The movie industry can be a forgiving one. SlashFilm is reporting (via Variety) that Roger Avary will be making his post-jail directorial debut with Airspace , a mile-high thriller in which John Cusack plays a charter pilot whose plane comes under attack from a heavily armed MiG fighter jet after he finds a mysterious briefcase in his aircraft. The movie is being described as ” Duel in the sky,” a reference to Steven Spielberg’s nailbiter of a 1971 TV movie about a guy in a car being menaced by an insane dude in a semi. Avary’s other project is a film adaptation of the Castle Wolfenstein video games that Avary, who won an Oscar in 1994 for co-writing the Pulp Fiction screenplay with Quentin Tarantino , was slated to do before he ended up spending eight months in jail stemming from a 2008 DUI-related vehicular manslaughter conviction . Panorama Media and Samuel Hadida, who produced the 2006 Silent Hill film, which Avary wrote, will produce the Wolfenstein film. [ SlashFilm] Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
Now that the scariest parts of Silent Hill: Revelation 3D are proving to be the grisly reviews and box-office results, it’ s a good time to look at a handful of choice video games that have much greater potential than the Konami franchise to be blockbuster horror movies. In at least two of the examples I cite below, along with the pros and cons of adapting them, the film industry apparently agrees — or did at one point — that the game titles would translate well to the big screen. Actually making the movies adaptations of the games has not worked so well. 5. BioShock In 2009, BioShock looked like it was destined to be a movie. Pirates of the Caribbean franchise master Gore Verbinski was slated to direct the visually stunning game in which a plane-crash survivor in 1960 finds himself in the underwater Art Deco-style city of Rapture and its mutated inhabitants to survive. When the project ran into budget issues, Verbinski turned over the director’s reins to 28 Weeks Later filmmaker Juan Carlos Fresnadillo and agreed to serve as a producer. Last May, however, Fresnadillo told Playlist he was no longer involved and that the project was on hold because Universal Studios and the game’s creator couldn’t agree on a budget or whether the project should have an R rating or a PG-13, which would attract a broader audience. With the much-delayed third game of the franchise, BioShock Infinite due out in February 2013, and set, this time, in a floating sky-city called Columbia, it’s time to revive this project. Pros: BioShock is beautiful. Simply seeing the steampunk city of Rapture on the big screen would be worth the ticket. With more than 4 million copies of the game sold and a plot that a) is better than most fantasy/horror movies and b) has actually driven the argument of videogames as art, it’s remarkable that it’s not already a movie. Cons: Video games inevitably lose their interactive components when they’re adapted into feature films, but these elements are so integral to the telling of the story that removing them could prove problematic. Videogame tropes such as highlighted objectives and extended cut-scenes aren’t optional extras in this case: they’re built into the plot the same way your heart is built in to you. 4. Left 4 Dead Pros: Valve’s multiplayer masterpiece — and its sequel, Left 4 Dead 2 — are the most viciously fun co-operative games ever made. Four very different characters must team up to survive the zombie apocalypse, or at least make it a little bit further. In addition to the teamwork element, which would translate well to the big screen, Left 4 Dead has some of the best incidental writing in games. Valve understands that writing dialogue is just as important as writing code, because nobody cares if a character’s hair is beautifully rendered when they can’t stand to spend the time with him. Added bonus: the game treats each level as a movie, complete with loading screen posters. Cons: Since there isn’t exactly a shortage of zombie projects out there in movie land, the writing and direction have got to be exceptional. Done properly, the combination of white-knuckle action and well-developed characters could make zombie movies exciting again. Maybe Hollywood should give Valve a lot of money and ask it to produce a script.
Also in Friday afternoon’s round-up of news briefs: The estate of author William Faulkner is suing over a quote used in Woody Allen ‘s Midnight in Paris ; Iranian dissident filmmaker Jafar Panahi wins a major peace prize; And a preview of the weekend’s Specialty Release newcomers. Box Office Weekend Looks Soft with Holdovers Set to Outpace Newcomers Cloud Atlas , and Silent Hill Revelation may not gross more than holdover Argo . Teen comedy Fun Size and surfing drama Chasing Mavericks are also tracking soft, THR reports . William Faulkner Estate Is Suing Over a Quote Used In Midnight in Paris The Faulkner estate is suing distributor Sony Pictures Classics for copyright infringement, commercial appropriation and for violating the Lanham Act. In Midnight in Paris Gil Pender, the disillusioned Hollywood screenwriter played by Owen Wilson, says, “the past is not dead. Actually, it’s not even past. You know who said that? Faulkner. And he was right. And I met him, too. I ran into him at a dinner party,” Deadline reports . Stephen King Tale Heads to the Big Screen King’s fantasy-horror Mercy is an adaptation of Stephen King’s short story Gramma . British actress Frances O’Connor will star in the project that Peter Cornwell will direct from a script by Matt Greenberg. The story concerns a mother with two young sons who come to discover their ailing grandmother is a witch, THR reports . Iranian Filmmaker/Dissident Jafar Panahi Wins 2012 Sakharov Prize for Freedom of Thought The European Parliament awarded the prize to Panahi and a dissident lawyer, Nasrin Sotoudeh in a “message of solidarity and recognition to a woman and a man who have not been bowed by fear and intimidation.” Panahi’s films are known for their humanist perspective on life in Iran, often focusing on the hardships of children, the poor and women. He won the Camera d’Or at the 1995 Cannes Film Festival, A.P. reports . Specialty Release Preview: The Loneliest Planet , Orchestra of Exiles , Pusher , The Zen of Bennett Two music-oriented documentaries are rolling out in this weekend’s Specialty arena. Tribeca Film Festival 2012 doc The Zen of Bennett will begin a slow release with the focus on legendary Tony Bennett. Orchestra of Exiles heads to theaters trailing the Israeli Philharmonic to various cities along with the film about its WWII origins. Sundance Selects will bow Julia Loktev’s long-time-in-coming The Loneliest Planet ,, starring Gael García Bernal and Hani Furstenberg in a limited release. And Radius TWC will open its first pickup title Pusher in select cities, Deadline reports .
Also in Wednesday evening’s round-up of news briefs: Garden State filmmaker Zach Braff is readying a comedy series for ABC. The Academy announces its Screenwriting Nicholl Fellowship winners and a Bin Laden raid film produced by Harvey Weinstein has Republicans in a rage. Academy Announces Nicholl Fellowships Five writers have been selected as recipients of the Academy Nicholl Fellowships in Screenwriting competition. Each writer will receive $35K and will be feted at a November 8th gala in Beverly Hills. The winners are: Nikole Beckwith ( Stockholm, Pennsylvania ), Sean Robert Daniels ( Killers , James DiLapo ( Devils at Play ), Allan Durand ( Willie Francis Must Die Again ) and Michael Werwise ( Extremely Wicked, Shockingly Evil and Vile ). The winners were selected from 7,197 entries. Around the ‘net… Kathryn Bigelow’s Zero Dark Thirty May Not Open Wide Until January The possible Oscar contender may only open in NYC and LA on its official opening date December 19 and may only open more slowly across the country, theater owners have been told. It may expand to the top 10 – 12 markets January 4 and then nationwide January 11. The film depicts the raid that killed Osama Bin Laden, THR reports . Johnny Depp Eyes Transcendence The film will be the directorial debut of cinematographer Wally Pfister ( The Dark Knight Rises ) The Alcon Entertainment/Warner Bros. project is set for an early 2013 shoot. Details of the plot are being kept under wraps, but the screenplay is written by newcomer Jack Paglen, Deadline reports . ABC Buys Zach Braff Comedy Braff will write, direct and executive produce Garage Bar , which will combine a “workplace idea with the heart and humor of Braff’s 2008 feature Garden State . It will center on a group of friends who start to experience the ups and downs of fame when one of them becomes a pop star,” Deadline reports . Bin Laden Film Incenses GOP A film about the killing of Osama bin Laden, which will air two nights before the US presidential election, has been re-edited to feature more footage of Barack Obama, prompting accusations Hollywood is trying to swing the vote. Harvey Weinstein who has contributed to the president’s campaign, tweaked the film Seal Team Six: the Raid on Osama bin Laden to broaden Obama’s role, The Guardian reports .
Love or hate his shtick, Kevin Smith dropped some amusingly candid real talk on Larry King Now as he explained to the media kingpin why it is he’s retiring from moviemaking after his forthcoming hockey film, Hit Somebody . “If I can’t bring anything new to the game, and I assure you I cannot, there’s no point in stepping up to the plate,” said Smith, who also charmingly compared his 20 years behind the camera to getting an unexpected blow job. Well, Clerks and the success that followed wasn’t just like any blow job. “It was like hoping for a kiss and getting the most amazing blow job you’ve ever had in your life,” he explained to King, who nearly choked as he nodded in recognition. Somebody here knows what you’re talkin’ about, Mr. Smith. Hit Somebody was previously said to star Red State cast members Kyle Gallner, Nicholas Braun, and Michael Angarano, although the project has yet to begin filming. Meanwhile, Smith’s not going anywhere; he may be moving out of the director’s chair but he’s got his multimedia interests (SModcast podcast, books, live shows, Spoilers on Hulu, AMC’s Comic Book Men, Twitter ). [ Larry King Now via Joblo ]
Ben Lewin’s The Sessions (formerly The Surrogate ) emerged as the undisputed hit of Sundance 2012, landing a $6 million sale with the unlikeliest of subjects: A paralyzed man’s quest to lose his virginity, based on the life and writings of Bay Area poet Mark O’Brien. Thanks to Lewin’s sensitive and honest script and an impressive turn by indie favorite John Hawkes — who shines with wit and grace in a physically demanding performance as O’Brien, who has no use of his limbs due to polio but begins to explore his sexuality with the help of a hands-on sex therapist (Helen Hunt) – The Sessions earned consecutive standing ovations and got critics buzzing with the possibilities for next year’s Academy Awards. Movieline sat down with Hawkes after the film’s Sundance debut to discuss the indie labor of love, why O’Brien’s story resonates so powerfully, and how opportunities have expanded for him since breaking out two years ago in Park City with his Oscar-nominated turn in Winter’s Bone . I grew up close to Berkeley and was a little familiar with Mark O’Brien before seeing the film, but it captured that sense of place for me – especially with little touches like Pink Man to set the atmosphere. Yes, of course! That’s good, because we shot in Los Angeles because we couldn’t afford to shoot up there. We had to make our own Pink Man and everything. [Laughs] Luckily there are a couple of Victorian streets in Los Angeles that we were able to utilize. How familiar were you with O’Brien’s story beforehand? I was minutely aware of Mark because I had heard of Jessica Yu’s amazing, Academy Award-winning short doc about Mark, called Breathing Lessons . I’d just vaguely kind of remembered that, and I may have seen an article about him at that time, but it was a new kind of story to me when I picked up the script and read it. I was pretty taken with the script itself, by Ben Lewin, and knowing he was going to direct the film which is often a wonderful thing – it’s the person who wrote the script, directing the movie. I just thought he was an extraordinarily interesting man, a polio survivor himself and very uniquely qualified to tell the story. When the project came to you – a very challenging role, to say the least – what made you decide you had to do it? My first question to Ben, as we sat down to meet before he’d offered the role and before I’d accepted the role, was ‘Why not a disabled actor?’ And he assured me that he had taken the last couple of years, he’d put out feelers to disabled groups, and had auditioned several people – a couple of them are in the film – and just felt like he hadn’t found his Mark. So with that huge question answered, I talked to Ben a lot about how he saw the film as a whole, how he saw the character of Mark; I had my ideas, we chatted and seemed to get along really well, so it was a good fit. We went forward from there. And this is a very small project. Ben raised the money by appealing to friends, basically, and so this tiny little script suddenly attracting William H. Macy, Helen Hunt, and a bunch of other wonderful actors – it’s vindicating to read something and think, ‘This is really good!’ And then you realize other people think so too. I’m not insane, it is a great script! How challenging was the shoot itself, physically? It was very challenging – again, a minute amount of the challenge that a disabled person faces, moment to moment, but certainly it was physically challenging. I helped invent a device that we used to curve Mark’s spine, basically a large piece of foam that we nicknamed ‘The Torture Ball’ because it would lay under the left side of my body and curve my spine for every shot in the movie. Sometimes I’d have to lay on that for an hour at a time, and it was hard – it apparently displaced my organs. [Laughs] My chiropractor told me that my organs were migrating and to hopefully finish the movie soon. I have minor health issues that may relate to laying on that thing, but nothing compared to what many people suffer daily, and it’s a small price to pay for what’s turned out to be a really beautiful film. To paraphrase Mark himself in the film, it may have hurt – but it was worth it? Yes! Definitely. It’s an interesting choice that Ben made to present Mark’s story here not as a straight biopic but with a focus on his relationship with his sex surrogate. What do you think that shifted angle brings, as opposed to a more conventional portrayal? Interesting. I think Ben originally had seen the movie as a biopic and then began to realize that the part of Mark’s life that interested him the most was his quest to learn his sexual possibilities as a disabled man. I think it’s a really wise choice; biopics are interesting, but I’d rather see a documentary of a person’s whole life, and I’d much rather see a narrative feature focused on a small piece of their life. And if you can focus on a small piece of someone’s life and tell it well enough, I think it informs the whole of their life. And there’s a real interesting story there – there’s a relationship that develops, certainly heightened in our film, but with the blessing of the real surrogate, Cheryl Cohen Green, to heighten and complicate their relationship a bit and to make it a love story of sorts. The subject matter, as you describe it, doesn’t have wide appeal but I think it has so much humor and so much truth, it’s a breath of fresh air. Mark’s voice really comes through – the same painfully honest, witty spirit you can see in his writings. It was important to me to fight self-pity at every turn, and for the film as a whole to fight sentiment as much as possible. He certainly never wanted people to feel sorry for him . No! The idea that he was a courageous person and stuff, he thought was bullshit. Like, how do you presume to know what I feel, what I go through? I think through his articles he was very interested in the political and social aspects of his disability. One thing that’s striking about Jessica Yu’s film, and I believe I also read something Mark wrote about it, is that to the taxpayer – to those of us who help support disabled people by paying taxes – it was half or maybe one-third of the cost of him being in an institution and live on his own, to pay rent, to hire attendance, way less of a strain on the taxpayer than keeping him an institution, where he was sadly stuck for a few years of his life when his parents were too old to take care of him. Luckily, the University of California, Berkeley in the ‘70s said, we’ll take care of any student who qualifies, who can pass our admission – it doesn’t matter what their disability. There’s an amazing photograph of his iron lung, 800 lbs. of it, hanging from a crane right outside his dorm room window as they’re trying to get it inside. So I know Mark always had a really felt beholden to Berkeley and felt a wonderful debt to that college and that town. They opened up his life, he was kind of reborn in his 30s in Berkeley. Sex and love are central to Mark’s journey in this film, and it’s such a fascinating terrain to explore – the relationship between disability and sexuality, and sexuality and manhood, and what they all might have meant to him. I can’t exactly speak in exact detail to his innermost thought, but he was quite effusive in his writings. In Jessica Yu’s film there is a brief mention of his surrogate time. Bill Macy’s made the point that he worked with a group, and disabled people, like able-bodied people, want to be independent as much as possible and live their lives that way, and they also want to love and be loved. Those are commonalities among people everywhere, and certainly disabled people are no exception. I think that Mark mainly was interested in sex because he was more largely interested in love and in a relationship with someone, and I think that he felt that if he ever met someone he could love, that he would want to have explored his possibilities, sexually. So that’s where the surrogate comes in. The minute that the first screening here ended, folks were buzzing about next year’s Oscars. It’s a little early! [Laughs] It’s a lot early. I mean, there may be twenty more amazing films that come out in the next year. I hope so! So who knows? It’s way too early and it doesn’t exactly make me nervous, I just turn a deaf ear to it because low expectations have always been the key to happiness for me. I don’t want to expect things to happen as much as hope, and if those Oscar predictions come true, fantastic – because it will bring more people to this film. After the success of Winter’s Bone , perhaps, how much did things change for you? Has the way that you’ve chosen projects in the last few years evolved at all? No, though I’ve certainly been afforded the opportunity to choose what I might be a part of. It’s not like every director in every movie is seeking me out by any means, there are a lot of things I’m not suited for, a lot of things I’m not interested in, and a lot of things that directors wouldn’t be interested in me for. What are you interested in? I’m interested in amazing stories told by talented people, and to get to play a terrific role. The three things I try to find are story, parts, people. Has it gotten easier to find the great characters? You know, I think it maybe is. It’s certainly changed for me because when I first got to Los Angeles 20 years ago, I had worked a lot of my life and was still working regular jobs. Acting was more fun to me, and paid better when I could get the gigs, so in order to avoid any further carpentry and restaurant work and things I’d been doing for many years, I just took whatever came my way. I was happy to be able to pay rent and eat. Certainly I’m freer now; I don’t get to do everything I want to do, but I no longer have to do things I don’t want to do – so that’s good. This interview previously ran as part of Movieline’s Sundance 2012 coverage. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Also in Friday morning’s wrap of news briefs: Variety appoints its new publisher. Shirley MacLaine eyes her next gig. And, take a look at the new Specialty newcomers for the weekend. Robert Rodriguez’s Machete Kills Heads to Open Road The new movie sees Danny Trejo reprising his role as ex-Federale agent Machete and adds Michelle Rodriguez, Sofia Vergara, Amber Heard, Charlie Sheen, Lady Gaga, Antonio Banderas, Jessica Alba, Demian Bichir, Alexa Vega, Vanessa Hudgens, Cuba Gooding Jr., William Sadler, Marko Zaror and Mel Gibson. Here’s what is known about the pic: “Machete “recruited by the president of the United States for a mission which would be impossible for any mortal man: He must take down a madman revolutionary and an eccentric billionaire arms dealer who has hatched a plan to spread war and anarchy across the planet,” THR reports . Ewan McGregor and Kate Hudson Eye Born to Be King McGregor will play dual roles as an extra who resembles a major movie star. Hudson, who is still in talks to join the project, would play a Hollywood starlet who has issues with the star but likes the extra, THR reports . Variety Names Michelle Sobrino-Stearns Publisher Its associate publisher Sobrino-Stearns was named publisher, the first big move at the Hollywood trade publication since Penske Media Corp. acquired it earlier this month. She is Variety’s first female lead in its century-plus history, Deadline reports . [ PMC is the parent company of Movieline ] Shirley MacLaine Eyes Tammy MacLaine is in talks to star opposite Melissa McCarthy in road trip comedy Tammy . The story centers on a woman who is laid off from her job at Hardee’s, discovers her husband is having an affair and decides to go on a road trip with her alcoholic, foul-mouthed, diabetic grandmother, THR reports . Specialty Box Office: The Sessions , All Together , Holy Motors , Tai Chi Zero Jane Fonda, Kylie Minogue, Helen Hunt, William H. Macy and more have debuts in the Specialty realm this weekend. Fox Searchlight hosted a series of word-of-mouthers for The Sessions which it nabbed at Sundance. NYC distributor Kino Lorber is teaming with Tribeca Film for its first title going out via theatrical day and date with French-language All Together . Cannes favorite Holy Motors will head out in theaters via Indomina, opening in New York this weekend, followed by releases in various U.S. cities Deadline reports .
Kim Kardashian has conquered another medium, but she may not be so thrilled about its coverage for once in her life. Illustrator Noval Hernawan has teamed with Bluewater Productions – the same company behind comics in honor of Robert Pattinson , Justin Bieber and many others – to create “Kim Kardashian: 15 Minutes.” It will chronicle the reality star’s rise to fame and all of her ex lovers, including first husband Damon Thomas and, of course, focus a great deal on the Kim Kardashian sex tape . “It’s safe for me to say that overall, I’m quite happy with the end result of this project,” Hernawan says. “I’m very grateful to be given this opportunity, and I hope the reader will enjoy the book as much as we enjoyed making it. Hopefully Kim will too!” Kim Kardashian: 15 Minutes is out RIGHT NOW. Will you pick up a copy?
Microsoft and 343 industries aren’t getting into the cinema, they’re sidestepping it entirely as an obsolete technology. Halo 4: Forward Unto Dawn is a 90-minute, $10 million dollar movie , and if you’re wondering why you haven’t heard about its upcoming release, it’s because it’s already out . The new movie follows the a squad of military cadets as they gradually learn how to be soldiers and then, very suddenly, learn that they’re under alien attack. Finally, they learn that Master Chief kicks ass. But gamers already knew that. Master Chief is the ultimate tough guy. A bulletproof power-armored soldier, faceless by design behind his golden visor, all he does is sleep and fight. Literally: They keep him in cryosleep until its time for him to open another can of interstellar whoop-ass. He’s so self-sufficient an action star that he even carries his own damsel in distress with him, Cortana, a smokin’ female AI that’s been loaded into the computers in his armor. (This enables her to call him long-distance when the bad guys get her.) Given those credentials, how insane is it that he and Halo haven’t been in the cinema? Think about it: Halo is one of the most popular gaming franchises in history. It’s the face of an entire console generation, a multi-billion-dollar phenomenon that generates block-long lines with the release of every new chapter of the game and opening weekend sales that would make most movie producers and studios weep into their cayenne-pepper cleansing smoothies. Even novels based on the game have been bestsellers, and novels based on games have a worse reputation than the used socks of gamers. Halo would seem to have all the ingredients for an awesome summer tentpole picture: An inscrutable tough guy teams with unlikely allies to battle invading aliens and, along the way, encounters enough twists and support characters to support a full trilogy. (Sergeant Johnson alone deserves his own movie). And yet, Halo has been knocking around Hollywood production hell for seven years. In that time, the franchise has produced five more games, including a remake of the original 2001 game, Halo: Combat Evolved . An early script was written by Alex Garland, whose merciless Dredd 3D demonstrates that he’s the perfect writer for tough-guy-in-helmet-kills-everything plots. In 2005, Peter Jackson came on board as executive producer and Neill Blomkamp, who would go on to make District 9 , was set to direct, and for a few months gamers were certain their dreams of a Halo movie were about to become computer-generated reality. Given the sweeping battles that Jackson depicted so vividly in LOTR , we envisioned breathtaking footage of the epic space combat only hinted at in Combat Evolved, alongside the and close-range futuristic firefights the game was all about . (Even fanfic that combined both franchises sounded possible. Imagine a crossover in which Legolas swings up around the turrets of a giant Covenant Scarab to shove an Energy Sword through its core, while Gimli clubs Brutes with their own gravity hammers and shouts “That still only counts as one point!”) Ironically, the huge financial potential of the Halo film is what ultimately doomed it. Microsoft saw the property as nothing less than the ultimate game movie and wanted to be compensated accordingly. Twentieth Century Fox and Universal initially partnered to take on the challenge, but the project collapsed over costs. The rights reverted to Microsoft, which was left with a money-minting game franchise that no one wanted to make mint money from. Which may be why Microsoft has decided to test the waters on its own. The company has a can’t-miss franchise and a vast entertainment network already wired to Halo’ s target market. It’s no secret that Microsoft and Sony have been positioning their Xbox and PS3 consoles as home-entertainment centers for years now. Gamers can stream Netflix movies through the former and watch Blu-Ray discs on the latter. And now here comes Microsoft with its very own content: Halo: Forward Unto Dawn, a live-action web series tied to the Nov. 6 release of Halo 4, which also bears the Forward Unto Dawn subtitle. Microsoft-owned 343 Industries has produced five 20-minute webisodes, which if you add them up clock in at the length of a feature film. Then again, the shows are released weekly and distributed through Machinima , host to several popular video game series. The series is essentially an extended advertisement for the Halo games, but that doesn’t make it any less good. George Lucas kept Star Wars fans coming back to the cantina by expanding the universe and telling the story of brand new characters. With Forward Unto Dawn , the lines between advertising and content are blurred enough that it’s possible to enjoy both. This advertising pedigree also helps with production – they’re using everything they know about internet marketing, building interest in the series by slipping in hints about the hotly-anticipated Halo 4 game. Guaranteeing that every player will watch. The teaser trailer told fans everything they need to know: We’re sure a certain officer Lasky will turn up the upcoming Halo 4 . Impressively, Microsoft is now taking the “pay if you want to” model of many independent internet creators. The entire series runs free for everyone on YouTube, and will later be available for sale as a standalone DVD or — much more likely for most fans — an extra in a Collector’s Edition of Halo 4. That’s the exact opposite of cinema: you get to see whether you like it first, then you can pay some money. Most modern movies wouldn’t survive under those conditions. This is a test. Microsoft has a can’t-miss canon, an established fanbase, its very own distribution network, and a healthy love of making money. The producers of Resident Evil: Damnation recently avoided cineplexes entirely (possibly because it’s offended by the live-action movies), and marketed the movie directly to its hardcore fanbase through — via their consoles — a week before the DVD was released. If this series succeeds, it won’t just be a good collection of YouTube clips — it’ll be proof that movies don’t belong exclusively to the movie industry. Luke McKinney loves the real world, but only because it has movies and video games in it. He responds to every tweet. Follow Luke McKinney on Twitter. Follow Movieline on Twitter.
Biography for Damaris Lewis Residence: Brooklyn, NY, US Hometown: Coney Island, NY, US Height: 175 Eye Color: Brown Date of Birth: October 10, 1990 Agency: Ford Campaigns: YSL Beauty, Clarins, black|Up Charities: Project Sunshine Damaris Lewis (born October 10, 1990) is an American model that appeared in the 2009, 2010, and 2011 Sports Illustrated Swimsuit Issues. Lewis was born and raised in Brooklyn, New York. She studied with a conservatory-style arts concentration in dance at Fiorello H.
