Tim Burton’s Frankenweenie may have to wait until early October before it hits screens, but movie fans will have a chance to get an early look at images from the stop-motion animated feature during an exhibition tour beginning next week in Barcelona, Spain that continues on to seven countries including the U.S. Frankenweenie revolves around a boy and his dog, Sparky. After his dog is lost unexpectedly, he conducts a science experiment to bring him back to life, but then faces monstrous consequences. The exhibition, which will feature original sketches drawn by Burton in addition to displays of props, pets and puppets, will head to the U.S. in time for Comic-Con in San Diego (July 11 – 15). Other countries on tap for the Frankenweenie show include France, England, Japan, Mexico and Canada, courtesy of Walt Disney Studios which will release the film in the fall. Martin Landau, Martin Short, Robert Capron, Winona Ryder and Conchata Ferrell star in the film directed by Burton who co-wrote with John August. This is not the first time Tim Burton’s creations have made “live appearances” outside the theater for the public. In 2009 the filmmaker had a major retrospective of his creations ranging from Edward Scissorhands to Sweeney Todd , among others, that included hundreds of paintings, drawings, storyboards, puppets and other work surveying his over one-dozen films. The popular exhibit opened at New York’s Museum of Modern Art (MoMA) and eventually traveled to locations throughout the world. [Source: International Business Times ]
Screenwriter Bret Easton Ellis announces that Lohan will be starring in the Hollywood drama, set to begin filming this summer. By Jocelyn Vena Lindsay Lohan Photo: Jason Kempin/ Getty Images Lindsay Lohan might soon be making a move to “The Canyons.” According to the film’s screenwriter, Bret Easton Ellis, she has just nabbed the leading role in the flick, set to shoot this summer. “James Deen and Lindsay Lohan will star in THE CANYONS,” Ellis tweeted about the actors. Deen is best known for his work in adult films. The film will be directed by Paul Schrader. “And I am beyond thrilled that James Deen and Lindsay Lohan will be playing the parts of Christian and Tara in THE CANYONS by BEE.” Filming for “The Canyons” will begin next month. Currently Lohan is shooting the Lifetime Elizabeth Taylor biopic, “Liz & Dick,” and is also embroiled in a new spat of troubles tied to an L.A.-area car accident . However, Ellis remained optimistic about the casting when he added, “Could not have dreamed of a better cast. Lindsay nailed it.” A rep for the actress could not confirm that Lohan would be appearing the flick when MTV News reached out for comment. According to a poster for the film , the tagline is “It’s not ‘The Hills,’ ” a reference to the popular MTV reality show that followed the glamorized lives of Lauren Conrad and her pals. This is expected to be a grittier take on young people and their struggles in Hollywood. Indiewire reports that Deen’s Christian is a “trust fund kid, power player and major manipulator, who is a film producer that enjoys filming his own three-way sex sessions.” Meanwhile, Lohan’s ex-model character, Tara, is his girlfriend who “has sold her pride for the material comforts Christian can provide.” Three other roles remain uncast: bartender and wannabe actor Ryan, Ryan’s employee and fellow actor Gina, and former actress/yoga instructor Lindsay, who is carrying on an affair with Christian. “The Canyons” recently got funded through a Kickstarter initiative. The film will get a video-on-demand release sometime in the future. Related Videos Lindsay Lohan: Crime And Punishment Related Photos The Highs And Lows Of Lindsay Lohan Related Artists Lindsay Lohan
Movieline caught up with the charismatic William Friedkin last weekend at the Seattle Film Festival, where the Exorcist / French Connection director received a Lifetime Achievement award and screened his brutal Southern-fried potboiler Killer Joe . Before he held court keeping a packed audience rapt with tales from his nearly five-decade career in film (highlights below), Friedkin stopped to discuss two of the topics he’s wrestling with these days: His legal battle to win back the rights to his 1977 pic Sorcerer , and the absurdity of the MPAA, which anointed Killer Joe with an NC-17 rating. Friedkin is active on Twitter , which has allowed film fans unprecedented access to the Oscar-winner and given him the chance to discuss his battle for the rights to Sorcerer , his Roy Scheider-starring remake of The Wages of Fear . “I’m suing Universal and Paramount to get control of Sorcerer ,” he explained to Movieline. “It evidently means a lot to people, and I want people to be able to see it.” As with many older films, rights to Sorcerer lie out of the filmmaker’s hands – and studios, according to Friedkin, are allowing precious 35mm prints to deteriorate right under their own noses. “What’s happened to the legacy of almost all the studios is that the people who run them now don’t care,” he said. “They don’t give a damn. I know the guy from Lincoln Center, he tried to get a print of Blade Runner and Warner Bros. told him they didn’t know who owned it.” Even in the care of studios, library titles threaten to become damaged beyond repair. Friedkin doesn’t want what happened to another ‘70s classic to happen to his film. “Paramount put out a beautiful Blu-ray of The Godfather almost two years ago,” he said. “They went to get it out of their vaults and it had deteriorated, and they had to spend over a million dollars to restore it. It’s probably the gem of their library, and they just let it go. So they don’t care about the legacy of the work that they do. I hope I win my lawsuit, and I’m going to expose what they’re doing nevertheless.” As for his current film, Killer Joe – an assuredly brutal film whose tagline boasts “a totally twisted deep-fried Texas redneck trailer park murder story” – Friedkin has battled an old adversary: The ratings board. “The ratings board, to me, is a joke,” he said. “I never thought we’d get an NC-17, but I don’t mind the fact that we did. I had a film called Cruising that I took back there 50 times, 5-0, before they gave it an R.” Still, Friedkin will gladly accept his NC-17. “If we had done that with Killer Joe , it wouldn’t be here tonight; it would be playing in a shorts festival on YouTube.” NEXT: enjoy a Movieline 9 of highlights, anecdotes, and assorted moments from Friedkin’s appareance at SIFF ’12.
Movieline caught up with the charismatic William Friedkin last weekend at the Seattle Film Festival, where the Exorcist / French Connection director received a Lifetime Achievement award and screened his brutal Southern-fried potboiler Killer Joe . Before he held court keeping a packed audience rapt with tales from his nearly five-decade career in film (highlights below), Friedkin stopped to discuss two of the topics he’s wrestling with these days: His legal battle to win back the rights to his 1977 pic Sorcerer , and the absurdity of the MPAA, which anointed Killer Joe with an NC-17 rating. Friedkin is active on Twitter , which has allowed film fans unprecedented access to the Oscar-winner and given him the chance to discuss his battle for the rights to Sorcerer , his Roy Scheider-starring remake of The Wages of Fear . “I’m suing Universal and Paramount to get control of Sorcerer ,” he explained to Movieline. “It evidently means a lot to people, and I want people to be able to see it.” As with many older films, rights to Sorcerer lie out of the filmmaker’s hands – and studios, according to Friedkin, are allowing precious 35mm prints to deteriorate right under their own noses. “What’s happened to the legacy of almost all the studios is that the people who run them now don’t care,” he said. “They don’t give a damn. I know the guy from Lincoln Center, he tried to get a print of Blade Runner and Warner Bros. told him they didn’t know who owned it.” Even in the care of studios, library titles threaten to become damaged beyond repair. Friedkin doesn’t want what happened to another ‘70s classic to happen to his film. “Paramount put out a beautiful Blu-ray of The Godfather almost two years ago,” he said. “They went to get it out of their vaults and it had deteriorated, and they had to spend over a million dollars to restore it. It’s probably the gem of their library, and they just let it go. So they don’t care about the legacy of the work that they do. I hope I win my lawsuit, and I’m going to expose what they’re doing nevertheless.” As for his current film, Killer Joe – an assuredly brutal film whose tagline boasts “a totally twisted deep-fried Texas redneck trailer park murder story” – Friedkin has battled an old adversary: The ratings board. “The ratings board, to me, is a joke,” he said. “I never thought we’d get an NC-17, but I don’t mind the fact that we did. I had a film called Cruising that I took back there 50 times, 5-0, before they gave it an R.” Still, Friedkin will gladly accept his NC-17. “If we had done that with Killer Joe , it wouldn’t be here tonight; it would be playing in a shorts festival on YouTube.” NEXT: enjoy a Movieline 9 of highlights, anecdotes, and assorted moments from Friedkin’s appareance at SIFF ’12.
One thing about Sarah Palin, she has staying power. People on the left and right love and hate her (or both) and as Mitt Romney gears up to choose his potential Veep, it’s hard to imagine whoever it is will have the same cultural impact as Palin. Movies have been made about her including the pro-Palin doc The Undefeated (2011) directed by Stephen K. Bannon which is inspired by her book Going Rogue: An American Life and then there was, of course, the reality show set in her home state where she served part of a term as governor in Sarah Palin’s Alaska . But countless on-TV appearances later another film – this time, made for HBO – brought out star-wattage and more controversy in Game Change , which the filmmaker recently spoke about including his frustration at negative feedback from both sides of the political spectrum. Directed by Jay Roach and starring Julianne Moore as the Palin herself along with Ed Harris (as McCain) and Woody Harrelson, the film followed Arizona Senator John McCain’s 2008 presidential campaign from his selection of Palin as his running mate and his ultimate defeat, some would say due in large part to Palin’s much ballyhooed public and media gaffes including her ill-fated interview with then CBS News anchor Katie Couric in which she had difficulty picking a newspaper that she reads daily and taking some geographic liberties with Russia’s proximity to Alaska. Game Change was not Roach’s first foray into campaign controversy. His earlier HBO film Recount , which followed the 2000 election between George W. Bush and Al Gore that ended up in the Supreme Court, giving the election to Bush, won three Emmy Awards in 2008. Roach told The Hollywood Reporter he tried on numerous occasions to reach out to Palin to cooperate on the film to no avail. He even tried tracking her down at a string of parties around the time of the White House Correspondents dinner last year. “I really thought I would go up to her and say, ‘Hi, my name’s Jay Roach and I’m doing this film about the McCain-Palin campaign…I’m sincerely trying to get the story right and it’d be great if you want to talk about it and tell a story with even more layers and depth.’ So it would’ve been the world’s most awkward conversation; she’d already said ‘no’.” Roach took heat for portraying Palin as falling apart at the seams in the wake of the Couric interview, though Roach said he and Moore were trying to find empathy for the V.P. candidate, telling THR, “What might that have been like, to have been surrounded by people you don’t trust anymore, to have to experience so much public humiliation and mockery and, you know, widespread judgment?” And what about the heavy response on both sides of the proverbial aisle once the film hit HBO? “I think I was annoyed by the fact that the people who were attacking the film hadn’t seen it, and they said, ‘We haven’t seen it, but we hate it,'” said Roach. He noted that some people thought it was too sympathetic though he said he thinks that crowd had likely expected it to be more critical. And now Roach is taking on the political front again, but this time it will be a fictional story (though one can’t help but speculate there will be ample ‘truth’ to the story). His next film The Campaign will star Will Ferrell and Zach Galifianakis as two opponents fighting it out in North Carolina. [Source: The Hollywood Reporter ] And what’s your feedback on Palin’s media portrayal?
Co-writer Damon Lindelof tells MTV News if there were a follow-up, ‘it wouldn’t be ‘Alien.’ ‘ By Kevin P. Sullivan Charlize Theron and Idris Elba in “Prometheus” Photo: 20th Century Fox In the wake of the mind explosion that was Ridley Scott’s ” Prometheus ,” both fans and haters have been curiously posturing about what it could all mean and whether a sequel is likely or even possible. Though after a solid opening weekend, the fate of a “Prometheus” sequel may now lie in the hands of a Fox executive instead of the creative talent, we spoke with co-writer Damon Lindelof about whether the events and ideas in “Prometheus” leave an opening for a follow-up. Spoilers ahead. Much of the philosophy in “Prometheus” revolves around the unsatisfying nature of ultimate answers, and the film purposely avoids resolving some of the story’s lingering questions. So could a sequel exist without contradicting the ideas of the original? Lindelof told us that “Prometheus” was always intended to be a stand-alone film, but there is the possibility for more story. “The conversations that we had about the story of ‘Prometheus’ and how it would end were always predicated on the idea that there would not be a sequel, that a sequel was not a foregone conclusion, and that the movie itself had to have a feeling of being complete,” Lindelof said. “That being said, we also wanted the audience to feel that, like, if there were a sequel to ‘Prometheus,’ it wouldn’t be ‘Alien.’ ” That idea of a separate narrative arc from “Alien” led to the loose end of Shaw flying off to find the Engineers, so that if a sequel were to happen, it would take the audience to unfamiliar territory. “Something needed to happened at the end of this movie that clearly steered and announced that the direction of the trajectory of this story moving forward was not going to head toward LV-426 and a crashed, derelict ship with a Space Jockey with an exploded chest surrounded by eggs, that Shaw and David were headed in a different direction that was probably not going to result in that,” Lindelof said. “Those two things were sort of simultaneous to each other, so you’re both saying, ‘We want this movie to stand on its own, but we also acknowledge that it needs to end in a way that is very clear that if the story were to progress (if there were a sequel) ‘ We tried to thread the needle between the two ideas.” If the concept of no sequel to “Prometheus” upsets you because of the remaining mysteries, Lindelof suggests you look toward Scott for your answers, because he has them. “Then, of course, for all this talk of unanswered questions or the characters theorizing but not really getting their theories proved or, more importantly, for getting their makers to answer for the condition of the movie, Ridley and I and Jon [Spaihts] all discussed what we felt those answers were and came to agreement on them, so despite whatever slings and arrows come our way, this is not a case of, ‘Well, we didn’t know, so we didn’t bother trying,'” Lindelof said. “We definitely knew, and Ridley decided that the more interesting movie was one where we didn’t explicitly spell that stuff out.” So because Scott designed the movie to be the way that it is, those questions should drive you want more, just like Shaw at the end of the film, but Lindelof promised that the answers you might be searching for could be hidden inside “Prometheus.” “I really believe — and this is not shamed hucksterism — that upon multiple viewings of the movie or just entering into conversation with people who have seen it, there are a lot more answers there than people think there are and room for theories, but the movie needed to end in a way that is Shaw still searching,” he said. “She is not satisfied with the answers that she got. I think that’s very indicative, hopefully, if Shaw is supposed to be the audience proxy, they’re supposed to be feeling the same way that she is at the end of the movie.” For all the “Lost” fans out there, this might all sound like a familiar song and dance, especially coming from Lindelof, and the writer knew he was in for that comparison when he took on Scott’s orders. “To be completely candid, I knew that I’d eat some s— for that for the rest of my career, if there is no sequel to ‘Prometheus,’ but did it anyway, and had Ridley asked me to do it the other way, I would have done that too,” Lindelof said. “This movie is about realizing his vision. He’s only directed three science-fiction films, and now ‘Prometheus’ is one of them, and if he told me to jump off a bridge, I would.” Check out everything we’ve got on “Prometheus.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Videos Experts React To The ‘Prometheus’ Trailer
At the Seattle International Film Festival over the weekend to fete director and Lifetime Achievement honoree William Friedkin and present their NC-17 Southern-fried potboiler Killer Joe , actor Emile Hirsch spoke with Movieline about the “secret” movie he’d just shot with David Gordon Green ( Prince Avalanche , also starring Paul Rudd) and the experience of being on a Friedkin set, where the pressure to deliver on a tight schedule was palpable. “If you messed up your lines or something, Billy would make you pay a little bit,” Hirsch said. “You really didn’t want to mess up at all.” Hirsch’s Killer Joe character already suffers his share of punishment in the brutal black comedy, adapted from the play by Tracy Letts ( Bug ); he plays Chris, a trailer park-dwelling drug dealer who enlists a cold-blooded cop (Matthew McConaughey) to kill his mother. Things go awry, to say the least, drawing the entire morally-corrupt family (Thomas Haden Church, Gina Gershon, Juno Temple) into the fray, with violent consequences. “On set it was a high wire act,” Hirsch said, introducing Friedkin’s tribute event at the Seattle Film Festival. “He would be totally supportive of the actors to give the best performance that they could, but he let you know that you weren’t just playing with free time. You were here to shoot a movie very quickly and do the very best you could; he didn’t want you to give a great take on the tenth take when you sort of felt like it, he wanted you to give ‘the take’ the first time out. He would constantly remind you, ‘This ain’t a play, mo.’” Friedkin’s reputation preceded him before Hirsh went to meet for Killer Joe , the director’s latest feature following 2007’s Bug . “The chance to get to work with him was sort of intimidating, because you don’t really know what to expect,” recalled Hirsch to Movieline. “A lot of these legends are like, is this guy a legend for his movies or is he just some crazy maniac axe-murderer? But what he lived up to was the energy; he’s a combination of a tornado of energy but also this really specific intellect. He has so many stories and such insight, and is really quick on his feet and spontaneous and in the moment. He’s a really interesting mix of elements.” That’s not to say Friedkin wasn’t demanding, especially when it came to Hirsch’s more punishing scenes. His character is beaten by goons and bashed with canned goods — Killer Joe has a way with perverting even the most familiar of comfort foods — and Friedkin relished in pouring on the fake blood. “My character definitely has a bad week,” Hirsch laughed. “I think I felt the pressure in the sense that he doesn’t like to do a lot of takes, so there would be one or two takes that you’d know you would have and you wouldn’t want to blow your lines or not give your best performance. He would light that fire under you and there would be pressure, and you knew that if you fell off the high wire act, there wasn’t a net underneath — it kind of hurts, you definitely don’t want to fall.” Hirsch also discussed Prince Avalanche , the David Gordon Green-directed indie filmed under the radar last month near Austin, Texas. A remake of the Icelandic comedy Either Way , about two men on a road-striping crew, the film stars Hirsch and Paul Rudd and, as Hirsch told Movieline, his involvement sprang from another ill-fated project he and Green once hoped to make. “ Prince Avalanche — I didn’t actually realize it was a secret movie, I just thought we were making a really small movie that no one knew about. David had called me and I’d been wanting to work with him for years; we almost made a movie called Goat a while back. And it’s this kind of crazy, awesome cool script we shot with Paul.” Hirsch kept details under wraps, though he had this to say about the remake: “[Hirsch’s character] is kind of an interesting dude. It’s very similar to the original in a certain sense. It’s set outside Austin, in Texas. It’ll be an interesting mix of some real pathos mixed with some comedy.” Stay tuned for more with SIFF honorees William Friedkin and Sissy Spacek. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Pop star talks to U.K. talk show about how she kept performing amid marriage troubles. By James Dinh Katy Perry Photo: Getty Images In less than a month, Katy Perry ‘s 3-D docu-concert, “Part of Me,” will hit theaters across the world and give fans a look at the pop star’s road to superstardom, including her divorce from husband Russell Brand . It’s one of the more anticipated topics in the film, and it appears as if Perry has started to spill a little about how she coped with the fallout. On Thursday, Perry visited the U.K.’s “Graham Norton Show” for a chat, and she discussed how she prevented any personal lows from affecting her extensive California Dreams World Tour. “I love being onstage, and even though I went through some pretty tough times last year, I had to separate that because I know my problems are my problems and they are not the audience’s problems,” Perry told the talk-show host . Always a true professional, Perry had a “show must go on” mentality, saying, “They are here to see a show and to be entertained, so I got on that lift, put a smile on my face and went up (onstage) with my t–s spinning!” Perry hasn’t given up on love either, as it’s been reported that the singer rekindled her romance with Florence and the Machine guitarist Robert Ackroyd. After the television taping, the duo were spotted together walking the streets of London and getting comfy in a car. Back in May, Us Weekly reported that the duo amicably parted ways after dating for a just few weeks. Nonetheless, Perry is rolling with the good times, especially with the looming release of “Katy Perry: Part of Me” on July 5. Earlier in the day, the media darling took to Twitter to share her excitement over her surprise appearance at a fan screening for the Paramount film. “Had tons o’ fun in London today at a surprise screening … Wish I could sit w/ all of u when u see #KP3D,” she wrote. Are you looking forward to Katy’s “Part of Me” 3-D movie? Share your thoughts below! Related Videos The Making Of Katy Perry’s “Part Of Me” MTV First: Katy Perry’s ‘Part Of Me’ Related Artists Katy Perry
Throughout the ’70s and into the first part of the ’80s, it was hard to ignore singer/songwriter/actor/sometimes talk show host and best-friend of the Muppets Paul Williams. He won Grammys and even an Oscar for hits he wrote including “We’ve Only Just Begun,”, “Rainy Days on Mondays,” “Evergreen,” “Just an Old Fashioned Love Song” and “Rainbow Connection.” Barbra Streisand, The Carpenters and even Kermit the Frog are among the artists he wrote super-hits for. Below, Paul Williams gives us his top ten movie songs of all time and dishes insight on Stephen Kessler’s documentary about him, Paul Williams Still Alive , about his raging ascent and crashing fall and return to form… Johnny Carson first brought the artist onto the Tonight Show as the swinging ’70s were just beginning. He did television, movies, concerts. If there was a group of “It-guys” in that crazy decade, Williams would surely have been a part of that cadre of people at the center of all that spectacle. But as the ’80s wore on and into the ’90s Paul Williams all but disappeared from the center of it all. Drugs and booze did him in for a while, though he came roaring back though via a less flashy route. Enter fan and Oscar-nominated filmmaker Stephen Kessler. He had long been a fan of Williams as a teen growing up in Queens, NY and his songs which he described as about “depression, loneliness and alienation,” and set out to find Williams and make a documentary. Williams said ‘yes’ but he was hardly a willing participant, at least initially, as Williams told Movieline. “By the time I decided to go along, he had spent a lot of time and a lot of money. I didn’t want to flat out say no and didn’t know how to say no.” Williams added that he thought there was nothing worse than some older famous guy trying to reach for that last bit of notoriety. Kessler is very present in the film, which goes against most documentary standards unless you’re Michael Moore or Morgan Spurlock. With Williams reluctant initially to open up and only providing limited access, the story unfolds interweaving a treasure-trove of ’70s pop culture which Paul is at the center and Kessler’s desire to get at his core and open up. I’m an actor, I can ignore the camera if I want to. But it’s exhausting to try and pretend I don’t notice the camera,” said Williams. “I didn’t want to do that, it seemed ridiculous.” One thing cameras caught and the film surfaces, decades later, is footage of Williams, high, while doing late night talk shows. Now 22 years sober, it’s a painful reminder of his past life and he even said during the film that he didn’t want his daughter to see that. But he relents and said he hopes it will help others. “I became a shallow ride and my behavior was totally unacceptable. One of the best things I did was to say to keep that footage in the movie. I think by leaving in you get a sense of how bad it got,” he said. “[There is] a sense of real disappointment and leading edge of shame. In a certain context it’s hard to watch, but you get a sense that recovery works. You see the yin and yang of the whole deal and you see that now, my life is such a gift. I hope I can make a difference… I love my life. And I’m blown away by the reaction.” PAUL WILLIAM’s TOP 10 MOVIE SONGS: Rock Around the Clock by Bill Haley, Blackboard Jungle (1955) Main title theme by Elmer Bernstein, The Man with a Golden Arm (1955) Lose Yourself by Eminem/Bass/Resto, 8 Mile (2002) When You Wish Upon a Star by Harline/Washington Pinnochio (1940) The Man That Got Away by Arlen /Gershwin, A Star is Born (1954) With a Song in My Heart by Rodgers/Hart, With A Song in my Heart (1954) Somewhere by Bernstein/Sondheim, West Side Story Moon River by Mancini/Mercer, Breakfast at Tiffany’s (1961) Alfie by Bacharach/David, Alfie (2004) Streets of Philadelphia by Bruce Springsteen, Philadelphia (1993) Born To Be Wild by Dennis Edmonton AKA: Mars Bonfire, Easy Rider (1969) And what are your favorites? Paul Williams Still Alive opens in NYC today. Follow Brian Brooks on Twitter . Follow Movieline on Twitter .
Jolie rumored to be in talks to direct the film, while Cyrus is currently reading the E.L. James novels. By Jocelyn Vena Angelina Jolie Photo: Kevin Winter/ Getty Images It seems that everyone has the fever these days. That fever is for the steamy erotic novel “Fifty Shades of Grey.” And there are two more Hollywood A-listers who are potentially getting all hot and bothered. Well, one of them is, at least. Angelina Jolie had been rumored to be in the running to direct the big-screen adaptation of the E.L. James novel. Deadline reported that the film’s studio had had a “conversation or two” with the actress about possibly helming the sexy film franchise. The trilogy follows the S&M relationship between shy college coed Ana Steele and her domineering billionaire beau, Christian Grey. However, Jolie’s rep tells The Hollywood Reporter that there haven’t been any talks with the studio, Universal Pictures’ Focus Features, about her coming on board to direct. Well, with the studio on the lookout for not only a director but also a leading lady, they might want to call up the newly engaged Miley Cyrus . One day after announcing her impending nuptials to “Hunger Games” star Liam Hemsworth, she tweeted , “Reading 50 shades of grey next to the oldest dude ever. #awkward.” Even if Cyrus doesn’t get the part of Ana, she is working on her own sexy project. The singer is currently hard at work on her next studio album , which sources say will be “very adult and sexy.” The insiders add that Miley’s music is reflecting her personal life, as she plans her wedding and approaches her big twentieth birthday later this year. The insider continues, “We are watching a young girl turn into a young woman.” But back to “Fifty Shades.” Since the phenomenon took off, everyone from Julianne Hough to Nina Dobrev to Ian Somerhalder has opened up to MTV News about the novels, whether because they are fans or because they have an interest in tackling one of the roles. Related Photos Books You Can Read Instead Of ’50 Shades Of Grey’ Related Artists Miley Cyrus
