‘They didn’t really consider the whole bodily-functions thing,’ actor tells MTV News. By Kara Warner, with reporting by Josh Horowitz Andrew Garfield in “The Amazing Spider-Man” Photo: Sony Pictures No matter how cool Andrew Garfield looks in that brand-new Spidey costume for Sony’s highly anticipated reboot, “The Amazing Spider-Man,” the fancy hi-tech outfit has a few kinks. Garfield recently revealed to MTV News that if he could make one change or improvement to the costume before suiting up again for the already scheduled sequel , he’d request an escape hatch, so to speak. “We’re going to make it easier for me to piss,” he joked. “That’s #1. “It’s like you have to body-shoehorn yourself out of it,” Garfield continued, explaining the difficulty of getting in and out of the suit for important tasks like using the restroom. “It looks good, but they didn’t really consider that, the whole bodily-functions thing. But next time we will remember that I am human.” We then suggested that an alternative would be to just have it be sewn up from the start and designed to absorb any, uh, emissions. “Ha! Just have a colostomy made, yeah, it would be just like a wet suit, I’d just keep warm. Oh boy, that’s disgusting,” Garfield said, adding that the only other big challenge in proper maneuvering in his Spidey suit was getting accustomed to seeing out of his mask, the design of which they can’t really adjust or change. “That was tough as well, but I don’t think we can readjust that because the eyes have to be the eyes,” he said. “That was hard, visibility was hard, especially for the bigger stunts because you need to know what you’re doing.” Check out everything we’ve got on “The Amazing Spider-Man.” For breaking news and previews of the latest comic book movies — updated around the clock — visit SplashPage.MTV.com . Related Videos MTV Rough Cut: ‘The Amazing Spider-Man’ Related Photos The Amazing Spider-Man Spider-Man Movie Costumes: From Tobey Maguire To Andrew Garfield
‘I was so happy that she got the role,’ Garfield tells MTV News of Stone’s casting. By Josh Wigler, with reporting by Josh Horowitz Emma Stone and Andrew Garfield in “The Amazing Spider-Man” Photo: Marvel / Columbia Pictures One would hope that “Spider-Man” stars Andrew Garfield and Emma Stone have “Amazing” chemistry, considering the two started dating after meeting each other on the set of Sony’s forthcoming superhero reboot. If the two are to be believed, that chemistry came to them very quickly, as early as Stone’s first screen test for the role of Peter Parker’s first girlfriend, Gwen Stacy. “I went and did a screen test that was very elaborate,” Stone recalled during a recent interview with MTV News. “It was full hair and makeup and with the [director of photography] and different angles, and Andrew was there. We read a couple of scenes together. We did that scene at Oscorp — ‘Why are you here?’ — and a sad one.” From there, the easygoing dynamic between Garfield and Stone came almost instantly, both on and off the set. “We got on really well as people, in between [takes],” Garfield remembered. “That was the fun stuff: In between, we’d just mess around, and I felt, ‘Ah, this is different.’ I wasn’t really aware what was happening in the screen test. She keeps you on your toes, and that wakes you up. That was the beginning. “Obviously I was so happy that she got the role and decided to do it,” he continued. “Those are the days I’d look forward to, you know? For Peter as well, because Peter goes through some horrible stuff in the movie. There’s some joy to be had when experiencing his first love.” Much has been made about Garfield and Stone’s relationship both in the film and outside of it, but the first MTV Trailblazer winner believes that screen tests are a crucial element not just for establishing a movie’s romantic leads, but any other numbers of relationships within a given fictional universe. “That has to do also with people playing your parents or friends, with anything,” she said. “You can sense it. It’s like life: You can sense if you guys have a kind of chemistry or rapport right away, no matter what the relationship is, whether it’s a love interest or not.” Tell us what you think of the dynamic between Garfield and Stone in the comments section below! Check out everything we’ve got on “The Amazing Spider-Man.” For breaking news and previews of the latest comic book movies — updated around the clock — visit SplashPage.MTV.com . Related Videos MTV Rough Cut: ‘The Amazing Spider-Man’ Related Photos ‘The Amazing Spider-Man’ Trailer #2: Five Key Scenes
Nude clip from the movie “Shamless” where we can see a lot of exciting scenes and this one is a particular one, revealing Amanda Ryan fully nude on bed. Continue reading →
Nude clip from the movie “Shamless” where we can see a lot of exciting scenes and this one is a particular one, revealing Amanda Ryan fully nude on bed. Continue reading →
Throughout the ’70s and into the first part of the ’80s, it was hard to ignore singer/songwriter/actor/sometimes talk show host and best-friend of the Muppets Paul Williams. He won Grammys and even an Oscar for hits he wrote including “We’ve Only Just Begun,”, “Rainy Days on Mondays,” “Evergreen,” “Just an Old Fashioned Love Song” and “Rainbow Connection.” Barbra Streisand, The Carpenters and even Kermit the Frog are among the artists he wrote super-hits for. Below, Paul Williams gives us his top ten movie songs of all time and dishes insight on Stephen Kessler’s documentary about him, Paul Williams Still Alive , about his raging ascent and crashing fall and return to form… Johnny Carson first brought the artist onto the Tonight Show as the swinging ’70s were just beginning. He did television, movies, concerts. If there was a group of “It-guys” in that crazy decade, Williams would surely have been a part of that cadre of people at the center of all that spectacle. But as the ’80s wore on and into the ’90s Paul Williams all but disappeared from the center of it all. Drugs and booze did him in for a while, though he came roaring back though via a less flashy route. Enter fan and Oscar-nominated filmmaker Stephen Kessler. He had long been a fan of Williams as a teen growing up in Queens, NY and his songs which he described as about “depression, loneliness and alienation,” and set out to find Williams and make a documentary. Williams said ‘yes’ but he was hardly a willing participant, at least initially, as Williams told Movieline. “By the time I decided to go along, he had spent a lot of time and a lot of money. I didn’t want to flat out say no and didn’t know how to say no.” Williams added that he thought there was nothing worse than some older famous guy trying to reach for that last bit of notoriety. Kessler is very present in the film, which goes against most documentary standards unless you’re Michael Moore or Morgan Spurlock. With Williams reluctant initially to open up and only providing limited access, the story unfolds interweaving a treasure-trove of ’70s pop culture which Paul is at the center and Kessler’s desire to get at his core and open up. I’m an actor, I can ignore the camera if I want to. But it’s exhausting to try and pretend I don’t notice the camera,” said Williams. “I didn’t want to do that, it seemed ridiculous.” One thing cameras caught and the film surfaces, decades later, is footage of Williams, high, while doing late night talk shows. Now 22 years sober, it’s a painful reminder of his past life and he even said during the film that he didn’t want his daughter to see that. But he relents and said he hopes it will help others. “I became a shallow ride and my behavior was totally unacceptable. One of the best things I did was to say to keep that footage in the movie. I think by leaving in you get a sense of how bad it got,” he said. “[There is] a sense of real disappointment and leading edge of shame. In a certain context it’s hard to watch, but you get a sense that recovery works. You see the yin and yang of the whole deal and you see that now, my life is such a gift. I hope I can make a difference… I love my life. And I’m blown away by the reaction.” PAUL WILLIAM’s TOP 10 MOVIE SONGS: Rock Around the Clock by Bill Haley, Blackboard Jungle (1955) Main title theme by Elmer Bernstein, The Man with a Golden Arm (1955) Lose Yourself by Eminem/Bass/Resto, 8 Mile (2002) When You Wish Upon a Star by Harline/Washington Pinnochio (1940) The Man That Got Away by Arlen /Gershwin, A Star is Born (1954) With a Song in My Heart by Rodgers/Hart, With A Song in my Heart (1954) Somewhere by Bernstein/Sondheim, West Side Story Moon River by Mancini/Mercer, Breakfast at Tiffany’s (1961) Alfie by Bacharach/David, Alfie (2004) Streets of Philadelphia by Bruce Springsteen, Philadelphia (1993) Born To Be Wild by Dennis Edmonton AKA: Mars Bonfire, Easy Rider (1969) And what are your favorites? Paul Williams Still Alive opens in NYC today. Follow Brian Brooks on Twitter . Follow Movieline on Twitter .
Throughout the ’70s and into the first part of the ’80s, it was hard to ignore singer/songwriter/actor/sometimes talk show host and best-friend of the Muppets Paul Williams. He won Grammys and even an Oscar for hits he wrote including “We’ve Only Just Begun,”, “Rainy Days on Mondays,” “Evergreen,” “Just an Old Fashioned Love Song” and “Rainbow Connection.” Barbra Streisand, The Carpenters and even Kermit the Frog are among the artists he wrote super-hits for. Below, Paul Williams gives us his top ten movie songs of all time and dishes insight on Stephen Kessler’s documentary about him, Paul Williams Still Alive , about his raging ascent and crashing fall and return to form… Johnny Carson first brought the artist onto the Tonight Show as the swinging ’70s were just beginning. He did television, movies, concerts. If there was a group of “It-guys” in that crazy decade, Williams would surely have been a part of that cadre of people at the center of all that spectacle. But as the ’80s wore on and into the ’90s Paul Williams all but disappeared from the center of it all. Drugs and booze did him in for a while, though he came roaring back though via a less flashy route. Enter fan and Oscar-nominated filmmaker Stephen Kessler. He had long been a fan of Williams as a teen growing up in Queens, NY and his songs which he described as about “depression, loneliness and alienation,” and set out to find Williams and make a documentary. Williams said ‘yes’ but he was hardly a willing participant, at least initially, as Williams told Movieline. “By the time I decided to go along, he had spent a lot of time and a lot of money. I didn’t want to flat out say no and didn’t know how to say no.” Williams added that he thought there was nothing worse than some older famous guy trying to reach for that last bit of notoriety. Kessler is very present in the film, which goes against most documentary standards unless you’re Michael Moore or Morgan Spurlock. With Williams reluctant initially to open up and only providing limited access, the story unfolds interweaving a treasure-trove of ’70s pop culture which Paul is at the center and Kessler’s desire to get at his core and open up. I’m an actor, I can ignore the camera if I want to. But it’s exhausting to try and pretend I don’t notice the camera,” said Williams. “I didn’t want to do that, it seemed ridiculous.” One thing cameras caught and the film surfaces, decades later, is footage of Williams, high, while doing late night talk shows. Now 22 years sober, it’s a painful reminder of his past life and he even said during the film that he didn’t want his daughter to see that. But he relents and said he hopes it will help others. “I became a shallow ride and my behavior was totally unacceptable. One of the best things I did was to say to keep that footage in the movie. I think by leaving in you get a sense of how bad it got,” he said. “[There is] a sense of real disappointment and leading edge of shame. In a certain context it’s hard to watch, but you get a sense that recovery works. You see the yin and yang of the whole deal and you see that now, my life is such a gift. I hope I can make a difference… I love my life. And I’m blown away by the reaction.” PAUL WILLIAM’s TOP 10 MOVIE SONGS: Rock Around the Clock by Bill Haley, Blackboard Jungle (1955) Main title theme by Elmer Bernstein, The Man with a Golden Arm (1955) Lose Yourself by Eminem/Bass/Resto, 8 Mile (2002) When You Wish Upon a Star by Harline/Washington Pinnochio (1940) The Man That Got Away by Arlen /Gershwin, A Star is Born (1954) With a Song in My Heart by Rodgers/Hart, With A Song in my Heart (1954) Somewhere by Bernstein/Sondheim, West Side Story Moon River by Mancini/Mercer, Breakfast at Tiffany’s (1961) Alfie by Bacharach/David, Alfie (2004) Streets of Philadelphia by Bruce Springsteen, Philadelphia (1993) Born To Be Wild by Dennis Edmonton AKA: Mars Bonfire, Easy Rider (1969) And what are your favorites? Paul Williams Still Alive opens in NYC today. Follow Brian Brooks on Twitter . Follow Movieline on Twitter .
Ridley Scott’s Prometheus opens stateside today, which means no more tiptoeing around spoilers for those who’ve seen it. ( Obviously, spoilers will follow. You’ve been warned. ) The number one complaint among folks who have now seen the highly anticipated Alien kinda-prequel? So. Many. Unanswered. Questions. So let’s jump right into the spoiler goo and get to deciding (and, hopefully, answering) the biggest question prompted by Scott’s gorgeous, murky space opus that is left yet unanswered. I’ll start: WHY? Why does pretty much anyone in Prometheus make any of the decisions they make? Like… – Holloway (Logan Marshall-Green) with the helmet-taking off. Really, is sniffing (and contaminating) the alien world atmosphere on the planet you just landed on and know nothing about such a good idea? – Vickers (Charlize Theron), running in the one direction that will lead her to being squashed by a giant falling spaceship? – Millburn the dumb biologist (Rafe Spall), who just wants to reach out and make friends — even with the squishy alien penis-snakes? – Space crew guy, walking straight up to his recently deceased, re-animated fellow shipmate who has spider-crawled his way across a space desert to space-murder everyone? Most of these aren’t necessarily unanswered questions, just incredibly stupid decisions that inform and support the characters in facepalm-worthy strokes. Holloway is a risk-taker! Vickers is a sheltered, prideful ice queen with probably little field experience who would rather try to outrun death than roll, like her unassuming and practical brunette counterpart, out of its way! Crew guy is, well, a redshirt, for lack of a better term. Yes, yes. There are reasons to be found here, if not particularly great ones. The bigger questions have to do with two still-opaque entities: The Engineers and David, the increasingly creepy mayhem bot, Lawrence of Robotica. In the prologue we see one Engineer take a dose of black space goo and tumble, dead and transmorphing, into the water — thus presumably starting human life on Earth. So what is the goo? Prometheus builds a tech-driven world filled with great flying ships and alien holograms and C-section machines but is more concerned with ideas: Of creators and creation, of life and death cycling endlessly across the universe between humans and aliens, parents and offspring, scientists and their inventions. All children want to see their parents dead, according to David, who seems to be counting himself in that equation. What is the goo, then? Is it the proto-material of a xenomorph? How does it work, exactly? Why would anyone feed it to the cute Tom Hardy-looking guy? And who created the Engineers, anyway? Does it even matter when the real question is asking why we create, and in the process, destroy? The brilliance of Prometheus ‘s stubborn insistence on not feeding us the answers is that they’re not really important in the grand scheme of things, unless you require your movies to make sense. You know what else refuses to share vital information, instead choosing to provoke and see what happens? David. David, who has spent years in space flight amassing the breadth of human knowledge and yet cannot feel (or can he?), who has the answers — or, at least, the instructions the Engineers have written in their mystery language on the sides of their sweaty weapons of mass destruction like how-to manuals — and yet can’t understand why it is that Noomi Rapace’s Elizabeth Shaw MUST understand. David, played marvelously by Michael Fassbender, remains the biggest mystery . He’s tasked with one directive: Help Weyland find a way to live forever. You could build a strong case that everything David does is indeed in service of this goal. Weyland’s mistake is in trusting a machine that doesn’t think in human terms, but in practical ones; if there’s no alien magic out there to Benjamin Button old man Weyland back into handsome, young Guy Pearce, David finds another way to help his master live forever: Through his legacy, by altering the course of human history (gladly, it seems) via one or two devious deceptions. Consider the legacy of the man at the center of David’s favorite film, as seen in Prometheus ‘s sublime opening sequence. T.E. Lawrence was born in 1888, helped upset order in the Arab world in 1916, was immortalized on celluloid in 1962’s Lawrence of Arabia , and then, years later in the world of Prometheus , inspired an android to not only imitate his blond coif but instigate the beginnings of the Alien universe in 2093. Lawrence is really the key to understanding David; in helping Weyland achieve his immortality by way of launching the destruction of humanity, David is immortalizing himself, and a part of me thinks that a part of him yearns to express this measure of often foolhardy human emotion. Or maybe he’s just designed to be a close, but not close enough, imitation of the humans who built him? The more I think of David as a stand-in for Prometheus the movie at large, the less I care that Idris Elba figured out in five minutes what the Engineers were up to on this rinky dink planet, or that we’ll never know what David whispered to the last remaining Engineer, a la ScarJo and Bill Murray in Lost in Translation . Those quibbles seem minor given the vast provocations the film leaves behind. To an aggravatingly obvious extent, the gaping abyss of understanding that Prometheus leaves puts us, the viewer, in the position of Shaw — still searching, desperately, for answers, with only a soulless computer brain as her guide. We are Shaw, and maybe the internet is our David, offering knowledge and spoilers at our fingertips but, unless Ridley Scott and writers Jon Spaihts and Damon Lindelof hop on a Reddit AMA session, no ready answers and plenty to be wary of. Big things come in small packages, and that goes for space goo, blond robots, and universe-expanding ideas. So, all that said, what unsolved mysteries irked you the most in Prometheus ? Sound off in the spoiler-friendly comments below and let’s figure this sucker out. — Our colleagues at (PMC-owned) Beyond the Trailer pose a relevant question: “Is Prometheus an intellectual sci-fi thriller, or a pseudo-intellectual sci-fi thriller?” See what other real folks say in their impromptu exit poll. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Ridley Scott’s Prometheus opens stateside today, which means no more tiptoeing around spoilers for those who’ve seen it. ( Obviously, spoilers will follow. You’ve been warned. ) The number one complaint among folks who have now seen the highly anticipated Alien kinda-prequel? So. Many. Unanswered. Questions. So let’s jump right into the spoiler goo and get to deciding (and, hopefully, answering) the biggest question prompted by Scott’s gorgeous, murky space opus that is left yet unanswered. I’ll start: WHY? Why does pretty much anyone in Prometheus make any of the decisions they make? Like… – Holloway (Logan Marshall-Green) with the helmet-taking off. Really, is sniffing (and contaminating) the alien world atmosphere on the planet you just landed on and know nothing about such a good idea? – Vickers (Charlize Theron), running in the one direction that will lead her to being squashed by a giant falling spaceship? – Millburn the dumb biologist (Rafe Spall), who just wants to reach out and make friends — even with the squishy alien penis-snakes? – Space crew guy, walking straight up to his recently deceased, re-animated fellow shipmate who has spider-crawled his way across a space desert to space-murder everyone? Most of these aren’t necessarily unanswered questions, just incredibly stupid decisions that inform and support the characters in facepalm-worthy strokes. Holloway is a risk-taker! Vickers is a sheltered, prideful ice queen with probably little field experience who would rather try to outrun death than roll, like her unassuming and practical brunette counterpart, out of its way! Crew guy is, well, a redshirt, for lack of a better term. Yes, yes. There are reasons to be found here, if not particularly great ones. The bigger questions have to do with two still-opaque entities: The Engineers and David, the increasingly creepy mayhem bot, Lawrence of Robotica. In the prologue we see one Engineer take a dose of black space goo and tumble, dead and transmorphing, into the water — thus presumably starting human life on Earth. So what is the goo? Prometheus builds a tech-driven world filled with great flying ships and alien holograms and C-section machines but is more concerned with ideas: Of creators and creation, of life and death cycling endlessly across the universe between humans and aliens, parents and offspring, scientists and their inventions. All children want to see their parents dead, according to David, who seems to be counting himself in that equation. What is the goo, then? Is it the proto-material of a xenomorph? How does it work, exactly? Why would anyone feed it to the cute Tom Hardy-looking guy? And who created the Engineers, anyway? Does it even matter when the real question is asking why we create, and in the process, destroy? The brilliance of Prometheus ‘s stubborn insistence on not feeding us the answers is that they’re not really important in the grand scheme of things, unless you require your movies to make sense. You know what else refuses to share vital information, instead choosing to provoke and see what happens? David. David, who has spent years in space flight amassing the breadth of human knowledge and yet cannot feel (or can he?), who has the answers — or, at least, the instructions the Engineers have written in their mystery language on the sides of their sweaty weapons of mass destruction like how-to manuals — and yet can’t understand why it is that Noomi Rapace’s Elizabeth Shaw MUST understand. David, played marvelously by Michael Fassbender, remains the biggest mystery . He’s tasked with one directive: Help Weyland find a way to live forever. You could build a strong case that everything David does is indeed in service of this goal. Weyland’s mistake is in trusting a machine that doesn’t think in human terms, but in practical ones; if there’s no alien magic out there to Benjamin Button old man Weyland back into handsome, young Guy Pearce, David finds another way to help his master live forever: Through his legacy, by altering the course of human history (gladly, it seems) via one or two devious deceptions. Consider the legacy of the man at the center of David’s favorite film, as seen in Prometheus ‘s sublime opening sequence. T.E. Lawrence was born in 1888, helped upset order in the Arab world in 1916, was immortalized on celluloid in 1962’s Lawrence of Arabia , and then, years later in the world of Prometheus , inspired an android to not only imitate his blond coif but instigate the beginnings of the Alien universe in 2093. Lawrence is really the key to understanding David; in helping Weyland achieve his immortality by way of launching the destruction of humanity, David is immortalizing himself, and a part of me thinks that a part of him yearns to express this measure of often foolhardy human emotion. Or maybe he’s just designed to be a close, but not close enough, imitation of the humans who built him? The more I think of David as a stand-in for Prometheus the movie at large, the less I care that Idris Elba figured out in five minutes what the Engineers were up to on this rinky dink planet, or that we’ll never know what David whispered to the last remaining Engineer, a la ScarJo and Bill Murray in Lost in Translation . Those quibbles seem minor given the vast provocations the film leaves behind. To an aggravatingly obvious extent, the gaping abyss of understanding that Prometheus leaves puts us, the viewer, in the position of Shaw — still searching, desperately, for answers, with only a soulless computer brain as her guide. We are Shaw, and maybe the internet is our David, offering knowledge and spoilers at our fingertips but, unless Ridley Scott and writers Jon Spaihts and Damon Lindelof hop on a Reddit AMA session, no ready answers and plenty to be wary of. Big things come in small packages, and that goes for space goo, blond robots, and universe-expanding ideas. So, all that said, what unsolved mysteries irked you the most in Prometheus ? Sound off in the spoiler-friendly comments below and let’s figure this sucker out. — Our colleagues at (PMC-owned) Beyond the Trailer pose a relevant question: “Is Prometheus an intellectual sci-fi thriller, or a pseudo-intellectual sci-fi thriller?” See what other real folks say in their impromptu exit poll. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
‘I have a better sense of who I am, what I represent, who I represent,’ MC tells MTV News. By Rob Markman Big Sean Photo: MTV News Big Sean ‘s debut LP Finally Famous was pretty darn good, but for his upcoming sophomore album, the Detroit MC is aiming to be even better. “I feel like when I dropped my first album, I was still coming into myself as an artist,” Sean told MTV News in May. “I have a better sense of who I am, what I represent, who I represent.” Sean hasn’t announced the title of his next LP, but he did confirm with MTV News that it will come later this year, after G.O.O.D. Music’s Cruel Summer compilation is released. He says that now he has a different mentality than he did on FF, which yielded hit singles like the Chris Brown-assisted “My Last” and “Dance (A$$),” a few all-star collaborators won’t hurt either. “I’ve been in the studio with ‘Ye, talking with ‘Ye, building ideas with No I.D., even with Nas, with other people and really talking to ’em and soaking up where their minds is at,” Sean said, “Then taking that and applying it to what I know myself. It ain’t no choice but to be good.” It was during his tour last year that Sean began to develop more as an MC. “I also have a sense of how people look at me, just by going on tour, my first solo tour, sold-out tour and seeing the people and kids who looked at me as a role model,” he said. “That’s when I realized when you got the mic, you got the crowd, you gotta say something, or else your moment in time is wasted. It’s just a whole different thought mentality.” What was your favorite song off of Big Sean’s Finally Famous ? Let us know in the comments! Related Videos ‘RapFix Live’ Highlights ‘Hottest MCs’ With Big Sean Related Artists Big Sean
Cyrus and Hemsworth join a long list of celebrity couples who first met on set. By Kara Warner Miley Cyrus and Liam Hemsworth Photo: Michael Buckner/Getty Images Just about nothing makes more headlines in the world of entertainment than celebrity engagements. Unsurprisingly, the news of Miley Cyrus and Liam Hemsworth’s plans to wed has caused a media storm. Since their romance got its start on the set of their movie “The Last Song” , we got to thinking about all the other couples who met and later married after meeting at work Channing Tatum and Jenna Dewan The “Magic Mike” star and his lovely actress/dancer wife Jenna Dewan met in 2006 during the filming of “Step Up.” They officially started dating after production wrapped, were engaged in 2008 and married on July 11, 2009, in Malibu. Brad Pitt and Angelina Jolie The couple that launched the blended celebrity name game was born out of their filming 2005’s action adventure “Mr. and Mrs. Smith.” Though rumors swirled of an onset romance, Brangelina insisted that they didn’t start dating until after Pitt was officially separated from then-wife Jennifer Aniston. Pitt was not Jolie’s first set-generated romance, she had married onetime co-stars Jonny Lee Miller and Billy Bob Thornton. Jennifer Garner and Ben Affleck Ben Affleck and Jennifer Garner met in 2004 on the set of “Daredevil,” shortly after Garner ended a relationship with another co-star, Michael Vartan, whom she met on “Alias.” Affleck and Garner became engaged nine months later and married on June 29, 2005. Similar to Jolie’s serial on-set dating, Jennifer Garner had previously dated and married her “Felicity” co-star Scott Foley. Sarah Michelle Gellar and Freddie Prinze Jr. Although Sarah Michelle Gellar and Freddie Prinze Jr. met and became friends on the set of 1997’s teen horror flick “I Know What You Did Last Summer,” they didn’t start dating until 2000.The couple became engaged in 2001 and were married in Mexico on September 1, 2002 in a ceremony officiated by “Rock of Ages” director Adam Shankman, with whom Gellar had worked on “Buffy the Vampire Slayer.” Jay-Z and Beyonc
