Selena Gomez, Jonah Hill, Leonardo DiCaprio and Tobey Maguire lead Vote4Stuff campaign to encourage young voter turnout. By Uptin Saiidi Zac Efron in the “Vote4Stuff” campaign video Photo: Vote4Stuff
Paul Thomas Anderson ‘s The Master was set to receive the Golden Lion at the Venice Film Festival, according to The Hollywood Reporter ‘s inside source, until a decision to allow only two major awards per film forced jury members to re-assign the top honor to another contender. When the awards were doled out earlier today by Venice jury president Michael Mann, the best picture prize went to Kim Ki-Duk’s ultraviolent mother-son flick Pieta while Best Director went to Anderson. (Full list of winners follows.) Per THR : “Apparently during the jury’s first deliberations, members decided to give The Master — a drama loosely based on the origins of Scientology — the top prize, as well as the Silver Lion directing award to Anderson and the acting award jointly to co-stars Joaquin Phoenix and Philip Seymour Hoffman.” UPDATED: Asked to redeliberate, the jury instead gave the Golden Lion to Pieta , leaving The Master with a joint Best Actor prize shared by stars Joaquin Phoenix and Philip Seymour Hoffman, along with the Silver Lion (Best Director) for Anderson. The Master had been hotly tipped for The Golden Lion, backed by a groundswell of critical praise ahead of its September 21 theatrical release. Full list of Venice Film Festival winners announced today, via Indiewire / Venice Film Festival : Golden Lion (Best Picture) Pieta , Kim-Ki Duk Silver Lion (Best Director) Paul Thomas Anderson – “The Master” Volpi Cup – Best Actor Joaquin Phoenix & Philip Seymour Hoffman – “The Master” Volpi Cup – Best Actress Hadas Yaron – “Fill The Void” Special Jury Award Ulrich Seidl – Paradise: Faith Mastroianni Award – Best Young Actor Fabrizio Falcone – “Dormant Beauty,” “It Was The Son” Best Screenplay Olivier Assayas – “Something In The Air” Technical Achievement Daniele Cipri – “Il Stato E Figlio,” Luigi De Laurentiis Award (Best First Feature) “Kuf: Mold,” Ali Aydin Orrizonti: Best Feature “Three Sisters,” Wang Bing Orrizonti: Jury Prize “Tango Libre,” Frederic Fonteyne FIPRESCI Award (Competition) “The Master,” Paul Thomas Anderson FIPRESCI Award (Orizzonti/Critics’ Week) “The Interval,” Leonardo Di Constanzo SIGNIS Award “To the Wonder,” Terrence Malick SIGNIS Award (Special Mention) “Fill the Void,” Rama Burshtein Audience Award (Critics’ Week) “Eat Sleep Die,” Gabriela Pilcher Label Europa Cinemas Award “Crawl,” Herve Lasgouttes Leoncino d’Oro Agiscuola Award “Pieta,” Kim Ki-duk Leoncino d’Oro Agiscuola Award (Cinema for UNICEF mention) “It Was the Son,” Daniele Cipri Pasinetti Award “The Interval,” Leonardo Di Constanzo Pasinetti Award (Documentary) “The Human Cargo,” Daniele Vicari Pasinetti Award (Best Actor) Valerio Mastandrea, “Gli Equilibristi” Pasinetti Award (Special) “Clarisse,” Liliana Cavani Brian Award “Dormant Beauty,” Marco Bellocchio Queer Lion Award “The Weight,” Jeon Kyu-Hwan Arca CinemaGiovani Award (Best Film of Venezia 69) “The Fifth Season,” Peter Brosens and Jessica Woodworth Arca CinemaGiovani Award (Best Italian Film) “The Ideal City,” Luigi Lo Casco Biografilm Lancia Award “The Human Cargo,” Daniele Vicari; “Bad 25,” Spike Lee CICT-UNESCO Enrico Fulchignoni Award “The Interval,” Leonardo Di Costanzo CICAE Award “Wadjda,” Haifaa Al Mansour CinemaAvvenire Award (Best Film of Venezia 69) “Paradise: Faith,” Ulrich Seidl CinemAvvenire Award (Diversity) “Wadjda,” Haifaa Al Mansour FEDIC Award “The Interval,” Leonardo Di Costanzo FEDIC Award (Special Mention) “Bellas Mariposas,” Salvatore Mereu Mimmo Rotella Foundation Award “Something in the Air,” Olivier Assayas Future Film Festival Digital Award “Bad 25,” Spike Lee Future Film Festival Digital Award (Special Mention) “Spring Breakers,” Harmony Korine P. Nazareno Taddei Award “Pieta,” Kim Ki-duk P. Nazareno Taddei Award (Special Mention) “Thy Womb,” Brillante Mendoza Magic Lantern Award “The Interval,” Leonardo Di Costanzo Open Award “The Company You Keep,” Robert Redford La Navicella-Venezia Cinema Award “Thy Womb,” Brillante Mendoza Lina Mangiacapre Award “Queen of Montreuil,” Solveig Anspach AIF-FORFILMFEST Award “The Interval,” Leonardo Di Costanzo Mouse d’Oro Award “Pieta,” Kim Ki-duk Mouse d’Argento Award “Anton’s Right Here,” Lyubov Arkus UK-Italy Creative Industries Award “The Interval,” Leonardo Di Costanzo Gillo Pontecorvo-Arcobaleno Latino Award Laura Delli Colli Christopher D. Smithers Foundation Award “Low Tide,” Roberto Minervini Interfilm Award “Wadjda,” Haifaa Al Mansour Giovani Giurati del Vittorio Veneto Film Festival Award “The Company You Keep,” Robert Redford Giovani Giurati del Vittorio Veneto Film Festival Award (Special Mention) Toni Servillo Primio Cinematografico Award “Terramatta,” Costanza Quatriglio Green Drop Award “The Fifth Season,” Peter Brosens and Jessica Woodworth
Gary Clark Jr. is a name you will be getting familiar with much sooner than later. The 26 year-old singer/songwriter/guitarist had a showcase in NYC at The Darby that brought out Q-Tip & ?uestlove (who both served as hosts), Swizz Beatz, Pharrell Williams and even Leonardo DiCaprio (who will be seen in the forthcoming Django Unchained with Jaime Foxx)… Continue
Marvel dropped a video for their socially awkward, obsessive compulsive, nerd fan base of all ages, of Scarlett Johansson in a scene from The Avengers, giving a sneak peak at her titty jiggle, something that isn’t a big deal to real men, who get laid, and who watch porn, and who don’t need the human rendition of a comic bitch they’ve been jerking off to since they were 12 to get off…..but a sneak peak at her titty jiggle that has enough of an impact for some virgin, loser, sci/fic, comic collecting, socially awkward freaks to either cum himself, or have his fucking head explode… I’d say I was posting it for those Comicon freaks, but it dropped earlier today, they’ve already seen it, that’s part of the whole subculture, chubby Scarlett Johansson’s trying to tap into with her cellulite. I approve of this message: LIKE US ON FACEBOOK EVEN IF YOU DON’T LIKE US
I wonder if Maria Menounos’ pants jacked up her ass count as a cameltoe, you know, cuz she’s greek, and her asshole is her main vagina? Yes this is what I do with my time….I contemplate such life changing, important, observations….I am a modern day Leonardo Divinci or some philosopher or some shit…. TO SEE THE REST OF THE PICS FOLLOW THIS LINK I approve of this message: LIKE US ON FACEBOOK EVEN IF YOU DON’T LIKE US
I wonder if Maria Menounos’ pants jacked up her ass count as a cameltoe, you know, cuz she’s greek, and her asshole is her main vagina? Yes this is what I do with my time….I contemplate such life changing, important, observations….I am a modern day Leonardo Divinci or some philosopher or some shit…. TO SEE THE REST OF THE PICS FOLLOW THIS LINK I approve of this message: LIKE US ON FACEBOOK EVEN IF YOU DON’T LIKE US
If you’ve had enough of the 2011-12 awards season by now (and sweet Jesus in a pie-eating contest, who hasn’t?) can the NY Times interest you in next year’s race? That’s where filmmaker Baz Luhrmann has turned to continue his early stumping on behalf of The Great Gatsby , the Leonardo DiCaprio-starring megabudget adaptation of F. Scott Fitzgerald’s Jazz Era masterpiece. Er, sorry — the megabudget 3-D adaptation of F. Scott Fitzgerald’s Jazz Era masterpiece. Which, in 2012, is probably redundant, but hey. The NYT confirms Gatsby ‘s budget around $125 million — “before government rebates,” of course, which still likely delivers a film in the low nine figures (to say nothing of its marketing budget). We all can likely agree that that is an insane amount of money to spend on adapting a renowned story that you can probably read faster than you can watch, or on an updating preceded by at least two failed adaptations and featuring just one bankable star. Nevertheless, by factoring 3-D into the equation, Luhrmann has both insured his film against devastating, Australia -style box-office losses and — thanks in part to the NYT and particularly to his partners at Warner Bros. (whom I’ll get to in a moment) — spun an equally pragmatic path on the Hollywood high road. But while it’s never too soon to hype (I guess?), is Luhrmann really doing himself any favors by likening his Gatsby not to Avatar , not to Hugo , but rather to a 58-year-old Hitchcock effort that virtually no one’s actually seen in 3-D? To examine the potential of actors in 3-D without the gimmickry of contemporary action sequences, Mr. Luhrmann turned to Alfred Hitchcock’s 3-D version of Dial M for Murder , from 1954. It wasn’t easy. He found only two projectors, one in New York, one in Burbank, Calif., that could still play that film. The sensation of moving through it with Ray Milland, Grace Kelly and Robert Cummings sealed the deal — both for himself and for Mr. DiCaprio and the troupe, who also studied the Hitchcock film. “It was like theater,” Mr. Luhrmann said. Burbank, Calif.? Would that be the same Burbank where Warner Bros. is headquartered — the very studios where Hitchcock shot Dial M all those years ago? And would that be the same Warner Bros. that holds the rights to not only Dial M but also Gone With the Wind and Lord of the Rings: The Return of the King , to which Gatsby is compared here as a film that “might also supply what has been missing in the Oscar season — the heat of a film that decisively breaks a barrier”? And the same Warner Bros. playing a little preemptive Oscar politics after failing to keep DiCaprio and J. Edgar at this year’s awards-season forefront? Whose domestic distribution president told the Times that “[a]dult interest in 3-D has ‘settled into a very, very good place'” yet couldn’t coax anyone over 25 into seeing its bloated 3-D Green Lantern ? That Warner Bros.? I see. Anyway, this may yet turn out to be the greatest literary adaptation since The Godfather and may yet succeed in Luhrmann’s quest to “make it feel like you’re inside the room” (which, I dunno, is why I go to plays?), and may yet succeed in righting both Luhrmann and Warner Bros.’s ships after weathering pricey, stormy dalliances with prestige, and may yet sweep the 2013 Oscars (in which case I hope someone remembered to cast Uggie ). But has so obviously and self-servingly faking the 3-D funk ever really worked? Seriously, I’m asking. This just feels… off .
Armie Hammer is starring along side Leonardo DiCaprio in “J Edgar”. He stopped by Good Morning America to promote the film. Follow Hollywood.TV on Facebook @ facebook.com/hollywoodasithappens
Happy Wednesday! Also in today’s edition of The Broadsheet: Yet another possible Leonardo DiCaprio project surfaces… Aaron Sorkin declined Steve Jobs’s invitation to write a Pixar film… Hilary Duff wants to be the next Stephenie Meyer… Occupy Wall Street’s celebrity dynamic gets a closer look… and more.
Happy Tuesday! Also in today’s edition of The Broadsheet: Warner Bros. wants a Leonardo DiCaprio franchise… David Cronenberg has The Fly and Eastern Promises sequels on the brain… Fox fires back at those litigious Black Swan interns… Are you ready for some football nonsensical racist celebrity spewage?… and more.