Actress Jamie Anne Allman, who plays Aunt Terry on the AMC drama, speaks out about staying silent on her killer secret. By Josh Wigler Jamie Anne Allman in AMC’s ‘The Killing’ Photo: Two seasons and 26 episodes later, “The Killing” has finally answered the nagging question it first posed in its pilot episode: Who killed Rosie Larsen? The answer, tragically enough, was never far from home. In the end, Rosie was killed by a one-two punch from Richmond campaign aide Jamie Wright and her own aunt Terry, who unwittingly delivered the killing blow. Though writers claim to have known the killer’s identity since the show’s first episode, “Killing” actress Jamie Anne Allman — who plays Terry on the AMC drama — didn’t learn about her character’s murderous actions until the eleventh hour. “[Showrunner Veena Sud] had called me a couple hours before I was going in to read for the table read for episode 13, the last episode, that I was the killer,” Allman told The Hollywood Reporter in a new interview. “When she gave me the news, I was upset, I started crying. I actually thought that while I was contemplating, ‘What if I’m the killer?’ that I’d be excited, but I started crying and started feeling bad for Terry. ‘Oh man, this is a really tragic situation.’ ” Allman said she was “shocked” and “surprised” by the “intense” revelation, and that preserving the secret of being the show’s titular killer was not an easy one to keep. “I thought I would just blab [it] out,” she admitted. “Even now, me being able to talk about it is weird because I haven’t been able to talk about it for so long. It’s not a dream if people are seeing it on TV, though, is it?” Ultimately, while she’s not happy that Terry wound up being Rosie’s killer, Allman said that she’s satisfied by the turn of events. “I don’t know if I would say happy but I would say fulfilled,” she said. “I feel like there is justice and a lot of people got to know someone who made a lot of bad choices. And have a little more understanding as to why she made those choices.” What do you think of the killer reveal? Tell us in the comments section below!
Neither the ladies nor the guys have emerged from the What to Expect When You’re Expecting marketing miasma unscathed, but at least now we can get all of our ensemble humiliation out of the way in one convenient new one-sheet. Amazing. The thing is: If we can convincingly fix James Bond up with a bottle of Heineken , then why can’t a major Hollywood studio convincingly Photoshop five stars in the same room? I just don’t get it . And the tagline? “It’s too late to pull out now”? Ugh . The mind reels, the skin crawls. [via Moviefone ] Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .
Besides William Forsythe , that is: “Director Martin Guigui is currently scouting for: YOUNG JAKE LAMOTTA . To play 14-20 years old, and already a tough bare knuckles fighter. He takes his father’s frequent beatings without a sound and makes money fighting much bigger opponents in back alley fights set up by his drunken, abusive father. Please submit over 18 to play younger OR emancipated. GUISSEPE [ sic ] LAMOTTA . Portrays 40s-70s, Jake’s father, a tough-looking Italian man, he’s a mean drunk who handcuffs and beats his son. He sets up the back alley fights with Jake and much older, stronger opponents. Later he refuses to help the grown-up Jake when he asks for money. Late in life, a frail old man, he reconciles with Jake just before his death. STAR NAME ONLY.” Good luck, Mickey Rourke! [ Moviehole via The Playlist ]
Man vs. beast, man vs. man, man vs. corporation, man vs. himself — The Hunter takes all these pretty ladies out for a spin, but can’t seem to decide which one to bring home. The set-up is so swift it could easily pass you by: Martin (Willem Dafoe) is contracted by a shady outfit to bag a Tasmanian tiger, presumed extinct, in the Australian wilderness. Rumor has it there’s one left out there, and what better reason to fully extinguish a species than in the name of pharmaceutical patent? Martin appears to have no particular feeling about this assignment; as long as his toiletries are properly lined up and he’s left alone, he doesn’t appear to have a particular feeling about much of anything. Martin’s inscrutability is both a key element of all the above-listed plotlines and the reason no one of them is fully realized. Billeted in a remote Tasmanian home with two young children who have a missing father and a grieving mother (Frances O’Connor) who dopes herself through the days, Dafoe’s character is prepped for a transfusion of warmer, more human blood early on. Sass (Morgana Davies) is the big sister with the foul mouth and matter of fact attitude, Bike (Finn Woodlock) is the mystical mute little brother who draws pictures of Tasmanian tigers (a striking mix of jungle cat and mountain wolf) and seems to know more about his father’s whereabouts than he lets on. Both are utterly irresistible, and with their mother MIA they launch a full charm offensive, even jumping in the tub with Martin after he finally gets a broken generator — and some hot water — flowing again. Scene by scene The Hunter , adapted from a novel by Julia Leigh, holds your attention like a pair of big, inquisitive eyes, or perhaps the point-blank scope of an automatic rifle. Director Daniel Nettheim finds a smooth, confident rhythm that almost carries the underdeveloped story (by Alice Addison and Wain Fimeri) across the finish line. In his new home Martin is assimilated into the children’s sprawl whether he likes it or not, and eventually he is moved to help their mother get back on her feet. In town he is inducted into the local dispute between the loggers and the “greenies,” a group of activists attempting to stop the exploitation of the land. Sam Neill plays a fixer of sorts, one with eyes for O’Connor’s fragile widow and a dubious connection to the company desperate for the Tasmanian tiger’s trophy glands. Strange things happen during Martin’s first trips into the wild: a shot is fired, a camera is rigged to monitor one of his traps, and a laser sight hovers near his head. The hunter is being hunted, but by whom? Martin’s moral awakening would seem to be the center of the story — “man” being the only constant in all of the available themes — where human attachments interfere with the mercenary thrust of science, progress, or just mechanical job-completion. And to an extent it is: He develops a protective interest in his host family, even searching for signs of their missing father, with whom he has more in common than it first appeared. But the self-reflective side of that process — specifically the point of Martin’s mission and his feeling about it — only gets cloudier the closer he gets to his target. And it’s not the good kind of fog, which is on ample display in the mood-enhancing veils of mist captured by cinematographer Robert Humphreys, among countless other gorgeously textured shots of the teeming Tasmanian landscape. The paradox of Martin’s character feels accidental, or at least unresolved: The more we evidence we get of a beating heart on the homefront, the more mysterious that heart seems out in the wilderness. Because the film alternates between Martin’s expeditions and furloughs, the contrast becomes starker as the film goes on, and it’s hard not to lose interest in a hunt whose stakes seem unclear to the hunter. The conflict that develops around the terms of his assignment is less convincing than it could have been, making for a rushed and unsatisfying, pseudo-nihilist climax. Still, Dafoe and Woodlock in particular have a few moments that transcend the plot holes surrounding them; in a movie with this much going for it there’s no shame in letting them take direct aim at your heart. Follow Michelle Orange on Twitter . Follow Movieline on Twitter .
Hoo boy: “Anchor Bay has picked up North American distribution rights to the project, which begins principal photography next month and will unspool this holiday season. Story follows a local police department’s search for the killer Santa Claus terrorizing a remote Midwestern town on Christmas Eve. McDowell will play Sheriff Cooper, a small-town hero ready for some big-time action.” [ Variety ]
You’re going to love this evening’s Saturday Night Video… Here’s a fun game: Try and spot every one of your beloved cartoon favorites in this killer MetLife Super Bowl commercial that will air tomorrow. If you get stumped, the link below takes you to cartoonist Mark Anderson’s blog who has actually done the work for you and listed them all! Visit Andertoons for the complete list . Broadcasting platform : YouTube Source : The Reformed Broker Discovery Date : 03/02/2012 20:08 Number of articles : 2
‘Them two are rap greats and for them two to actually want to do a project with me, it’s unbelievable,’ Pill tells ‘RapFix Live.’ By Rob Markman Big Boi Photo: Jay West/ WireImage Pill ‘s situation with Rick Ross’ Maybach Music Group may not have worked out, but the Atlanta spitter has his eyes set on a collaborative project with Killer Mike and OutKast’s Big Boi . “We working, we thinking about dropping a tape, honestly ’cause me and Big and all us we done did records already,” Pill told “RapFix Live.” “We thinking about droppin’ a tape and then droppin’ an album.” In February 2011, Killer Mike revealed that he, Big Boi and Pill were forming a group, which is still unnamed . There isn’t much in the way of details, but Pill insists that the trio is putting something together. “We already workin’, we getting’ it in. It’s a full-time grind,” he said. “Them two are rap greats and for them two to actually want to do a project with me, it’s unbelievable.” The “Trap Goin’ Ham” rapper made headlines earlier this week when he revealed to MTV News that despite his close affiliation with Rozay’s MMG label and appearing on his Self Made compilation, Pill was never technically signed to Maybach. The MC, who charges that MMG’s parent label, Warner Music Group (to which he is currently signed), never gave him a fair push on radio or TV. He is now looking to be released from Warner. Still, Pill is far from being in the dumps. In the coming weeks, Pillionaire plans to drop his solo mixtape The Epidemic and then, of course, is the project with Killer Mike and Big Boi, which he is excited about. While Pill does acknowledge Mike’s and Big’s respective greatness, he makes it clear that he is no slouch on the mic. “For other people to try to think that I’m not lyrical enough or I’m not as good a rapper — you got guys that everybody looks up to as rappers doin’ a project with me,” he said. “So you know I’m just ready for that sh– to actually take off so we can show people what hip-hop look like in the flesh.” Are you looking forward to Pill’s group album with Big Boi and Killer Mike? Let us know in the comments. Related Videos ‘RapFix Live’ With Maino
There’s no denying that Nicole Scherzinger is more than pretty – just look at these photos and tell us she’s not gorgeous. But her new song “Pretty” that she debuted on The X Factor last night? Well, it’s got a nice personality! Nicole’s song, which will appear on the US release of her Killer Love album, … More » Broadcasting platform : YouTube Source : Idolator Discovery Date : 16/12/2011 02:59 Number of articles : 2
