‘We actually all like each other,’ Drizzy tells MTV News about tourmates including J. Cole, Waka Flocka Flame and 2 Chainz. By Rob Markman, with reporting by Sway Calloway Drake and 2 Chainz on the Club Paradise tour Photo: MTV News When it comes to Drake and his Club Paradise tourmates, it’s all crew love. When rounding out the roster for his current run, Drizzy wanted not only to build an entertaining lineup, but to show that hip-hop doesn’t have to be all about beef. “I just wanted people to come out and see a unity, because in hip-hop it’s always been based off of confrontation,” Drake told MTV News correspondent Sway Calloway during the May 17 Club Paradise gig in Houston . “I think one of the coolest things about where we’re at right now, it’s real united. We actually all like each other.” For this leg of his tour, which kicked off May 7 in California, Drake tapped J. Cole, Waka Flocka Flame, 2 Chainz, Meek Mill and French Montana to ride out with him. “The rare times that I get into a girl’s car or be subjected to what someone is listening to in their vehicle, it happens to be those guys,” Drizzy reasoned. Montana is preparing to drop his debut album, Excuse My French, this summer, so he welcomes the exposure. “We’re all crossing each other’s fans, so it’s a good look for everybody,” he said. “Look at the energy in here — we having fun doin’ it.” Rick Ross prot
First, I will start off with saying that the PlayStation Vita will be getting a spin-off of Assassin’s Creed III, subtitled Liberation, which stars, for the first time in the series, a female lead role. Her name is Aveline, a woman with a French and African heritage. Since the game takes place in Louisiana, around Broadcasting platform : YouTube Source : PS3Blog.net Discovery Date : 05/06/2012 04:30 Number of articles : 2
Also in Monday afternoon’s news round up, Outfest unveils its 30th anniversary lineup, Ashley Tisdale joins the next Scary Movie , Cannes and Sundance winner Beasts of the Southern Wild is set to open Stateside film festival, Matt Dillon and Brendan Fraser are among the cast set for a new dark comedy, Christina Ricci will join Susan Sarandon in an upcoming project and Christopher Nolan says good bye to Howard Hughes pic. Woody Allen Sets Cast for Untitled Project The director named his cast in alphabetical order Monday for his next film which will shoot in New York and San Francisco this summer. Joining the cast are: Alec Baldwin, Cate Blanchett, Louis C.K., Bobby Cannavale, Andrew Dice Clay, Michael Emerson, Sally Hawkins and Peter Sarsgaard. Co-stars include Max Casella and Alden Ehrenreich. It is a Gravier Productions film produced by Allen’s long time producers, Letty Aronson and Stephen Tenenbaum. This will be Allen’s second film in San Francisco following his 1969 debut Take the Money and Run . Outfest Unveils 30th Anniversary Roster Director John Waters will be feted at the event, which will open with HBO documentary Vito on July 12th. The oldest festival in Los Angeles and one of the largest LGBT film events in the U.S., Outfest will screen 147 films from 24 countries. The festival will close with Struck by Lightning starring Glee star Chris Colfer who wrote the script. Other galas include Keep the Lights On , sexually charged Young & Wild , ACT UP doc How to Survive a Plague and Mosquito Y Mari which will screen as the fest’s Centerpiece. For more info on the Outfest lineup, visit their website . Ashley Tisdale to Star in Scary Movie 5 Ashley Tisdale has been cast as one of the leads in Dimension Films’ Scary Movie 5 , the latest installment in the franchise. Scary Movie 5 production will begin this summer. Tisdale played Sharpay Evans in the High School Musical franchise. The Scary Movie franchise has made over $800 million worldwide. Beasts of the Southern Wild to Open 16th American Black Film Festival The Sundance and Cannes winner will bow the event taking place June 20 – 23 in Miami, Florida. Raising Izzie , which was the winner of the 2011 GMC Faith and Family Screenplay Competition, will close out the festival on Saturday, June 23. Beasts is set in a “forgotten but defiant bayou community cut off from the rest of the world by a sprawling levee where a six-year-old girl exists on the brink of orphanhood. Buoyed by her childish optimism and extraordinary imagination, she believes that the natural world is in balance with the universe until a fierce storm changes her reality,” according to the event. Zarafa and Rabbi’s Cat Head to GKids U.S. rights to Zarafa which debuted at the Berlin International Film Festival earlier this year as well as The Rabbi’s Cat have been picked up by GKids. The Rabbi’s Cat won the French Cesar Award for best animated feature in February. Around the ‘net… Prometheus Arrives to ‘Mixed Atmospheric Readings’ “The 87% ‘fresh’ audience rating on rottentomatoes.com makes it one of the year’s best-received saturation-release films, and yet there’s a thread of uncertainty running through even the most gushing of reviews, a sense that Scott has produced an epic entertainment without actually delivering a particularly ‘good’ film,” writes The Guardian . Matt Dillon, Brendan Fraser Board Pawn Shop Chronicles Also joining the cast of the project directed by Wayne Kramer are Elijah Wood, Vincent D’Onofrio, Pell James, Thomas Jane, Lukas Haas, Chi McBride, Ashlee Simpson, Kevin Rankin, DJ Qualls, Michael Cudlitz and Norman Reedus. The dark comedy centers on a man searching for his abducted wife, Deadline reports . Christina Ricci Joins Mother’s Day She will join Susan Sarandon and her real life daughter Eva Amurri Martino in the drama. Directed by Paul Duddridge, the film revolves around the relationships between a dozen mothers and daughters, Deadline reports . Christopher Nolan’s Howard Hughes Pic is Dead The director said the project is now gone in the latest issue of Empire Magazine, via The Playlist . “Luckily I managed to find another wealthy, quirky character who’s orphaned at a young age,” the director said referring to his next film which will hit theaters this summer, The Dark Knight Rises .
If you could distill essence de chat into a few well-chosen pen strokes, you’d end up with something like Jean-Loup Felicioli and Alain Gagnol’s superb animated adventure A Cat in Paris , a picture whose modest demeanor only underscores how expressive and imaginative it is. This isn’t the kind of big-budget animation we get from the major studios: It’s richness of another sort, a feat of hand-drawn animation that relies on spare but succinct character design and a dazzling sense of perspective — rather than a volley of cultural in-jokes — to tell its story. The picture sparkles, but in the nighttime way — its charms have a noirish gleam. Most of the picture does, in fact, take place at night, beginning and ending with the nocturnal Parisian perambulations of a wily striped cat named Dino. Dino “belongs” to a little girl named Zoe. He pledges his devotion by bringing her little gifts from his nighttime hunting jaunts. Actually, he keeps bringing her the same gift: One dangly, limp dead lizard after another, but Zoe is delighted by them and saves them all in a little box, much to the annoyance of her new nanny. What almost no one knows is that Dino doesn’t go out at night just for fun, or simply out of a feline sense of duty. He’s also a cat burglar, assisting a sneaky but noble local jewel thief, Nico, on his midnight rounds. The plot becomes more complicated — to the extent that it’s complicated at all — by the fact that Zoe’s mother, Jeanne, is a detective with the Paris police. She’s consumed with concern for Zoe, who hasn’t spoken since her father was killed by a square-shouldered, square-headed thug named Victor Costa. She’s also riven with grief, and she’s determined to avenge her husband’s death by catching Costa, who, it turns out, has a new scheme: He plans to steal a precious, valuable and huge antiquity, the Colossus of Nairobi, a hulking totem that’s being brought to the city for an exhibit. Meanwhile, though, Jeanne has peskier problems: Jewels keep disappearing from various households in the city, thanks to Nico and an accomplice with four silent, velvet paws. A Cat in Paris is being released in the states in two versions, an English-language one (in which Marcia Gay Harden, Anjelica Huston and Matthew Modine provide some of the key voices) and a subtitled French one (which features, in the role of the nanny, the voice of actress Bernadette Lafont, who, for those who keep track of such things, played Marie in The Mother and the Whore ). If you’re bringing children and are lucky enough to have bilingual ones, I recommend the French version, since it is simply more French; to hear the English language pouring forth from these characters’ mouths feels just a little wrong. But the visuals of A Cat in Paris resonate in any language, and it doesn’t hurt that the picture features a stunning, stealthy Bernard Hermann-style orchestral score by Serge Bessett. (The music in A Cat in Paris is finer and more resonant than that of any live-action picture I’ve seen this year.) This is Felicioli and Gagnol’s first full-length feature — it was a 2012 Academy Award nominee — and it clocks in at a very trim but visually rich 70 minutes. The filmmakers’ drawings are both meticulous and highly stylized: They render the rooftops of Paris (what is it about city rooftops in general, and Paris rooftops in particular?) as a dusky, velvety patchwork, an invitation to adventure — they take great delight in the city’s highs and lows, in the contrast between tall and short. Their palette features an array of oranges, from muted citrus tones to deep sienna, and lots of deep, nighttime turquoise. And they dot the picture with small but inventive visual touches: When a character dons night goggles, the figures around him are rendered as stark white lines on a flat black surface. And the gargoyles of Notre Dame feature in the climactic chase sequence, a bit of travelogue whimsy that’s nonetheless dramatically gripping, perhaps even a little dizzying for those who are hinky about heights — it doesn’t matter that you can’t really fall off a cartoon building. And then there’s Dino, an utterly bewitching arrangement of orange and chocolate triangles (with a pink one for a nose). Dino isn’t a cute cartoon cat — there’s an element of mystery and devilishness about him, suggesting that Felicioli and Gagnol understand true feline spirit. They also understand feline loyalty, which is a contradiction in terms only to those who don’t understand (to the extent that understanding is possible) these elusive, magnetic creatures. Dino comforts the distressed Zoe by visiting her in bed, sliding under her arms as if he could pretend she’d never notice. And in a way, she doesn’t notice — somehow, suddenly, Dino is simply there , a presence who changes, only ever so slightly, the nature of the room around him. That’s the quiet province of cats everywhere — not just those who are lucky enough to live in the animated city of Paris. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
If you could distill essence de chat into a few well-chosen pen strokes, you’d end up with something like Jean-Loup Felicioli and Alain Gagnol’s superb animated adventure A Cat in Paris , a picture whose modest demeanor only underscores how expressive and imaginative it is. This isn’t the kind of big-budget animation we get from the major studios: It’s richness of another sort, a feat of hand-drawn animation that relies on spare but succinct character design and a dazzling sense of perspective — rather than a volley of cultural in-jokes — to tell its story. The picture sparkles, but in the nighttime way — its charms have a noirish gleam. Most of the picture does, in fact, take place at night, beginning and ending with the nocturnal Parisian perambulations of a wily striped cat named Dino. Dino “belongs” to a little girl named Zoe. He pledges his devotion by bringing her little gifts from his nighttime hunting jaunts. Actually, he keeps bringing her the same gift: One dangly, limp dead lizard after another, but Zoe is delighted by them and saves them all in a little box, much to the annoyance of her new nanny. What almost no one knows is that Dino doesn’t go out at night just for fun, or simply out of a feline sense of duty. He’s also a cat burglar, assisting a sneaky but noble local jewel thief, Nico, on his midnight rounds. The plot becomes more complicated — to the extent that it’s complicated at all — by the fact that Zoe’s mother, Jeanne, is a detective with the Paris police. She’s consumed with concern for Zoe, who hasn’t spoken since her father was killed by a square-shouldered, square-headed thug named Victor Costa. She’s also riven with grief, and she’s determined to avenge her husband’s death by catching Costa, who, it turns out, has a new scheme: He plans to steal a precious, valuable and huge antiquity, the Colossus of Nairobi, a hulking totem that’s being brought to the city for an exhibit. Meanwhile, though, Jeanne has peskier problems: Jewels keep disappearing from various households in the city, thanks to Nico and an accomplice with four silent, velvet paws. A Cat in Paris is being released in the states in two versions, an English-language one (in which Marcia Gay Harden, Anjelica Huston and Matthew Modine provide some of the key voices) and a subtitled French one (which features, in the role of the nanny, the voice of actress Bernadette Lafont, who, for those who keep track of such things, played Marie in The Mother and the Whore ). If you’re bringing children and are lucky enough to have bilingual ones, I recommend the French version, since it is simply more French; to hear the English language pouring forth from these characters’ mouths feels just a little wrong. But the visuals of A Cat in Paris resonate in any language, and it doesn’t hurt that the picture features a stunning, stealthy Bernard Hermann-style orchestral score by Serge Bessett. (The music in A Cat in Paris is finer and more resonant than that of any live-action picture I’ve seen this year.) This is Felicioli and Gagnol’s first full-length feature — it was a 2012 Academy Award nominee — and it clocks in at a very trim but visually rich 70 minutes. The filmmakers’ drawings are both meticulous and highly stylized: They render the rooftops of Paris (what is it about city rooftops in general, and Paris rooftops in particular?) as a dusky, velvety patchwork, an invitation to adventure — they take great delight in the city’s highs and lows, in the contrast between tall and short. Their palette features an array of oranges, from muted citrus tones to deep sienna, and lots of deep, nighttime turquoise. And they dot the picture with small but inventive visual touches: When a character dons night goggles, the figures around him are rendered as stark white lines on a flat black surface. And the gargoyles of Notre Dame feature in the climactic chase sequence, a bit of travelogue whimsy that’s nonetheless dramatically gripping, perhaps even a little dizzying for those who are hinky about heights — it doesn’t matter that you can’t really fall off a cartoon building. And then there’s Dino, an utterly bewitching arrangement of orange and chocolate triangles (with a pink one for a nose). Dino isn’t a cute cartoon cat — there’s an element of mystery and devilishness about him, suggesting that Felicioli and Gagnol understand true feline spirit. They also understand feline loyalty, which is a contradiction in terms only to those who don’t understand (to the extent that understanding is possible) these elusive, magnetic creatures. Dino comforts the distressed Zoe by visiting her in bed, sliding under her arms as if he could pretend she’d never notice. And in a way, she doesn’t notice — somehow, suddenly, Dino is simply there , a presence who changes, only ever so slightly, the nature of the room around him. That’s the quiet province of cats everywhere — not just those who are lucky enough to live in the animated city of Paris. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
If you could distill essence de chat into a few well-chosen pen strokes, you’d end up with something like Jean-Loup Felicioli and Alain Gagnol’s superb animated adventure A Cat in Paris , a picture whose modest demeanor only underscores how expressive and imaginative it is. This isn’t the kind of big-budget animation we get from the major studios: It’s richness of another sort, a feat of hand-drawn animation that relies on spare but succinct character design and a dazzling sense of perspective — rather than a volley of cultural in-jokes — to tell its story. The picture sparkles, but in the nighttime way — its charms have a noirish gleam. Most of the picture does, in fact, take place at night, beginning and ending with the nocturnal Parisian perambulations of a wily striped cat named Dino. Dino “belongs” to a little girl named Zoe. He pledges his devotion by bringing her little gifts from his nighttime hunting jaunts. Actually, he keeps bringing her the same gift: One dangly, limp dead lizard after another, but Zoe is delighted by them and saves them all in a little box, much to the annoyance of her new nanny. What almost no one knows is that Dino doesn’t go out at night just for fun, or simply out of a feline sense of duty. He’s also a cat burglar, assisting a sneaky but noble local jewel thief, Nico, on his midnight rounds. The plot becomes more complicated — to the extent that it’s complicated at all — by the fact that Zoe’s mother, Jeanne, is a detective with the Paris police. She’s consumed with concern for Zoe, who hasn’t spoken since her father was killed by a square-shouldered, square-headed thug named Victor Costa. She’s also riven with grief, and she’s determined to avenge her husband’s death by catching Costa, who, it turns out, has a new scheme: He plans to steal a precious, valuable and huge antiquity, the Colossus of Nairobi, a hulking totem that’s being brought to the city for an exhibit. Meanwhile, though, Jeanne has peskier problems: Jewels keep disappearing from various households in the city, thanks to Nico and an accomplice with four silent, velvet paws. A Cat in Paris is being released in the states in two versions, an English-language one (in which Marcia Gay Harden, Anjelica Huston and Matthew Modine provide some of the key voices) and a subtitled French one (which features, in the role of the nanny, the voice of actress Bernadette Lafont, who, for those who keep track of such things, played Marie in The Mother and the Whore ). If you’re bringing children and are lucky enough to have bilingual ones, I recommend the French version, since it is simply more French; to hear the English language pouring forth from these characters’ mouths feels just a little wrong. But the visuals of A Cat in Paris resonate in any language, and it doesn’t hurt that the picture features a stunning, stealthy Bernard Hermann-style orchestral score by Serge Bessett. (The music in A Cat in Paris is finer and more resonant than that of any live-action picture I’ve seen this year.) This is Felicioli and Gagnol’s first full-length feature — it was a 2012 Academy Award nominee — and it clocks in at a very trim but visually rich 70 minutes. The filmmakers’ drawings are both meticulous and highly stylized: They render the rooftops of Paris (what is it about city rooftops in general, and Paris rooftops in particular?) as a dusky, velvety patchwork, an invitation to adventure — they take great delight in the city’s highs and lows, in the contrast between tall and short. Their palette features an array of oranges, from muted citrus tones to deep sienna, and lots of deep, nighttime turquoise. And they dot the picture with small but inventive visual touches: When a character dons night goggles, the figures around him are rendered as stark white lines on a flat black surface. And the gargoyles of Notre Dame feature in the climactic chase sequence, a bit of travelogue whimsy that’s nonetheless dramatically gripping, perhaps even a little dizzying for those who are hinky about heights — it doesn’t matter that you can’t really fall off a cartoon building. And then there’s Dino, an utterly bewitching arrangement of orange and chocolate triangles (with a pink one for a nose). Dino isn’t a cute cartoon cat — there’s an element of mystery and devilishness about him, suggesting that Felicioli and Gagnol understand true feline spirit. They also understand feline loyalty, which is a contradiction in terms only to those who don’t understand (to the extent that understanding is possible) these elusive, magnetic creatures. Dino comforts the distressed Zoe by visiting her in bed, sliding under her arms as if he could pretend she’d never notice. And in a way, she doesn’t notice — somehow, suddenly, Dino is simply there , a presence who changes, only ever so slightly, the nature of the room around him. That’s the quiet province of cats everywhere — not just those who are lucky enough to live in the animated city of Paris. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
‘Snow White and the Huntsman’ star says she learned to speak French during shooting for ‘On the Road’ in our exclusive Sneak Peek Week chat. By John Mitchell, with reporting by Josh Horowitz Kristen Stewart Photo: MTV News Kristen Stewart helped MTV News kick off our Sneak Peek Week in style when she and “Snow White and the Huntsman” co-star Sam Claflin joined our own Josh Horowitz for a fun-filled chat Tuesday night, during which she revealed that not only is she learning French, she’s also recently given up a very bad habit. The “Twilight” starlet decided to learn the foreign language while filming the much-anticipated adaptation of Jack Kerouac’s beat generation classic “On the Road,” which just premiered at the Cannes Film Festival. “On ‘On the Road,’ everyone spoke French. We were primarily in Montreal,” Stewart told MTV News. “I spent so much time … and I was just, like, feeling so pathetic. Not only is it a very dope language, it’s more like I really want to be able to talk to a few people so badly.” And while her coolness has never been in question, the busy actress apparently felt a little insecure about her cred while trekking around Paris unable to speak the language. “When I’m in Paris, I feel like I could be so much [cooler]. I’m like, ‘Wow, I could be so cool.’ So that’s the main inspiration,” she said. When chastised about one Parisian habit she adopted a while back, smoking cigarettes, Stewart was quick to reveal that she has apparently given it up — though she didn’t want to talk too much about her health-conscious move for fear of jinxing herself. “You can’t acknowledge it or else suddenly … you can’t think about it,” the slightly rattled actress confessed amid a loud round of applause for her achievement. Stewart will take the stage with her “Huntsman” co-stars Charlize Theron and Chris Hemsworth as presenters at the 2012 MTV Movie Awards on Sunday. “Huntsman,” which hits theaters Friday, kicked off our MTV Sneak Peek Week, which will also include exclusive peeks at some of the summer’s hottest films, from “That’s My Boy” (Wednesday) and “Magic Mike” (Thursday) to “Rock of Ages” (Friday), as well as nightly chats with their casts live from the 5 Towers on Universal CityWalk. Tune in to MTV at 11 p.m. ET each night as the casts introduce an exclusive clip from their movies, and join us at MTV.com for a live Q&A with the actors. You can also join the conversation yourself on Twitter using the hashtag #MTVSneak. Stewart is also, once again, a contender for the golden popcorn for Best Kiss for her smooch with Robert Pattinson in “Breaking Dawn – Part 1.” The Russell Brand-hosted show is set to feature performances by Fun., Wiz Khalifa, the Black Keys and house DJ Martin Solveig. Head over to MovieAwards.MTV.com to vote for your favorite flicks now! The 21st annual MTV Movie Awards air live this Sunday, June 3, at 9 p.m. ET. Related Photos ‘On The Road’
When it rains, it pours, and we are positively dripping with skin-filled options this week on DVD and Blu-ray: First, True Blood Season 4 hits DVD with things that go hump in the night like Anna Paquin , Alexandra Breckenridge and Janina Gavankar . Then hot hockey groupies Brandy Jaques and Veronica Malinowski flash their pucks in Goon (2011), Tilda Swinton gives us something to talk about in We Need to Talk About Kevin (2011), and Harriet Andersson gives us a tit-story lesson in Summer with Monika (1953), the film that solidified Sweden’s reputation as a SKINema pioneer. Plus, if you prefer your vampires foxy, French, and full-frontal, check out the re-releases of Jean Rollin ‘s Demoniacs (1974), Requiem for a Vampire (1971) and The Rape of the Vampire (1967), all nude on Blu-ray. More after the jump!
‘The performance is another element to my career that I want to challenge myself and get better at,’ he tells MTV News in Houston. By Rob Markman, with reporting by Sway Calloway Drake and 2 Chainz perform at his Club Paradise tour Photo: MTV News Club Paradise isn’t just about what you see onstage. Drake wanted to create a tour vibe that could be felt in the crowd and backstage as well. Take his posh dressing room, with its candles, wine-colored couches and matching OVO throw pillows or his branded Club Paradise Styrofoam cups. For Drizzy, it’s all about the detail. “Everywhere you turn, there are different rooms, different vibes. It’s kind of like I wanted to create a real atmosphere before show and after show,” Drake told MTV News correspondent Sway Calloway during his May 17 tour stop in Houston. “We paid very close attention to detail this tour, but all just for the greater good of the energy and the vibe.” Still, most fans don’t get to experience Club Paradise’s backstage magic, where on any given day tourmates J. Cole, 2 Chainz, Meek Mill, Waka Flocka Flame and French Montana can be found milling about. So while out onstage, Drake gives each show his all. The hour-and-a-half set is very taxing. “I think going onstage for me now, it’s a very physical thing. It’s 90 minutes, and I like to deliver records so that they sound like the actual song,” the Young Money shining star explained. “To be able to maintain that stamina is very difficult, and it’s become a profession in its own for me, as far as mastering my breathing, working out every day, eating different, not drinking as much, just taking my life a bit more serious.” Drake came a long way from his first headlining tour in 2009. ” So Far Gone Tour was just a blast. We were young, we were going place to place; now it’s very much like I treat my mind and my body in this whole approach like an athlete. I think that’s maybe the evolution that we’re talking about,” he explained. “Along with working with my vocal coach, just trying to get better, watching great performances and special moments.” During his Houston stop, Drizzy brought out Rick Ross , and while in Atlanta on May 20, Drake welcomed hometown hero T.I. to the stage . “I feel like we’ve been pretty consistent on this tour with giving each city their own special moment,” he said confidently. “The performance is another element to my career that I want to challenge myself and get better at.” What’s your favorite Drake performance? Tell us in the comments! Related Artists Drake
French Montana took advantage of the Memorial Day weekend by shooting the video for “Pop Dat,” featuring Drake, Rick Ross and Lil Wayne. The track samples 2 Live Crew’s “Pop That Pu**y” and will be the second official single from Moroccan rapper’s Excuse My French debut, reports MissInfo.tv… Continue
Breaking Sports Video
