Earlier today we showed you a few videos of Lil’ Wayne’s big show at South By South West that launched his new campaign with Mountain Dew . Now take a look at the some dope shots courtesy of the homie, Ernest Estime from the performance last night… Continue
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Exclusive Look At Lil’ Wayne’s SXSW #DEWeezy Show
Posted in Celebrities, Hollywood, Hot Stuff
Tagged Celebrity News, few-videos, hiphopwired, Hollywood, mountain, performance, show-at-south, sxsw, Videos
There’s a peculiar kind of pleasure to be found in watching Channing Tatum and Jonah Hill, in 21 Jump Street , horsing around and generally acting like doofuses for our amusement. As rookie cops assigned to patrol — by bicycle — a city park, they’re more than ready to prove their tough-guy status: When they spot a bunch of biker guys experiencing the joys of cannabis beneath a tree, they strut toward the gang in their shorts and bike helmets, but not before flipping their kickstands down with a mighty thwack . Later, Hill says a fervent prayer in the Catholic church that serves as headquarters for the undercover unit to which the duo has been assigned, its sign outside reading, in mistranslated Korean, “Aroma of Christ Church.” Hill kneels in front of the crucifix, beginning his urgent plea with the words, “Hey, Korean Jesus…” That irreverent riff captures the tone of the whole picture — it’s a ramshackle thing, a goof on the idea that anyone might actually care about a movie based on an old TV show, or that anyone might actually care about a movie at all. For the first half, at least, 21 Jump Street gives us reason to care. In recent years, the mania for turning old TV shows into movies has waned — a good thing, particularly given the ungodly mess known as The Green Hornet . Still, movies inspired by TV shows are coming back with a tiny vengeance — we have Tim Burton’s Dark Shadows , to name just one, to look forward to later this spring. And for now, 21 Jump Street is a small puff of fresh air simply because it’s not, like umpteen other releases coming down the pike, based on a comic-book series. Instead, its inspiration is a show that made its debut on the then-fledgling Fox Network in 1987 (and also helped launch the career of Johnny Depp, long before he became buried under Burton’s makeup or obscured by pirate-y facial hair), although this 21 Jump Street has its own distinct, goofy flavor. The movie opens in 2005, when Schmidt (Hill) and Jenko (Tatum) are still high school students. Schmidt is the smart, shlubby, unpopular one — he’s an Eminem nut with a crop of bottle-blond hair, which could be sort of cool if his braces didn’t ruin the whole effect. Jenko is the dumb, sleepy-eyed jock with lank, shaggy hair. When the school principal informs him that he can’t go to the prom and that it’s “time to pay the piper,” he squints at her dimly and murmurs, “I should pay who?” Fast-forward a few years, and these two have become first police academy buddies (Jenko, recognizing he could use some help in the smarts department, latches onto Schmidt) and then rookie officers. After botching that aforementioned pot bust, the two are reassigned to an undercover unit — headed by a hard-ass, and very funny, Ice Cube — in which their job is to pose as teenagers and find the source of a drug that’s sweeping the local high school. 21 Jump Street is at its best when directors Phil Lord and Chris Miller — the guys behind the much-loved 2009 Cloudy with a Chance of Meatballs — just let Hill and Tatum run with the patent ridiculousness of the setup. (The script is by Michael Bacall, from a story by Bacall and Hill.) Hill is reasonably funny and relaxed here; even when he’s playing the loser-sadsack, he radiates more confidence than he has in the past, instead of just relying on shtick. He still has that unassuming, “Who, me?” demeanor, but he’s more fully in control of it than ever before. And Tatum, who has already proved to be a marvelous dramatic actor even in throwaway pictures like Dear John (he also recently starred in the megahit The Vow ), has the kind of comic timing that’s deceptively laid-back and sharp at the same time. His Jenko comes off as an easygoing galoot, which makes the idiot-savant observations he comes up with that much funnier. Schmidt, upon his return to high school, notes that all the things that made him uncool in his own high-school days (caring about the environment, being tolerant) have now become hip. Jenko agrees, and he doesn’t like it, looking for a place to lay the blame: “I know the cause. It’s Glee ,” he says definitively, like a Sherlock Holmes who’s spent too much time parked in front of the tube. Together Hill and Tatum are so much fun to watch that it’s disappointing when the story around them becomes overly cluttered and convoluted. To say 21 Jump Street loses the plot isn’t quite accurate: It’s a pretty loose-limbed affair from the get-go. But Lord and Miller insist on turning it into an action film, complete with elaborate car chases and shootouts that betray the spirit of silliness they laid out at the beginning. 21 Jump Street falters when it becomes too ambitious. Its finest moments — as when Schmidt and Jenko sternly forbid a bratty kid from feeding ducks in the park, which causes him to immediately (what else?) feed the ducks — are the ones that feel unplanned and tossed-off. In those moments, 21 Jump Street shows a kind of wayward, pigeon-toed brilliance. Maybe that particular brand of half-assed genius is too evanescent to survive a whole movie. Then again, half an ass is better than none. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
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REVIEW: 21 Jump Street Is Half Brilliant, Half a Mess, But Tatum and Hill Shine
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Tagged 21 jump street, Career, environment, film, Hollywood, idiot, Jonah Hill, Movies, park, school, source, stars, sxsw
This week at SXSW Movieline caught up with director Gareth Evans, whose Indonesian martial arts actioner The Raid: Redemption is set to knock your socks off later this month courtesy of Sony Classics. (Haven’t heard of the martial arts form silat? You will, come March 23.) With his film steadily collecting kudos left and right, Evans is already thinking ahead to his Raid sequel (working title: Berandal ), and an insane, dangerous-sounding four-on-one car fight he plans on working into the mix. First up, though, is the U.S. remake currently in the works at Screen Gems. The original film worked with the unique (and relatively new to most audiences) martial arts form silat , employed dynamically in a fairly basic setup: A SWAT team trapped inside a tenement building locked down by a vicious gangster must fight their way out. The American remake will build on the elements of The Raid , with Evans on hand as executive producer and Raid stars/fight choreographers Iko Uwais (who plays hero Rama) and Yayan Ruhian (who steals scenes as the sadistic Mad Dog) working on the remake’s fight choreography. “There will be elements of silat in there, which is kind of cool because there’s a respect for the original,” Evans said. “And I’m curious because the thing is yes, silat is an Indonesian martial art, but it’s practiced all over the world. There are schools of silat in London, there are schools of silat in America, there are schools of silat in France, and they have international championships as well. So there are a lot of people that know silat around the world, so it’s not a far-fetched idea that someone in America could know silat, the same way that it’s not far-fetched for a guy in America to know kung fu or muy thai.” While screenwriter Brad Inglesby has been recruited to script the remake, a director has yet to be found. Whoever it is, Evans isn’t worried about passing the reins to another filmmaker’s vision. “For me it’s like this: the storyline and the central concept is streamlined,” he explained. “It’s a very straightforward action film. So there’s room for improvement, and I think that director, whoever it is, has to be given the kind of creative freedom to push it in whatever direction he wants to push it and not have somebody standing over his shoulder saying, ‘You can’t do this, or you can’t do that.’ I think it should be that person’s decision.” After his Raid promotional tour is done, Evans will turn to pre-production on the sequel, with plans to begin filming next January. But how do you follow a film that’s already packed with non-stop, relentless, wall-to-wall, inventive action? “By going in a slightly different direction,” he teased. “If I try to replicate and copy it’ll fall on its ass, so I want to do something kind of different. We’re going to take the story out now and go onto the streets. So everything that was scary about that building and about that boss is small fry compared to the gangs we meet in the sequel — now we meet the people who let him have that building. And we expand the world out, we explore certain characters that were kind of hinted at in this but not expanded upon, and we ramp up some of the set pieces as well.” Evans’s Raid films will always retain their focus on silat, only showcased within different environments. Like, for example, the limited confines of a moving automobile. “We’ll have one fight scene,” Evans said, “a four-on-one fight inside of a car, and Iko’s going to be kicking people out through the windows, and it’s going to be nuts. What we’re doing now is we have to figure out how to shoot that without killing anyone. “Once we get that sorted,” he continued with a laugh, “then we’ll start shooting that.” Read more from SXSW here . Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
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Gareth Evans on Remaking The Raid — and The Raid 2’s 4-On-1 Car Fight
This week at SXSW Movieline caught up with director Gareth Evans, whose Indonesian martial arts actioner The Raid: Redemption is set to knock your socks off later this month courtesy of Sony Classics. (Haven’t heard of the martial arts form silat? You will, come March 23.) With his film steadily collecting kudos left and right, Evans is already thinking ahead to his Raid sequel (working title: Berandal ), and an insane, dangerous-sounding four-on-one car fight he plans on working into the mix. First up, though, is the U.S. remake currently in the works at Screen Gems. The original film worked with the unique (and relatively new to most audiences) martial arts form silat , employed dynamically in a fairly basic setup: A SWAT team trapped inside a tenement building locked down by a vicious gangster must fight their way out. The American remake will build on the elements of The Raid , with Evans on hand as executive producer and Raid stars/fight choreographers Iko Uwais (who plays hero Rama) and Yayan Ruhian (who steals scenes as the sadistic Mad Dog) working on the remake’s fight choreography. “There will be elements of silat in there, which is kind of cool because there’s a respect for the original,” Evans said. “And I’m curious because the thing is yes, silat is an Indonesian martial art, but it’s practiced all over the world. There are schools of silat in London, there are schools of silat in America, there are schools of silat in France, and they have international championships as well. So there are a lot of people that know silat around the world, so it’s not a far-fetched idea that someone in America could know silat, the same way that it’s not far-fetched for a guy in America to know kung fu or muy thai.” While screenwriter Brad Inglesby has been recruited to script the remake, a director has yet to be found. Whoever it is, Evans isn’t worried about passing the reins to another filmmaker’s vision. “For me it’s like this: the storyline and the central concept is streamlined,” he explained. “It’s a very straightforward action film. So there’s room for improvement, and I think that director, whoever it is, has to be given the kind of creative freedom to push it in whatever direction he wants to push it and not have somebody standing over his shoulder saying, ‘You can’t do this, or you can’t do that.’ I think it should be that person’s decision.” After his Raid promotional tour is done, Evans will turn to pre-production on the sequel, with plans to begin filming next January. But how do you follow a film that’s already packed with non-stop, relentless, wall-to-wall, inventive action? “By going in a slightly different direction,” he teased. “If I try to replicate and copy it’ll fall on its ass, so I want to do something kind of different. We’re going to take the story out now and go onto the streets. So everything that was scary about that building and about that boss is small fry compared to the gangs we meet in the sequel — now we meet the people who let him have that building. And we expand the world out, we explore certain characters that were kind of hinted at in this but not expanded upon, and we ramp up some of the set pieces as well.” Evans’s Raid films will always retain their focus on silat, only showcased within different environments. Like, for example, the limited confines of a moving automobile. “We’ll have one fight scene,” Evans said, “a four-on-one fight inside of a car, and Iko’s going to be kicking people out through the windows, and it’s going to be nuts. What we’re doing now is we have to figure out how to shoot that without killing anyone. “Once we get that sorted,” he continued with a laugh, “then we’ll start shooting that.” Read more from SXSW here . Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
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Gareth Evans on Remaking The Raid — and The Raid 2’s 4-On-1 Car Fight
Posted in Celebrities, Gossip, Hollywood, Hot Stuff, News
Tagged europe, evans, graphics, indonesia, martial-arts, Raid, remake, screen gems, silat, sony pictures classics, sxsw, sxsw 2012, TMZ, world
Despite nabbing an Academy Award last year with her self-financed and controversial “ Consider ” campaign, Melissa Leo says that neither life, nor the frequency of juicy Hollywood offers coming her way, is much different now that she’s an Oscar-winner. “The projects you think have been offered to me have not, I guarantee you,” she told Movieline this week at SXSW in Austin, where she and directors Melanie Shatzky and Brian M. Cassidy screened their minimalist character study Francine to critical applause. Still, Leo perseveres. And as the intimate acting showcase demonstrates, there’s plenty of reward to be had in smaller and more daring projects. Francine follows the quiet, often disorienting moments in the experience of a woman recently released from incarceration (Leo) who is now slowly and cautiously adjusting to life on the outside. Taking on a number of jobs and tentative friendships, Francine finds herself increasingly comforted by stray animals she adopts, only further alienating herself from the people around her. Filming in New York’s Hudson Valley region, co-directors Shatzky and Cassidy tapped their photography and documentary film backgrounds to capture Francine’s attempts and failures at human interaction with a sensitive observational style that allows Leo the space to fully, and courageously, inhabit the character. Prior to Francine ’s SXSW premiere (which garnered high praise for Leo’s performance and the directors’ minimalist use of visual and aural elements), Leo spoke with Movieline about why she sought and lobbied for the lead in Francine , how things haven’t changed all that much since winning her Oscar, the emotional scene in which a dog appears to be euthanized onscreen, and why it was important to show Hollywood that she could “show up.” How did you come to meet these folks and hear about their idea? It was the summer before last sometime in the springtime, and the Hudson Valley film commissioner is a good friend of mine – he and his wife run the Woodstock Film Festival – and I get little blurbs from them online about what’s going on in the Hudson Valley. It was a casting call, but not for Francine – for the various and sundry characters she meets along the way, and a lead lady was required for this film. The name was Francine, after all! They were going to do something very interesting and tell a story largely through the pictures and not so much dialogue; that sounded like a really interesting notion, so I inserted myself through Laurent [Rejto] and said if they’d be interested in considering me for Francine I would love to talk to them about it. And this was before you’d even seen a script? From a paragraph, really, which I think was based on their own words. Just a little paragraph of what it was. You sought this out from a single paragraph description, which makes me wonder: What sort of projects do you look for, and are you always searching? Constantly looking is a very good way to put it, but I don’t know that I’m looking for one thing or another in particular. Something specific, but it could be a lot of things that are specific. And this project sounded A) very specific, B) a leading role, and this notion of taking film – young, young, film – into yet another realm – really taking it back to its basics, of the images . The sound in Francine is a very important element in the film, both the music that’s laid in and the sound – just like in The Artist ! That’s not a silent movie; you don’t hear the actors’ dialogue but again in that film the sound is such an important aspect of the film. That all really intrigued me, but probably first and foremost the thing that caught my attention was the chance to do a lead. But you’re Melissa Leo! Are lead roles still hard to come by? Who’s that? [Laughs] I say that to you because that’s what most people even today still say. Cab drivers… and then there’s this embarrassing moment when they say, ‘Oh, I’m so sorry, I didn’t realize!’ It’s really ok! Maybe I should wear a stamp on my forehead. But more seriously, the life of an actor is not what one imagines, and I find too that the life of an Oscar-winner is not what one imagines. For an actor, for an Oscar-winner, life is no different than for all the rest of us. We must try each day to be our best selves and make our best choices. Maybe we have a finer array of choices put in front of us, but the process is no less different. My experience, 365+ days later? The projects you think have been offered to me have not, I guarantee you. It will happen in time, if I persevere. But if I expect something to return because I took a beautiful golden statue and a lot of prestige home, I’m going to miss out on the second half of my life. You still operate, then, the same way you always have when it comes to career choices? I hope to continue to grow as I think I’ve done all my life, to continue to be my genuine self all at the same time. We’ll see how it goes! Did you shoot in sequence? No, which is why it’s really important that they’re able to share with me this project as a whole. If we would have shot sequentially, this idea of withholding is a very important notion for a director. There is an advantage in withholding, there is an advantage in telling everything; you’ve got to weigh out when to do that. If you had been going sequentially I would wager to guess they could have withheld more. When we shot 21 Grams , which is told in this beautiful poetic way that [Guillermo] Arriaga wrote it, but we shot it in sequential way which is one of the things that makes 21 Grams land in reality the way that it does. Because Benicio [Del Toro] and I and the kids all knew every moment before this that we’re shooting right now, as we shot. But that’s the key to this project and in the aftermath of getting to see it now and talking to you guys and Brian and Melanie, it has been endless growth and education to me, and I think to Brian and Melanie also, of how these two uses of film – my experience in 30 years as an actor and their experience of light through celluloid, and the sounds that accompany it! – it’s a fascinating marriage. Your performance in Francine feels so alive and in the moment, especially compared to more heavily constructed films – almost theatrical in a way. Is this kind of work particularly rewarding compared to projects with more artificial constraints? I take that as a compliment – I think that it can happen both on the stage and in film, where the film over takes what’s being shot. I’ve read some scripts of films that we might whine about – ‘Oh god, that one was so bad, and they spent how many millions of dollars on it?’ – and my heart goes out to the actors that lead in those films, because those characters aren’t written as characters in a story, they’re written as vehicles in a film. Francine might well be a very nice vehicle for me, I saw that, but it is not conceived of as such. She’s conceived of as a character, and that is Brian and Melanie’s gift to me.
Originally posted here:
SXSW: Melissa Leo Considers Post-Oscar Offers, Animal Ethics, and Her Minimalist Tour de Force Francine
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Jay Z performed for thousands for a free concert Monday night at South by Southwest. The show was livestreamed to the masses. The footage is still available here . The entire show will be rebroadcast March 18 on Youtube and on-demand on XBox LIVE. Concertgoers flooded the event’s official hashtag — #jayzsyncshow — with tweets and photos. Shinoda was there live-tweeting for Rolling Stone magazine. I wish I was @ SXSW the #JayZSyncShow is too live! The @ twitter visualizer is dope! — GWoods(@iamgwoods) March 13, 2012 Watching the #JayZSyncshow instagr.am/p/IF_137CMEA/ — GWoods(@iamgwoods) March 13, 2012 RELATED: Carter’s First Family Outing With Baby Blue Ivy [PHOTOS] Beyonce & Jay-Z Attend Knicks vs. Nets Game [PHOTOS] Beyonce Releases First Photos Of Blue Ivy Carter! [PHOTOS] Beyonce Post Baby Body & IV Tatoo! [PHOTOS] Beyonce Defends Hospital Lockdown Controversy: “It Was For Security Of Our Daughter” Beyonce & Jay-Z Release Statement About Daughter Blue Ivy Carter! Jay-Z Releases New Song “Glory” Ft. Baby Girl Blue Ivy Carter [AUDIO]
Jay Z Performs At SXSW For Special Live-Streamed Concert [PHOTOS]
Posted in Celebrities, Hollywood, Hot Stuff, News
Tagged audio, beyonce-post, first-photos, Hollywood, invalid, live, sxsw, the-event, video
An inevitable consequence of the ugly Kim Novak/ Artist soundtrack-rape saga had to be that other artists and actors would use the analogy to describe how, unauthorized, new legacies are built or enhanced using elements of their older ones. Right on cue, enter Courtney Love: “Courtney Love believes Kermit the Frog and his gang of Muppet friends ‘raped’ the memory of her ex-husband Kurt Cobain — by bastardizing Nirvana’s ‘Smells Like Teen Spirit’ in their 2011 movie … without her permission. But there’s another side to this … We’re told Courtney sold off half of her rights to Kurt’s music to a company called Primary Wave Music. And there’s more … Courtney also gave Primary Wave the exclusive right to distribute Nirvana’s entire catalog.” Mm-hmm . Anyway, isn’t this stuff supposed to be limited to awards season? Better luck next year, Courtney. [ TMZ ]
Originally posted here:
Report: Now It’s the Muppets’ Turn to ‘Rape’ Nirvana
Posted in Celebrities, Gossip, Hollywood, Hot Stuff, News
Tagged Actors, awards, clears-the-air, courtney, film, Hollywood, invalid, kermit-the-frog, Music, nirvana, primary, smells like teen spirit, sxsw, sxsw 2012
It wasn’t tough to spot Channing Tatum or Jonah Hill at the after party following the SXSW premiere of 21 Jump Street ; they were the ones, beaming unselfconsciously in the middle of the crowd, wearing bicycle-cop uniforms. More specifically, wearing their costumes from the movie, in which they play a pair of bumbling rookie policemen sent undercover to high school — a set-up that so delivers beyond its premise that the ’80s Johnny Depp TV series adaptation is actually one of the best new films of 2012, comedy or otherwise. Sony’s March 16 release had screened a handful of times for press leading into the SXSW premiere, establishing surprisingly strong word of mouth for months. Catching up with 21 Jump Street directors Chris Miller and Phil Lord after the film’s equally supportive public debut found the Cloudy with a Chance of Meatballs helmers in fantastic spirits, and with good reason: If audiences follow the lead of critics and SXSWers, then 21 Jump Street could become a deserving critical and commercial hit in the mold of last year’s Austin breakout Bridesmaids . Credit goes to an exceedingly sharp script and great chemistry between leads Hill and Tatum, whose onscreen two-man comedy team rapport carries what might, in a lesser film, have been reduced to a fairly banal by-the-numbers plot (the pair go undercover in search of the source of a powerful and dangerous drug making the rounds in the high school set). The reboot takes its job seriously than, say, the Starsky and Hutches that came before it; if you’re wondering how the hell anyone could justify resuscitating a decades-old idea from the depths of nostalgia, for example, the film beats you to it. If you’re skeptical of seeing Ice Cube as Tatum and Hill’s angry black police captain, Cube’s Captain Dickson clears the air in his very first scene. But 21 Jump Street isn’t just clever in its construction and aware of its own inherent vulnerabilities to criticism — it’s pretty hilarious to boot. Two of the best jokes in my estimation come not from Tatum, who is genuinely funny and, more importantly, comfortable flexing his comic muscles here, or Hill, but from supporting players Dave Franco as the crunchy, Berkeley-bound popular kid and 21-year-old lady rapper Rye Rye as a fellow undercover Jump Streeter. The film even manages to use Rob Riggle well without succumbing to the near-universal rule that almost any comedy featuring the (talented!) Riggle turns out to be kind of terrible. Curse broken! Monday’s 21 Jump Street debut also marks yet another strong showing for a studio release at SXSW after Joss Whedon and Drew Goddard’s Cabin in the Woods and the surprise horror entry Sinister . Drop back by Movieline on Thursday for Stephanie Zacharek’s review of 21 Jump Street , and catch up on all of our SXSW 2012 coverage here . Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
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21 Jump Street Gets That Coveted SXSW Bump
Posted in Celebrities, Gossip, Hollywood, Hot Stuff, News
Tagged 21 jump street, awards, berkeley-bound, breaking-dawn, channing tatum, clears-the-air, festival coverage, film, films, Hollywood, New Movie, reboot, sony, sxsw, sxsw 2012
Richard Linklater’s latest film, Bernie , makes its SXSW debut on Wednesday, but Movieline will save you a trip to Austin by showcasing one of its finer highlights here. Take it away, Kay McCabe! McCabe, the saucy delight otherwise known as Matthew McConaughey’s mother, drops in for one of the dark comedy’s documentary interludes. In this first-look clip, she has a few words for the titular local mortician (played by Jack Black) and the rich widow (Shirley MacLaine) whose wealth he pursues with deadly consequences. McConaughey co-stars as the district attorney investigating Bernie’s shenanigans. Bernie opens April 27 via Millennium Entertainment. Check out more from SXSW 2012 here . Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .
Posted in Celebrities, Gossip, Hollywood, Hot Stuff, News
Tagged bernie, detected, district, first looks, invalid, jack black, kay mccabe, movieline, shirley maclaine, stars, sxsw, the-district, titular, titular-local, wednesday
Avengers director Joss Whedon spent much of his weekend in Austin at SXSW pounding the pavement for The Cabin in the Woods (that is, when he wasn’t busy dancing into the wee hours of the night) but he also managed to mostly deflect the laser geek gaze of the bloggerati when it came to divulging information about his upcoming Marvel superhero pick. That said, he did offer up one huge clarification on a matter Avengers fans have been trying to root out via various clues and tea leaves: Who are the villains under Loki’s command? “I will say only this: It is not the Kree or the Skrulls,” said Whedon during his SXSW panel. “Those two aliens are Marvel mainstays and have enormous backstories. They have a big life of their own that just could not be contained in a film where I already had seven movie stars.” “The Skrulls — they can shape change. That’s a whole thing. I’ve already got Loki. He’s got magic. Once you got magic along with your Iron Man and your Black Widow — it’s a real juggling act.” He’s got a great point; Loki’s magic plus the appearance of alien races like the Kree and Skrull might feel a tad too fantastical for this Avengers outing. But wait, that’s not all! What else won’t The Avengers be/feature/include (via Collider )? • A too-short runtime: “My first cut was three hours long, and it’s now down to 2 hours and 15 minutes, and I’m extremely proud of that. I had always intended to go over two, under two and a half. There was no way a movie with this many great actors and this much epic scope was gonna clock in under two and not feel a little anemic. Somebody wasn’t gonna get their moment if that happened.” • An overlong runtime: “But at the same time, I get very angry that romantic comedies run over two hours long, it’s like ‘Guys, that’s not OK.’ More isn’t more. I don’t want anything in the movie that shouldn’t be.” • Nods at Whedon properties outside of the Marvel universe, which would be weirdly conspicuous anyway: “I am not a fan of referencing your own work when it’s in a different universe than what you’re doing. That, to me, is a wink at the audience and winking isn’t actually cool when you’re not, like, 10.” • That Jeff Beck cover of that one Stevie Wonder/Syreeta song “Cause We’ve Ended as Lovers,” which was too expensive to include in a Tony Stark scene. Stay tuned for more from SXSW .
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5 Things That Won’t Be in The Avengers, According to Joss Whedon
Posted in Celebrities, Gossip, Hollywood, Hot Stuff, News
Tagged Actors, appearance, blockbuster, celeb news, invalid, iron man, joss whedon, Marvel, New Movie, renee zellweger, stars, sxsw, sxsw 2012, Voice
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