In the wake of Jessica Sanchez’s near-exit, Randy Jackson and Steven Tyler say season 11 is anyone’s to win. By James Montgomery, with reporting by Kelly Marino Randy Jackson and Steven Tyler Photo: MTV News After “American Idol” voters tried their hardest to send presumptive front-runner Jessica Sanchez packing on Thursday night’s shocking results show — only to have their plan foiled by the judges, who promptly used their save to keep her in the competition — the deck has been re-shuffled, and it appears that this season really is anyone’s to win. Following Sanchez’s near-exit, two of those “Idol” judges spoke to MTV News, and they weren’t shy about letting their opinions be known. Simply put, they were as surprised as everyone to hear Sanchez’s name called. “I think [America] thought she was safe,” Randy Jackson said of Sanchez. “I think they thought she was safe … and I think they thought [fellow bottom-three dweller] Joshua [Ledet] was safe, because those two alone … have been the most consistent. So, you know, yeah, I think they just forgot.” “There’s just so many different singers out there. That’s why it’s hard for me now,” Steven Tyler added. “I like to let America judge. Tonight they were wrong.” More than likely, they were. But the inclusion of Sanchez in the bottom three raises a larger question about the show: Is it possible for anyone other than a guy to actually win anymore? The previous four champions — David Cook, Kris Allen, Lee DeWyze and Scotty McCreery — have all been proud possessors of the Y chromosome, and a male contestant has won in five of the previous six seasons. (Jordin Sparks was the last female to be crowned champion, way back in 2007.) And now, with Thursday night’s shake-up — and the rise of Colton Dixon and Phillip Phillips — it appears that history may repeat itself once again. Not surprisingly, though, neither Jackson nor Tyler seems to see it that way. “I don’t know, it’s a toss-up right now,” Jackson said. “I think it’ll be a person. ” “You gotta wait and see,” Tyler added. Of course, Jackson was also quick to admit that both Dixon and Phillips are strong contenders for the season 11 crown (which is probably why “Idol” mentor Jimmy Iovine spent so much time this week trying to pit them against each other ), and he saved a particular bit of praise for Phillips and his, uh, unique approach to the competition. “He’s his own guy, that’s what I love about him. He’s an individual, Steven’s an individual; that’s what a real artist is made of,” Jackson said. “An artist is not usually a follower; you want to be your own person. So I love that about him. I don’t know if it’s going to hurt him, but somebody’s gotta go every week now. It’s gonna be rough.” Get your “Idol” fix on MTV News’ “American Idol” page , where you’ll find all the latest news, interviews and opinions. Related Photos ‘American Idol’ Season 11 Performances
Steven Tyler was out to lunch at the Little Door Cafe today in Hollywood. We asked Steven if he had heard that “American Idol” contestant Phillip Phillips had been hospitalized, but Steven hadn’t heard yet. Then the rockstar rode off on his Custom Indian Tricycle. It’s good to be a star!!! “Like” us on Facebook @ facebook.com
Steven Spielberg was signing autographs for fans in New York. We asked the director-extraordinaire for his thoughts on Whitney’s Death. We couldn’t agree more with what Steven had to say!
Nancy Smash! shows her gentler side as she twists the knife and entreats Americans to stop her “out of control” ex-friend Steven Colbert’s nefarious use of “secret money from special interests” to attack “my friend Newt Gingrich.” Also. SuperPACs? You can’t explain that. Well, somebody made a brave attempt . [ via ] Broadcasting platform : YouTube Source : Rumproast Discovery Date : 09/02/2012 17:50 Number of articles : 2
Traditionally a “guilty pleasure” is something you’d be embarrassed for the world to know you secretly enjoyed or for your Facebook friends to see you clicked on, but you know what? Around here we embrace the bad-to-godawful movies we love, and besides; what the heck does it even mean to like something ironically, you insufferable hipster? Toss away your pretentious hat, sit down in the circle of trust, take a deep breath, and join Movieline in unabashedly celebrating the inane, misguided, off-the-mark, and downright B-A-D but nevertheless shamelessly entertaining movies of the year – the Top 9 Not-So-Guilty Pleasures of 2011 . Because we all love some terrible things, don’t we? 9. Nick Nolte in Zookeeper Maybe I just cribbed from everyone’s Worst Movies of 2011 list. Maybe Nick Nolte’s work as a TGI Friday’s-loving gorilla named Bernie in Zookeeper eclipses his shattering work in Warrior on the basis of its cringe-worthiness alone. And maybe I feel so bad that poor Nolte had to sing Florida’s “Low” in character as a gorilla opposite Kevin James that it’s endeared me to his scenes. Also: Primates instantly make any movie better. Everybody knows that. 8. The year in Armond White-isms Call for his head all you want, I’ll staunchly defend notorious film critic Armond White (The man who once coined the phrase “abortionhorny” and thought Lady Gaga would make for better Lisbeth Salander casting!) to the end, purely because his reviews are so goddamn entertaining. Add to that the iconoclast take on movies, supported by left-field arguments that are sometimes so crazy they make complete sense, and you’ve got an essential voice in contemporary movie writing. Even if he raved over Adam Sandler in drag; let that be an exception. 7. The Footloose soundtrack I have no fondness for Blake Shelton’s feeble country mimicry of a Kenny Loggins cover, but Movieline’s Louis Virtel was won over by the Footloose remake’s contempo-pop soundtrack of redos. They can’t all be Karen O-Led Zeppelin covers, I suppose. Let’s hear it for the art of pop homage done toe-tappingly well enough? 6. Gerard Depardieu PeeGate At first, it seemed like French acting legend Gerard Depardieu, to quote 2011′s viral sensation the Honey Badger, simply did not give a shit. But unlike the year’s other infamous celebrity incidents (Lars and the Nazi Joke Heard ‘Round the Word, Madonna’s HydrangeaGate), this one boiled down to one man’s humble humanity (and prostate issues). So ridiculous was the tale that Anderson Cooper broke his dashing resolve to giggle through his on-air report, but think of Gerard and embrace his moment of weakness; there’s no shame in acknowledging our fragile human vulnerabilities from time to time. 5. Season of the Witch / Drive Angry / Trespass (AKA A Good Year for Nic Cage) I wouldn’t call it a banner year for Nicolas Cage himself, but it was a great year to be a Nic Cage watcher. He started out 2011 with the medieval gift of silliness that was Season of the Witch , guzzled beer from his enemy’s skull in the genre pic Drive Angry , and (with the other Nic – Nicole Kidman) bequeathed us with Joel Schumacher’s Trespass , a film Movieline’s S.T. VanAirsdale loved, and laughed through, unapologetically. All one big set-up to watch him pee fire! 4. Tyler Perry’s Madea’s Big Happy Family My personal conversion to the church of Tyler Perry happened earlier this year when I found myself rolling in the aisles during Madea’s Big Happy Family . Is Perry’s Madea a cartoonish, hulking hurricane of a woman? Does she reinforce unfortunate cultural stereotypes even as she doles out totally reasonable life advice? All I know is Perry – the performer, the director, the check-cashing media tycoon (and sensitive man of the world) – is some kind of genius to have made an empire out of a wig, a muumuu, and an attitude, one that further allows him a pedestal from which he geniunely consoles and encourages his fans. Hallelujer, indeed. 3. Lonely Island’s “Jack Sparrow” All you need to know, if you don’t already, is that Jorma Taccone, Andy Samberg, and Akiva Shaffer – AKA Lonely Island – wrote an inspired ditty and snared icon of yesteryear Michael Bolton to sing the hook. Only ginormous film fan Michael Bolton turned it into a song about Pirates of the Caribbean , Forrest Gump , and all of his favorite movies — an ode to the cheesy, cliched movies we all love. Instant karaoke classic. 2. The Twilight Saga: Breaking Dawn Love it or hate it, the Twilight Saga is what it is. And when Robert Pattinson started chowing down on Kristen Stewart’s pregnant belly in the kooky denouement of Bill Condon’s vampire sequel, shit started getting so, so real. AND THEN THE WOLF GUY FELL FOR THE BABY AND OH MY GOD YES. 1. Abduction Speaking of Twilight , the universe that Stephenie Meyer created inadvertently led, in turn, to my number one most enjoyable film experience of the year: Sitting through the entirety of Abduction . Terrible line readings, second unit typos, Taylor Lautner’s posturing ’80s action-inspired swagger – it was all there, and it was all insanely terrible and great at the same time. Does this border on liking Abduction ironically? Maybe, but I couldn’t help it. Just know this: Every second of feeble-handed acting, directing, and writing held my attention rapt and engaged my senses; I came alive imagining the winding thicket of talent, dollars, and choices that could’ve churned out such a product. Was any of it intentional – was John Singleton just fucking with us all? Probably not, but still; this holiday season give yourself the gift of watching Abduction and soak in the glory of the ultimate Bad Movie We Love of 2011. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
I realize I may have given away some of these choices with my utterly correct listing of the year’s ten best performances , but no matter! 2011′s finest cinema, specifically the top three choices on my list, gifted us with bleak, but comprehensive glimpses into personal isolation. I love when a movie is resolutely grim — reminds me of home. Here are my top ten films of 2011. 10. Win Win Director Thomas McCarthy’s understated, thoughtful look at a suburban wrestling coach’s (Paul Giamatti) dubious business dealings dredges up your pity and empathy at different moments, but it mostly acquaints you with one of the best teenage performances of the past few years in newcomer and real-life wrestling prodigy Alex Shaffer. It helps that his character is well-written too. As McCarthy explained to us about the emotional lives of teenagers, “They’re struggling with all kinds of things — who they are, what they are, what they want to be. That, for many of those kids, is a very private and scary struggle. A lot of times how that manifests itself is a very deadpan approach to the world: ‘I’m not going to let you see what I’m feeling until I’m ready to really show that.’” When Shaffer is ready to show, it’s a poignant sight. 9. The Girl with the Dragon Tattoo I knew I was in for a treat the minute I heard Trent Reznor and Karen O’s cover of “Immigrant Song,” but David Fincher’s Dragon Tattoo so improves upon the original Swedish film trilogy thanks to two fantastic assets: blisteringly chilly cinematography and the commanding work of Rooney Mara as well-pierced heroine Lisbeth Salander. It may drag in parts, but Mara’s conviction merits a 160-minute runtime. 8. Weekend Tom Cullen and Chris New play the most insightful lovers of the year in Andrew Haigh’s low-key story of one lonely gay man’s short affair with a candid, self-possessed artist. The movie is especially incisive in its depiction of two men who relate both romantically and — in an empathetic way — fraternally. There’s not a pretentious or cloying moment in this wholly believable story. 7. Midnight in Paris Whimsy: I’m usually not a fan! But Midnight in Paris ‘s droll journey back to the heyday of F. Scott Fitzgerald, Ernest Hemingway, and Salvador Dali makes a wonderful protagonist out of Owen Wilson, a gorgeous backdrop for Marion Cotillard’s all-consuming charisma, and a weirdly perfect scene for the film’s moral. You either go with this movie’s kooky historical lark or you don’t, but every actor in that post-midnight time portal is just so fun. My favorite: Kathy Bates as a staunchly supportive Gertrude Stein. 6. Young Adult Forget the hype about “unlikable” heroine Mavis Gary, the grizzled authoress Charlize Theron plays in the new Jason Reitman/Diablo Cody joint Young Adult — She’s an imperturbable, amazingly deluded woman-child whose self-assured mania is more engrossing and “likable” than most characters you’ll encounter this year. I’d like to offer a new tagline for this cranky, suburban comedy: Assholes are Awesome .
Steven Spielberg’s War Horse is masterly, accomplished, stirring, a real bang-up, show-off job — and watching it, I kept wishing it had been made by someone else, someone younger who hasn’t already proved dozens of times, beyond the point of redundancy, how much he cares about what he puts on the screen. Because Spielberg does care, and not just about the movies he makes himself. His forebears are with him every step of the way: With War Horse he tries on many masks, including those of David Lean, John Ford, Stanley Kubrick and David O. Selznick, just because he’s Steven Spielberg and he can. He wants to be everyone and everything at once: At times it’s way too much, but at others it’s a relief. In an Oscar-grabby end-of-year movie landscape littered with itsy-bitsy fuzzy-wuzzy literary adaptations and colorless apologias for lady monsters (I’m looking at you, Extremely Loud and Incredibly Close and Iron Lady ), why shouldn’t there be room for an old-school road-show picture with crazy-ass classical-filmmaking values? There’s something to be said for just sitting back and delivering yourself into the hands of a guy who creates a dissolve in which a piece of bumpy knitting transforms itself into a rock-strewn, hardscrabble landscape. Who else today would dare? Maybe it’s that unapologetic cornpone aesthetic, even more than all that virtuoso filmmaking, that makes War Horse so engaging. From the moment you see the foal Joey, having only recently squeezed forth from his mother’s womb, finding his matchstick legs on sturdy English soil, you’re either in the game or you’re not. Later, when Joey’s a bit older, he’s bought by an impoverished farmer, Ted Narracott (Peter Mullan), to spite his arrogant landlord (David Thewlis), who also had been eyeing the horse at auction. The purchase is immediately problematic: Joey isn’t a workhorse, which is what Ted and his family, including wife Rose (a half-winsome, half-grave Emily Watson) and teenage son Albert (Jeremy Irvine), need in order to save their failing farm. But Albert has already fallen in love with Joey, who was born and raised on a neighboring property — Albert had long been wooing the horse, discerning in him not just beauty but sterling character. Albert is right, of course: Joey not only helps save the farm, but when war — the Great one — breaks out, he’s sold out from under poor Albert and goes on to endure numerous hardships and touch the lives of everyone who’s lucky enough to stroke his noble, glossy, star-splashed head. Those include a noble but ill-fated English cavalry officer, Captain Nicholls (Tom Hiddleston), a French farmer and his fragile but feisty granddaughter (Niels Arestrup and Celine Buckens), and two nameless soldiers, one English and one German, who momentarily — I kid you not — forget their nation’s differences and reach across the bleak stretches of No Man’s Land to perform the ultimate act of kindness. Will Joey ever make it back to Albert, with whom he clearly longs to be? You can probably guess. But it’s important not to judge the bones of the story until you see what Spielberg does with it. (The script was adapted, by Lee Hall and Richard Curtis, from Michael Morpurgo’s slim, direct 1982 young adult novel. That material has also, of course, been turned into an acclaimed play, with puppets substituting for real horses; Spielberg was inspired to make the film after seeing the play.) This is the kind of excess you can get away with only when you’re Steven Spielberg, and maybe not even then. The filmmaker has surrounded himself with his usual posse, an all-star lineup of crackerjack craftspeople: Janusz Kaminski shoots the craggily gorgeous Devon countryside as if he were looking at it through God’s eyes. At one point he lights Joey in his stable — the character is played by 14 different horses — as if he were the Blessed Virgin on a holy card, a nimbus of gold emanating from his visage. John Williams, who has written some of the most superb scores in modern film but who, like every other superstar composer, is also sometimes guilty of phoning them in, is on top of his game here: The combat footage is heralded by lots of meaty brass and strings, but the most beautiful sections are the more pastoral ones, where the composer channels another Williams (or, rather a Vaughan Williams), Ralph: You can hear traces of the trilling sweetness and delicacy of “The Lark Ascending,” one of the most beautiful and most quintessentially English pieces of music ever composed. For the actors, War Horse is something of a round robin, the action passing from one character to another and only sometimes weaving back again. Spielberg is often too sentimental a director, and there are moments in War Horse that come close to being spongey-soft. But somehow the actors here save Spielberg from his worst impulses: Hiddleston plays that cavalry officer with the kind of slow-burning dignity that’s more archetypal than stereotypical; with his scrubbed-clean skin and carefully pomaded hair, he seems to know what England he’s fighting for, and he dresses the part until the end. Irvine, making his film debut, shows a suitable naïvete tempered by good instincts — he avoids mawkishness, perhaps only narrowly, but it’s a performance that always has mud on its shoes. And Arestrup packs a great deal of unfiltered feeling into the small role of the French grandfather. The bags beneath his eyes are packed with sorrow and happiness and everything in between. In War Horse Spielberg indulges his most melodramatic impulses, and sometimes they lead him astray: He’s a little cheap, for example, in the way he uses animal endangerment and suffering as a pulse point — a sequence in which the camera fixates on Joey’s stumbling leg as he painstakingly pulls an artillery cart that’s far too heavy for him is typical Spielbergian overkill. But melodrama isn’t a dirty word, and Lord knows there are few contemporary directors who know how to do it well, if at all. This movie is also, of course, an extended wartime metaphor, one that’s aware of the costs to both sides: Spielberg shows young, callow German and English soldiers alike, all unaware of what’s about to befall them. And when Spielberg goes big — as he does in the picture’s integral cavalry charge sequence — he does it right, capturing the essence of wartime chaos with clear images and clean cutting. (It’s almost as tense and meticulous a battle sequence as the one the young Branagh gave us in Henry V .) I saw War Horse at a critics’ screening and noted plenty of snickering around me, at the picture’s sometimes too-naked emotion, at its “Look at me, I’m Steven Spielberg!” panoramic landscapes, at the beatific lighting of the equine central character. The downer, of course, is that we already know Spielberg knows how to pull off all of these things well, perhaps better than anyone — now that Lean and Ford and everyone else is dead, it’s as if he feels he has no one to top but himself, and that’s a sad place for a filmmaker to be. But for all its borrowing from old Hollywood, I don’t think War Horse is particularly nostalgic. The word I’d use is wistful . It’s the largest, most lavish handful of wistfulness money can buy, and sometimes it’s too much. Yet it’s nice to know that even Steven Spielberg can still wish for something. Follow Stephanie Zacharek on Twitter . 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In the decade or so since Nick Frost first made a name for himself on the BBC comedy series Spaced , much has happened. For starters, he’s not waiting tables at that Mexican restaurant. He’s moved with ease from television to film, most famously in genre riffs Shaun of the Dead and Hot Fuzz (with Spaced comrades Edgar Wright and Simon Pegg ), and in the alien geek ode Paul (which he co-wrote and stars in with Pegg). Also notably, Frost has ventured out from the fold in films like Pirate Radio and the forthcoming Snow White and the Huntsman . And, with this week’s The Adventures of Tintin , he notches another milestone: Working with his hero, Steven . Steven Spielberg . Frost, Wright, and Pegg may be stretching their wings a bit after coming to prominence as “The Guys Who Made Spaced / Shaun of the Dead / Hot Fuzz /Etc.” but they all come together, with buddy Joe Cornish (whose directing debut, this year’s Attack the Block , features Frost as a dope dealer), in Spielberg’s motion-capture adventure adaptation Tintin — Wright and Cornish scripting, with Pegg and Frost as the comically bumbling Scotland Yard detectives Thomson and Thompson. Movieline spoke with Pegg in New York about his ten years since Spaced , maintaining the Wright-Pegg “unit” while establishing himself as his own entity, his directorial aspirations, working on the upcoming Snow White and the Huntsman , completing the “Blood and Ice Cream” trilogy, how he really feels about Indiana Jones 4 , and why he missed his first phone call from Spielberg for a very, very good reason. You, along with Simon, got to do a riff on Star Wars , he’s in Star Trek , and now you’re working with Spielberg… What was the riff on Star Wars — the College Humor thing we did? Yes, in which you betrayed a deep, deep knowledge of the Star Wars universe. I was quite impressed with my sad droid noise. Do you want me to do it for you? Please! [Makes mewling R2-D2 noise] It’s so evocative. Yeah, it is! It’s just one little noise and you think, he’s crying! He’s sad . That’s what that noise says. So what remains to cross off of your geek bucket list? I don’t know, what have we had — zombies… have there been any ghosts? Aliens, we’ve had a space ship. I don’t know, I think I’d like to do lots and lots of things but I’m not necessarily going to glue myself to the genre side of it. I think it’d be quite daft to do that. I think it’s possible to have your cake and eat it, and we’ve been very lucky that we have been allowed to do what we want. And now, because of that, we are able to branch out — Simon doing Mission: Impossible , Edgar doing Scott Pilgrim , and this… We’re pretty lucky. Looking back, it has been about 10 years since the end of Spaced , and the three of you have come so far since then. Yeah, right? I was just saying, it was like 10 years ago I was serving shitty food to fucking horrible businessmen in a Mexican restaurant… Wait — during Spaced ? Yeah, after the first series I went back to work there. That was quite odd. Sometimes people would ask for the bill and then say, “Are you Mike from Spaced ?” [Hangs head] “Yes… yes, I am.” Ten years is the kind of milestone that makes you look back and reflect, isn’t it? Yes — I read something in the Times a few months ago that 10 years, or 10,000 hours, is what you need to master anything. An instrument, a language, to become a good dentist… Anything you want to do, you can learn to be great at it in 10 years, or 10,000 hours. What would you say you’ve learned in the last decade? You know what, I watch a lot. I watch what everyone does, and I’m interested in what everyone does on a set. I didn’t train as an actor so I think it would be quite stupid of me to just act, you know? I want to direct a film, films , I want to produce. Me and Simon have always said this is about the long game. This is it now, forever — this is my job. This is what I love doing. So I think it’s silly just to sit around and wait for the phone to ring, for someone to offer you a part. I might as well write it myself and shoot it myself. And you have all thrived in the arena of creating opportunities for yourself, it seems. Yeah, but that can be a double-edged sword actually, because people can also look at that and the unit that we are a part of and say, “Well, that’s all they do.” So people will not offer you things because they think you wouldn’t do it because you just hang out in this kind of unit. You think this happens to you because of the Spaced gang? Absolutely, I do. You do have this very close partnership, which people know you for, but you must also need to define yourselves separately. And that’s what it seems like you, Simon, and Edgar are all doing right now. Absolutely. And there’s no time limit on it. As long as we’re happy and working, you can go on forever in this job. Edgar and Joe [Cornish] wrote this, but how exactly did you and Simon come to be cast in Tintin ? Simon met with Steven — Spielberg … Ah, yes. That Steven. [Smiles] I’ve been doing that a lot in the past few weeks, just in case people didn’t know that I’ve been working with Steven Spielberg … [Laughs] I think Simon had a meeting with Steven, potentially to see if he would come onboard with Edgar and Joe, after Steven did his draft, to see if maybe he wanted to have a little go at the script. But that just didn’t work out, and then I think Steven said to Simon, “Do you want to be in it?” Simon did a little fanboy squeal, and shut his legs as if he was going to do a wee, and then I think Steven said to him, “Well, do you know anyone that you work with, well, that you’d want?” That guy wasn’t available, so he came to me. That was that! No hesitation, I assume, in taking the job? For me? No! Not at all! Well, his office rang me up one night, one evening. It was like 9 o’clock at night. They said, “Steven’s going to ring you in 10 minutes if you could be available,” but I was cooking my wife’s dinner. She wasn’t in, I was cooking her a meal. And it got to a really crucial point in the preparation which meant I could not answer that phone call without ruining my wife’s dinner. So I dropped it — I dropped the call! How romantic! [Laughs] It was a really confused message from Steven saying, “Um… hey, Nick. Did my office phone you? Anyway, give me a call back.” I phoned the office back and he’d gone to a meeting and I was thinking, “I’ve really fucked this up.” But eventually we got to talk to one another and, you know, we did it. I was so pleased! He’s a hero, he’s an icon of mine in terms of filmmaking, and a lot of my cinematic touchstones are films that he’s made. That said, you can’t bring that with you on set. I think me and Simon allowed ourselves like two hours of fanboy dancing, and then… Then you put on your professional hat. Yeah, absolutely. That said, sometimes we’d be sitting around the monitor and Steven would be telling a story about how they shot something in Close Encounters and I’d kind of nudge Simon under the table, and we knew that both of us were thinking, “This is fucking amazing ” When I spoke with a few of the Super 8 kids earlier this year they had pretty much the same story. Oh, cool! I watched that this morning, again. I think it’s great, I love it. It does evoke that magical something in Spielberg’s films, doesn’t it? Yeah! Well, you know, we tried to do it on Paul and J.J. did it — it’s just a big, lovely love letter to Steven. I think it says a lot about Steven’s legacy to people of J.J.’ s and my age and Simon’s age that it stayed with us, it affected us through our lives. As a self-avowed Spielberg fan, let me ask you this: How do you feel about Indiana Jones 4 ? [Takes a sip of tea] Well, you know. It’s tricky, obviously… but it’s still an Indiana Jones film. It’s still Harrison Ford as Indiana Jones! I still got that feeling when I heard the music. It’s an Indiana Jones film, you know? It’s a Steven Spielberg film. [Pauses] Yes, it’s different. It’s the same kind of things about the original Star Wars films and Phantom Menace . But that said, I am a fan of the originals. Clearly. There are generations of teenagers who prefer the new ones, and that doesn’t make them any less valid. They’re just different. If I’m trying to be democratic about things… and it’s the same with Indiana Jones 4 . I liked it. It was weird, and it was different, but it was unmistakably a Steven Spielberg film, and that’s fine with me. You just finished filming another movie. Tell me about your experience on Snow White and the Huntsman — or, as the fans call it, SWATH . SWATH ! It was great. I saw a picture of you and your fellow dwarfs in your dwarf gear and your dwarf hair . Yeah, they shaved me bald every day just to put hair on me, which was weird. It was like, well, I had hair anyway, and you shaved it all off… to then put a wig on. You’re in great company with the other seven dwarfs. What was that cast like? It was fantastic! I got to hang out with Toby Jones, Eddie Marsan, Johnny Harris, Bob Hoskins, Ray Winstone, for God’s sake. I got to just sit around and listen to those guys tell stories. I like the idea of Kristen Stewart , of all people, sitting in the middle of that group of men — and also the colliding of worlds, your universe and fan base overlapping with Twilight . Exactly! I was sitting next to Bob Hoskins and Bella Swan! Please tell me you and Bob Hoskins and Kristen Stewart talked Twilight on set. Not really. I think she’d be pretty sick to the bloody back teeth of listening about Twilight . On set she’s another actress, and a lot of the time actors just talk about nothing. Talk about shit, they just chew the fat. That’s what you do! And did you sign on for multiple SWATH films as well? Three, yeah. We’ll see where it goes. We were talking about it on set the other day, where it would start and what it would be. We’ll have to see how well it does, I guess. But I think we’d all love to do another one. We had a real laugh every day. Lastly, you’ve been talking about finishing the trilogy that begun with Shaun of the Dead and continued with Hot Fuzz . What’s the latest development — do you know when you might do it? We’d rather do it sooner than later. There is a script in place, and it’s just a question of finding the time when we can all fit it in, and when it works. But we are all really keen to just crack on. Next year has been bandied around, maybe, but I couldn’t tell you. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Headed home after an event in New York City, Bruce Springsteen band veteran and “Sopranos” actor Steven Van Zandt expresses his sadness over the Lindsay Lohan situation, and wishes she had a real friend.
It’s HOLLYWOOD.TV’s Celebrity GPS! And check out rock legend Sebastian Bach at celebrity pumpkin patch, Mr. Bones in West Hollywood, getting into the holiday season…with some pumpkin boobs! LOL!
