Keira Knightley went topless for a recent fashion shoot. And we’re talking very topless indeed. Interview Magazine has outdone itself with this spread. The 29-year-old actress bares her breasts (after the jump) while striking a stunning pose in only high-waisted black pants and black lace gloves. Knightley pouts her gorgeous lips with her long wet hair cascading down her head and face, but stopping short of her chest, in the artistic shot. Did we mention she’s topless (after the jump)!? Alright, let’s get on with the NSFW hotness: There you go. Everything you expected. In the article, Knightley interviews Patrick Demarchelier , the famed photographer and reminisced about a very important tip Demarchelier once gave her. The star said, “You said something really interesting to me on the shoot: ‘You have to relax your face, because that’s what good movie acting is, a relaxed face.” “It’s the same thing as having pictures taken.'” “The face is supposed to be relaxed,” he said. “You’re absolutely right,” Knightley replied. “It’s very funny, because no photographer ever said that to me before and made the connection between the two things.” Follow the link above for the full Interview! 46 Stars Who Have Gone Topless in Magazines 1. Miley Cyrus Topless Cover Miley Cyrus isn’t wearing a shirt for this cover of Rolling Stone. What do you think of the racy pic?
Begin Again is in theaters, but Keira Knightley bares her boobs in Domino . Showtime’s Masters of Sex has Lizzy Caplan and more naked on Blu-ray, and True Blood is back with Anna Paquin’s rack !
Flat is where it’s at! The old saying is true: anything more than a handful can be a waste, so join Mr. Skin in a one-handed salute to our favorite sexy A-cup all-stars. Keira Knightley and Natalie Portman agree: tiny is tempting!
At a time when General David Petraeus’ affair with his biographer has become a media obsession, Leo Tolstoy’s 19th-century tale of love, adultery and aristocratic downfall, Anna Karenina , is more relevant than ever. And yet, with more than two-dozen film and TV adaptations of the novel in existence, director Joe Wright faced a daunting challenge: bringing a fresh perspective to the classic story. The gamble is whether its unique twist will translate into Oscar nominations. The sumptuous but unorthodox path he took — depicting pivotal scenes as if they were taking part on a theater stage — was akin to “jumping off a cliff” says Keira Knightley , who plays the movie’s title character, an alluring Russian aristocrat who breaks entrenched societal taboos and embarks on a torrid love affair with the affluent soldier, Count Vronsky. “I don’t know that we did know it would work,” said Knightley. “With Anna Karenina , it’s been done so many times before and there was a sense that if you’re going to tell this story again, you might as well do something that’s out there.” “Out there” includes depicting scenes of the titled heroine (or anti-heroine) on a stage as her marriage and social status disintegrates and she becomes the subject of societal scorn. “The worst thing we could do is fail,” said Knightley. “It was a constant conversation between us to make that balance work. But everyone was so deeply into it.” Wright, who directed the film from a screenplay adaptation by Tom Stoppard, decided just weeks before the shoot to re-work the film with the stage component. Knightely said the change threw the cast, which includes Jude Law and Aaron Taylor-Johnson, into a bit of a frenzy. But she added that the group was determined to give it their all — even if there was a chance it wouldn’t work. “[Joe Wright] demands 110%. He demands complete obsession and that’s exactly what he gives back. It makes him an extraordinarily magical person to work with and frightening to work with because it’s not a job in which you go home from. It’s everything from the time that you’re making it, and I think that’s one of the reasons people said ‘let’s do it’ with this concept.” She added: “He’s one of those people you go with and say, ‘let’s jump.'” Getting to know Anna Karenina — the character and novel — was also an evolution for Knightley who had a completely different take on the book after re-reading it before production began. The first time she read it as a “sweeping romance,” but the second time she wondered if Tolstoy despised Anna. “I remember thinking [most recently] — and people will disagree with me on this — that Tolstoy hates her and I’m not sure that she’s the heroine. I think she’s the anti-heroine,” said Knightley. “She is the whole of Babylon — she’s the person to be judged. But then [Tolstoy] does at times understand her and is completely in love with her. And that’s the dichotomy of Anna and what has made her an object of fascination for so many years,” Knightley explained. “You’re not really sure what to feel about Anna. She is deceitful, manipulative and needy. But she is also wonderful, lovable, and full of energy and love. She’s all those things.” Knightley also observed that Anna is a character that makes one take a look at their moral universe, and the actress said she took great pains to keep her from coming off as a gilded cliché. “She is a creature that makes you look at yourself because you are judging this person, but then you think, ‘Do I have a right to do that?'” said Knightley. “The people we hurt the most are the people we love the most. And that’s what she does. The difficulty in playing her is you don’t want to simplify that. The easy thing to do would be to make her the victim and Karenina the bad guy and I didn’t want to do just that.” When the film comes out this Friday, there will likely be another dichotomy: Audiences and critics who love the unconventional stage settings interspersed with more-or-less more traditional linear storytelling and those who’ll object. But Knightley is pleased with what will hit the screen. “I think it’s absolutely extraordinary. I haven’t seen anything like it. I think it’s always going to be something that some people won’t like, but I’m very proud of it. If you’re talking about cinema as an event – it is certainly an event. You only see naturalism in film at the moment. Whether you think it’s over-stylized or not, you have to celebrate the fact that it’s so completely different. And I really love it. And I love how daring Joe has been and I’m very glad I jumped off the cliff with him.” Follow Brian Brooks on Twitter . Follow Movieline on Twitter .
Joe Wright ‘s latest Anna Karenina had a cast, screenplay and plan of action in hand in the spring of 2011, but the acclaimed filmmaker of Atonement and Pride & Prejudice made a bold step a mere two months before beginning the shoot. Instead of another straightforward narrative telling of the story of the epic novel by Russian great Leo Tolstoy, he opted to go for a theatrical angle in depicting the saga of a late-19th century Russian high-society aristocrat who breaks entrenched taboos and embarks in a torrid love affair with affluent soldier, Count Vronsky. In Toronto where the film is having its World Premiere Friday night, cast members including star Keira Knightley and Wright likened the sudden change to “jumping off a cliff,” but they were ready for the challenge, though not all were sure if it would ultimately succeed. “I don’t know that we did know it would work,” Keira Knightley, who plays Anna Karenina, said Friday morning. “With Anna Karenina it’s been done so many times before and there was a sense that if you’re going to tell this story again, you might as well do something that’s out there.” “Out there” includes depicting scenes of the titled heroine (or anti-heroine) on a stage as her marriage and social status disintegrates. Wright grew up working at his parents’ puppet theater and took classes at the Anna Scher Theatre School and even acted on stage, no doubt influencing his creative point of view. And, perhaps conveniently, the reversal served-up some pragmatic pluses, according to Wright. “A lot of the budget was being spent on hotels and travel and all this stuff that the audience is never going to get to see,” he said in Toronto today at a hotel with a small group of journalists. “And I thought, if I could set this film in one place, where would it be? I was reminded of Orlando Figes’ book Natasha’s Dance: A Cultural History of Russia , in which he talks about Russian society as if they lived upon a stage.” Wright also said that locations he’d been visiting in Russia and England for the shoot did not appear to be the key to give his project a new vision for Anna Karenina or its star Keira Knightley. “It just got to a point where I was walking around stately homes in England and I had people saying to me, ‘Well we’ve made three Keira Knightley films here before,’ and in Russia we had people saying, “Oh yes, we’ve made seven Anna Karenina s here before,’ and I was going, ‘Oh god, why am I doing this, it is so depressing.” The ultimate screen result is hypnotic and sumptuous, but Knightley admitted that the style will not work for everyone, though the few people who caught a glimpse in pre-premiere screenings here are already saying Knightley and others including Jude Law, Aaron Taylor-Johnson and others may be hefty contenders for next year’s Oscars race. “He demands 110% and that’s exactly what we give him and it makes him an extraordinarily magical person to work with, and a frightening person to work with, because it’s everything for the time you’re making it,” Knightley, who starred in Atonement and Pride & Prejudice said. “And that is why people said let’s go with the new concept. Not because we necessarily knew it would work, but we knew this was a team that would give 110 to 150% who will try and make it work. And at least we knew we’d given it our all.” Knightley said that she had read Anna Karenina as a teenager, but re-read it again last summer and had an entirely different take on the woman she’d eventually portray. “The dichotomy of Anna is that you’re not entirely sure what you should think about her. She is deceitful and manipulative and needy. But she is also wonderful, full of energy and full of love. She is also all of these things and completely culpable for what she does. She is a creature that makes you think of yourself because when you look at our own lives, the people we hurt the most are the people we love the most.” “I’m glad how daring Joe has been,” concluding Knightley on Friday, “and I’m glad I jumped off the cliff with him.” Read more from the Toronto Film Festival. Follow Brian Brooks on Twitter . Follow Movieline on Twitter .
Also in Friday afternoon’s round-up of news briefs, The Hunger Games gets a new Tribute. And remembering Oscar-winning Special Effects Artist Carlo Rambaldi and writer/actor David Rakoff. Keira Knightley Takes Lead in Jack Ryan Reboot Knightley will play the female lead in Kenneth Branagh’s Untitled Jack Ryan project. The actress is currently in talks to star as Jack Ryan’s wife, a role previously portrayed by Anne Archer, Gates McFadden, and Bridget Moynahan in previous installments of the franchise. Knightley joins Chris Pine, who’s long been attached to play the lead role, and Branagh, who in addition to directing will also star as the villain, THR reports . E. Roger Mitchell Boards The Hunger Games: Catching Fire Mitchell will play a Tribute from District 11 who previously won the 45th annual Hunger Games. The follow-up has past winners, including Jennifer Lawrence’s Katniss participating in the “Quarter Qeull,” or the 75th anniversary Hunger Games, Deadline reports . Justin Theroux to Swear to God with Will Ferrell and Steve Carell Theroux will rewrite and direct Warner Bros. comedy Swear to God , starring Will Ferrell and Steve Carell. The story revolves around Ferrell who is a narcissistic hedge fund manager who believes he has seen God, Deadline reports . David Rakoff, Comic Essayist and Actor Dead at 47 His mother confirmed his death following a long battle with cancer. He described himself as a “New York writer” and a “Canadian writer” and a “mega Jewish writer.” He appeared in the Oscar-winning short The New Tenants (2009) which he also adapted. The New York Times reports with background from Wikipedia . E.T. Special Effects Artist Carlo Rambaldi Dead at 86 Rambaldi worked on more than 30 films and received two Oscars for E.T. (1982) and Alien (1979). He died in his southern Italian home following a long illness, The Washington Post reports .
TNT reboot’s manipulative double-crossers mix business and pleasure. By Kara Warner Jesse Metcalfe, Julie Gonzalo, Josh Henderson and Jordana Brewster on “Dallas” Photo: Hoo boy! How about these wheelin’, dealin’ and totally deceiving folks on “Dallas”? If Wednesday night’s new episode taught us anything, it’s that too many people in and around Southfork are a bunch of manipulative double-crossers. We’ve already touched on the TNT reboot’s new blood and the lingering questions we had after the first episode, so now it’s time to tackle episode two’s talking points: Elena Still Loves Christopher The last we heard about Christopher and Elena’s broken engagement was that it happened because of an email. Well, in this episode, we learn all about that email and that neither Christopher nor John Ross are responsible for sending it — or so they claim. The most emotionally charged revelation that comes from Elena’s frank discussion with John Ross about the subject is that she is still in love with Christopher. Not that she confesses her feelings outright, but it’s written all over her face when John Ross asks her if the only reason she got together with him in the first place was because of her heartbreak over Christopher. John Ross and J.R.: Wolves in Wolfskin Coats One minute, we see John Ross all worked up and emotional in learning Elena’s true feelings, and the next, he is getting all hot and heavy with alleged business partner/fellow Bobby Ewing conspirator Marta del Sol. Not to mention the dirty dealings and bribery he’s orchestrating with lawyer Mitch Lobell. And then there’s the patriarch, J.R. himself, who plays up his recent hospitalization for sympathy and pretends to have genuine feelings for his brother Bobby and ex-wife Sue Ellen. That old adage about not trusting a man as far as you can throw him is certainly apt with regard to John Ross and J.R. Ewing. Sheesh. Mixing Business With Pleasure Clearly, no one is concerned with the ramifications of mixing business and pleasure in this town. There’s the very obvious kind, as demonstrated by the hanky panky between John Ross and Marta, along with the subconscious kind, as exhibited by the professional agreement orchestrated by Christopher and Elena. Both practices will likely end in a bad way. We’ve already seen several levels of shady behavior from Marta, and can expect to see a sex tape/blackmail scandal somewhere in the very near future. And despite the innocent nature of Christopher and Elena’s partnership, their unfinished business will most definitely come to a head in an adulterous manner. Rebecca: A Good Girl Gone Bad? Well, well, well — it appears that the new Mrs. Christopher Ewing is not at all the innocent doting wife she appears to be and has a hidden agenda. Thanks to a heated conversation between the newlywed and her brother Tommy — who may or may not be her actual blood relative given the twists and turns we’ve already seen in this show — we now know that she and Tommy have been working on getting close to the Ewings and Southfork for two years, a plot that snake in the grass-esque Tommy refers to as a “job.” So, what kind of job are they doing? Our guess is trying to pull a con or coup of some sort. Will the Real Marta Del Sol Please Stand Up? Actually, we don’t need the real Marta to stand up, because we meet her in the final minutes of the episode! What a fun twist for us — and J.R.! Because he took the initiative to discuss the sale of Southfork to the del Sol conservancy with Mr. Carlos del Sol himself in Mexico, J.R. is presented with an unpleasant surprise: The real Marta del Sol lives with her father in Mexico, and he and his son have been dealing with a cunning and stealth imposter. Share your thoughts on the second episode of “Dallas” in the comments below!
Actress tells MTV News her romance with Steve Carell in ‘Seeking a Friend for the End of the World’ is not really a romance at all. By Kevin P. Sullivan Keira Knightley in “Seeking a Friend for the End of the World” Photo: The new Keira Knightley – Steve Carell film, ” Seeking a Friend for the End of the World ,” is not a traditional romance for a number of reasons — the main one being the meteor that is headed toward Earth and will likely end all life on the planet. The other, less cataclysmic way “Seeking a Friend” subverts your typical rom-com tropes is that the relationship at the center of the film isn’t—at least according to Knightley —a romantic one. It’s just about sex. Her character, Penny, and Carell’s character, Dodge, neighbors who have never spoken, only join forces when they’re left utterly alone as the world comes to an end. Eventually, their relationship becomes something more, but Knightley would argue not much more. “I don’t know that their romantic arc actually has much to do with romance in the beginning and has more to do with ‘It’s the end of the world, and we both want to have sex,’ ” she said. “I think that was sort of more what the romantic arc was hinged on, and then what it becomes is about friendship.” For such a complex on-screen relationship, chemistry between Carell and Knightley became all-the-more important, but the actress said that getting along with her co-star was never a problem. “As far as chemistry goes with Steve, he is one of the loveliest men in the entire world,” she said. “He is so funny, and so courteous to everyone. He is a consummate professional. He’s just a lovely, lovely man. I defy anybody not to have good chemistry with him.” Carell, who got his start as a comedian, once again shows off his dramatic chops in “Seeking a Friend,” and Knightley said he is not one of the funny men who have to be on all the time. “There are a lot of comics who are fabulous, but are relentlessly [telling] one joke after another, after another, which is completely fabulous, but when you’re working, it can be kind of tricky,” Knightley said. “Steve’s not like that. He is incredibly funny, but he’s funny in a way that makes everybody around him feel like they’re funny as well. He’s incredibly inclusive, but also, he’s a complete professional, so he’s about getting the best of everybody. If that means having a laugh and having a joke, that’s what happens. If that means giving everyone space, that’s what he means as well.” Check out everything we’ve got on “Seeking a Friend for the End of the World.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Videos MTV Rough Cut: ‘Seeking A Friend For The End Of The World’
