A porn company is banking on the fact that you really, really want to see a 58-year old man naked. Sex.com has seen snippets of the Hulk Hogan sex tape and has made the famous wrestler an offer larger than his… you know. According to TMZ, the website has penned a complimentary letter to Hogan in which it acknowledges his claim that the video was made without his permission and writes: “While this may be an embarrassing ordeal for you to go through right now, it doesn’t need to be … you are ‘bigger’ than Andre the Giant where it matters.” The adult site says it has an “open checkbook” if Hulk is interested in signing a deal that would release the full tape into its possession. It would then make the 30-minute session available to the public. Hulk asserts he had no knowledge he was being filmed receiving oral pleasure and has threatened to sue those behind its leak.
Angie Layton of Survivor fame denies she’s a dumb blonde, and has other observations in this new interview you should really read in between ogling pics of her. The 20-year-old former Miss Teen Utah and the third person voted out of Survivor: Philippines shared some ups and downs of the experience with People. On the perception of her at the start : “[Everyone] perceived me as a dumb blonde. You know, here’s the pageant girl from Utah. So I was stereotyped from the start.” “I knew I’d have to give it my all, to give 110-percent. I wanted to prove that I’m more than just some pageant girl. I was there to win and to compete.” “I worked really hard around the camp. I weaved the entire roof. I wanted my tribe to see me as an asset around camp; I would cut the coconuts for dinner.” “I was the one making food, preparing the rice. I know some people say we were working too much, but I don’t think so. There was always something to do.” On how little she ate : “We had a cup of rice a day, and it was the high point of the day! And then there were coconuts. That was it. So we were really depleted.” On losing three straight challenges : “You go into a panic. It’s heartbreaking, really. You want something so bad, and you just can’t get it. It sucked so bad.” Follow the link to continue her interview with People , then be sure to check out our full gallery of Angie Layton bikini photos , because that’s why you’re really here.
Ti West ( House of the Devil , The Innkeepers ) delivers a slow burn with a killer pay-off in his contribution to this weekend’s horror anthology V/H/S , a road trip-cum-nightmare starring fellow indie veterans Joe Swanberg , Sophia Takal, and Kate Lyn Sheil. Before departing to Georgia to film his next feature, The Sacrament , West rang Movieline to discuss his V/H/S short, filmed on the road with a camera and no crew other than his three actors, how to recreate their L.A.-to-the-Grand Canyon V/H/S adventure, the creative struggles involved in making personal independent films at increasing scale, and — of course — the magical phenomenon that transforms strangers into compatriots within the confines of a karaoke bar. What was your first reaction to the idea of a found footage anthology horror movie and how did you find your way into your segment? I don’t have a real aversion to found footage but they told me the idea and I thought, ‘I don’t know.’ But I went on a road trip and in the back of my mind I was like, ‘Do I have any ideas for this thing? I don’t think so.’ But by the end of the road trip I realized the road trip I went on was the idea. So I put together this paragraph and emailed them thinking they’d probably say no but they liked it, and within a month I’d gotten Joe and Sophia and Kate flown to L.A. and we rented a car and went back on the exact same road trip that I had just been on, and made the movie along the way at all the spots I’d been. So it was really weird but similar to The Innkeepers in the sense that on House of the Devil we stayed at the hotel and went back to the hotel to make [ Innkeepers ]. I realized on this that’s probably a trend for me. I went on this trip and I thought, ‘I have an idea based on something I just lived – let’s go do that.’ That is most unusual. Joe and Sophia had never seen the Grand Canyon and I was like, ‘We can see that along the way, it’s pretty amazing!’ We were able to have a fun experience and make a movie. That was a lot of the motivation behind it, to sort of not have such a terrible time. Was it literally just the four of you? No additional crew or anything? Yes – it was the four of us, that’s it. We had nothing. No lights, no nothing. We didn’t even have a boom. I was curious how that worked since Joe and Sophia are also directors, actors, editors – they’ve got experience serving multiple roles in front of and behind the camera, which must have helped. That’s why I cast them, because I knew if I were to give them a camera and send them out to do something with some ideas, they’d be able to handle it. Did you write a script or give them more broad scenarios for them to play out? There was a pretty specific outline, although I didn’t write dialogue. They read that then when we got there I said, ‘Here’s what we’re going to do, here’s what I want to happen…’ I would shoot it or if I couldn’t shoot it I would be like, ‘Sophia, I want you to do these things with it – do it however you want, but make sure you get this, that, and the other thing.’ Then Kate and I would go hide in the bathroom of the hotel room and they would shoot, and when they were done I’d come out and watch it and go, ‘Let’s do it again, but focus more on this and that…’ We’d do three or four takes, and we’d do everything in big long chunks and that was it. Then we’d go do karaoke in Flagstaff. Are you kidding? How was the karaoke out there? Oh, we did so much karaoke on this movie. Every night. There was actually one night where we decided we needed to work a little extra the next day because we’d been doing too much karaoke. Well, you’ve now ruined road trips for the rest of us. You should map out the V/H/S road trip so people could take the tour in real life. It’s a great trip from L.A. You can do it in a weekend. If you’ve never been to the Grand Canyon, it’s incredible. You can’t overhype it – it sounds like something that would be cool but when you actually stand there it’s kind of breathtaking. It’s pretty amazing. What was the Wild West town you guys shot in, where Joe and Sophia get their fortune out of the machine? With the donkey? That’s on the way. Oatman. If you’re ever on your way to Arizona, Oatman is the town to stop in. It’s a weird little town and kind of tricky to get there because you take one road essentially out to Arizona and along the way everything runs parallel to the main road. There’s this one section where that town is where you have to go through all these weird mountain switchbacks and it’s kind of a dangerous drive, and you come down a hill and boom, there’s this little town. It’s very Wild West, there are donkeys that roam the streets. You’ve got to go to the Grand Canyon and you’ve got to go to Flagstaff. The town that’s near both of those places, Williams, Arizona, is a tourist trap but there’s something really appealing about that area. It’s also really scary because there are a lot of weird meth hitchhikers everywhere. It’s cool. I’m into it. You’ve done so much horror but you’ve also said you don’t necessarily want to be known as a horror specialist. What is it about the genre? Why do you think you’re so good at scaring people? Do you see the potential for terror in every normal, everyday situation? Well, maybe. Why I’m interested in it, I don’t know, but as far as an ability to do it, it’s like telling a joke. You can tell a joke and make the whole room laugh and then someone can tell the exact same joke and it just bombs – even though it’s verbatim, it’s the delivery of it that made it work. For whatever reason, I can just tell this joke. I’m able to read the room and do it that way. I don’t know where it came from or why I’m interested in it. I think I might be a slightly dysfunctional weirdo and that could be part of it. But it wasn’t my goal to do this. I enjoy doing it, and these are the movies that people will give me money to make, so I keep doing it. But I don’t know; the joke is the best analogy I have to make sense of it. Here’s what I think will scare people, and I have to trust that I’m going to try it and it’s going to work. In the same way as when you tell a joke, it’s the pauses and the way that you deliver it and the way that you talk to the people you’re telling it to. It’s how it’s done, it’s not actually the material itself. When you watch V/H/S with an audience, do they react to your segment the way you intended or hoped they would? My segment is the most rooted in realism and it doesn’t necessarily play to an audience, whereas all the other segments play very heavily to an audience. Mine is sort of the weird slow-burn one, of course, and I will say I think I get the biggest scare in the movie. I was surprised by how much that was effective. But I made a much more low-key psychological segment and it plays well with an audience because that one moment really shines, and it kind of informs me that it must have worked – the fifteen minutes leading up to it must have been going well. An upcoming non-horror project is the sci-fi Side Effects . What’s the latest with that film? Side Effects is still out there. Because it’s a science fiction movie it costs a whole bunch more money than usual, and we have most of the money but not all of the money. It’s a very slow-moving process, which is very frustrating to me, but it’s coming together. What’s your perspective now on how much you get to make the movies you want to make and what your options are in the marketplace? I think if it’s a movie for a million dollars or less and it’s a horror movie, my options are pretty decent because I could create my own thing and go out there and probably talk somebody into getting it made. But I’ve done so many of those now, six of them, that I don’t really want to do that anymore because it feels like the same old thing. So that’s where projects like Side Effects come in; I want to do a science fiction movie that’s going to cost five times as much as The Innkeepers because it’s going to take place in space, and it’s going to be great, and we’ve got Liv Tyler – but I got The Innkeepers made in a conversation at Sundance, and three months later we were shooting it. When it’s more money it becomes a whole nightmare of putting too many things together. But I’ve gotten to the point where the really small movies are great because I can do my own thing with them and that’s important to me, but I’m starting to do my own same thing over and over again and that’s really unpleasant to me, to repeat myself. So there’s that, and there’s the option of doing the bigger gun-for-hire movies, which is very appealing from a financial standpoint; I would love to make a movie where I could make tons of money, have a really cushy schedule, have celebrities in it, and have it be on billboards everywhere. I’d love to do the big sell-out thing. The problem that I have is that to me, when you work as a gun-for-hire my attitude would be as a gun-for-hire. The way I look at that is, ‘This is great – I don’t have to stress out as much.’ When you make your own little personal movie, every choice is like, if I don’t do it exactly this way it will be embarrassing because this is important to me . When you go do some sequel to a big goofy comic book movie, I understand that all they want is cool stuff. I can show up and just make it cool, I know how to do it although it’s not something I aspire to do. The problem is, they don’t want you to show up and be a gun-for-hire – they want you to care just as much as you care about your own personal movies. But to me that’s silly, because I’m making a big goofy thing. So that’s my struggle. Every time I start working on it we get to a certain point in the process where I’m either too checked out to care enough to keep doing it, or they’re onto the fact that I don’t really care and they want to get someone who cares more. And even though I don’t care that doesn’t mean I won’t do a good job and try really hard, it just means that when I go home at night I’m not going to panic, because the content isn’t that important to me. I’m trying to find that movie where I can do that but I would always much prefer to make my own independent stuff – it’s just that the independent world has gotten so small. It’s not a matter of me wanting so much more out of the independent world, or wanting to make more money; it’s solely that I’d love to make movies that don’t take place in one location. I’d love to make movies with a bunch of people in it. I wish I could pay a famous actor that wants to do the movie but we can’t afford, but we can’t, because they won’t come unless they can fly first class and we can’t fly them first class. I’d love to not have to deal with that dumb shit anymore, to get past that and keep doing my own thing. You seem to have made a lot of careful career choices along the way, but you had a well-documented brush with the studios on Cabin Fever 2 . What did you learn from that experience? I have enough options and certainly shouldn’t complain, but as you said I’ve made careful choices. I made one choice that turned out to not be a careful choice and it was really difficult to deal with and I don’t want to deal with that again. So with all of the bigger movies I’ve been involved with, at any moment that they feel like they could go in the Cabin Fever 2 direction, I bail out. You’ve recently done some acting as well for Joe Swanberg, in Drinking Buddies , in a reversal from your V/H/S roles. How did he get you involved? He just said, ‘Come to Chicago and be in this movie’ and I said, OK. He’s one of my best friends so it was a no-brainer. I don’t have a big aspiration to act and I don’t even think I’m very good at acting, but he had me come there and just be kind of an idiot and I was like, I can do that! It was a really great thing to be a part of Joe’s biggest movie to date, and the cast was really great. To see Joe have more money and have a more deliberate schedule and this great cast, but still hanging out making a Joe movie, was really fun. Because of our shared love of karaoke: What do you think your karaoke song choices say about you? Hmm. I don’t know. Lately I’ve been doing “She’s Like The Wind” by Patrick Swayze and feeling pretty good about it. I enjoy karaoke because it removes all snootiness from the environment, and L.A. is a very snooty, stuck-up city. When you go out to bars in L.A. everyone’s there just looking miserable. But when you go do karaoke in L.A., everybody’s having a good time. And there’s nothing like a great song choice where you can catch people off guard and they’re like, ‘Whoa, this is awesome.’ V/H/S is in select theaters today. Read more here . Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
She’s spent the summer covering the songs of other artists, as detailed and depicted in our Kelly Clarkson music section. But now the original American Idol is releasing a new track of her very own. It will be titled “Catch My Breath,” it will hit iTunes next week and it will be part of Kelly’s first-ever greatest hits album in November. Said the star this morning On Air with Ryan Seacrest: “This song represents who I’ve been, what I’ve felt, and where I’m headed as not only an artist but as a 30-year-old that is now smart enough to know that it’s time to stop, catch my breath, and be proud of not only what has been accomplished but of all the people that have helped me become the woman I am today.” We can’t wait!
Dude made a lot of good points. Following last night’s Presidential debate , Chris Matthew’s released his anger at Obama during an interview on MSNBC. According to The Huffington Post… Chris Matthews railed against Barack Obama’s performance during the presidential debate on Wednesday night. Obama was widely judged to have lost the debate with Mitt Romney, and Matthews looked like he was about to have a coronary on air as he denounced the job the president did. “I don’t know what he was doing out there,” Matthews said. “I know he likes to say he doesn’t watch cable television but maybe he should start. Maybe he should start. I don’t know how he let Romney get away with the crap he threw at him tonight about Social Security.” “Where was Obama tonight?!” he cried, before recommending again that Obama watch MSNBC. “He would learn something about this debate,” he went on. “There’s a hot debate going on in this country, and you know where it’s being held? Here, on this network, is where we’re having this debate. We have our knives out. We go after the people and the facts. What was he doing tonight? He went in disarmed!” Romney, he said, had done his job “just right … what was Romney doing tonight? He was winning! If he does five more of these, forget it! That’s my thought.” We’re all scratchin’ our heads wondering what happened to POTUS last night during the debate just like Chris is. This sh*t is going to be real in less than 5 weeks and tonight was not the night to play ‘Mr. Nice Guy’. What do you think about Chris Matthews’ opinion? Are you pissed too?!?! Images via WENN
Dancing With the Stars: All-Stars contestant Bristol Palin is never one to shy away from controversy, but the people threatening her life may want to chill out. Yes, Bristol says she’s receiving regular death threats this fall. “People have such opinions about me. It’s like ‘I hate you, I want you dead and I want to shoot my TV,’” she explains of her public perception. “I don’t read any of it.” When you ruffle feathers on your own show, though, you may not have a choice. Bristol tries not to pay attention to negative comments from “haters” … but she faced some harsh comments from the judges on Dancing With the Stars this week. Calling out Bristol’s partner Mark Ballas for breaking the show’s rules with his choreography, Carrie Ann said, “You slammed us in the face, so we’re slamming back.” “She got pretty ghetto there,” Bristol says of Carrie Ann. “That’s pretty much what it was: a ghetto comment. But despite the haters and the harassment, Bristol has made it through to another round of competition, surviving last night’s Dancing With the Stars results show. How does she respond to making it through despite her low scores? “We do see the positive side of it,” Bristol Palin said of advancing. “We did get voted through even though we had the lowest scores. That speaks volumes compared to anyone hiding behind a cell phone tweeting about us.” How far will Bristol Palin make it this season? Are you rooting for her? Do you wish she’d just go back to Alaska and never be heard from again? Discuss!
It’s good to see Genndy Tartakovsky on the big screen. Even when he was working at Cartoon Network beginning in the 1990s, where he produced such contemporary animated classics as Dexter’s Laboratory , Powerpuff Girls and the visually stunning Samurai Jack , Tartakovsky and his team produced remarkably three-dimensional worlds — populated with fully developed characters, ageless physical humor and memorable sight gags — rendered in 2D animation. It was only a matter of time before he graduated to feature films, and on Friday, his engaging and funny directorial debut Hotel Transylvania opened in theaters in 3D. Movieline talked to Tartakovsky about the challenges of making the transition from animated TV series to feature films and his push during production to achieve a hyper-exaggerated, Mad Magazine-meet- Looney Tunes style of animation that, he says, is largely taboo among the gatekeepers of the genre. The Moscow-born Tartakovsky, whose family moved to the United States when he was 7, also talked about working with Adam Sandler, who as the voice of Dracula, gives one of his best performances in a long time, and another genius of a certain type of animation, Saturday TV Funhouse creator Robert Smigel. Finally, he talks about his influences, which aren’t limited to cartoons. Indeed, there’s more than a little The Good, The Bad And The Ugly i in Samurai Jack , which, happily, Tartakovsky says he wants to revisit via a film or miniseries. Movieline: This is your first theatrical feature. Tartakovsky : Yeah, I’ve done long-form movies for DVD, but this is my first theatrical feature. What are the challenges of making that transition from TV to feature films? One of them is the simple idea that in television, you have episode after episode, so if you mess up one, the audience usually forgives you. In features nowadays, you work all this time and put out all this effort for one weekend. If you don’t open, you’re dead. And so it’s a totally different type of pressure where you’re working so hard to tell a good story and create good characters. Usually in TV, it takes six to eight, sometimes 10 episodes, to really get going and know what the show is. There’s always that moment in TV where a show clicks. Seinfeld had it. A lot of shows go through it. But in features, you don’t have that choice. You’ve got to figure everything out. You’ve got to know what your movie is. And you’ve got to know what story you’re telling. And all of this pressure and build-up was very different for me because I was like, this is it. This is the one shot that I get at this. When it came to the monsters in Hotel Transylvania , I thought I saw and heard a lot of references to pop culture: the Universal monsters, of course, but also Count Floyd from SCTV and Young Frankenstein. Tartakovsky: Well, the main monsters are all inspired by the iconic things that we know them by. but we actually tried not to put in too many references. So, for Dracula, we tried to make him his own design, even though he probably has classic flavors of Count Chocula and other things. [Laughs] But that definitely wasn’t on purpose. If anything, we were trying to do almost a Mad Magazine type of vibe. We tried not to take ourselves too seriously. So any of the references you may have thought you saw, definitely weren’t on purpose. I first became of fan of your work watching Dexter’s Laboratory , The Powerpuff Girls and Samurai Jack on Cartoon Network. I’m also a fan of screenwriter Robert Smigel’s Saturday TV Funhouse for SNL. How did you get involved with Sandler and Smigel and that crew? When I came on, Adam was already signed on to do the voice of Dracula. I worked on the script to take the tone and other aspects in the direction I wanted them to go, and then I gave it to Adam. He really liked what I did. No matter what movie he does, Adam brings in his own guys to help write whatever character he’s portraying, and one of the guys he works with is Robert Smigel. He asked me if I wanted to work with Smigel, and I said, ‘Oh yeah, definitely. I love the stuff he’s done.” And that’s how he got involved. So this project didn’t originate with you? I came on board after it had been going through the grinder for few years. Judging from some of the bios I read about you, you grew up a pretty alienated kid. Did monsters help you deal with those feelings? The actuality is that I was really scared of scary movies. I think kids either get off on it or they don’t. I was one of those that didn’t. I like knowing things. I didn’t like that feeling of, what’s around the corner? I never went to haunted houses or anything like that. But at the same time, I liked the idea of Dracula and Frankenstein – definitely the older movies weren’t as scary as today’s are. So, I definitely watched those. But, for me, where I really liked the monsters were in comedy, like Abbott and Costello Meet Frankenstein , or, of course, Young Frankenstein is one of my favorite movies. That was my introduction to the monsters, until I read some of the books and thought more in terms of the truer sense of them. Weirdly, I saw Hotel Transylvania knowing that you were involved but unaware that Sandler was the voice of Dracula. And I have to say, I his usual trademark vocal tics weren’t obvious. That’s hilarious. I am a real Adam Sandler fan, but, at the same time, when a celebrity voice overtakes the character, it can throw you out of the film. You know, you realize who’s doing the voice and you’re just, ‘Oh, it’s that actor playing that character.’ And so, I was really worried about it. That’s why I tried really hard to push Dracula’s expressions and his posing and to push for Adam not to do his voice. At first, I think he was really hesitant—you know comedians are really hard on each other and they’re hard on themselves. They want to make sure they don’t sound hacky, or whatever. And doing something [as iconic] as Dracula, you’re opening yourself up. But I loved the voice Adam did. We started looking at it, and for me, I wanted this to be a broad comedy. So I kept pressuring him to do it as cartoony as he could get and still be comfortable. So whenever he yelled and did those big ranges and different rhythms, the happier I was because then we could make some really fun, old-school animation like the old school — like Mel Blanc when he would do Bugs Bunny or Daffy. For the emotional stuff, he definitely came down and we have that kind of contrast. I loved the scene where Dracula is chasing the airplane that’s carrying his daughter’s boyfriend, Jonathan (Andy Samberg) and sees him watching some sort of Twilight -like movie with bare-chested pretty boys. And even though the sunlight is burning him up, Dracula has to make some sort of smart-ass comment about the state of vampire movies today. Was that your idea? That was an Adam and Smigel idea, I think. I thought you were successful getting most of the actors not to sound too much like themselves. How did you manage that? It all depended on the character. With Fran Drescher, for the Bride of Frankenstein, we really wanted it to be her voice, which is super cartoony to begin with. With Kevin we decided to do Frankenstein as really conversational, so he could be more of his voice. If we were successful, I think it had a lot to do with the visuals. They way we executed performances and stuff, you weren’t paying too much attention to the voices because they just kind of all fit. Tell me about what you were striving for in terms of the animation. We really tried to push the animation to be better than other movies, to have it’s own point of view. And, again, to support the broad comedy of it, we wanted to do a Tex Avery-, Warner Brothers-influenced type of animation. When I first started doing it, everybody was so hesitant because that’s the big taboo in feature animation.: you can’t have things too over-exaggerated. I always thought that was ridiculous because for me the best scene in animation is in Disney’s Snow White and the Seven Dwarfs, where you’ve got these crazy looking dwarves and Snow White’s dead and they’re super sad. They’re as unrealistic as you get. They’re ridiculous. And then they shed a tear and the audience is rapt. They’re so involved in these characters. To me, it was always ridiculous that you can’t emote if you’re doing something cartoony and exaggerated. I always argued the opposite. The more cartoony and exaggerated you are, the more range of expression you have and it will be more believable. And so, that was the whole point. Push the expressions. Push the animation. Push the posing to a much more exaggerated level. When did that silly rule get made? Look at the movies. It’s really be around since Disney. Disney started really cartoony, and then it switched. It started going more and more realistic, and eventually that look kind of stuck. And that became the law. When you have a movie like Beauty And The Beast that’s very realistic making so much money, that starts the argument that you can only do it that way. It’s just a trend that never went away. Maybe you’re about to reverse that. I’m hoping. [Laughs] The animation is all CGI? Technically, it’s the same as any Pixar, Dreamworks or big CG feature. The only thing that’s really different is that we really pushed the drawing aspect of it. We tried to get funny expressions, funny poses and that’s what really stands out. We really broke the puppet. With CGI, you have this model of a puppet in the computer, and it can only do a limited number of things. But if you push it and stretch it and pull it and break it, it can do so much more. And that’s where the Mad Magazine theory came into play. If you pause on a frame of Dracula, you get a funny expression. And that’s a really hand-drawn 2-D animated theory, where you have a funny drawing and you laugh at it. And that’s what I wanted to get more of — that the movie is drawn, not so much just posed.
After humming along with this weekend’s a capella comedy Pitch Perfect , you’re going to want to know more about Skylar Astin, the 25-year-old Broadway alum who made his film debut in Hamlet 2 , appeared in Ang Lee’s Taking Woodstock , and sings his way into Anna Kendrick ‘s heart this weekend as Jesse, Beca’s adorably movie-obsessed aca-love interest and member of the Bellas’ rival team, The Treble Makers. Movieline put ten questions (more or less) to Astin for a chat about Pitch Perfect , the summer camp vibe on set, his upcoming comedy projects, and — perhaps most importantly — why the ’90s Swedish pop outfit Ace of Base deserves props. Musicals are popular in the age of Glee , and Pitch Perfect also pays homage to the spirit of John Hughes movies and the romantic comedies of the ‘80s and ‘90s, but why do you think it resonates so much? I think in so many ways it follows a formula that works in terms of big ensemble comedies, but there are elements of it that have never been done before. For one, a capella has never completely dominated a movie. There have been elements of it — I know John Michael Higgins had a moment in The Break-Up that was hilarious — but I think that there’s something unique about it that doesn’t go too far in one direction, and it’s just fun. You just enjoy it. There’s something that seems very organic about the comedy and the style. You started out very successfully on Broadway, alongside Jonathan Groff and Lea Michele in Spring Awakening . Were you looking for a project like Pitch Perfect that specifically involved music? It seemed like a healthy transition for me but it was more of a coincidence. I wasn’t only searching for these movies but it did seem to fall into place beautifully. I responded because it’s something that’s close to home but I wasn’t actively searching — but I’m not going to complain about it either. Your first film, which was also a musical, was Hamlet 2 — which featured you singing a song with the best song title. Which one? “Raped in the Face?” [Laughs] That is the most ridiculous song ever. It was quite the auspicious debut, Hamlet 2 , and now you have a few more comedies lined up after Pitch Perfect . What types of projects do you find yourself naturally drawn to? I’m at a place right now where I’m not opposed to anything. I worked on dramas before, I love sinking my teeth into something dramatic or a period piece, but there’s something so fun about doing a comedy. When you go to set and your only job is to make people laugh, there’s an unbelievable energy on set. Nobody’s tiptoeing or walking delicately around the actors. I really love doing it, and putting the puzzle together with the sole purpose of making people have fun and enjoy themselves. On the set of Pitch Perfect you had all of these great singers and performers constantly around you. Did the cast spontaneously erupt in song between takes or anything like that? We had a strict no-singing rule. No, I’m kidding. It was exactly that — I wish I could tell you something even crazier but it was like an all-star theater camp, where you had people you’d recognized from TV and film singing theater songs or pop songs on the radio. We were constantly harmonizing with each other, which got to a weird place after a couple of weeks. But when you’re in this kind of ensemble it really feels like you’re putting on a play. So there is that energy of all of us hanging out together and seeing movies together and singing, and God forbid someone pulls out a guitar — it’s just gonna get crazy. I do feel like the film is a bit unfair to one particular song. That would be Ace of Base’s “The Sign,” which becomes a running gag… Oh my god, 1994! I have the album. Were there any songs that, by the end of the shoot, you were all completely sick of hearing, that you wanted to call a moratorium on? The only song that could be in that category for the sake of pure repetition would probably be the medley that the Bellas do throughout the whole first half of the movie. They keep the same kind of routine just like they do in the movie and during rehearsals there were slight changes in each, but playback-wise it was the same thing. That was definitely the most-played song. But my mom used to work out to those songs in my basement when I was growing up; she used to blast “The Rhythm Is Going To Get You,” “Turn The Beat Around,” “The Sign” — those are songs that have been burned into my memory forever, so I don’t think I could a see them in a negative light. Good! Because “The Sign” demands and deserves a popular revival. I think Anna Camp and Brittany Snow are just the people to do it. Now, Skylar Astin is not your full birth name – what’s the story there? Skylar is my first name and Astin is my middle name, and my real last name is Lipstein. When I was 15 I think my first agent just kind of did it for me. I’m not ashamed, I’m not embarrassed, but she said it was just less specific to one thing and she kind of chopped it off. But forever to my friends I will be Skylar Lipstein. Looking to the future, you’ve got 21 and Over from the writer of The Hangover , and you also have a comedy called Cavemen . Meanwhile, your Pitch Perfect character Jesse is kind of the perfect college boy-romantic love interest. Where do you see yourself heading in, say, five years’ time? He’s definitely sweet as sugar. [Laughs] In five years I just want to be working on things that excite me. I’m open to everything. It could be a 19th century period piece or another awesome comedy with the same crew that did 21 and Over . Or it could be Pitch Perfect 4 ! Who knows? Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Ali Landry is some 40 year old who was Miss USA in 1996, is best known for being in People Magazines 50 Most Beautiful People issue in 1998, but I remember her for being the Doritos girl….a place I’d like to leave her…because unlike most married men, who like the security of growin old with a bitch, and the trade off for that is being stuck sleeping with an old bitch while thinking of of her in her 20s, because that’s gotta be the only way a mother fucker can cum looking at that loose skin mess of a human….I guess that’s the importance of photography and camera technology, to keep a bitch from aging for masturbation purposes, even if she is a fit 40 year old, she’s still a 40 year old….in a bikini…ok fine…she has a rockin’ body…but come on…that’s the one thing she has to do in life. TO SEE THE REST OF THE PICS FOLLOW THIS LINK
What would you do if you found yourself in this situation? We hear the word ‘whore’ a lot these days and LaLa thinks too many of us have become numb to it . LaLa Anthony made an appearance on The Breakfast Club and was giving advice to callers during part of the show. Everything was going pretty cool until a caller explained her situation; the young lady had a friend who slept around a lot and was getting called a whore. The caller felt like she was getting a bad reputation because she was still hanging out with her and asked LaLa how she’d deal with that situation since she’s “friends with Kim Kardashian”. Lala responded: “First of all, We joke around and have fun but I am really starting to get a little tired of people calling her that to me because if I was calling your friend a whore you wouldn’t like that would you? No matter what people’s perceptions are, I know my friend and I know her heart and who she is and she’s not a whore. We are all grown now! I can’t be responsible for what people think about other people, I go by how a person treats me and she’s always been an amazing person to me. As far as your situation is concerned, the same thing applies. We are all grown. If your friend has a bad rep, you can’t take responsibility for what your friend does, so you shouldn’t be grouped in that category because of what she does, you can only be responsible for your own actions…I think a Hoe is someone who has no morals or values when they do what they do. So I think a hoe is breaking up [a home]– knows a person is married and is messing with him. I don’t think a hoe is someone that sleeps around because if you are single and enjoying yourself, that is what you are suppose to do.” Well damn…what’s your definition of a whore and do you think LaLa should get the “good friend of the week” award for her classy answer? Images via facebook
