Kristen Miller is a sexy blonde actress and here in this video clip from the TV show Dexter she is showing off her lovely breasts stripping topless for the main character Continue reading →
We’ve got more TV nudes than you can shake your stick at this week on the boob tube, including an outstanding triple-B nude debut from former WWE Diva Taryn Terrell on this week’s Treme , Hannah Ware ‘s spectacular return to nudity in an intense sex scene on Boss , more T&A from Irish eyeful Heather Lind on HBO’s Boardwalk Empire , and a quick fix of webcam tits from Brittany Slattery on the latest episode of Dexter. See pics of this week’s nude scenes from Treme , Boss , Boardwalk Empire and Dexter after the jump!
Mr. Skin never misses a beat (off) when it comes to the hottest SKINematic releases worth streaming. Your queue is about to go through some serious shuffling, because this week we’ve got free-lovin’ funbags from Angela Sarafyan and Dee Dee Rescher in A Good Old Fashioned Orgy (2011), some nubile Norwegian knockers in Headhunters (2011), and plenty of pink to peep at in Keyhole (2012). Then we’ve got Hall-of-Fame worthy nudity from Julie Warner in Doc Hollywood (1991) and Kim Basinger in 9 1/2 Weeks (1986). And finally, check out some Sapphic canoodling between Laura Harring and Naomi Watts in Mulholland Dr. (2001) and Demi Moore at the apex of her silicone enhancement in Striptease (1996). More after the jump!
Nude this week on the boob tube, Marin Ireland is back, brunette, and nuder than ever on this week’s Boss , Dutch redhead Christiane Seidel makes her nude debut on Boardwalk Empire , and soft core favorite Christine Ngyuen makes a topless cameo as a stripper on Dexter .
It’s good to see Genndy Tartakovsky on the big screen. Even when he was working at Cartoon Network beginning in the 1990s, where he produced such contemporary animated classics as Dexter’s Laboratory , Powerpuff Girls and the visually stunning Samurai Jack , Tartakovsky and his team produced remarkably three-dimensional worlds — populated with fully developed characters, ageless physical humor and memorable sight gags — rendered in 2D animation. It was only a matter of time before he graduated to feature films, and on Friday, his engaging and funny directorial debut Hotel Transylvania opened in theaters in 3D. Movieline talked to Tartakovsky about the challenges of making the transition from animated TV series to feature films and his push during production to achieve a hyper-exaggerated, Mad Magazine-meet- Looney Tunes style of animation that, he says, is largely taboo among the gatekeepers of the genre. The Moscow-born Tartakovsky, whose family moved to the United States when he was 7, also talked about working with Adam Sandler, who as the voice of Dracula, gives one of his best performances in a long time, and another genius of a certain type of animation, Saturday TV Funhouse creator Robert Smigel. Finally, he talks about his influences, which aren’t limited to cartoons. Indeed, there’s more than a little The Good, The Bad And The Ugly i in Samurai Jack , which, happily, Tartakovsky says he wants to revisit via a film or miniseries. Movieline: This is your first theatrical feature. Tartakovsky : Yeah, I’ve done long-form movies for DVD, but this is my first theatrical feature. What are the challenges of making that transition from TV to feature films? One of them is the simple idea that in television, you have episode after episode, so if you mess up one, the audience usually forgives you. In features nowadays, you work all this time and put out all this effort for one weekend. If you don’t open, you’re dead. And so it’s a totally different type of pressure where you’re working so hard to tell a good story and create good characters. Usually in TV, it takes six to eight, sometimes 10 episodes, to really get going and know what the show is. There’s always that moment in TV where a show clicks. Seinfeld had it. A lot of shows go through it. But in features, you don’t have that choice. You’ve got to figure everything out. You’ve got to know what your movie is. And you’ve got to know what story you’re telling. And all of this pressure and build-up was very different for me because I was like, this is it. This is the one shot that I get at this. When it came to the monsters in Hotel Transylvania , I thought I saw and heard a lot of references to pop culture: the Universal monsters, of course, but also Count Floyd from SCTV and Young Frankenstein. Tartakovsky: Well, the main monsters are all inspired by the iconic things that we know them by. but we actually tried not to put in too many references. So, for Dracula, we tried to make him his own design, even though he probably has classic flavors of Count Chocula and other things. [Laughs] But that definitely wasn’t on purpose. If anything, we were trying to do almost a Mad Magazine type of vibe. We tried not to take ourselves too seriously. So any of the references you may have thought you saw, definitely weren’t on purpose. I first became of fan of your work watching Dexter’s Laboratory , The Powerpuff Girls and Samurai Jack on Cartoon Network. I’m also a fan of screenwriter Robert Smigel’s Saturday TV Funhouse for SNL. How did you get involved with Sandler and Smigel and that crew? When I came on, Adam was already signed on to do the voice of Dracula. I worked on the script to take the tone and other aspects in the direction I wanted them to go, and then I gave it to Adam. He really liked what I did. No matter what movie he does, Adam brings in his own guys to help write whatever character he’s portraying, and one of the guys he works with is Robert Smigel. He asked me if I wanted to work with Smigel, and I said, ‘Oh yeah, definitely. I love the stuff he’s done.” And that’s how he got involved. So this project didn’t originate with you? I came on board after it had been going through the grinder for few years. Judging from some of the bios I read about you, you grew up a pretty alienated kid. Did monsters help you deal with those feelings? The actuality is that I was really scared of scary movies. I think kids either get off on it or they don’t. I was one of those that didn’t. I like knowing things. I didn’t like that feeling of, what’s around the corner? I never went to haunted houses or anything like that. But at the same time, I liked the idea of Dracula and Frankenstein – definitely the older movies weren’t as scary as today’s are. So, I definitely watched those. But, for me, where I really liked the monsters were in comedy, like Abbott and Costello Meet Frankenstein , or, of course, Young Frankenstein is one of my favorite movies. That was my introduction to the monsters, until I read some of the books and thought more in terms of the truer sense of them. Weirdly, I saw Hotel Transylvania knowing that you were involved but unaware that Sandler was the voice of Dracula. And I have to say, I his usual trademark vocal tics weren’t obvious. That’s hilarious. I am a real Adam Sandler fan, but, at the same time, when a celebrity voice overtakes the character, it can throw you out of the film. You know, you realize who’s doing the voice and you’re just, ‘Oh, it’s that actor playing that character.’ And so, I was really worried about it. That’s why I tried really hard to push Dracula’s expressions and his posing and to push for Adam not to do his voice. At first, I think he was really hesitant—you know comedians are really hard on each other and they’re hard on themselves. They want to make sure they don’t sound hacky, or whatever. And doing something [as iconic] as Dracula, you’re opening yourself up. But I loved the voice Adam did. We started looking at it, and for me, I wanted this to be a broad comedy. So I kept pressuring him to do it as cartoony as he could get and still be comfortable. So whenever he yelled and did those big ranges and different rhythms, the happier I was because then we could make some really fun, old-school animation like the old school — like Mel Blanc when he would do Bugs Bunny or Daffy. For the emotional stuff, he definitely came down and we have that kind of contrast. I loved the scene where Dracula is chasing the airplane that’s carrying his daughter’s boyfriend, Jonathan (Andy Samberg) and sees him watching some sort of Twilight -like movie with bare-chested pretty boys. And even though the sunlight is burning him up, Dracula has to make some sort of smart-ass comment about the state of vampire movies today. Was that your idea? That was an Adam and Smigel idea, I think. I thought you were successful getting most of the actors not to sound too much like themselves. How did you manage that? It all depended on the character. With Fran Drescher, for the Bride of Frankenstein, we really wanted it to be her voice, which is super cartoony to begin with. With Kevin we decided to do Frankenstein as really conversational, so he could be more of his voice. If we were successful, I think it had a lot to do with the visuals. They way we executed performances and stuff, you weren’t paying too much attention to the voices because they just kind of all fit. Tell me about what you were striving for in terms of the animation. We really tried to push the animation to be better than other movies, to have it’s own point of view. And, again, to support the broad comedy of it, we wanted to do a Tex Avery-, Warner Brothers-influenced type of animation. When I first started doing it, everybody was so hesitant because that’s the big taboo in feature animation.: you can’t have things too over-exaggerated. I always thought that was ridiculous because for me the best scene in animation is in Disney’s Snow White and the Seven Dwarfs, where you’ve got these crazy looking dwarves and Snow White’s dead and they’re super sad. They’re as unrealistic as you get. They’re ridiculous. And then they shed a tear and the audience is rapt. They’re so involved in these characters. To me, it was always ridiculous that you can’t emote if you’re doing something cartoony and exaggerated. I always argued the opposite. The more cartoony and exaggerated you are, the more range of expression you have and it will be more believable. And so, that was the whole point. Push the expressions. Push the animation. Push the posing to a much more exaggerated level. When did that silly rule get made? Look at the movies. It’s really be around since Disney. Disney started really cartoony, and then it switched. It started going more and more realistic, and eventually that look kind of stuck. And that became the law. When you have a movie like Beauty And The Beast that’s very realistic making so much money, that starts the argument that you can only do it that way. It’s just a trend that never went away. Maybe you’re about to reverse that. I’m hoping. [Laughs] The animation is all CGI? Technically, it’s the same as any Pixar, Dreamworks or big CG feature. The only thing that’s really different is that we really pushed the drawing aspect of it. We tried to get funny expressions, funny poses and that’s what really stands out. We really broke the puppet. With CGI, you have this model of a puppet in the computer, and it can only do a limited number of things. But if you push it and stretch it and pull it and break it, it can do so much more. And that’s where the Mad Magazine theory came into play. If you pause on a frame of Dracula, you get a funny expression. And that’s a really hand-drawn 2-D animated theory, where you have a funny drawing and you laugh at it. And that’s what I wanted to get more of — that the movie is drawn, not so much just posed.
One of my favorite movies to screen at the Toronto International Film Festival was Seven Psychopaths , which was written and directed by Irish playwright-turned-filmmaker Martin McDonagh . Beginning in the mid-1990s, McDonagh caused quite a stir in New York’s theater world with his funny, macabre plays, The Beauty Queen of Leenane , A Behanding in Spokane and The Pillowman. And in 2008, he turned heads in the film world with his debut feature, In Bruges , which he also wrote and directed. (If you haven’t seen that film, you should before CBS Films releases Seven Psychopaths on Oct. 12. It’s a dark comic gem with genuine emotional depth about two hit men who go on the lam when a job goes wrong. Seven Psychopaths finds McDonagh in Quentin Tarantino territory, and dare I say, the Pulp Fiction director should watch his back. (By the way, the two have never met.) McDonagh has a stylish way with violence — there’s an exploding head scene in the movie that rocked my world — he structures his films to move like sleek sports cars, and his black wit is sharper than QT’s. (Yes, I did just assert that.) Check out the trailer below for a riff on Gandhi’s “an eye for an eye” quote that, thanks to Sam Rockwell’s delivery, makes me laugh every time I hear it. In Seven Psychopaths , Rockwell plays a struggling smart-ass actor who, with his non-violent partner-in-crime (Christopher Walken), does a bit of dog-napping to make ends meet. The fun begins when he makes off with the Shih Tzu of a cold-blooded gangster (Woody Harrelson) and implicates his blocked screenwriter friend (Colin Farrell), who happens to be working on a script identical to the film’s title. (By the way, Farrell, who’s tight with McDonagh, has done some of the best acting in his career in In Bruges and Seven Psychopaths .) I interviewed McDonagh in Toronto, and I’ll be posting the results on Movieline closer to the release date of Seven Psychopaths . In the meantime, there was one morsel from our conversation that I wanted to share now. The film also stars singer/songwriter Tom Waits as a bunny-loving psycho with some Dexter similarities, and when I asked McDonagh what his next project might be, he told me that he and Waits had been working on “a creepy fucked-up musical” that, he said, Waits was calling A Very Dark Matter . He added that their collaboration was in the vein of The Black Rider: The Casting of the Magic Bullets , the creepy-funny stage musical that Waits created with avant garde theater director Robert Wilson and Beat maniac William S. Burroughs. After my interview with McDonagh, I searched through some of Waits fan forums and found reference to the project. According to one , Wilson was involved with the musical, which was supposed to debut in Paris in 2011, and the story was based on Hans Christian Andersen’s 1847 fairy tale The Shadow , in which a man’s shadow gets the better of him. “It kind of fell through,” McDonagh said of his collaboration with Waits. But, he added, “it’s in the back of my mind to do.” I think a musical by these two masters of black comedy is an exciting idea, and I encourage their fans to encourage them to resume collaborating. In the meantime, watch the Seven Psychopaths trailer. Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
Before she was cast in Gary Ross ‘s The Hunger Games as District 5’s elusive Tribute — known only by the nickname “Foxface,” per her wily dexterity and appearance — actress Jacqueline Emerson was a devoted fan of the YA series. Big time . “I was obsessed!” she told Movieline ahead of this week’s Hunger Games DVD/Blu-ray release. “It was my new book series that I was in love with.” Upon getting the part (a connection to Ross’s daughter put her in the director’s sights), the high schooler had to keep her secret from friends and concerned teachers for months — and now, over a year and $684 million in Hunger Games box office receipts later, the one-time child rocker looking for her next adventure with college and a Spike Lee project on the horizon. Emerson, who deferred enrollment at Stanford University for a year to tend to her burgeoning career as an actress and musician, rang Movieline to discuss her Hunger Games experience, the challenges of playing Foxface — Katniss’s most intelligent fellow Tribute, and therefore a dangerous, enigmatic rival — and her unique industry beginnings as a sixth-grade member of the Disney-backed Devo cover band Devo 2.0. You loved the books, but you also happened to have a connection to Gary through his daughter. How did your casting as Foxface come about? Claudia, who’s Gary’s daughter, told her dad that I’d read the books because we knew each other. So I came in and did an interview with Gary because he was interviewing kids who had read the book. A couple of weeks later he gave me a call and said, “Jackie, I really see you as Foxface – would you come in and audition?” And I absolutely flipped out. It’s my favorite book series of all time! I would kill to be in the movie! I slept like four hours the night before, I was tossing and turning, I had a physics test the next day and I don’t even remember it, and I went to my audition after school. I was hoping I did well but I wasn’t really sure, but a week later I got a call from Gary and he talked to my mom and said, “We really want Jackie for the part, it’s not set in stone but she should begin training.” And I died. I was so excited. I immediately started training and working out and getting toned down. Let’s keep in mind though that I found out about this in March, and I wasn’t able to say anything until mid-May. I don’t know how you did it! I had signed a ton of NDAs so I couldn’t tell anybody anything, and my friends were getting really worried about me because I’d be missing school, and I was working out all the time. They couldn’t figure out why because I’d never worked out before. I was losing weight and toning up and getting muscular, and they were all really worried about me – it was junior year and so it was very stressful, I had teachers who would call me into their office and be like, “Jackie, are you okay? Are you feeling alright?” What would you tell them? I would say, “Oh no, I’m fine. I’m just busy.” I’d skate around it. Finally it was announced and I hadn’t signed any contract yet so I wasn’t even entirely sure it was going to be me. And I told a couple of my best-best friends because I needed a few people to help defend me from the rest of my friends [laughs] and everyone was so excited. What was your initial audition like? Foxface is an unusual character in that she conveys so much with no known name and no dialogue, so your performance had to come through silently. Yes. They had me come in and do a lot of reaction stuff — they’d map out a scenario for me and be like, “Okay, you stop here and look around and take it in and think about the complexity of it, but you’re scared at the same time,” but all with the face and without dialogue. It was a very unorthodox audition. Did you always relate to Foxface when you read the books? Oh yes, she was always one of my favorite characters. I was always intrigued by her. Her intelligence is a great element to the character and to the book — she’s a character who adds a lot of mystery to the proceedings during the Games. I loved that. And I loved how you knew so little about her and yet Katniss was kind of scared of her in a way. She was one of the only people in the game that Katniss respected. There’s a point where Katniss goes, “Maybe Foxface is the real enemy here.” I thought that was interesting. And amid all the bloodshed, Foxface manages to get far in the Games without harming people. She’s only defeated by herself, by stealing Peeta’s poisonous berries. I think it’s definitely one of those movies you want to see more than once. I liked it so much better the second time I saw it, and I liked it even better the third time I saw it. By the fourth time I was like, okay, I get it now. [Laughs] But it’s got to many levels. You watch it again and pick up so many subtleties. You’ve previewed the new Blu-ray releases. What’s your favorite special feature? For The Tribute Diaries, all of us got Flip cameras and in the couple of weeks leading up to the premiere we filmed all of us hanging out, the mall tours, and stuff like that so that’s a cool insight into us hanging out. There’s also a lot of the Tributes on set, which was really nostalgic for me to watch. It’s like watching a documentary of my summer. Your summer yearbook. Exactly! This cast grew pretty close, which happens with these huge franchises as young performers bond together on the shoot and press tour. Did you get any great advice from the older castmembers who are a few years ahead into their own careers? Jen especially gave me really really great advice, and she was there for me when I was freaking out or nervous or confused. She was always really, really supportive, from the beginning – from the first day I met her. She was there to help me along, and I appreciated that so much. It was really wonderful to have that. Your next film, Son of the South , is an indie with impressive folks behind the camera – Spike Lee is producing, and his frequent editor is directing. When do you start and how did you come to the project? I’m very excited — I’m not sure when it shoots yet because I’m not sure it has full funding, but I’m just excited to be a part of this project because it’s a really important story. It’s the story of Bob Zellner, who’s a civil rights activist, and I’m honored to be a part of it. It’ll be really fun to bring to life. Did you get to audition for Spike Lee or talk with him? No, I didn’t! I did an interview with the director and talked to him, and he sounds great. I can’t wait to work with him. You also have a parallel career as a musician, and you have a music video out. In addition to this, you were accepted to Stanford. So what’s your plan for the next few years? I’m taking a year off — it’s interesting, because I’ve wanted to take a year off since 9th or 10th grade because high school’s been very intense for me. I went to a very hard prep school, and I’m also not ready to leave my family yet and I’m kinda young for my grade. So this is great because it really gave me an excuse to take a year off and pursue what I love for a year in my artistic side, which, even though I’d done a ton of stuff in high school and I was part of drama and stuff like that, I didn’t get to really pursue it. I recently signed with a new agent and I signed with managers a couple of months ago, so I’m really beginning this journey. It’ll be a lot of fun. I will say that I went to Berkeley, so I unfortunately can’t fully support your choice of school. [Laughs] You did? I’m supposed to hate you, but I can’t! I’m so sorry! I wish you luck at Stanford nonetheless! And finally, I must ask about one of your earliest credits in a band called Devo 2.0. Oh my god, yes. I’m so curious about it. Is it correct to describe it as a family-friendly Devo cover band made of kids? Yes! It was wonderful! I had such a good time. I was in sixth grade, and it was the first audition I ever went on. We did a DVD, and a bunch of music videos, we did a two-week tour around the East Coast to different schools on a tour bus, and it was so much fun. We finished out with a performance at the House of Blues, and then it was kind of over. But I thought it was a great experience. My mom kept telling me the whole time, “You know, every journey has a beginning, a middle, and an end — and this is not the most important thing that you’ll ever do.” And I think that was probably the best advice that I could have gotten when I was in that, because otherwise I may have gotten too attached to it and too caught up in my two minutes of… fame. [Laughs] It was so happy to have my mom there because she really kept me grounded, and I had such a great time. It’s a memory that I will always look back fondly on. So you were basically a rock star in sixth grade. I know, isn’t it funny? I always forget about it because it was only for like a year, and then it was over. But it was a really great experience. You played the keyboard but you also sang — does that make you the Mark Mothersbaugh or the Bob Casale of Devo 2.0? I think I was the Jerry Casale. I don’t really know — they changed all the parts around, but Jerry actually toured with us and we met Mark a couple of times. What do you remember most about meeting or working with them? Honestly… I do not remember. [Laughs] I was in sixth grade! All I know is I had a really good time. Do Devo’s lyrics have different meaning to you now that you’re older? Yes — completely. I definitely had a very skewed understanding of them when I was younger. Actually I have a theory that Devo 2.0 was made to prove the point of devolution, because their songs went from having a lot of meaning to, like, “It is a beautiful world!” That’s the theory I’ve come up with in recent years. [Laughs] The Hunger Games is on DVD and Blu-ray August 18 at 12:01 a.m. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Hollywood.TV is your source for all the latest celebrity news, gossip and videos of your favorite stars! bit.ly – Click to Subscribe! Facebook.com – Become a Fan! Twitter.com – Follow Us! Tonight we spotted Sam Trammell, one of the stars of HBO’s ‘True Blood’ headed in to BOA steakhouse for the True Blood wrap party. Trammell always bring the right amount of southern charm to an event, being from Louisiana and all. Maybe there’s some voodoo down there, because we can all hope to look this good at 43! Hollywood.TV is one of the top celebrity news providers in the world. Since 2008, Hollywood.TV has been bringing all the latest celebrity news, interviews, gossip, and candid videos to viewers all over the world. HTV is on the job 24/7, and at all the best festivals from Sundance to Coachella, as well as on the streets every day to cover the hottest celebs in Hollywood, New York, and Miami. Hollywood.TV is currently the third most viewed reporter channel on www.youtube.com YouTube with almost 400 million views, and our footage is seen worldwide! Tune in daily for all the latest Hollywood news on www.hollywood.tv and http like us on Facebook!
If you have been following the news recently then you will have heard that the strangely sexual Angelina Jolie-esque “Octomom” Nadya Suleman has been offered a gig to do a pornography video Continue reading →
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