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Matt Damon And Michael Douglas Mapped Out Their ‘Behind The Candelabra’ Love Scenes Like Football Plays

Matt Damon says Michael Douglas is a “wonderful” kisser. He also tells Playboy magazine that he and the veteran actor strategized their onscreen make-out sessions for Steven Soderbergh’ s Liberace movie for HBO, Behind The Candelabra , “like a football plan,” which scarily brings to mind John Madden and Al Michaels cavorting in Speedos while diagramming a play-action pass.  The Promised Land actor tells interviewer Stephen Rebello that he usually says no to nude scenes, “but I just did a lot of it playing the long-term partner of Liberace, Scott Thorson in Behind the Candelabra .”  He took the plunge, he explains, because Soderbergh, who directed Damon on the Oceans films and The Informant! was behind the camera and the scenes in question were “tastefully done.” And, really, who could resist being held firmly in the masculine arms of the silver-maned actor who played Gordon Gekko ? Damon, who plays the much younger lover of the flamboyant piano showman — the Norman Jean Roy photograph above, which appeared in Vanity Fair, shows them in character — says the movie will make some people uncomfortable because “you’re witnessing something really intimate you would normally see with a man and a woman, but instead it’s two men”. He, on the other hand, found the dynamic “thrilling” even though some of the more intimate scenes weren’t “the most natural thing in the world to do, though. Like, for one scene, I had to come out of a pool, go over to Michael, straddle him on a chaise longue and start kissing him. And throughout the script, it’s not like I kiss him just once. We drew it up like a football plan.” At least he didn’t make a pitcher/catcher reference. Damon goes on to say that he once asked the late Heath Ledger  how he managed the scene with Jake Gyllenhaal in Brokeback Mountain where to two men hungrily suck face.  Ledger’s response: “Well, mate, I drank half a case of beer in my trailer.”  Damon add that when he laughed at that response, Ledger told him: “No, I’m serious. I needed to just go for it. If you can’t do that, you’re not making the movie.” The conversation leads Rebello to ask Damon what it was like “when you and Ben Affleck were constantly asked if you were gay, back when you were starting your careers” “I never denied those rumors because I was offended and didn’t want to offend my friends who were gay—as if being gay were some kind of fucking disease,” Damon responds. “It put me in a weird position in that sense. The whole thing was just gross.” [ Playboy ] Follow Frank DiGiacomo on Twitter.  Follow Movieline on Twitter. 

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Matt Damon And Michael Douglas Mapped Out Their ‘Behind The Candelabra’ Love Scenes Like Football Plays

Golden Globes Unveil 70th Edition Nominees

Lincoln lead the 70th Golden Globe nominations in the Motion Picture category Thursday morning, taking seven categories, including Best Motion Picture Drama, Best Director for Steven Spielberg and Best Actor, Drama for Daniel Day-Lewis . Argo and Django Unchained both scored five noms, also placing in the Best Motion Picture Drama category and Best Director for Ben Affleck and Quentin Tarantino respectively. [ Related: Screen Actors Guild Unveils 19th Annual Award Nominees and ‘Lincoln’ And ‘Les Misérables’ Lead Critics Choice Award Nominees ] Other top Awards contenders Zero Dark Thirty , Les Misérables and Silver Linings Playbook scooped up four nominations each, with Les Misérables and Silver Linings Playbook taking noms for Best Motion Picture, Musical or Comedy. Moonrise Kingdom , Best Exotic Marigold Hotel , and Salmon Fishing in the Yemen rounded out the category. MOTION PICTURE CATEGORIES Motion Picture, Drama Argo , Warner Bros. Pictures, GK Films, Smokehouse Pictures; Warner Bros. Pictures Django Unchained , The Weinstein Company, Columbia Pictures; The Weinstein Company/Sony Pictures Releasing Life of Pi , Fox 2000 Pictures; Twentieth Century Fox Lincoln , DreamWorks Pictures, Twentieth Century Fox; Touchstone Pictures Zero Dark Thirty , Columbia Pictures and Annapurna Pictures; Sony Pictures Releasing [ Related: ‘Zero Dark Thirty’ Takes Top National Board Of Review Honors ] Motion Picture, Musical or Comedy Best Exotic Marigold Hotel , Blueprint Pictures/Participant Media; Fox Searchlight Pictures Les Miserables , Universal Pictures, A Working Title Films/Cameron Mackintosh Productions; Universal Pictures Moonrise Kingdom , Indian Paintbrush; Focus Features Salmon Fishing in the Yemen , CBS Films Silver Linings Playbook , The Weinstein Company Director Ben Affleck , Argo Kathryn Bigelow , Zero Dark Thirty Ang Lee , Life of Pi Steven Spielberg , Lincoln Quentin Tarantino , Django Unchained Actor, Drama Daniel Day-Lewis , Lincoln Richard Gere , Arbitrage John Hawkes , The Sessions Joaquin Phoenix , The Master Denzel Washington , Flight [ Related: LA Film Critics Name ‘Amour’ Best Picture, Boost ‘The Master,’ Jazz Up Oscar Race ] Actress, Drama Jessica Chastain , Zero Dark Thirty Marion Cotillard , Rust and Bone Helen Mirren , Hitchcock Naomi Watts , The Impossible Rachel Weisz , The Deep Blue Sea Actor, Comedy or Musical Jack Black , Bernie Bradley Cooper , Silver Linings Playbook Hugh Jackman , Les Misérables Ewan McGregor , Salmon Fishing in the Yemen Bill Murray , Hyde Park on Hudson Actress, Comedy or Musical Emily Blunt , Salmon Fishing in the Yemen Judi Dench , Best Exotic Marigold Hotel Jennifer Lawrence , Silver Linings Playbook Maggie Smith , Quartet Meryl Streep , Hope Springs Supporting Actor Alan Arkin , Argo Leonardo DiCaprio , Django Unchained Phillip Seymour Hoffman , The Master Tommy Lee Jones , Lincoln Christoph Waltz , Django Unchained Supporting Actress Amy Adams , The Master Sally Field , Lincoln Anne Hathaway , Les Misérables Helen Hunt , The Sessions Nicole Kidman , The Paperboy [ Related: NY Film Critics Circle Spices Up Oscar Race With ‘Zero Dark Thirty’ Best Picture Pick ] Screenplay Mark Boal , Zero Dark Thirty Tony Kushner , Lincoln David O. Russell , Silver Linings Playbook Quentin Tarantino , Django Unchained Chris Terrio , Argo Foreign-Language Picture Amour (Austria) A Royal Affair (Denmark) The Intouchables (France) Kon-Tiki (Norway, U.K., Denmark) Rust and Bone , (France) Animated Feature Film Brave Frankenweenie Hotel Transylvania Rise of the Guardians Wreck-It Ralph Original Score Mychael Danna , Life of Pi Alexandre Desplat , Argo Dario Marianelli , Anna Karenina Tom Tykwer , Johnny Klimek & Reinhold Heil, Cloud Atlas John Williams , Lincoln Original Song “For You,” Act of Valor (Music by: Monty Powell, Keith Urban Lyrics by: Monty Powell, Keith Urban) “Not Running Anymore,” Stand Up Guys (Music by: Jon Bon Jovi Lyrics by: Jon Bon Jovi) “Safe and Sound,” The Hunger Games (Music by: Music by: Taylor Swift, John Paul White, Joy Williams, T Bone Burnett Lyrics by: Taylor Swift, John Paul White, Joy Williams, T Bone Burnett) “Skyfall,” Skyfall (Music by: Adele, Paul Epworth Lyrics by: Adele, Paul Epworth) “Suddenly,” Les Misérables (Music by: Claude-Michel Schonberg Lyrics by: Alain Boublil, Claude-Michel Schonberg) (Television nominees follow on the next page)

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Golden Globes Unveil 70th Edition Nominees

Victoria’s Secret Models Sing Deck the Halls of the Day

This evil corporation has got us from the fucking balls…they hang hot fucking half naked chicks in front of our eager and hungry faces…and we listen….it is a not very genius concept that has made a lot of people billionaires…. They did this last year, it’s cute…and I want to have sex with all of them… I have my own stepFATHER CHRISTMAS INITIATIVE ….that I’d rather you be checking out….rather than this Politically correct garbage…but I get that you’re into these twats…you pervert…

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Victoria’s Secret Models Sing Deck the Halls of the Day

Old Lady Pops Her Knee Out Trying To Twerk Off Up In The Club! [Video]

Funniest video of the week! youtube

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Old Lady Pops Her Knee Out Trying To Twerk Off Up In The Club! [Video]

Celebrity Seeds: Rocco Strikes A Pose While Mercy And David Banda Body Board Brazil

Come on VOGUE! Apparently being the child of Madonna means you grow up around a lot of really interesting characters who can either teach you how to Zoolander or body board with the best of them. Oh and nannies with nice fannies are a bonus. Rocco hung out with mom’s boytoy Brahim and a friend at the hotel pool in Sao Paulo while his sister Mercy and brother David Banda had a blast body boarding at Ipanema Beach with a nanny and security guard. GSIMedia

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Celebrity Seeds: Rocco Strikes A Pose While Mercy And David Banda Body Board Brazil

Taste Like Chicken: Stranded Siberian Fishermen Suspected Of Turning Cannibal And Eating Their Friends

Cold world … Siberian Fisherman Turn Cannibal Via RadarOnline reports: Alexander Abdullaev, 37, and Alexei Gradulenko, 35, were found alive – but only just – an astounding three months after they ventured out to one of the most remote regions in the world where temperatures drop below –22 Fahrenheit. One body was found and one is still missing, however police are not certain if the corpse is that of Viktor Komarov, 47, or Andrei Kurochkin, 44, but they do suspect the dead man was murdered – most likely for his flesh if grisly knife wounds are any indication. Near the ravaged body, investigators reportedly found a wooden stake or ax that could have been used as a murder weapon, blood trails in the snow and a bloody jacket belonging to one of their pals. “We suspect, the two survivors could have killed and eaten their friend just because of hunger,” an police source told Life News website. “But both deny they have anything to do with his death. Looking at the body parts found at the spot, we clearly saw cuts. It means the body was hacked to pieces. “Now the body parts – some human flesh and part of the skull – are taken to the morgue,” said the witness to the gory case. The fourth member of the group is missing completely, prompting police to suspect that he might also have been a victim of cannibalism in the fisherman’s blood-thirsty struggle to survive. “What we found were chopped human bones, fragments of a skull and a bloodstained chunk of ice,” an unnamed investigator told Komsomolskaya Pravda newspaper. “It’s clear that this person did not die of his own accord.” Now after facing the most extreme elements imaginable, Abdullaev and Gradulenko are going head-to-head with the legal system as a criminal case into suspected murder has been opened. Just like friends, they stab you in the back…ok bad joke at situation, but it is called “survival of the fittest”. However, to kill is selfish and sickening. We can never relate to their extreme experience and unfortunate events. SMH!! Russian Emergencies Ministry

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Taste Like Chicken: Stranded Siberian Fishermen Suspected Of Turning Cannibal And Eating Their Friends

‘The Hunger Games’ And ‘The Muppets’ Top Grammy Awards Movie Nominees

The Hunger Games , The Dark Knight Rises , The Muppets , Midnight In Paris and even last year’s Oscar winner for Best Picture, The Artist are up for awards this year, but this time it’s for the 55th annual Grammy Awards. Theatrical titles dominated this year’s Grammy categories dedicated to visual media with The Hunger Games receiving two nominations for Best Song (“Abraham’s Daughter”) and Taylor Swift’s “Safe & Sound.” The Muppets also scored two nominations, including Best Song for “Man Or Muppet” in addition to a nomination for Best Compilation Soundtrack. Others in the category include this year’s Marley documentary and 2011’s The Descendants and Midnight in Paris . Trent Reznor received a Best Score nom for The Girl with the Dragon Tattoo along with Hans Zimmer for The Dark Knight Rises and John Williams for The Adventures of Tintin – The Secret of the Unicorn . The Black Keys’ “Lonely Boy,” Kelly Clarkson’s “Stronger (What Doesn’t Kill You),” Fun’s “We Are Young” Gotye’s “Somebody That I Used to Know,” Frank Ocean’s “Thinkin Bout Your” and Taylor Swift’s “We Are Never Ever Getting Back Together” are the Grammys’ nominees for Record of the Year. The Grammy Awards ceremony will be broadcast February 10th on CBS. 55th Grammy Awards’ Visual Media-related nominees follow with information provided by the Recording Academy (for other categories, visit the Grammy’s website ). Best Compilation Soundtrack For Visual Media : The Descendants (Various Artists) [Sony Classical/Fox Music] Marley (Bob Marley & The Wailers) [UMe/Island/Tuff Gong] Midnight In Paris (Various Artists) [Madison Gate Records, Inc.] The Muppets (Various Artists) [Walt Disney Records] Rock Of Ages (Various Artists) [WaterTower Music] Best Score Soundtrack For Visual Media : The Adventures Of Tintin – The Secret Of The Unicorn John Williams, composer [Sony Classical] The Artist Ludovic Bource, composer [Sony Classical] The Dark Knight Rises Hans Zimmer, composer [WaterTower Music] The Girl With The Dragon Tattoo Trent Reznor & Atticus Ross, composers [Null/Madison Gate] Hugo Howard Shore, composer [Howe Records] Journey Austin Wintory, composer [Sony Computer Entertainment America] Best Song Written For Visual Media : Abraham’s Daughter (From The Hunger Games ) T Bone Burnett, Win Butler & Régine Chassagne, songwriters (Arcade Fire) [Universal Republic; Publishers: Régine Chassagne, Absurd Music, Win Butler, Henry Burnett Music, Baffle Music] Learn Me Right (From Brave ) Mumford & Sons, songwriters (Birdy & Mumford & Sons) [Walt Disney Records/Pixar; Publisher: Pixar Talking Pictures] Let Me Be Your Star (From Smash ) Marc Shaiman & Scott Wittman, songwriters (Katharine McPhee & Megan Hilty) [Columbia; Publishers: Winding Brook Way Music, Walli Woo Entertainment] Man Or Muppet (From The Muppets ) Bret McKenzie, songwriter (Jason Segel & Walter) [Walt Disney; Publisher: Fuzzy Muppet Songs] Safe & Sound (From The Hunger Games ) T Bone Burnett, Taylor Swift, John Paul White & Joy Williams, songwriters (Taylor Swift Featuring The Civil Wars) [Big Machine Records/Universal Republic; Publishers: Sony ATV Tree Publishing, Taylor Swift Music, Sensibility Songs, Absurd Music, Shiny Happy Music, Baffle Music, Henry Burnett Music] [ Source: Yahoo ]

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‘The Hunger Games’ And ‘The Muppets’ Top Grammy Awards Movie Nominees

REVIEW: Hathaway’s A Dream But ‘Les Misérables’ Doesn’t Sing

As a faithful rendering of a justly beloved musical, Les Misérables  will more than satisfy the show’s legions of fans. Even so, director Tom Hooper and the producers have taken a number of artistic liberties with this lavish bigscreen interpretation. The squalor and upheaval of early 19th-century France are conveyed with a vividness that would have made Victor Hugo proud, heightened by the raw, hungry intensity of the actors’ live on-camera vocals.  Yet for all its expected highs, the adaptation has been managed with more gusto than grace; at the end of the day, this impassioned epic too often topples beneath the weight of its own grandiosity. The Universal release will nonetheless be a major worldwide draw through the holidays and beyond, spelling a happy commercial ending for a project that has been in development for roughly a quarter-century. Since its 1985 London premiere, the Cameron Mackintosh-produced tuner (adapted from Alain Boublil and Claude-Michel Schoenberg’s French production) has became one of the longest-running acts in legit history, outpaced only by The Phantom of the Opera and Cats.   Les Misérables  has aged far more gracefully than those two ’80s-spawned perennials, owing largely to the lush emotionalism of Schoenberg’s score, the timeless sentiments articulated in Herbert Kretzmer’s lyrics, and the socially conscious themes, arguably more relevant than ever, set forth in Hugo’s much-filmed masterwork. In an intuitive yet bold scripting decision, scribes William Nicholson, Boublil, Schoenberg and Kretzmer have fully retained the show’s sung-through structure, with only minimal spoken dialogue to break the flow of wall-to-wall music. Not for nothing is “Do You Hear the People Sing?” the piece’s signature anthem; song is the characters’ natural idiom and the story’s lifeblood, and the filmmakers grasp this idea firmly enough to give the music its proper due. Even with some of the lyrics skillfully truncated, this mighty score remains the engine that propels the narrative forward. In visual terms, Hooper adopts a maximalist approach, attacking the material with a vigor and dynamism that suggest his Oscar-winning direction on The King’s Speech was just a warm-up. At every turn, one senses the filmmaker trying to honor the material and also transcend it, to deliver the most vibrant, atmospheric, physically imposing and emotionally shattering reading of the show imaginable. Yet the effect of this mammoth 158-minute production can be as enervating as it is exhilarating; blending gritty realism and pure artifice, shifting from solos of almost prayerful stillness to brassy, clunkily cut-together ensemble numbers, it’s an experience whose many dazzling parts seem strangely at odds. The film’s ambition is immediately apparent in a muscular opening setpiece that hints at the scope of Eve Stewart’s production design: In 1815 Toulon, France, a chain gang labors to tow a ship into port. Among the inmates is Jean Valjean ( Hugh Jackman ), overpunished for having stolen a loaf of bread nearly 20 years earlier, now being released on parole by Javert ( Russell Crowe ), the prison guard who will persecute him for years to come. With his scraggly beard, sunburnt skin and air of wild-eyed desperation, Valjean looks every inch a man condemned but, through the aid of a kind bishop (Colm Wilkinson, who originated the role of Valjean in 1985), vows in his soul-searching number “What Have I Done?” to become a man of virtue. In this and other sequences, Hooper (again working with Speech d.p. Danny Cohen) opts to bring the camera close to his downtrodden characters and hold it there. It’s a gesture at once compassionate and calculated, and it’s never more effective than when it touches the face of Fantine (Anne Hathaway ), a poor, unwed mother ejected from Valjean’s factory into the gutters. Hathaway’s turn is brief but galvanic. Her rendition of “I Dreamed a Dream,” captured in a single take, represents the picture’s high point, an extraordinary distillation of anguish, defiance and barely flickering hope in which the lyrics seem to choke forth like barely suppressed howls of grief. Hathaway has been ripe for a full-blown tuner showcase ever since she gamely sang a duet with Jackman at the Oscars in 2009, and she fulfills that promise here with a solo as musically adept as it is powerfully felt. This sequence fully reveals the advantages of Hooper’s decision to have the thesps sing directly on-camera, with minimal dubbing and tweaking in post. As carefully calibrated with the orchestrations (by Anne Dudley and Stephen Metcalfe) in Simon Hayes’ excellent sound mix, the vocals sound intense, ragged and clenched with feeling, in a way that at times suggests neorealist opera. A few beats and notes may be missed here and there, but always in a way that serves the immediacy of the moment and the truth of the emotions being expressed, giving clear voice to the drama’s underlying anger and advocacy on behalf of the poor, marginalized and misunderstood. Hathaway’s exit leaves a hole in the picture, which undergoes a tricky tonal shift as Valjean rescues Fantine’s young daughter, Cosette (Isabelle Allen), from her cruel guardians, the Thenardiers. Inhabited with witchy, twitchy comic abandon by Sacha Baron Cohen and Helena Bonham Carter, not terribly far removed from the grotesques they played in “Sweeney Todd,” these innkeepers amusingly send up their venal, disreputable and utterly unsanitary lifestyle in “Master of the House,” a memorably grotesque number that also marks the point, barely halfway through, when Les Misérables  starts to splutter. As it shifts from one dynamically slanted camera angle to another via Melanie Ann Oliver and Chris Dickens’ busy editing, the picture seems reluctant to slow down and let the viewer simply take in the performances. That hectic, cluttered quality becomes more pronounced as the story lurches ahead to the 1832 Paris student uprisings, where the erection of a barricade precipitates and complicates any number of subplots. These include Javert’s ongoing pursuit of Valjean, their frequent run-ins seeming even more coincidental than usual in this movie context; the blossoming romance between Cosette (now played by Amanda Seyfried ) and young revolutionary leader Marius ( Eddie Redmayne ); and the noble suffering of Eponine ( Samantha Barks ), whose unrequited love for Marius is heartbreakingly exalted in “On My Own.” As the characters’ voices and stories converge in the magisterial medley “One Day More,” the frequent crosscutting provides a reasonable visual equivalent of the nimble revolving sets used onstage. Yet even on this broader canvas, the visual space seems to constrict rather than expand, and the sense of a sweeping panorama remains elusive. From there, the film proceeds through an ungainly pileup of gun-waving mayhem before unleashing a powerful surge of emotion in the suitably grand finale. Devotees of the stage show will nonetheless be largely contented to see it realized on such an enormous scale and inhabited by well-known actors who also happen to possess strong vocal chops. The revelation here is Redmayne, who brings a youthful spark to the potentially milquetoast role of Marius, and who reveals an exceptionally smooth, full-bodied singing voice, particularly in his mournful solo “Empty Chairs at Empty Tables.” Jackman’s extensive legit resume made him no-brainer casting for Valjean, and he embodies this sinner-turned-saint with the requisite fire and gravitas. Whether he’s comforting the dying Fantine or sweetly serenading the sleeping Cosette (in the moving “Suddenly,” a song written expressly for the screen), Jackman projects a stirring warmth and nobility. He’s less at home with the higher register of Valjean’s daunting two-octave range; there’s more strain than soul in his performance of “Bring Him Home,” usually one of the show’s peak moments. Crowe reveals a thinner, less forceful singing voice than those of his co-stars, robbing the morally blinkered Javert of some dramatic stature, although his screen presence compensates. Barks, a film newcomer wisely retained from past stagings, more than holds her own; Seyfried (who previously flexed her musical muscles in Mamma Mia!) croons ever so sweetly as the lovely, passive Cosette; Aaron Tveit cuts a dashing figure as the impulsive student revolutionary Enjolras; and young Daniel Huttlestone makes a delightful impression as the street urchin Gavroche, bringing an impish streak of energy to the proceedings. More on Les Mis:  Jackman, Hathaway & Co-Stars Are Masters Of The House At ‘Les Misérables’ Premiere Early Reaction: Oscar Race Heats Up As NYC Screening Of ‘Les Miserables’ Prompts Cheers & Tears Follow Movieline on Twitter.

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REVIEW: Hathaway’s A Dream But ‘Les Misérables’ Doesn’t Sing

Best Of 2012: 15 Totally Quotable Movie Lines

James Bond, ‘The Hunger Games’ and the Dark Knight himself all make the cut of our favorite film quotes of the year. By Kevin P. Sullivan Daniel Craig in “Skyfall” Photo: Sony Pictures

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Best Of 2012: 15 Totally Quotable Movie Lines

What If Vince Vaughn And Zooey Deschanel Starred In ‘Silver Linings Playbook’?

There’s nothing like a good bit of alternate “What if?” casting to make you appreciate a movie whose stars’ chemistry works, so picture what might have been if David O. Russell had made his Oscar contender Silver Linings Playbook a few years back… with Vince Vaughn and Zooey Deschanel . “I wrote this five years ago and I rewrote it 20 times,” Russell told The Huffington Post . “And I thought I was going to make it with Vince Vaughn and Zooey Deschanel before The Fighter . And then it didn’t happen, for any number of reasons that were out of my hands.” Head here to read the full Silver Linings chat, in which Russell big ups stars Bradley Cooper and Jennifer Lawrence and offers little hope that we’ll ever see the infamously stalled Nailed . Meanwhile, as awards pundit Anne Thompson notes , Silver Linings is flagging in the crowded Oscar race after enjoying a burst of momentum in previous weeks. Maybe a celebrity endorsement from Oscar-winner Charlize Theron will help? Here’s Theron waxing enthusiastic over Lawrence in EW’s Entertainers of the Year cover story: “How is it that she can just stand there, not saying a word, and make us feel so much? Her talent is undeniable, and she is a force to be reckoned with.” Theron should know; she starred as the older version of a pre-fame, pre- Hunger Games Lawrence (or vice versa — Lawrence starred as the young Theron, opposite Revolution ‘s J.D. Pardo) in 2008’s The Burning Plain . [ Huffington Post , EW , Thompson on Hollywood ]

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What If Vince Vaughn And Zooey Deschanel Starred In ‘Silver Linings Playbook’?