Jessica White Becomes “Jypsy” To Make Career Change Jessica White is ready to leave the model life behind…and apparently her name goes with her old career too. Interested in breaking ground in on-screen speaking roles, the ex-catwalk strutter has decided to call herself Jypsy White from here on out. White was recently cast as a recurring character in Brandy’s new BET series, “Zoe Ever After,” set to hit the screen next year. Sources told Page Six that the cast and crew on set are only referring to her as “Jypsy,” and that is the official name that will appear in the credits. Sidenote, Jypsy is apparently also working on an album. Does this sound as weird and unnecessary to you as it does to us?
Berenice Marlohe in the December issue of FHM Africa. Bérénice Lim Marlohe (born 19 May 1979) is a French actress. She played Bond girl Séverine in the twenty-third James Bond film, Skyfall.Her television credits include Père et Maire, Femmes de loi, and Equipe médicale d’urgence. She has played in the French comedy Un bonheur n#39;arrive jamais seul with Sophie Marceau (a former Bond girl herself), although not appearing in the credits[2]. She is also a “brand ambassador” for Omega Watches.
Here at Mr. Skin, we love fast-forwarding to the good parts. But what happens when the good parts are front-loaded? Give that FF button a rest with our list of the 10 greatest opening credit nude scenes of all time. Pamela Anderson , Neve Campbell and more bring the boobs straight to YOU! Talk about starting things off with a bang!
Jason Kessler is back with the funniest birding movie of the year. Sh*t Birders Say delivers more laughs in 3 minutes than… well, actual birding! Even the credits are amusing. Take the test: if you laugh at least twice, you are definitely a birder. www.youtube.com/watch?v=NaX7i1Q7-Rw a a Broadcasting platform : YouTube Source : 10,000 Birds Discovery Date : 25/03/2012 22:51 Number of articles : 2
“I’m retiring,” Star Wars media emperor George Lucas recently told the NY Times, having toiled through today’s difficult indie film climate to get his ambitious Red Tails into theaters. “I’m moving away from the business, from the company, from all this kind of stuff.” Or, as Lucas producer Rick McCallum put it: “Once this is finished, he’s done everything he’s ever wanted to do. He will have completed his task as a man and a filmmaker .” Say it ain’t so, George! Wait, what’s that? It’s not really the end? Oh, you tease. It turns out Lucas means he’s retiring from making huge popcorn blockbuster films, the last of which (he hopes) will be the Tuskegee Airmen flick Red Tails , directed by Anthony Hemingway. The full NY Times profile is a fascinating peek into Lucas’s self-image and future aspirations once Red Tails opens, or doesn’t. As corny as he sounds when talking about the importance of the film and what it could mean for black film and black filmmakers, he’s fairly upfront with his idealism. He embraces and acknowledges his own “naive” filmmaking style. He admits he made Red Tails “for black teenagers.” He says Star Wars fanboy backlash following his numerous tweaks to the franchise have discouraged him from making more sequels. (Yay?) And perhaps most curiously, Lucas wrestles credit away from Steven Spielberg for making Indiana Jones nuke the fridge. “He’s trying to protect me,” he says of Spielberg, although why those two would fight for that attribution, I have no idea. The cumulative profile is one of a man of many contradictions who prefers, it seems, to see himself as idealistically and naively as he approaches his films. A bazillionaire 99 percenter. The ultimate anti-fanboy fanboy. A white filmmaker making, as he says he’s described Red Tails , “a Tyler Perry movie, only without jokes.” Do African American filmmakers like Spike Lee and Lee Daniels and Tyler Perry even want Lucas to be their champion, to have their names jokingly bandied about as potential Red Tails sequel directors? Probably not; they’re all forging their own paths, navigating the indie film world. It’s intriguing to think that for Lucas, that’s the great unknown that lies ahead as he faces “retirement” from the world he knows — blockbusters, megafranchises, endless marketing and merchandising opportunities — and dives back into the brand of personal filmmaking he started out with in films like THX 1138 . But remember! He also reserves the right to make another Indiana Jones movie, according to the piece. Even the New Lucas won’t say no to that chance, no matter how much we wish he would. • George Lucas Is Ready to Roll the Credits [NYT]
Anyone who’s seen Contagion (or, let’s be honest, even just the trailer for Contagion ) knows that Steven Soderbergh is not precious about keeping his biggest stars breathing for the duration of his films. And when you think about it, that is kind of an awesome against-the-tide trend that few directors — okay, few studios — have the wherewithal to attempt. Chatting with the UK’s Independent about Contagion and Haywire , Soderbergh dropped some science on the art of manipulating the very essence of stardom in movies to great effect. “It’s always good to kill movie stars,” he told the Independent. “I think that the two most important things that have happened to that aspect of movies in the last 50 years are Hitchcock killing off Janet Leigh in a way that nobody had ever dreamed of doing – taking his heroine and killing her off after 40 minutes – and… Mike Nichols casting Dustin Hoffman in The Graduate . That changed everything.” “Now it’s back to the way it was before that single decision totally turned the world upside down in terms of what was people’s idea of a movie star. That one stroke ushered in the great actors who followed, De Niro, Pacino and Nicholson.” So how does one shake up audience expectation again in movies chock-full of A-listers? [ Spoilers ] Have them pummeled to a pulp by unknown MMA fighter-ladies! Cut their brains open in the first act! Blame it all on chickens! [ End spoilers ] All hail Soderbergh! Kill your idols! (Figuratively speaking.) [ The Independent via Movie City News ]
Tran Anh Hung’s Norwegian Wood is meticulously faithful to the book it’s based on, Haruki Murakami’s 1987 novel of the same name: It takes no significant liberties with the plot, and it captures the novel’s delicate, half-hopeful, half-mournful tone. So why, unlike its source material, does it feel only half-alive? It’s so easy, too easy, to get lost in the book-vs.-movie debate. But a movie like Norwegian Wood is a peculiar case – its intentions are sterling, and it’s hard to pinpoint any technical flaws. The problem, maybe, is that it’s trying too hard; Tran has such firm control over the storytelling that the resulting picture has no room to breathe. Watanabe (Kenichi Matsuyama) is an aimless young university student in late-1960s Tokyo. His closest friend, Kizuki, committed suicide at age 17, leaving behind his childhood love, the fragile Naoko (Rinko Kikuchi, the Japanese actress who made a splash in the 2006 Babel ). Watanabe “inherits” the friendship of Naoko, and it seems that the two might fall in love. But Naoko disappears – the intensity of the blossoming relationship is too much for her, sexually and emotionally, and she enters a retreat-like sanitorium in the country. Though Watanabe continues, sweetly, to pine for her, he also starts tagging along with his more sexually adventurous roommate, Nagasawa (Tetsuji Tamayama). He also embarks on a fledgling friendship with another student, Midori (Kiko Mizuhara) ,who, unlike Naoko, seems boldly certain about what she wants out of life. She is, perhaps, a little too bold for Watanabe: She outlines her idea of the ideal lover (essentially, a man who will be at her beck and call, so she can then turn him away). And she informs him that she already has a boyfriend, anyway. Watanabe continues to visit Naoko in her forest retreat, though his time with her is nearly always supervised by Noako’s half-protective, half-possessive roommate, Reiko (Reika Kirishima). The rest of Norwegian Wood outlines the rather delicate dance between the things Watanabe might think he wants and the things he may actually be able to have. Tran adapted the screenplay himself, with obvious care and precision (though the resulting movie doesn’t do much to address, as Murakami’s novel did, the social unrest among young people in late-‘60s Tokyo). His actors have plenty of moments of grace and subtlety, particularly Kikuchi – somehow, she makes us see a deeply troubled soul in Naoko, not just a wan, self-absorbed victim of circumstance. And there isn’t a single frame in Norwegian Wood that isn’t gorgeous to look at: The cinematographer is Mark Lee Ping Bin, who also shot In the Mood for Love (sharing credit with Kwan Pung-Leung and Christopher Doyle), and every inch of the movie’s surface fairly glows. Or, rather, every millimeter glows — the picture creeps along at a very leisurely pace, which shouldn’t by itself be a problem. Norwegian Wood is Tran’s fifth feature. (The director, who was born in Vietnam and who lives in Paris, is perhaps best known for the 1993 The Scent of Green Papaya .) I kept watching Norwegian Wood waiting for that pleasant, wide-awake state of hypnosis to kick in, the slipstream effect that a well-constructed, slow-moving picture sets into gear. But for reasons that are hard to pinpoint, Norwegian Wood seems to be hampered by its own integrity; it’s like a ghost wearing a trailing nightie that’s just too long. Would the movie be more effective if every lingering shot were cut by just a second or two, or if the dialogue between characters had just a little more energy and crackle? Maybe. But whatever it is that’s wrong with Norwegian Wood couldn’t possibly be remedied by any quick fix. That’s both its tragedy and its virtue. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
