Chelsea Clinton is featured in the new issue of Vogue magazine. In it, she muses that like her famous parents – Secretary of State Hillary Clinton and former President Bill Clinton – she may seek office too one day. “Before my mom’s campaign I would have said no,” Chelsea said . However, “If there were to be a point where it was something I felt called to do and I didn’t think there was someone who was sufficiently committed to building a healthier, more equitable, more just, more productive world?” “Then that would be a question I’d have to ask and answer.” Clinton, 32, who married investment banker Marc Mezvinsky in 2010, said her celebrity is “something I could continue to ignore or it was something I could try to use to highlight causes that I really cared about,” she told Vogue . “I believe that there are many ways for each of us to play our part. For a very long time that’s what my mom did. And then she went into elected public life. Her life is a testament to the principle that there are many ways to serve.” “Historically I deliberately tried to lead a private life in the public eye,” she said. “And now I am trying to lead a purposefully public life.” People have pondered Chelsea’s political future for her since … forever. “It was something I had thought a lot about because people have been asking me that my whole life,” she said. “Even during my father’s 1984 gubernatorial campaign, it was, ‘Do you want to grow up and be governor one day?’ No. I am four.”
Chelsea Clinton is featured in the new issue of Vogue magazine. In it, she muses that like her famous parents – Secretary of State Hillary Clinton and former President Bill Clinton – she may seek office too one day. “Before my mom’s campaign I would have said no,” Chelsea said . However, “If there were to be a point where it was something I felt called to do and I didn’t think there was someone who was sufficiently committed to building a healthier, more equitable, more just, more productive world?” “Then that would be a question I’d have to ask and answer.” Clinton, 32, who married investment banker Marc Mezvinsky in 2010, said her celebrity is “something I could continue to ignore or it was something I could try to use to highlight causes that I really cared about,” she told Vogue . “I believe that there are many ways for each of us to play our part. For a very long time that’s what my mom did. And then she went into elected public life. Her life is a testament to the principle that there are many ways to serve.” “Historically I deliberately tried to lead a private life in the public eye,” she said. “And now I am trying to lead a purposefully public life.” People have pondered Chelsea’s political future for her since … forever. “It was something I had thought a lot about because people have been asking me that my whole life,” she said. “Even during my father’s 1984 gubernatorial campaign, it was, ‘Do you want to grow up and be governor one day?’ No. I am four.”
I am a fan of Paz de la Heurta cuz she’s on some gutter slut kick…and I was actually pretty amazed by the fact that she actually got work on TV back in the Boardwalk Empire days before getting fired…you know cuz she looks like some rich kid who has an artist loft in New York that she uses to fuck everyone as she fucks herself up with various drugs cuz daddy was too busy working and fucking the secretary to make her feel secure in her privileged self life…..but I was probably only a fan cuz she was always naked and rocking a hipster bush that coincidentally maintained historical continuity….cuz all other girls they auditioned were bikini waxed and that just wouldn’t work for a 1920s whore…. Either way, since her being fired, she’s been in a lot of nude shoots, staying relevant and thus staying awesome and I dig it…. No idea when this one is from, but I like it, it’s an opitical illusion and shit….trippy.
Also in Thursday morning’s round up of news briefs, French director Leos Carax will receive honors at the upcoming Locarno Film Festival and a pair of actors take lead in upcoming thriller The Machine . Also actors Susan Tyrrell and Richard Lynch have died and Cannes, San Sebastian form alliance with Argentine film market. French Director Leos Carax to Receive Locarno Fest Honors Carax will receive the Locarno Film Festival’s Pardo d’onore prize. To mark the occasion, the filmmaker’s five features – Boy Meets Girl (1984), Bad Blood (1986), The Lovers on the Bridge (1991), Pola X (1999) and Holy Motors (2012) will screen. The latter screened in competition at last month’s Cannes Film Festival. Actors Board Sci-Fi Thriller The Machine Caity Lotz ( Mad Men ) and Toby Stephens ( Die Another Day ) will play the leads in sci-fi action thriller the sci-fi thriller directed by Caradog James ( Little White Lies ), the film is produced by John Giwa-Amu from Red and Black Films. Jamie Carmichael of Content is Executive Producer. Start of principal photography is set for July 23rd in Cardiff, UK. Around the ‘net… Universal Readying Jurassic Park 4 Steven Spielberg will produce along with Kathleen Kennedy and Frank Marshall. Rise of the Planet of the Apes writers Rick Jaffa and Amanda Silver will write the fourth version which Spielberg will not direct. The three previous installments grossed over $1.9 billion collectively, Deadline reports . Spider-Man Estimated to Pass $125M Over Holiday Starring Andrew Garfield and Emma Stone, The Amazing Spider-Man ‘s pre-release tracking is showing a six-day opening of $125M, the best of any summer film aside from The Avengers , THR reports . Oscar-nominated Susan Tyrrell Dead at 67 Nominated for best supporting actress for her role in John Huston’s 1972 boxing movie Fat City , she also appeared in an array of films and TV including Andy Warhol’s Bad and John Waters’ Cry-Baby . She died June 16th, reports Deadline. Actor Richard Lynch Dead at 76 American actor Richard Lynch who was a staple of horror movies and used his scarred face to play villains died in Palm Springs. His face became scarred when he reportedly took LSD in Central Park in New York and set himself ablaze. He will appear in The Lords of Salem to be released next year, BBC reports . Cannes, San Sebastian and Ventana Sur Create Alliance The Cannes Film Market’s producers network and Argentina’s Ventana Sur have created a strategic partnership with the San Sebastian Film Festival. The Europe-Latin American triangle will “fast-tracking select movie projects from production conception to sales,” Variety reports .
I was deeply saddened yesterday to hear of the death of Andrew Sarris , a passionate critic and elegant writer who didn’t just change the landscape of criticism; he changed the way many of us think about movies, challenging, with gentle humor and lots of grace, everything we thought we knew. Sarris was at the vanguard of film criticism in the ’60s and ’70s, along with Pauline Kael and Manny Farber. Over the years, there’s been plenty of fuss made over the Sarris/Kael feud, and movie lovers have often felt pressured to choose one camp or the other. But why? As I’ve said elsewhere, criticism isn’t about consensus – what’s most valuable is a critic’s ability to open your eyes, to make you see things that wouldn’t have occurred to you otherwise. The challenge isn’t just part of the bargain – it’s the whole bargain. And especially as we move further into an era of critic-proof big-budget movies – abetted by newspapers and other publications that happily repackage studio hype even as they’ve decided that professional critics are relics – Sarris’ contributions to the tradition and craft of film criticism have come to seem even more precious. In fact, they’re immeasurable. I knew Andrew only a little, but he and his wife, the extraordinary film critic Molly Haskell, have shown great kindness and generosity toward me. It would have been enough for Andrew Sarris to have been a fine critic. But in the end, it’s how you treat people that matters, and Sarris, who was a teacher as well – he was beloved by his students, and I can only imagine he was wonderful – led by example. Those of us who care about film – who continue to care about its guts and innards as an art form, and about the way it opens us to the wider world – owe a great deal to Andrew Sarris. We won’t see his like again. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
“Somewhere in this block are two judges,” a crime lord declares over loudspeakers in a concrete, locked-down tenement. “I want them dead.” Is this the American remake of Gareth Evans ‘ fantastic silat action pic The Raid ? Nope. It’s the first trailer for Dredd ! As in, the second cinematic coming of Judge Dredd, the futuristic crime fighting officer made famous by Sylvester Stallone , here replaced by a serious-faced, robotic Karl Urban, whose lower jaw we’re going to be seeing a lot of in the September reboot. Pete Travis ( Vantage Point ) directs (after some editing room drama ) the slick-looking Dredd — shot in 3-D — which promises a dirty future ridden with crime, the population under the control of Lena Headey’s drug-pushing villainess. The fictional narcotic “Slo-mo” makes characters feel as if time is moving at a slow crawl, giving Travis the occasion to give things that gorgeous speed-manipulated floating feeling, which should help distract from the glaring familiarity of the film’s set-up. Which brings me to the aforementioned issue; if I hadn’t seen (and loved) The Raid , which exploited the basic premise of a few lone law officers fighting their way through a slum building to get to its big boss with great aplomb, the trailer’s plot reveal would feel a lot fresher. Now I’m just wondering if any of the fights will come close to matching the inventiveness of Evans’ bone-crunching Indonesian picture. And with Urban set to never take off that Dredd mask in the film — and delivering lines like “I’m the law” with no trace of Sly’s charisma — this feels like a precursor to the RoboCop reboot , only with less emotion. And then there’s the Dredd -ness of it all. Olivia Thirlby in that Dredd -ful hairdo will have to work hard to measure up to Diane Lane’s feisty sidekick in 1995’s Judge Dredd , silly as that movie was, even as this Dredd — based more on the comics than its predecessor — is clearly taking a more solemn approach. The most promising element here is Headey and her scarred-but-hot lady crime lord — now there’s something you don’t see often. Verdict: More of a curiosity than a must-see. Dredd hits theaters September 21. [via Machinima ]
The Invisible War by director Kirby Dick and producer Amy Ziering is simply shocking. In this doc, which won the Audience Award at the Sundance Film Festival in January and screened at the recent Provincetown International Film Festival (where it also picked up an audience prize) the filmmaking duo expose a long-brewing scandal in the U.S. military. Sexual assault against both women and men has run rampant throughout the various branches of the military and even up the chain of command. It is, in fact, the chain of command that has, in part, allowed rape and other sexual assault to remain virtually hidden despite its ubiquity. The Invisible War blows the cover off this decades-old (or older) crisis with an emotional and devastating look at the victims of sexual assault and how it can be fixed. Though the film will be released theatrically this weekend, it has already had a major impact. Defense Secretary Leon Panetta screened the film and soon afterward announced some reforms. Though, as Kirby Dick warns in his interview with ML from the recent Provincetown festival, the moves are not enough and the U.S. military still needs to take some cues from its allies in alleviating this scourge. It may be tough to watch, but the film is riveting and the stories of individuals he and Zeiring interview are phenomenal. Dick has screened the film for various groups since Sundance and its subsequent East Coast premiere at Provincetown and, as he explains in his conversation with ML below, audiences have been riveted by what has been uncovered. What led you and your producer Amy Ziering to this topic and ultimately doing a film? Amy and I read an article in by Helen Benedict in Salon and we were astounded by the numbers of people sexually assaulted, and we were equally astounded that nobody had made a feature documentary on this. From a filmmaker point-of-view, that is sort of lucky when that happens. We pretty much decided right then and there that we’d make this film. I remember hearing about the Tailhook scandal in the ’90s when a number of women were assaulted at a U.S. Navy/Marines event in Las Vegas. And despite that, I still thought this was a horrifying yet isolated outrageous incident. I didn’t think it was so pervasive… Yeah, I remember following that situation and the Air Force Academy [situation] and I wondered when I was making this film why I hadn’t done this 15 years ago. It seems so isolated, but then it’s over – but no, it’s systemic. And the military has been very good at conveying that these are isolated. They’ll deny it or then blame the victim or they’ll say it’s been dealt with and it’s in the past. This has been covered up for generations. I would imagine, and I don’t have statistical evidence in this, but I would bet it’s a part of militaries forever and a problem in foreign militaries that have women or even ones that only have men. And that’s one thing we hope that this film will do as it plays around the world, which is to raise the same discussion in those countries as well. Are these people not able to call the police as civilians do or hopefully do? If they’re in the military it’s almost always referred to military authorities. If it happens on base then it automatically is referred to military authorities and if it happens off-base, then yes it is possible to call civilian authorities, but they very often will refer it back to the military. This must’ve been a heart-wrenching experience for both of you filming this doc. My mouth was dropping hearing these stories and I couldn’t help but talk back to the screen. Yeah, it was. Each one of these interviews were equally stunning. Amy did each interview and she did a phenomenal job and she’d be emotionally drained and devastated and be incredibly angry afterward. It was a good combination [for the creation of the film] and I knew we’d get it. The assaults of course were horrifying in and of themselves, but then to see how the institution reacts to these assaults is absolutely incredible. That’s one of the things we hope this film will inspire. Not only the outrage but this sense of responsibility which you’re alluding to that we all have in this country. There’s a sense that there are military families and non-military families and sometimes people without family members in the military think that they’ll simply take care of themselves. We all have responsibility for people in the military. We’re all a part of one society whether we agree with what the military is doing or not. And I’ve seen this happening. One of the things I foresaw was bring together veterans groups and women’s groups. In fact, we’ve set up a coalition to extend the impact of the film together with civil rights groups and sexual assault groups. And what we want to see happen is a push for reform after the film has gone. Did you reach out to any of the people who were accused? We decided not to do that. But what we did try to do is reach out to someone who was convicted. We tried to do that through many defense attorneys. We were interested in getting his perspective. It would be a courageous act for someone to come forward and talk about this, but ultimately we weren’t able to get anyone. Traditionalists may hold all of this up as evidence that women shouldn’t serve in the military or that they shouldn’t serve alongside men in the military and I was curious what your response is to that? Well I think first of all, that’s holding the men in our military with great disrespect. I believe the men in the military are more than capable of taking care of and not assaulting the people who they serve with side by side. And in the second place, these women make amazing soldiers. The women in our film are the people you would want in the military. They are so good at what they do and so idealistic. They’re model soldiers and that’s one of the tragedies. There was this problem with these gay translators being dismissed from the military and that was also a significant loss to the military. How did you get Leon Panetta to see this? Well, it was part of a long campaign immediately after Sundance. This movie was made to change policy. We got this into the hands of high ranking retired officers. We had dozens of screenings for officers’ wives, non profits, other military organizations and corporate leaders to get the discussion going and not only get the military aware of it, but also to get them to react to it. Eventually, it got to the Defense Secretary who saw the film and two days later held a press conference to announce significant policy changes. We later learned from our executive producer Jennifer Siebel Newsom, the wife of California Lieutenant Governor Gavin Newsom – and all three know each other – that Jennifer saw Leon Panetta at the White House Correspondence dinner and Panetta told her he was really moved by the film and decided to hold the press conference in part because of the film. So the campaign was successful to that degree. But there’s a lot more to do. The changes he announced do not fully take investigation outside the chain of command. It still remains within the chain of command and until that happens, there’s still opportunity for great miscarriages of justice. It should be taken out and there should be no opportunity for a conflict of interest. Take it out like it’s done in every other justice system. There are running sexual themes in many of your films including Twist of Faith and Outrage . Is it fair to say you’re drawn to topics related to sexual taboo – or maybe not “taboo” exactly but you get what I’m saying… Maybe not so much taboo, but yes I think there is. On the one hand sexuality is made for the cinema – any sexuality. But I’m also interested in almost all my films about sexuality and its relationship to trauma. Some more than others, but in some ways trauma is playing some sort of role to sexuality. Certainly as a documentary filmmaker I approach this topic similar to a novelist. The sexuality and the traumatic history of a subject makes for great material to work with. I think it’s something I work with – not always – but do work with [consistently].” Has the audience reaction here in Provincetown and at Sundance been what you have expected? Oh yeah, even more so. I also do these small screenings in various places [between the festivals] and people just wouldn’t get up afterward and I’ve never had that. I saw that they were really affected by this. It’s the experience we had when we were doing these interviews. You’re like, ‘this can’t be true.’ But at the same time you just want to reach out to them. Follow Brian Brooks on Twitter . Follow Movieline on Twitter .
The U.S. soccer team is facing considerable backlash for snubbing American troops in Guatemala Monday, but claims it was all a misunderstanding. Team America flew in for a World Cup qualifying match, where troops gathered on the tarmac and cheer them on to victory in Central America. When the guys got off the plane, they walked right to the waiting bus and peaced out, though, without even an acknowledgement or thank you. Some of the troops were understandably insulted. Some soldiers’ friends and family took to Facebook to express their disgust. Among the many choice comments posted after the perceived slight: “What a disgrace that a team that wears American colors can’t take five minutes to acknowledge the soldiers that fight for what those colors represent.” A rep for the team apologized, saying, “The players and staff were simply unsure of the correct protocol in terms of engaging the military members.” “[We] weren’t sure if they were welcoming them or providing security.” Their apology went over well with the troops, supposedly, so that’s good. As for the outcome of the game … we have no earthly idea.
Forget “Maybe.” You may now call Carly Rae Jepsen Queen of the Music World. That’s because the 26-year old Canadian, signed by Justin Bieber to his label just a few short months ago, has officially hit number-one on the Billboard 100, with “Call Me Maybe” overtaking Gotye’s “Somebody That You Used To Know” atop the rankings. The addictive Jepsen single has been lip dubbed by everyone from Katy Perry to the E! Fashion Police . But how can we be certain the track has broken through to every conceivable demographic? Because former Secretary of State Colin Powell actually sang it during a commercial break on CBS This Morning . We’re not kidding… Colin Powell Sings “Call Me Maybe”
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