigarette rumor. Craigslist Killer College Movieline is really a highbrow film site but once — a long, long time ago (this year) — my editors let me write about the lessons carefully embedded in Lifetime’s incomparable Craigslist Killer movie. Relive the thrills (and poorly-scripted chills) here. Sexiest H.S. Outcasts From the Breakfast Club to this year’s I Am Number Four , Hollywood movies have an annoying habit of casting outrageously symmetrical model-types as their loners and misfits. Here, Movieline points out nine of these paradoxical dorks in prom king and queen bodies. Celebrating 7-Eleven Chain convenience stores have provided many a setting in our favorite films. Here, Movieline looks back on some of their most notable work. Free Inspiration From a Pixar Artist Pixar animator Austin Madison ( Up , Ratatouille ) took a moment to pen an inspirational letter to fellow animators. It is touching, hopeful and encouraging for anyone in a creative field Scenes From Scarface In anticipation of the home release of Brian De Palma’s gangster flick, the Scarface cast — including Al Pacino — met for an informative Q&A about the making of their film, the surprising casting process and to share other trivia-ready revelations.
Hot on the heels of the announcement that a Michael Jackson biopic may be in the works comes a video interview, over at Next Movie, in which Community star/rapper Donald Glover does the moonwalk and names the King of Pop as his dream role. Coincidence? Who cares? Give the gig to Childish Gambino, already!
