Seeming front-runner shockingly voted off the show, joined in the bottom three by Elise Testone and Hollie Cavanagh. By Adam Graham Colton Dixon on “American Idol” Photo: Fox “Bad Romance” turned out just plain bad for Colton Dixon on Thursday (April 19), as the 20-year-old Tennessean — who had never before landed in the bottom three — was voted off “American Idol.” Dixon found himself at the bottom of the 53 million votes cast following Wednesday’s performance episode . Dixon, the Mohawk-mullet-wearing emo-rocker who entered “Idol” initially only as a show of moral support for his sister, performed a goth-lite version of Lady Gaga’s “Bad Romance” on Wednesday’s show, as well as an emo reading of Earth, Wind & Fire’s “September.” When given the news he had been voted off — and would indeed be going home, since the judges used their one-and-only save for the season last week to rescue Jessica Sanchez from oblivion — Dixon said sorry to his fans. “I need to apologize. I wasn’t myself last night, and I get it,” he said, turning to the judges. “I appreciate what you told me last night. I’ll take that when I’m making a record, and I’ll choose songs … ” He was cut off by Jennifer Lopez, who told him, “You’ll make many records,” and Randy Jackson, who offered, “You have a huge career ahead of you, man.” Dixon had received generally favorable remarks from the judges throughout the season but was dinged for his performances Wednesday, in particular for the Earth, Wind & Fire tune. In a video that aired Thursday (April 19) that caught him backstage, Dixon reacted to the criticism. “Ouch, that kind of stung a little bit,” he said. “But honestly, I’m not trying to sound cocky, but I don’t care.” Dixon was in the bottom three along with Hollie Cavanagh and perpetual bottom-dweller Elise Testone. Testone was sent back to safety first, leaving Dixon and Cavanagh to sweat it out. Host Ryan Seacrest was up to even more tricks than usual when handing contestants their fate Thursday; at one point he told Joshua Ledet, “I’m afraid … you didn’t get the right number of votes … to put you in the bottom three. You are safe!” (C’mon, Seacrest, that barely even makes sense.) Regarding Ledet, “Idol” mentor Jimmy Iovine remarked, “He could end up in the finale.” In a video package, Seacrest paid tribute to his mentor Dick Clark, who died Wednesday at age 82. The evening also saw performances from Kris Allen, who sang his new song “The Vision of Love,” and party rockers LMFAO, who apologized for their party-rocking ways with a typically raucous rendition of “Sorry for Party Rocking.” What did you think of “Idol” on Thursday? Let us know in the comments! Get your “Idol” fix on MTV News’ “American Idol” page , where you’ll find all the latest news, interviews and opinions. Related Photos Most Shocking ‘American Idol’ Exits ‘American Idol’ Season 11 Performances
‘He taught me how to do television,’ Seacrest says of his ‘dear friend’ and ‘New Year’s Rockin’ Eve’ co-host. By Jocelyn Vena Ryan Seacrest remembers Dick Clark on “American Idol” Photo: Getty Images On Wednesday night, just hours after the world learned that TV icon Dick Clark had passed away , his heir apparent Ryan Seacrest took to the “American Idol” stage to pay homage to his mentor and friend. “We can’t begin tonight’s show without acknowledging the passing of a television pioneer and my dear friend, Dick Clark,” he said at the top of the broadcast. “Without Dick, a show like this would not exist. He will be missed greatly.” Seacrest credited Clark’s groundbreaking work launching shows like “American Bandstand” as a predecessor for “Idol.” “Our thoughts and our prayers go out to his family,” he added. “I know that he’s in a better place, saying, ‘Hey, let’s get on with the show, OK?’ You got it, boss.” After the show, Seacrest noted that it wasn’t easy holding it together while hosting the show. Clark took the “Idol” host under his wing, and Seacrest had helped the legend host “Dick Clark’s New Year’s Rockin’ Eve” since 2006. “This is a tremendously emotional day for so many people — fans of music, fans of television, broadcasters and certainly me personally, as Dick Clark was one of those incredible pioneers of our business,” Seacrest told reporters after the show. “He taught me how to do television. “I studied him as a kid, and I had the fortunate opportunity to work with him for several years on New Year’s Eve. And so I am sad and I am grateful for what he has given us, and certainly what he has given me. It was a tough night to do the show. I miss him, and there was nobody like him.” Another close friend of Clark’s, Jenny McCarthy, opened up about losing the TV legend. She had also worked with him on his annual New Year’s Eve bash and on the American Music Awards, which he helped create. “I feel honored to have worked with the legendary Dick Clark on the American Music Awards and New Year’s Rockin’ Eve. He was a great man who always encouraged everyone to give their best,” McCarthy said in a statement to MTV News. “He will be dearly missed and his spirit will be forever in my heart, especially counting down the minutes to midnight every New Year’s Eve to come.” Share your condolences for Clark’s family, friends and fans in the comments below.
‘[It] is by far the most emotional of the movies,’ director Barry Sonnenfeld tells MTV News about the third film in the ‘Men in Black’ series. By Josh Wigler Tommy Lee Jones and Will Smith in “Men in Black 3” Photo: Columbia Pictures The Men in Black are back — but these aren’t the galaxy defenders you remember, not exactly. Yes, Will Smith and Tommy Lee Jones have both returned to their iconic roles of Agents J and K, two of the finest alien investigators the universe has to offer. But J is not the same bright-eyed rookie introduced oh so many years ago; he’s a seasoned veteran now. And don’t even get us started on Agent K, who has changed so much that a whole new actor is stepping in to play him in the upcoming summer action flick! Nearly a full decade has passed since the last “Men in Black” movie was in theaters. But the threequel itself has been a fixture in headlines throughout its production: Between time-traveling tales, a one-two punch from Jones and Josh Brolin, and reported problems with the film’s script, “Men in Black 3” has certainly been on every film geek’s radar. But don’t let all of that confuse you. Director Barry Sonnenfeld tells MTV News that not only is “Men in Black 3” the most “emotional” of the series, it’s also the most “surprising.” In other words, if you think you know what the film is all about, take it from the man himself: You don’t know anything yet. MTV News’ Summer Movie Preview week continues today with an interview with Sonnenfeld, who spoke openly with us about the film’s story, reports and rumors surrounding the production, and how “Men in Black 3” paves the way for a brand-new take on the sci-fi franchise. MTV : A long time has passed since we’ve seen the Men in Black on the big screen. What does it mean to you, bringing them back after so many years? Barry Sonnenfeld : It feels really great. I’ve been on the movie for a little over two years though, so I’m looking forward to some vacation, too. [ Laughs ] It was really rewarding. I’m really excited for people to see the movie. So I guess I’m tired, and happy. MTV : Why return to this universe now after all this time? What made sense to you about exploring the world of “Men in Black” again? Sonnenfeld : I think the important thing is to have a new, different story to tell. We didn’t want another regular caper where some alien just comes down to threaten Earth, and the Men in Black have to solve it. The big idea — and it was actually Will’s idea, while we were shooting “Men in Black 2” one night for an exterior shot. He said to me, “Barry, for ‘Men in Black 3,’ Agent J needs to go back in time to save Tommy Lee Jones’ [character] from some event that’s happened decades earlier. He needs to learn something about Tommy’s character that he didn’t know before.” That was the genesis. Ten years later, we’re about to come out and show the world what that meant. MTV : Time travel is clearly a big element to the story, but there’s more: we’ve seen photos of the typical weird aliens, we’ve seen Josh Brolin as a young Agent K, and we’ve seen Jemaine Clement as this crazy, motorcycle-riding villain. From a distance, we see all these parts, but perhaps we still don’t have the full scope of what your movie’s about. So, tell us: What’s happening this time around? Sonnenfeld : In the first act, Agent J is a bit fed up with how closed K is as a person, how he feels he needs to open up and communicate more, but it’s not happening. K says to J, “You know how I live such a happy life? I don’t ask questions I don’t want to know the answers to.” At the end of the first act, Jemaine’s character, Boris the Animal, breaks out of prison and finds a guy who has a time device. He says he’s going back to 1969 to do something to the man who shot off his arm — because Boris only has half an arm — and of course, that man is Agent K. At the end of that first act, Tommy’s character disappears, and no one remembers that he ever existed… except Agent J, who realizes that someone went back in time and did something to Agent K. So he has to track down who gave Boris the device, and travel back to 1969 with one warning: He has to stay away from his old partner. MTV : Which, of course, he does not listen to. Sonnenfeld : What happens, actually, is he gets arrested by Agent K — now Josh Brolin — in 1969. The second and third act is all about tracking down Boris and Will renewing his friendship with a different K than the K he knows from 40 years in the future. What’s really cool is that J is constantly wondering why this guy who seems sort of open and happy became the sort of curmudgeon that has been his partner for the last 14 years. He makes a discovery about that. So, “Men in Black 3” is by far the most emotional of the movies. It has a really surprising ending. MTV : Everyone is very excited to see Brolin as K. Can you tell us more about his take on Tommy’s character? Sonnenfeld : Yeah, what’s great about the movie is you’ve got two great actors, both Tommy Lee Jones and Josh Brolin, playing the same character and being the same character, but being 40 years different in time. So Josh’s challenge was how to not impersonate Tommy, but to be Agent K, you know what I mean? What’s really interesting is that Josh can’t veer away from Tommy so much that you go, “That’s no fun, I miss Tommy.” And he can’t be so much like Tommy that you wonder why he’s so angry in 1969. Will Smith said to me one day, “What’s so interesting about this movie is that Josh Brolin is so good playing Agent K, and Tommy is so good at playing Agent K, that you almost don’t realize there’s two different actors in the role.” MTV : You mentioned that this is the most emotional of the “Men in Black” movies. What’s interesting to me is that the villain this time around is played by someone who is traditionally viewed as a comedian. How does Jemaine’s villain factor into the emotional aspect of this film? Is he more on the comedy side, or can we expect a more dramatic performance? Sonnenfeld : Jemaine delivers a totally villainous performance. If there’s any comedy at all, it’s just through frustration. [ Laughs ] The great thing about Earth is that it can be a frustrating place for aliens. We don’t think clearly, we’re not logical all the time. But Jemaine is not on board this movie for comic relief. His performance is really strong and really villainous. Think about it: If you had not seen the first “Men in Black,” and people had told you that Tommy lee Jones was funny, you wouldn’t have believed it. This is the same thing — no one is trying to be funny. I want my actors to be real. If it’s a funny situation, I want it to be funny. But I don’t want anyone to play to the comedy. Let the audience find the comedy; I don’t want to tell any [of the cast or crew] where it is. So, Jemaine does not deliver a comedic performance. While there are moments of humor that the audience will find funny, Jemaine himself is not being funny, if you get that. MTV : There have been lots of reports about issues with the script and issues with the shoot. Set things straight: Can you give us a sense of your experience making this film? Sonnenfeld : First of all, I don’t know that I’ve ever been on a shoot that wasn’t stressful for the director. I think all movies are stressful in different ways. What was reported on this one was that we took a several-months hiatus to work on the script. As it relates to that, that concept was built into the shooting schedule. We wanted the next movie Will Smith was in after a long time where he wasn’t in movies to be “Men in Black 3.” We also wanted to shoot in New York, which had a tax incentive that was about to expire. It didn’t expire, but we didn’t know it wasn’t going to expire, because New York state legislature had to vote it in again, and we weren’t sure that was going to happen. So we started the movie with a full script and with a really great first act — but the second and third needed work. We built in a two-month hiatus so we could continue working on the script and not need an eight-week reshoot. So that’s what we did. The truth is, the great thing about the movie, is that there was no stress between myself and any of the actors. We all got along very well. You don’t ever want a director and a movie star who see two different movies. But we all were working with the same ideas in mind. We knew the characters, we knew the history, and we were very much in sync. People don’t know this, but the end and plot of the first “Men in Black” was changed after we shot the picture, months and months and months after shooting. We had cut the movie and were ready to mix it and everything. But I took one scene and got a phonetics expert to change what the two aliens were saying — they were speaking English, and we changed it to an alien language, and subtitled what they were saying. That totally changed the plot of the movie. So, we did not have to do that on this movie. We got [the story] right the first time; it just took a long time to get there. The movie is really good, and it looks great. I think it’s going to be fantastic in 3-D, too. MTV : Wrapping up, you talked about how the ending of this film is “surprising.” As much as you can tease, do you view this film as an ending to the “Men in Black” trilogy? Or are there ways to continue the story? Sonnenfeld : The fantastic thing about “Men in Black 3” is that it totally closes out the trilogy, it answers questions that you didn’t even know you should be asking, it leaves you emotionally warm and sad and happy, and it could also reboot the franchise. But I can’t even begin to tell you how to interpret all of that. [ Laughs ] But I would say this: If your interpretation is that “Men in Black 4” will only star the worm guys and Frank the pug, you are wrong. MTV : Hey, I’d pay money to see that movie! Sonnenfeld : Yeah? Well, maybe I’m wrong! [ Laughs ] Just wait. It’s going to be great. Are you excited for the next “Men in Black” movie? Tell us in the comments section below! It’s Summer Movie Preview Week, and MTV News will be bringing you exclusive interviews, clips and photos for the most anticipated summer movies . Get ready to gorge on inside looks at “The Avengers,” Robert Pattinson’s “Bel Ami,” Kristen Stewart’s “Snow White,” “The Amazing Spider-Man” and more! Related Videos Summer Movie Preview 2012
Jessica Sanchez gives ‘otherworldly’ performance after near elimination last week and Hollie Cavanagh finally ‘ruffled her feathers.’ By Adam Graham Jessica Sanchez on “American Idol” Photo: Fox “American Idol” opened Wednesday (April 18) with a recap of last week’s Jessica Sanchez near-elimination drama , but before the show could get down to the business of the top seven (round two), host Ryan Seacrest paid tribute to television legend and his mentor Dick Clark , who died Wednesday at age 82. “Now we can’t begin tonight’s show without acknowledging the passing of a television pioneer and my dear friend, Dick Clark,” said a somber Seacrest. “Without Dick, a show like this would not exist. He will be missed greatly; our thoughts and our prayers go out to his family. I know he’s in a better place saying, ‘Hey, let’s get on with the show, OK?’ You got it, boss.” The contestants sang two songs each, the first a #1 hit from 2000 to today, the second an old-school soul classic. After nearly being booted last week, Sanchez fought back on the “Idol” stage, first with Alicia Keys’ “Fallin’ ” and later with a spunky version of Otis Redding’s “Try a Little Tenderness.” “Your talent is so otherworldly to me,” Randy Jackson told Sanchez — or was it BB Chez? — after “Fallin’.” “I don’t even know if you know how good you really are, and how even greater you can be. I love it.” Following “Tenderness,” the judges praised her ability to connect emotionally to songs, and urged her to push it even further going forward. Joshua Ledet, who for the first time last week landed in the bottom three, also came back strong, earning standing ovations from the judges for both his songs, first Fantasia’s “I Believe” and later for Sam Cooke’s “A Change Is Gonna Come.” “You have stretched your voice to the limits of soul!” Steven Tyler beamed after “Change.” Praising the restraint he showed early before building to a robust climax, Jennifer Lopez made a plea to viewers: “Please, America, don’t send this boy home! Please!” All around cool dude Phillip Phillips took on Usher’s “U Got It Bad” early before tackling Wilson Pickett’s “In the Midnight Hour” in the second half of the show. Lopez called “U Got It Bad” “sexy” while Tyler exclaimed, “no chump love, sucka!” — a comment we’re still trying to decode. But overall, the feedback for Phillip Squared was positive. “You are Phillip Phillips and dude, you are the bomb!” said Jackson. After receiving harsh criticism the past few weeks — or at least what passes for harsh criticism on this rather tame, gentle season of “Idol”— Hollie Cavanagh came back big on Wednesday, first by belting out Adele’s “Rolling in the Deep,” perhaps the biggest song any of the contestants took on all night, and later with “Son of a Preacher Man.” “You finally came out of your shell and ruffled your feathers a little,” Tyler told her, while Lopez told the 18-year-old Liverpudlian she showed a new composure in her performance. Country-rock boot stomper Skylar Laine continued her hot streak, first with Lady Gaga’s country-fried version of “Born This Way” and later with a down-home version of Marvin Gaye’s “I Heard It Through the Grapevine.” “Every time you’re on stage it’s a party. It’s the Skylar Laine Rock and Roll Country Party!” Jackson exclaimed, while Tyler said she’s “like a wild horse that refused to be tamed.” Lopez complimented Laine on the “spunkiness” of her performance. Colton Dixon also got his Gaga on, doing a goth-lite version of “Bad Romance,” even though the song technically never hit #1 in America (it peaked at #2 on Billboard ‘s Hot 100). He later put an emo spin on Earth, Wind & Fire’s “September,” a performance that got him some negative feedback from the judges. “I think your voice is a lot more powerful than that song,” Tyler told him, while Jackson said the song was out of his comfort zone. Dixon, who generally gets good marks from the judges, looked a bit surprised but took his dings in stride. Elise Testone, whom Jimmy Iovine snarked “has a vacation home in the bottom three,” was also criticized for performing what the judges deemed an odd fit for her voice when she did Marvin Gaye’s “Let’s Get It On.” Earlier, her version of Alicia Keys’ “No One” gave Lopez her “first goosies of the night,” while Tyler got a little weird when he told her, “You sang your little tushie off tonight, it was delish.” Testone also revealed that back home her dog is sick and might not pull through, which could earn her some sympathy votes from the masses. Since the judges’ one and only save was used up last week, someone will be sent home on Thursday’s program, which is also set to feature performances by LMFAO and season 8 “Idol” champ Kris Allen. What did you think of “Idol” Wednesday? Let us know in the comments! Get your “Idol” fix on MTV News’ “American Idol” page , where you’ll find all the latest news, interviews and opinions. Related Photos Most Shocking ‘American Idol’ Exits ‘American Idol’ Season 11 Performances
**** OH MY GOD! JUSTIN BIEBER TWEETED THIS VIDEO ON HIS TWITTER FOR ONE OF HIS FANS. JUST KNOWING HE CLICKED ON MY VIDEO AND WATCHED IT MAKES ME SO HAPPY. AM I IN LOVE WITH HIM? yeah, pretty much.. LOL **** THE TWEET: so @JDBieberUNITED this is dedicated to u and any other kid out there that it helps get thru a tough time. much love – bit.ly about 9 hours ago via web ^ 9/4/2010 PLEASE PLEASE PLEASE FOLLOW MY TWITTER: twitter.com I WILL LOVE YOU FOREVER Justin Bieber’s new song Down To Earth with lyrics on the screen! he’s the cutest boy in the world..seriously. fell in love with this song.. you guys will too ♥ Disclaimer: no copyright infringement intended. http://www.youtube.com/v/NHKFACwR1zQ?version=3&f=videos&app=youtube_gdata View original post here: Down To Earth – Justin Bieber (Official Studio/CD Version) with lyrics
James Cameron ’s Titanic is a stunningly realistic portrayal of a sinking ship , but apparently it just got more real for at least a handful of people. According to some tweets that are making the rounds, some younger Americans had no idea until now that the “unsinkable” cruise liner existed and did in fact hit an iceberg and sink in the Atlantic 100 years ago. What? They didn’t watch Downton Abbey and put two and two together either? (Note: Just like the deceased would-be heirs of Downton, Jack and Rose are fictional. Though something tells us many of the Titanic’s passengers probably had acting abilities comparable to Billy Zane’s.) Instead of ridiculing these youths for being ignorant of a fairly remarkable historic event and complaining about Idiocracy becoming more factual each day, let’s turn this into a teaching moment. Here are nine other films that depict a very real thing that happened in human history: Pearl Harbor In case the reference didn’t register at the time, there was a real Day of Infamy behind those insipid comments on Twitter a year ago about the Japanese earthquake and tsunami being payback for Pearl Harbor. Those jerks weren’t talking about the Ben Affleck movie, but a real military strike that happened. The movie that tells the sobering story of the naval base attack in 1941, in which 2,402 Americans were killed, was directed by Michael Bay (which seems like a joke but is true). Apollo 13 The three-man crew on the Apollo 13 mission really did spend four bleak days in their spacecraft after an oxygen tank exploded on the service module. What had been planned as the third manned moon landing instead became a harrowing effort to make it back to Earth safely. The drama captivated the nation on television in 1970, a time before the Internet. The Perfect Storm Before George Clooney and his perfectly disheveled beard hairs set sail in 2000, the dangerous storm that swept away the Andrea Gail fishing vessel really occurred, serving as the basis for the ill-fated film of the same name. Some of the facts in the movie have been disputed, but the 1991 nor’easter/hurricane did in fact collide in what many referred to as “the perfect storm.” The Killing Fields The mass killings by the Khmer Rouge in the mid- to late 1970s might be difficult for even Cambodian youths to fathom, but the story of journalists Dith Pran and Sydney Schanberg was very real. The two were covering the fall of the capital to the regime, and at the time, many journalists managed to flee. Pran was stranded but ended up escaping the death camps. He coined the phrase “killing fields,” the mass grave sites of which there are a mind-boggling 20,000. Alive A chartered flight really did crash in the Andes in 1972, and survivors stayed alive by eating the flesh of dead passengers. Sixteen of them were rescued two months later when Uruguayans Nando Parrado (played in the film by Ethan Hawke) and Roberto Canessa climbed through the mountains for 10 days to seek help. All the President’s Men Wondering where the “-gate” suffix originated? Decades before Weinergate, a little scandal called Watergate happened, and journalists Bob Woodward and Carl Bernstein were there to reveal the truth behind the wrongdoing and President Nixon’s involvement in it. The film is an adaptation of the reporters’ book, which was based on their investigative reporting in an era before “truthiness.” Silkwood Another pop culture reference is about to make sense to many: A “Silkwood shower” isn’t just something germophobes want to take after they get off the subway. It’s a term derived from a scene in which plutonium plant worker Karen Silkwood (Meryl Streep) is, horrifically, contaminated with radiation. Silkwood really did die mysteriously as she planned to reveal wrongdoing at the plant in the mid-’70s. GoodFellas Based on the book Wiseguy by Nicholas Pileggi, GoodFellas recounts the dirty deeds of Henry Hill and Co. Hill, who became an FBI informant, was a member of the Lucchese crime family and was involved in the also-real Lufthansa heist, among other crimes. Hill’s still out there somewhere, being forced to eat “egg noodles and ketchup” instead of spaghetti with marinara. United 93 After terrorists hijacked United Flight 93 on the morning of Sept. 11, 2001, passengers and crew learned of the strikes on the World Trade Center and the Pentagon. Those aboard refused to let the plane hit its intended target, likely a government building in Washington, D.C., and planned to storm the cockpit. Some liberties were taken regarding whether they successfully entered the cockpit, but unless you believe conspiracy theorists, the plane did crash in a field in Pennsylvania.
Breaking news: The third installment of Tom Six ‘s Human Centipede saga — which the director promised would see 500 human beings stitched together… in America ! — may be in trouble. According to reports cobbled together through press releases and Twitter missives from Six and his Human Centipede star, Dieter Laser, the German actor took issue with certain script elements, causing him to walk. Six says he’ll sue. Will the script and contract issues be resolved in time to get the erstwhile Dr. Heiter on set for the shoot, commencing later this year? WILL THE PEOPLE OF EARTH GET THE HUMAN CENTIPEDE THREEQUEL THEY WANT DESERVE DREAD?? On closer examination, Laser’s statement explaining why he parted ways with Six actually seems fairly reasonable. That said, what does it mean that Laser claims to be a method actor? *Shudder* Read Laser’s statement , via Best Movies Ever Screen Read: “It’s very simple: I loved the story when it was told, got the contract and the promise to have the script in 4 to 6 weeks. When it arrived – half a year later and only after the official announcement – I didn’t like the realization at all, couldn’t identify with the character the way it was written and developed immediately and enthusiastically in a day and night marathon a version full of concrete and practical suggestions which would enable me to play the lead full throttle – same procedure as with Dr. Heiter – but this time it also would have had some unavoidable effects to the dramatic structure. That was too much for Tom and since he couldn’t live with my suggestions and I as a method actor couldn’t identify with his version, I told him that I couldn’t see any other way than that he would have to ‘change horses.’ That’s it.” Of course, there is the pesky business of legal contracts to contend with. And since Six’s vision involves both Dr. Heiter and Human Centipede 2 ‘s Martin, I can’t imagine Six will let Laser walk without a lot of trouble. This ought to make for a harmonious set. Six Tweeted the following earlier today: @tom_six Tom Six An actor who demands his own script changes which I as the THC creator didnt like. It was his way or the highway after he signed a contract! Mar 29 via web Favorite Retweet Reply Of course, it’s entirely possible, given the self-reflexive nature of The Human Centipede 2 (in which Six and HC1 star Ashlynn Yennie play themselves as the focus of an obsessed Human Centipede fan) that this is all part of some weird meta-narrative in which Six plays himself sparring with his star in real life to frame whatever shenanigans go down in The Human Centipede 3 . Method acting and Hollywood industry inside talk would fit into the U.S.-centric theme, I suppose. What do you think, Movieliners: Publicity stunt or legit creative difference? [ Bleeding Cool via The Playlist ]
In a milestone of human civilization right up there with landing on the moon and eating 68 hot dogs in 10 minutes , James Cameron reached the deepest point on the planet on Sunday — the Mariana Trench, nearly seven miles below the surface of the Pacific. Naturally, upon reaching bottom, he did what any record-setting blockbuster deep-sea diver would do: Tweeted. Just arrived at the ocean’s deepest pt. Hitting bottom never felt so good. Can’t wait to share what I’m seeing w/ you @ DeepChallenge — James Cameron (@JimCameron) March 25, 2012 Back from trip to deepest pl on Earth – #oceans hadal zone.Puts a new spin on “to hell and back”. Good to see the sunshine. #deepseachallenge — James Cameron (@JimCameron) March 26, 2012 It wasn’t all good, according to a report today from Cameron’s partners at National Geographic: The expedition was designed so that Cameron could spend up to six hours collecting samples and video at the bottom of the trench. But his mission was cut short due in part to a hydraulic fluid leak that coated the window of the sub’s “pilot sphere,” obscuring his view. “I lost hydraulics toward the latter part of dive, and I was unable to use the manipulator arm,” Cameron said this morning Considering the daunting task of sending humans into the deep, such technical glitches are to be expected, Cameron emphasized: “It’s a prototype vehicle, so it’s gonna take time to iron out the bugs.” And even with the hydraulic leak obscuring the explorer’s vision, word has it that the ocean floor looked better than Titanic 3D . [ National Geographic ] Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .
Today, the Sun had two relatively minor — but quite cool-looking — events. One was a prominence eruption , where a loop of ionized gas is lifted from the Sun’s surface and is ejected into space, and the other an M1 class flare on the Sun’s edge. Neither will affect us here on Earth, but are interesting to watch. Camilla Corona SDO — the Solar Dynamics Observatory’s unofficial mascot — posted a nice… Broadcasting platform : YouTube Source : DiscoverMagazine Discovery Date : 23/03/2012 22:17 Number of articles : 2
I met Abel Ferrara in a café on Mulberry Street. In an hour’s time, he didn’t once take his seat. The filmmaker makes a couple of phone calls, goes to the bathroom twice, shows me the new Web series that he’s developing with Vice TV on, and points me to two different articles about his movies. Unkempt and energetic, the Bronx-born director of such New York notorieties as Ms. 45 , King of New York , Bad Lieutenant , The Funeral and this week’s 4:44 Last Day on Earth is exactly what you’d imagine he’d be like if he were one of his movie’s characters. In a way, he is. 4:44 features Willem Dafoe and Shanyn Leigh as a couple spending their last hours together before the world ends. They’re each in their own separate but related worlds: she paints and listens to Buddhist philosophy while he talks to friends via Skype and decides if he should end two years of sobriety by getting high one last time. The loose nature of 4:44 ’s scenario speaks to the Cassavetes-inspired, improv-oriented nature of Ferrara’s dramas, which are often collaborative processes between actor and filmmaker. This is especially characteristic of Ferrara’s working relationship with Dafoe. “If Willem wasn’t going to play it,” Ferrara told me, “I don’t think I would have wrote the script.” The film marks Ferrara and Dafoe’s third film together, coming after 1998’s New Rose Hotel and the 2007 ensemble piece Go Go Tales (which itself almost became a series on HBO). But more importantly, 4:44 further refines a working relationship that involves Dafoe co-creating not only his character, but also the scenes that, as Ferrara tells it, the actor is “comfortable with, that he believes in, that he understands.” “[We have] confidence with each other that comes from working together,” Ferrara continued. “I wrote the character so that the character I wrote is something he can play. And then, to create a stage for him, a place where he’s going to act, a set, which is a place that’s going to be conducive for him to do his best work. There’s nothing throwing him off…” Paradoxically or not, Ferrara then interrupted himself to perform one of a seemingly Herculean list of multi-tasks. Ultimately, performance is key to Ferrara’s movies because his characters are always performing for each other. They change in almost every scene they’re in, keeping the films that contain them endlessly revelatory, even shocking. Take Bad Lieutenant , which this year celebrates its 20th anniversary of Harvey Keitel’s searing work as a sex-, drug- and gambling-addicted cop seeking both vengeance and kicks as he pursues the men who sexually assaulted a nun. His detour into depravity culminates in an infamous scene where he pulls over two young women, making them simulate giving him oral sex while he masturbates. It’s the type of blunt-force intimacy that has preoccupied Ferrara all the way through 4:44 but arguably reached its flashpoint with the NC-17 Lieutenant . Two decades on, the 60-year-old director looks back on the controversy with similarly matter-of-fact zeal. “It had to be unrated,” he said. “It had to be rated X. It was the opposite: it couldn’t be rated R. We had to be what Hollywood couldn’t be. It was reverse censorship.” Not that he minds the continuing existence of an R-rated version necessitated by such once-powerful video chains as Blockbuster: “That’s just a joke; I’m not counting on anybody watching that.” The editing process is just another way Ferrara fulfills his all-encompassing role as director-cum-emcee. From early conception — “A script is not a piece of literature,” he explained, “it’s a process” — to post-production, Ferrara officiates over his films the way Ray Ruby, Dafoe’s hero from Go Go Tales , presides over his embattled burlesque dominion. He works with regular collaborators like cinematographer Ken Kelsch and production designer Frank DeCurtis to give his actors a proper setting. Then, led by their maestro, they all perform in front of and behind the camera together. But collaboration shouldn’t be mistaken for compromise, that ever-present threat to the natures of complex characters like Keitel’s Lieutenant and Dafoe’s Cisco and even to Ferrara’s singular vision itself. “There’s no such thing as a non-final cut director,” Ferrara said, R-rated Bad Lieutenant notwithstanding. “If you don’t have final cut, you’re not a director. There’s no point making a film. Citizen Kane is a masterpiece, but if I go into the editing room for three hours, I can change Citizen Kane .” Meanwhile, the endlessly moving Ferrara has more important projects than Citizen Kane to worry about: His own, including a planned take on the Dominique Strauss-Kahn case starring Gerard Depardieu — about which the filmmaker wishes to remain tight-lipped. “It takes six months to shoot a film,” he said. “We’re [always] perfecting what we’re doing.” Read Stephanie Zacharek’s review of 4:44 Last Day on Earth here . Simon Abrams is a NY-based freelance film critic whose work has been featured in outlets like The Village Voice, Time Out New York, Vulture and Esquire. Additionally, some people like his writing, which he collects at Extended Cut . [Top photo: Getty Images]
