File that under headlines you never thought you’d write. Sure enough, Snoop Dogg stars as Moses in an amazing new video, depicting the Old Testament figure in a star-studded Christmas rap battle against Santa Claus. As part of the Epic Rap Battles of History series (yes, it’s a thing), the big fella touts his contributions to December 25, telling Moses to begat deez nutz, among other gems. Snoop’s response? He’s got a new commandizzle for y’all … Thou shalt not let thy children sit on a grown man’s lap at the mall. And on and on it amazingly goes. You gotta see it to appreciate it: Moses vs. Santa Claus: Epic Rap Battles of History
You have to see this video posted by a New Zealand animal charity that teaches dogs to drive cars – for real – and more successfully than certain humans, no less. The driving dogs program was created by the Society for the Prevention of Cruelty to Animals in Auckland, with the goal of establishing that dogs are smart creatures. Mission accomplished, as evidenced by Porter here: Porter the Driving Dog The SPCA wants people to adopt its awesome driving dogs, who can also be trained to do many other things with proper guidance, and other pets in need of homes. Can you say full-time designated driver?!
Christopher Nolan ‘s Batman trilogy has amassed nearly $2.4 billion theatrically worldwide to date, but Wednesday night, the Oscar-nominated filmmaker ( Memento , Inception ) sat down at the Film Society of Lincoln Center giving insight on the nuts and bolts of the series, which ended this summer with The Dark Knight Rises , its classic Bond-esque treatment of terrorism, the late Heath Ledger, and the upcoming Man of Steel . Bat-Beginnings and Evolution Nolan recalled his foray into Batman via the ’60s Adam West television series growing up. He’d, of course, later take on the legendary comic superhero, but not without precedent. The DC Comics figure has taken on various manifestations on the big and small screens, including versions by Joel Schumacher and Tim Burton . But Nolan figured out he had a different take on Batman — something closer to the comics. “If you look at what Tim Burton did, it’s very specific world created with a Gothic vision that’s consistent with Batman,” Nolan said at the Walter Reade Theater in a conversation moderated by outgoing Film Society programmer/critic Scott Foundas. “But, what I felt I hadn’t seen was [what I observed] in the comics which was Gotham as an ordinary world — a place in which we could live. And so, when Gotham sees Batman he’s as extraordinary as he would be in our world. What Tim did is place an extraordinary character in an extraordinary world.” Nolan said he wanted to break down Batman and attempt to explain the trappings and elements that create the figure in his re-telling of the story. “Part of the fun making the film for me was explaining these elements in real terms. Why is he wearing this costume? What does it mean? How does he get the costume? Is it just him and Alfred and the Batcave…? So there was this terrific gap in pop culture history that we got to contribute to and it was great.” Though Nolan made reference to the original comic book version of Batman, he was quick to add that he didn’t consider himself a comic-book junkie, acknowledging that treading into that realm can cause a serious rebuke from die-hards. “It’s dangerous to pretend you’re a comic book fan among a certain crowd because they spot you very early,” he said. Terrorism And The Dark Knight Foundas likened 2005’s Batman Begins to the ’60s-era Bond films as a product of its age. The first in the trilogy came in the immediate post 9/11 period with terrorism at the forefront of the national — and even international — consciousness. Nolan snapped up the compliment being associated with something ‘Bond’ but then gave his interpretation of how the period affected his first installment of Batman . “The Bond films were very specific about the time and [reflected] the time of the Cuban Missile Crisis etc. It was very edgy for the time,” said Nolan. “I think that one of the things about taking on an action film set in a great American city [that’s also] set post-9/11 is that there was no way we weren’t going to [address terrorism] if we were going to be honest.” “It’s tricky to talk about terrorism. I felt a responsibility as a filmmaker to create something that is foremost as entertainment,” he said. “But after there’s some distance, I also feel a responsibility even as an entertainer to be honest about my feelings and honest about my [concerns]. Heath Ledger Tickets to the Christopher Nolan event, which included clips from all three films interspersed with the onstage conversation were snapped-up fast. The 270-seat Walter Reade Theater could have easily been filled two times or more. A waiting list numbered in the hundreds, noted an insider. Still, the atmosphere inside could probably be best described as riveted more than ecstatic. Nolan spoke in a subdued tone throughout the event, though some of the biggest emotional responses came when he spoke about Heath Ledger. In his second to last theatrical release, Ledger won a Best Supporting Actor Academy Award posthumously for his portrayal of the Joker in Nolan’s follow-up The Dark Knight . Well before shooting and even before there was a script, Ledger was cast as the villain, though he had initial trepidation about being in Batman . “We casted him before the script was even written, so he had a very long time to obsess over what he was going to do. I sent him some materials like A Clockwork Orange and other touchstones like paintings from Francis Bacon.” After Ledger finally received the script, it was Nolan’s turn to feel fear. By the time he received it, Ledger had already spent a lot of time developing the personality behind what would be one of his finest performances, though “becoming the Joker” did not come instantly. Still, he aced it and Nolan likened the late actor to the likes of Buster Keaton and Charlie Chaplin. “When I finally sent him the script it was very scary, because by this time he was so committed and knew what a high wire act it would be, and if he hadn’t liked it I think it would have been extremely bad for us both,” said Nolan. “But he breathed a sigh of relief and I breathed a sigh of relief, and he really felt it delivered what we talked about.” “Like a lot of artists, he would sneak up on something. You couldn’t really sit him down and say, ‘OK, today you’re going to do the Joker.’ You’d have to say, ‘Let’s read this scene, and act it,’ and he’d read it with Christian [Bale] and there would be a line or two where you heard him doing something with his voice that was a little different, or he’d throw in a little bit of a laugh, but meanwhile never saying, ‘OK, this is it!'” Next: Nolan on his Tarantino-esque stable of actors and producing Man of Steel
The Victoria’s Secret Fashion Show is being filmed tomorrow….to be broadcast early December as an hour long paid advertisement for the billion dollar brand…to sell product for the Holidays, their biggest time of year…. I find the shit fucking offensive and boring….even though there are half naked girls who are amazing to look at in it…cuz there is something about corporate run garbage….designed to trick the lowest common human who has NBC or ABC or CBS…..by polluting them with content that is just an hour long fucking ad….disguised….. If I was gonna watch an ad….I’d rather it be one where the models are not millionaire, but tacky stripper bitches begging me to call them at 3 in the fucking morning…you know the ghetto infomercials we all jerked off to in the 90s….the “we can have a really good time, just call me…pick up the phone”….cam girls before cams existed…. Well CANDICE SWANEPOEL is one of the majors for the brand….and she’s posting her stomach to instagram…cuz I guess she likes her fitness…and as it turns out…so do I….this is hot….but then again…I am biased…cuz I can’t stand fat chicks./// Here she is in video some creep edited….
Danielle Sharp and the other Glamour Models who I used to ignore…represent the only thing that is fucking honest in the industry of babes in magazines…they are just tapping into the core of what matters in our society….and more importantly…in humanity…which is the fucking tits…and the willingness to show them off for fame…. They are like strippers…but more respected…with more of an audience…that bring us our basic needs without the bullshit…cuz they don’t think they are anything more than what they are…you know never too good to be softcore…cuz ultimately…it is just tits…but those tits…represent freedom….
Disney’s 2011 family adventure Mars Needs Moms wasn’t just a box office disappointment; it was a box office disaster , one of the worst in movie history . Mars producer Robert Zemeckis , appearing at the Philadelphia Film Fest with his latest Oscar-hopeful, Flight , prefers to remember Mars Needs Moms another way: “It’s the best 3-D movie since Avatar .” Zemeckis’s bold answer matched the bold question that prompted his trip down memory lane during Flight ‘s post-screening Q&A session on Saturday night. Following a string of massive career hits ranging from the Back to the Future franchise to Oscar juggernaut Forrest Gump , the Zemeckis-produced Mars Needs Moms opened last year as the filmmaker’s most high profile critical and commercial failure. ImageMovers Digital, the Zemeckis-founded CG house that produced Mars as well as his own films The Polar Express , Beowulf , and A Christmas Carol , was shut down after completing Mars , while plans to embark on a Yellow Submarine pic with Disney were also scrapped; needless to say, it’s probably not Zemeckis’s favorite topic of conversation. (For what it’s worth, Flight , Zemeckis’s Denzel Washington -starring return to live-action film, played well with the Philly crowd.) But one Philadelphia Film Fest attendee was eager for answers. Film critic Martin Schneider penned a reasonably questioning if snarky review of Mars Needs Moms at the time of release, criticizing the film for a slew of offenses ranging from its animation to character development, with particular scrutiny of the film’s “anti-gay,” anti-progressive gender messaging. He seized the opportunity during the Philadelphia Film Fest closing night film event to share how offended he was by the film, asking Zemeckis to explain: What happened ? For his part, Zemeckis didn’t flinch. Prior to the film’s screening, Philadelphia Film Society Executive Director J. Andrew Greenblatt told the audience that the director would be taking questions, and that they could “ask him anything.” It’s tough to say whether or not Zemeckis expected the subject of his history-making bomb to pop up, but when faced by his accuser he kept his cool under pressure, like Denzel’s alcoholic hero Whip Whitaker. And then Zemeckis flew the airplane upside down, so to speak. “It was not marketed properly,” he said of the 3-D CG sci-fi flop, which cost a reported $150 million to make and made back just $38.9 million upon release, becoming the worst Disney performer of all time and one of the most miserable wide release 3-D openings in history. Zemeckis said Mars Needs Moms had been lost in the studio shuffle. He called it “breathtaking.” “It’s the best 3-D movie since Avatar ,” he continued. “It’s the way 3-D should be presented.” Meanwhile, in a career built on crowd-pleasers and after a decade spent attempting to bridge the uncanny valley with CG children’s films, Flight marks only the second film Zemeckis has directed to earn an R-rating. (His first? 1980s’s Used Cars .) Rated R “for drug and alcohol abuse, language, sexuality/nudity, and an intense action sequence,” Flight wasn’t gunning for anything less, given its full-tilt dive into the depths of addiction. “There was no way an adult drama was ever going to be anything other than R-rated,” said Zemeckis. Still, he earned applause with a parting shot at the MPAA: “I hate the ratings system. I think it’s horrible and despicable, and we should get rid of it.” Flight opens nationwide November 2. For more info on the Philadelphia Film Fest, head here . Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Disney’s 2011 family adventure Mars Needs Moms wasn’t just a box office disappointment; it was a box office disaster , one of the worst in movie history . Mars producer Robert Zemeckis , appearing at the Philadelphia Film Fest with his latest Oscar-hopeful, Flight , prefers to remember Mars Needs Moms another way: “It’s the best 3-D movie since Avatar .” Zemeckis’s bold answer matched the bold question that prompted his trip down memory lane during Flight ‘s post-screening Q&A session on Saturday night. Following a string of massive career hits ranging from the Back to the Future franchise to Oscar juggernaut Forrest Gump , the Zemeckis-produced Mars Needs Moms opened last year as the filmmaker’s most high profile critical and commercial failure. ImageMovers Digital, the Zemeckis-founded CG house that produced Mars as well as his own films The Polar Express , Beowulf , and A Christmas Carol , was shut down after completing Mars , while plans to embark on a Yellow Submarine pic with Disney were also scrapped; needless to say, it’s probably not Zemeckis’s favorite topic of conversation. (For what it’s worth, Flight , Zemeckis’s Denzel Washington -starring return to live-action film, played well with the Philly crowd.) But one Philadelphia Film Fest attendee was eager for answers. Film critic Martin Schneider penned a reasonably questioning if snarky review of Mars Needs Moms at the time of release, criticizing the film for a slew of offenses ranging from its animation to character development, with particular scrutiny of the film’s “anti-gay,” anti-progressive gender messaging. He seized the opportunity during the Philadelphia Film Fest closing night film event to share how offended he was by the film, asking Zemeckis to explain: What happened ? For his part, Zemeckis didn’t flinch. Prior to the film’s screening, Philadelphia Film Society Executive Director J. Andrew Greenblatt told the audience that the director would be taking questions, and that they could “ask him anything.” It’s tough to say whether or not Zemeckis expected the subject of his history-making bomb to pop up, but when faced by his accuser he kept his cool under pressure, like Denzel’s alcoholic hero Whip Whitaker. And then Zemeckis flew the airplane upside down, so to speak. “It was not marketed properly,” he said of the 3-D CG sci-fi flop, which cost a reported $150 million to make and made back just $38.9 million upon release, becoming the worst Disney performer of all time and one of the most miserable wide release 3-D openings in history. Zemeckis said Mars Needs Moms had been lost in the studio shuffle. He called it “breathtaking.” “It’s the best 3-D movie since Avatar ,” he continued. “It’s the way 3-D should be presented.” Meanwhile, in a career built on crowd-pleasers and after a decade spent attempting to bridge the uncanny valley with CG children’s films, Flight marks only the second film Zemeckis has directed to earn an R-rating. (His first? 1980s’s Used Cars .) Rated R “for drug and alcohol abuse, language, sexuality/nudity, and an intense action sequence,” Flight wasn’t gunning for anything less, given its full-tilt dive into the depths of addiction. “There was no way an adult drama was ever going to be anything other than R-rated,” said Zemeckis. Still, he earned applause with a parting shot at the MPAA: “I hate the ratings system. I think it’s horrible and despicable, and we should get rid of it.” Flight opens nationwide November 2. For more info on the Philadelphia Film Fest, head here . Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Disney’s 2011 family adventure Mars Needs Moms wasn’t just a box office disappointment; it was a box office disaster , one of the worst in movie history . Mars producer Robert Zemeckis , appearing at the Philadelphia Film Fest with his latest Oscar-hopeful, Flight , prefers to remember Mars Needs Moms another way: “It’s the best 3-D movie since Avatar .” Zemeckis’s bold answer matched the bold question that prompted his trip down memory lane during Flight ‘s post-screening Q&A session on Saturday night. Following a string of massive career hits ranging from the Back to the Future franchise to Oscar juggernaut Forrest Gump , the Zemeckis-produced Mars Needs Moms opened last year as the filmmaker’s most high profile critical and commercial failure. ImageMovers Digital, the Zemeckis-founded CG house that produced Mars as well as his own films The Polar Express , Beowulf , and A Christmas Carol , was shut down after completing Mars , while plans to embark on a Yellow Submarine pic with Disney were also scrapped; needless to say, it’s probably not Zemeckis’s favorite topic of conversation. (For what it’s worth, Flight , Zemeckis’s Denzel Washington -starring return to live-action film, played well with the Philly crowd.) But one Philadelphia Film Fest attendee was eager for answers. Film critic Martin Schneider penned a reasonably questioning if snarky review of Mars Needs Moms at the time of release, criticizing the film for a slew of offenses ranging from its animation to character development, with particular scrutiny of the film’s “anti-gay,” anti-progressive gender messaging. He seized the opportunity during the Philadelphia Film Fest closing night film event to share how offended he was by the film, asking Zemeckis to explain: What happened ? For his part, Zemeckis didn’t flinch. Prior to the film’s screening, Philadelphia Film Society Executive Director J. Andrew Greenblatt told the audience that the director would be taking questions, and that they could “ask him anything.” It’s tough to say whether or not Zemeckis expected the subject of his history-making bomb to pop up, but when faced by his accuser he kept his cool under pressure, like Denzel’s alcoholic hero Whip Whitaker. And then Zemeckis flew the airplane upside down, so to speak. “It was not marketed properly,” he said of the 3-D CG sci-fi flop, which cost a reported $150 million to make and made back just $38.9 million upon release, becoming the worst Disney performer of all time and one of the most miserable wide release 3-D openings in history. Zemeckis said Mars Needs Moms had been lost in the studio shuffle. He called it “breathtaking.” “It’s the best 3-D movie since Avatar ,” he continued. “It’s the way 3-D should be presented.” Meanwhile, in a career built on crowd-pleasers and after a decade spent attempting to bridge the uncanny valley with CG children’s films, Flight marks only the second film Zemeckis has directed to earn an R-rating. (His first? 1980s’s Used Cars .) Rated R “for drug and alcohol abuse, language, sexuality/nudity, and an intense action sequence,” Flight wasn’t gunning for anything less, given its full-tilt dive into the depths of addiction. “There was no way an adult drama was ever going to be anything other than R-rated,” said Zemeckis. Still, he earned applause with a parting shot at the MPAA: “I hate the ratings system. I think it’s horrible and despicable, and we should get rid of it.” Flight opens nationwide November 2. For more info on the Philadelphia Film Fest, head here . Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
We’ve got a couple of nude picks for you this week in theaters: First, Korean act-chest Doona Bae makes her leap into the Hollywood mainstream with a topless role in Cloud Atlas (2012)–Mr. Skin Hall-of-Famers Halle Berry and Susan Sarandon also star in multiple roles, but they don’t get naked, so whatever. Also nude in theaters this week, super skinny model type Agyness Deyn (above) makes her onscreen nude debut in the hyper-stylized English-language remake of Pusher (2012). Agyness plays a smack-addled pole dancer in the movie, but we’d still push it. Push it real good… More after the jump!
We’ve got a couple of nude picks for you this week in theaters: First, Korean act-chest Doona Bae makes her leap into the Hollywood mainstream with a topless role in Cloud Atlas (2012)–Mr. Skin Hall-of-Famers Halle Berry and Susan Sarandon also star in multiple roles, but they don’t get naked, so whatever. Also nude in theaters this week, super skinny model type Agyness Deyn (above) makes her onscreen nude debut in the hyper-stylized English-language remake of Pusher (2012). Agyness plays a smack-addled pole dancer in the movie, but we’d still push it. Push it real good… More after the jump!
