Lindsay Lohan is freaking PISSED that Jose Rodriguez claims she drilled him with her car and ” reeked of booze ” at the time, so she’s suing her alleged hit-and-run victim, according to reports. Lindsay was arrested for the hit-and-run last week. Rodriguez claims Lohan hit him with her Porsche SUV outside Manhattan’s Dream Hotel, then drove off. The hotel surveillance video below suggests he exaggerated the claims (at best). Lindsay Lohan Hit-and-Run Video Rodriguez also gave an interview to a reporter claiming Lindsay was slurring and “smelled like alcohol real bad” at the time, but she was at Slash’s concert NOT drinking just 45 minutes earlier. More importantly, police who arrested Lindsay even say alcohol was not involved. The troubled star believes she could lose work if she continues being accused of things she didn’t do (like drive drunk and hit people), so she’s planning on suing Rodriguez for defamation. While lame opportunists undoubtedly have and will continue to target her to score a quick paycheck, the 26-year-old may want to take precautions beforehand, such as hiring a car service. She may not be a drunk driver, but she’s a pretty terrible one.
Another day, another sexuality reveal. Today it’s former Pirates owner, Kevin McClatchy… Via ESPN: Kevin McClatchy, the owner and CEO of the Pittsburgh Pirates from 1996 to 2007, has acknowledged he is gay to The New York Times, saying frequent homophobic slurs he heard in baseball circles had convinced him to keep his sexual orientation a secret. McClatchy, an heir to a newspaper chain who sold his shares of the Pirates in 2009 only after ensuring that the club remained in Pittsburgh, said the time had finally come to speak openly about his sexuality. “You’re not going to solve any problem until you start a dialogue,” McClatchy told The Times for an op-ed story published in Sunday’s editions. “And there’s no dialogue right now.” McClatchy will also be the subject of Wednesday’s “Outside The Lines” (3 p.m. ET on ESPN). “I’ve got a birthday coming up where I’m turning old,” McClatchy, who will turn 50 in January, told The Times. “I’ve spent 30 years — or whatever the number is specifically — not talking about my personal life, lying about my personal life.” McClatchy, 49, is not the first major-league executive or former executive to come out as gay. Rick Welts, the president and chief executive officer of the Phoenix Suns, revealed his sexuality last year. “This has been challenging to me,” McClatchy told The Times of his decision to reveal his sexual orientation. “I probably didn’t sleep as well as I could have last night.” McClatchy boasted of baseball’s ending of racial segregation in sports while saying he didn’t think players considered it similar to one of their own coming out as gay.
Just the words South Central will conjure up an image of mean streets and gangs, even by people who don’t live in Los Angeles. The neighborhood is infamous for its hardened criminals and its gang-banger imagery has permeated the popular culture everywhere. Director David Ayer returns to the neighborhood he knows well in his latest film End of Watch , starring Jake Gyllenhaal (who is also an executive producer) and Michael Peña who give gripping performances as LAPD cops Brian Taylor and Mike Zavala tackling a better armed group of very tough group – both guys and gals. Ayer grew up in the neighborhood and knows the people he’s brought to the big screen well. South Central was the setting for his first directorial feature, Harsh Times back in 2005. And LAPD cops were at the heart of his 2008 pic Street Kings . Ayer told ML that he initially wanted to move away from the cop-crime scenario after working on those films, but headed back to the genre even as he was trying to talk himself out of it. In the feature that opens wide Friday, Gyllenhaal and Peña play LAPD officers Brian Taylor and Mike Zavala. The action plays out on screen through the P.O.V. of hand-held cameras implanted on police officers with more footage “shown” by gang members, surveillance cameras, dish cams and citizen-caught images in the line of fire. While there are moments peppered throughout the feature showing moments of levity between the their characters that prompted outbursts of laughter during the film’s premiere in Toronto, the scenes quickly turn to present a mosaic of dark violent streets, human trafficking, gang confrontation and a barrage of shoot-outs. Just try and fall asleep in this movie – aint gonna happen… David Ayer chatted with ML the day after the premiere of End of Watch in Toronto the other week and gave shared why he decided to return to the cop story, they unique visual style he’s going for in the pic, and just how real all the seemingly outrageous dramas the two officers face in the film are… [ Related: Jake Gyllenhaal’s Life-Changing End Of Watch Prep: ‘Someone Was Murdered In Front Of Me’ and End Of Watch Star Michael Peña Sees Racial Barriers Coming Down In Hollywood ] I heard you wrote the script for End of Watch in six days, how did that play out? Yes, I did. It just kind of exploded out of me. It was six days by way of twenty years, you know what I mean? It’s a world I’ve spent a lot of time in. I grew up in South Central L.A. I have a lot of friends in law enforcement, so a lot of things that happen in the script happened to a close friend of mine. I have been writing down stories he told me. So the challenge of writing this story lead me to do this pseudo-documentary style that makes it really natural and not just using the usual story landmarks that you might intuitively feel. Were there certain documentaries that informed some of your style choices for End of Watch ? This one friend of mine takes cameras to work and guess what – he films things just like we all do with our phones etc anywhere. It can be riveting and it seemed like a fantastic device to tell a story, but at the same time, the “found footage” aspect can become a bit tedious if it’s not from a place of total reality. It can become like a gimmick and the allusion alters. So we brought in conventional coverage to augment that and the movie is a hybrid. There was a point where you went away from telling the Cop Stories, what made you do that and what brought you back? I really want to direct. Whenever you want to start over in Hollywood, you have to start from the bottom. I did Street Kings and it was for a studio which is a different process as a director. I tried mounting up some projects afterward including a science fiction movie and nothing was working out. The surest way I could get back on set was to do another cop movie. A friend of mine in the studios said I should do a found-footage cop [story] but I thought that I should not do that. But as I was talking myself out of it, I talked myself into it. But you didn’t want to do it from the “corrupt cop” viewpoint? No, the corrupt cop story is so freaking played out. I mean, it’s so 2003. The real challenge becomes, if you don’t have that dramatic engine of the corruption, what is the dramatic engine? What is the story? I made this movie about the friendship and the journey these guys are going through. The bad guy stuff is sort of an appendage to that story. They’re not investigators solving crimes, they’re just guys doing their jobs who end up way over their heads and that’s how it is for real cops. There’s a whole world they’re not privy too, yet they keep running into it, they keep sighting the shark fin in the water. That’s the one thing that struck me – that great rapport between Jake Gyllenhaal and Michael Peña’s characters. There’s of course all this fantastic crazy tough shit going on in this film with the shoot-outs and grim discoveries that make for great viewing, but there’s also these hilarious moments of banter between their characters that really draw you into their lives. To write the way people talk and not just make movie dialog and to get them to pull off a breezy, natural style together and live in the history of that friendship was the real challenge as a director. It’s ironic because what appears so easy is insanely difficult as a filmmaker and insanely difficult as an actor. And it took the three of us a long time in the trenches to get them to the point to pull it off. My favorite scenes in the movie are the two guys in the car talking. Did you have a regimen in mind for Jake and Michael off the bat in order to get them to be believable cops in the lead-up to the actual shoot? A good friend of mine does martial arts training and what that does is get the mindset down of hitting people and being hit. Often it can be hard to override the instinct of not hitting someone. You have to overcome that. You have to have that ability and understanding of violence to become a cop and it starts to change everything including your body language. And there was firearms training. They were taught by a 35 year-veteran LAPD-SWAT officer who gave them training in LAPD by the numbers shooting style. We went to the same LAPD outlets to get their equipment and uniforms because I wanted everything to be incredibly accurate. And they went on an incredible number of ride-alongs with officers and I wanted them to go with a number of different agencies so they can see just how different the LAPD itself is. I think they were shocked by the cultural differences between those departments. I had an idea of a program in mind, but obviously logistics and demands evolved. I think at first they were cursing me, but once they realized they had the real skills, they appreciated it and it just made it all the more real on set. I think audiences everywhere and even in L.A. may be surprised that the Mexican drug cartels have such direct operations in the U.S. as this movie suggests. Obviously everyone knows they’re involved with drug trafficking across the border, but I think people don’t know there’s such a direct connection to day-today operations on the U.S. side of the border. Yeah, they control the wholesale of drugs in the United States and human trafficking. Nothing moves across that border without their permission. They’ll give illegal immigrants drugs and will say, ‘you’re now a drug mule.’ It’s a busy organization and they’re incredibly efficient – drugs, human trafficking, weapons. Everything that’s happening in the movie is happening now. Friends of mine in the department pull over cartel runners all the time and do multi-kilo seizures. I know someone working in narcotics just last week who took a huge haul of cartel drugs off the street. They’re here, they’re operating…I feel like people have no idea that there’s such a huge presence of the cartels not only in Southern California, but throughout the United States, even in the northern part of the country. How were you able to get under the skin in portraying the gang members in the movie? It’s a distinct subculture and it would be very easy to mis-represent that… People not from L.A. and are not familiar with the gangsters there will look at something like this and think they’re almost cartoonish, you know? But that’s how they role. This is bang on. [ End of Watch gangster] Lala, played by Yahira Garcia, is unbelievable in the movie. She’s a rapper and was brought up in that neighborhood and her brothers are caught up in the life. And she’s seen some tragic things. And “Demon” played by Richard Cabral is from a multi-generational gang family and just recently got out of it and now working in film. The only one who wasn’t a former gang-banger was Maurice Compte who plays “Big Evil.” He’s incredibly soft-spoken, incredibly smart and such a nice guy and somehow he pulled off this alter-ego “Big Evil” persona out.
Danielle Sharp has ridiculous tits. She’s a glamour model, as all the bust shot topless bitches from the UK are, but I would rather she was my girlfriend, who I could wake up to every morning, her tit in my hand, my dick in her ass, you know true love…cuz girls who market themselves this way, are the kind of woman you want as a mother to your children, since they get what is important. I don’t know when this is from, when it was taken, what it is for….but it doesn’t matter…it is fantastic…and I am too busy writing her love letters to waste my time worrying about this….I am on a mission to save her….or at least ejaculate inside her….and that’s where my energy is being focused.
Usually, this time of year bums me out. It starts getting cold, which means the girls all have to start covering up. And it’s hard to undress somebody with your eyes when they’re wearing layers. But thank God for Arianny Celeste giving me something to look forward to this fall. Here’s a behind the scenes video from her 2013 calendar shoot, and no matter how cold it gets out there, I know Arianny will always be able to help warm me back up. Related Posts: Arianny Celeste’s Ultimate Fighter Cleavage Arianny Celeste Picture Moment Arianny Celeste Brings Her Curves Out To Play Arianny Celeste Gets My Attention
I keep coming back to The Place Beyond the Pines , but it was the movie that defined the Toronto International Film Festival for me. More than once, I heard the director Derek Cianfrance describe his ambitious and moving film as a movie about “legacy” and how “sometimes you’re born into a world with all of these repercussions that people have made before you” and “have to fight and claw to get out of that.” Judging from the features and documentaries I saw during my short stay in Toronto, these ideas of legacy and the sins of our fathers — whether they’re our literal or institutional fathers — are weighing heavily on America’s collective psyche. Perhaps this theme resonated with me because I am a father — the sins come with the territory — but after a decade of terrorism, war and economic turmoil, I think that, on a larger psychological scale, even a nice chunk of the 1 percent are freaked about how America’s recent past will affect its future, and that insecurity has seeped into a lot of the art that will be seeing over the next few months. The Place Beyond The Pines , which Focus Features will release in 2013, is essentially about how a fateful encounter between two fathers — one a stunt motorcyclist ( Ryan Gosling ) who has turned to crime to support his son; the other, a cop ( Bradley Cooper) , who has his own daddy issues, carries over into the next generation. I’m oversimplifying the plot, a good portion of which needs to stay under wraps for optimum dramatic impact, but, in the last third of the movie, Cianfrance creates a remarkable amount of tension around the question of whether the sons of Gosling and Cooper’s characters will be damned by the actions of their fathers. A similar theme is at play in Daniel Algrant’s Greetings From Tim Buckley , a movie that features a breakthrough performance from Penn Badgley as Tim’s son, Jeff Buckley, who, like his father, was an extremely talented singer/songwriter. (Based on Badgley’s performance, he has a bright future in film.) Buckley pere and fils both died young: Tim succumbed to a drug overdose at the age of 28 when his son was just an infant. Jeff drowned in the Wolf River in Memphis, TN when he was 30. Greetings doesn’t deal with their deaths, though. It grapples with the much thornier aspect of Jeff’s life, specifically, his struggle to shake off the weighty ghost of his father — at the post-screening Q&A I attended, Algrant said Greetings producer Fred Zollo described the story as ” Hamlet ” — who he barely knew but who serves as a constant reminder of all he has not accomplished. Tim Buckley had released nine studio albums, achieved critical acclaim and credibility as a political activist by the time he died. Jeff Buckley was just beginning to record his second album when he died. And yet, anyone who has heard his recordings of “Forget Her,” “Lover, You Should Have Come Over” or his ethereal version of Leonard Cohen’s “Hallelujah,” knows that Jeff found himself. But as Algrant and, especially Badgley, reveal, the story is all in the telling.
Woman Has Sex With Boyfriend’s Teenage Brother While He’s Imprisoned Here’s another case of an ain’t isht lady having an inappropriate sexual relationship with a minor. In this instance, the minor just so happens to be the teenage brother of this woman’s boyfriend! Via Huffington Post: Text messages and incriminating online chats show that a 30-year-old woman had a longterm sexual relationship with a 15-year-old boy, cops said. Tanner Vicory is accused of having sex on at least ten occasions with the teen brother of her boyfriend, according to the Arizona Republic. Her boyfriend was in prison at the time. The teen’s mother became suspicious when she found a text message on her son’s phone from Vicory saying that she loved him. Damn, she couldn’t find anyone her own age to chop down????? Photo: Fox 10
Liz Garbus’ documentary Love, Marilyn will have its U.S. premiere at the 20th edition of the Hamptons International Film Festival in the tony Long Island, NY town of East Hampton, while David O. Russell ‘s Silver Linings Playbook will open HIFF in neighboring Southampton the following day. Both films debuted recently at the Toronto International Film Festival , with Playbook picking up the Audience Prize over the weekend. Fellow TIFF title Argo by Ben Affleck will screen as the five-day festival’s Centerpiece, while Paramount Vantage’s Not Fade Away will close out the event. Garbus’ Love, Marilyn will bow at HIFF October 4th, featuring an intimate and revealing portrait of the legendary Hollywood actress. HBO will air the film next year. The Weinstein Company’s Silver Linings Playbook centers on Pat Solitano (Bradley Cooper) who after a court-ordered stay at a psychiatric facility, moves back in with his parents (Robert De Niro and Jackie Weaver) and tries to win back his estranged wife, Nikki. And into the mix comes Tiffany (Jennifer Lawrence) who is also volatile, but offers to help win Nikki back, but there’s a price. Ben Affleck’s Argo directs and plays Tony Mendez, a CIA agent who comes up with a daring plan to rescue six Americans hiding in the Canadian embassy in Tehran during the 1979 hostage crisis. Warner Bros. will release the film October 12th. The Sopranos creator David Chase makes his feature film directorial debut with Paramount Vantage’s Not Fade Away , closing HIFF on October 7th. Starring Sopranos star James Gandolfini, the film is set in the ’60s when the Rolling Stones appear on television and three best friends from the New Jersey suburbs decide to form a rock band. “These films, with their range and risk-taking creative choices, represent the pinnacle of what the festival has endeavored to achieve for the last 20 years,” said HIFF Director of Programming David Nugent in a statement. “The Oscar and Emmy recognition that each of these four filmmakers have already received is a testament to their vital creative force. I can’t wait to share their distinct visions with our audiences in the Hamptons.”
Video game fans are naturally suspicious of movie conversions because they’ve been burned more often than charcoal briquettes. Which is weird, because pattern recognition is meant to be a gaming skill. Columbia Pictures’ announcement that it’s taking on the Metal Gear Solid license with Iron Man and The Amazing Spider-Man franchise producer Avi Arad has many gamers wary. The last attempt crashed and burned only two years ago, with Michael De Luca , producer of Oscar winner The Social Network , c iting vague but fatal incompatibilities between video game companies and the big screen. But as the game’s signature character Solid Snake once said: “Don’t regret your past! Learn from it!” With that in mind, here are four reasons the film adaptation might actually work this time. 1. Licenses Are Big Money Now: For a long time, the wide-scale sucking of video game movies wasn’t a tragedy, it was a kind of karmic blowback. Movies licensed for games were stamped into soulless, cookie-cutter platformers with less character than a game of Hangman. Similarly little care was put into the games’ development. In return, movie companies would buy a video game license, shred it, then spit a few random catch phrases from the game into a standard action movie script. In both cases it was because the adaptation meant a few extra dollars for whoever could be bothered to grab them. g Solid Snake: good at grabbing. But big money changes everything. The Resident Evil movies are making exponential profits, while comic-book heroes are now grabbing more cash than every one of their bank-robbing villains put together. (Just ask Arad. ) Studios are scrambling to get onto bandwagon, because it’s really a bank truck with the back doors open. An epic storyline and a quarter-century of rabid fandom means Metal Gear Solid is perfect for conversion. 2. It’s Already A Movie Pilot: Metal Gear isn’t a Street Fighter , where scriptwriters had to pad the game’s haiku-simple idea of two outlandishly dressed characters “punching each other in the head for 90 minutes,” and then did such a bad job you’d swear they wrote the padding after receiving the punching. The franchise is an established full-bore action story armed with politics, double-crosses, environmental messages and more character motivation than War and Peace. In essence, an elite agent comes out of retirement to infiltrate a terrorist facility. That’s a viable, if not entirely original, action-movie plot, and Metal Gear makes it smarter, more, um, solid. A direct translation of the plot would actually work. Of course that won’t happen, but that isn’t a problem because…. 3. Movie-fication will Help: Video games aren’t converted into movies, they’re flattened. An entire dimension of viewer participation is removed. Metal Gear ’s most iconic moments affect the viewer in ways movies can only dream of &mdash like Psycho Mantis breaking the fourth wall with music and controller-vibration, or the Sorrow’s attempt to end the game by convincing the player that it’s already over. This involvement will no doubt be lost in the game’s translation to the cinema screen. That said, the language of action movies is about streamlining: ideally, everything should fit into a neat 90-minute package, unless you’re Christopher Nolan. And that process inevitably requires the sanding down of a lot of important detail, Metal Gear maestro Hideo Kojima needs more streamlining than a supersonic jet. Still, he’s the unquestioned master of the series — to the point where the game franchise owner Konami seems unwilling to let him escape, constantly forcing him into sequels no matter how many times he publicly says “this is the last one.” (I genuinely think they’re using a real world Foxdie virus on him, set to trigger if he leaves. The next game’s going to include include Codec messages reading “Help me. They have my family!”) Kojima crafts masterpieces of stealth action. He also crafts epics of monologue to rival the Iliad and puts them on the same disc. This gave Metal Gear Solid a depth unseen in any “man-with-a-gun” game before or since. By the fourth installment, it was day long movie with some set pieces you were allowed to stunt direct. Tightening the script could sharpen the story and share it with a whole new audience. 4. The Special Effects Will Be Worth the Price of Admission: Perhaps it’s apostasy to write this, but the special effects in a Metal Gear movie are bound to kick ass. They must. The Metal Gear itself is the most perfect villain in any series: a giant walking tank which can also nuke anything on the planet. Action stars spend entire careers searching for an enemy that perfect. One of the most stunning moments in Metal Gear Solid was when this office-block sized monstrosity rose out of the ground in a cut-scene and you, with your mouth hanging open in the real world, stood still while it shot at you until you realized that the cut scene had ended and this techno-leviathan was about to smoke your tiny ass. IMAX-ing the movie alone will justify ticket sales. Sure, that’s no guarantee that the boys in Hollywood won’t screw it up, but let’s hope Columbia, Konami and Arad heed the wisdom of Solid Snake: “This isn’t a training exercise. Our lives are riding on this. There are no heroes or heroines. If you lose, you’re worm food.” Luke McKinney loves the real world, but only because it has movies and video games in it. He responds to every tweet. Follow Luke McKinney on Twitter. Follow Movieline on Twitter.
Robert Pattinsin has forgiven Kristen Stewart for what he deems a “stupid mistake” and the beloved couple is now back together. According to a report in Great Britain’s The Sun . “They pretty much decided they couldn’t live without each other,” a Robsten insider tells the tabloid. “Kristen poured her heart out to Robert and told him it was a one-off and a mistake.” There are no named sources listed in the article, nor any evidence to indicate this reconciliation has actually occurred. But Stewart did tell reporters in Toronto last week that she and Pattinson were ” going to be fine .” Why would Robert take Kristen back, considering her admitted actions with Rupert Sanders ? “Rob sees it as Kristen made a really stupid mistake. After a lot of long tearful talks, they’ve worked it out,” explains this source. “Rob can see how truly sorry Kristen is and has totally forgiven her. They really do love each other.” The pair has supposedly even moved back into together, holing up and “focusing on themselves” at a home in the same Los Angeles compound where Brad Pitt and Angelina Jolie have a residence. If this report is accurate, as you happy to see the return of Robsten? Do you think Pattinson is making a mistake? Or do you believe the entire affair was a contrived conspiracy and Stewart has nothing to actually apologize for?
