Isabeli Fontana is a Brazilian model who started modeling at 13….and who was in Victoria’s Secret at 16, because Victoria’s Secret are sex offender, child pornographers, bringing minors to homes across America that men masturbate to, without making the girls prove they are 18, in what I call a flaw in the fucking system, you know hypcorisy where billion dollar companies are above the fucking law when they should be locked up like he perverts they are…..she’s also been in SI….and was lised in the top 20 top earning models…making her the kind of model you’d wan to marry….at least that I’d want to marry…. Here she is in some photoshoot wearing a tight dress…all amazing…
The rumor is that Fat models are people too…I don’t believe it…. I wouldn’t know because when I see fat girls, including my wife, my brain kinda turns off and they become invisible, unless it is 3 am and I have a boner that needs tending to, in which case my survival mode kicks in and I’m ready to face fuck as long as none of my friends see me go home with the bitch… But as I love of all half nakedness for money, even when it shouldn’t really be something bitch should be confident enough to pull off, I am gonna endorse her body as much as her doing this endorses obesity and diabetes to all the young girls in a “Love your body” campaign that is indirectly making everyone fat and unhealthy….instead of encouraging healt and fitness….
This man is in PAIN Via Hot97 Reggae Artist Mr. Vegas Cries When Talking About His Wife Cheating On Him Hell hath no fury like a woman scorned but the pain of a man betrayed has never been more apparent than in this interview with Mr. Vegas. Yesterday he took to Facebook to show his disgust with his wife for cheating on him–in his home–in front of their one-year-old daughter. He actually caught the two romping around on his home video surveillance! This is all bad right here, his wife aint SH!T! SMMFH Image via YouTube
It’s too bad they don’t give Oscars out for individual performances in documentaries because Liv Ullmann’s work in Dheeraj Akolkar’s Liv & Ingmar would be worthy of consideration. The Norwegian actress and filmmaker discusses her 42-year relationship with the late Swedish filmmaking legend Ingmar Bergman with such emotional candor and poetic economy that the movie becomes something much more than just a re-telling of one of the most famous work-love relationships in cinema. Although Ullmann and Bergman — who was 22 years her senior when they fell for each other on the set of Persona in 1965 — lived together for only five tempestuous years, the friendship that they built in the aftermath is very much a love story. And Ullmann’s remembrances of their time together and apart until Bergman’s death in 2007, combined with Akolkar’s sumptuous and artful telling of the story, make Liv & Ingmar a story that can be enjoyed without an immersion course in their work together. Liv & Ingmar is at its essence a story of two people who love each other but cannot live with each other. (Think of it as a real-life Celeste & Jesse Forever .) Ullmann, 73 will attend the U.S. premiere of the film at the New York Film Festival on Monday night, and the Oscar-nominated actress spoke to Movieline about her initial reluctance to participate in Akolkar’s film, her happiness with the result, her rollercoaster relationship with Bergman, and Johnny Carson’s flirting during a Tonight show appearance. Note: The door to which she refers in the interview is located at the house on the Swedish island of Fårö where she and Bergman lived together. On the door’s surface, the couple kept a kind of hand-doodled calendar of their good — and bad days together, and Akolkar repeatedly depicts the drawings as a document of their union. Liv Ullmann and Dheeraj Akolkar Movieline: Liv & Ingmar was clearly an emotional experience for you. Your decision to talk so candidly about your relationship with Ingmar seems pretty brave to me. Was it a difficult one to make? Liv Ullman: Well, I did say no at first, but then I met with the director and the producer here in Norway. They really convinced me I would like to be part of this, but only on a very limited basis: two days to be interviewed and to produce my readings from my book. That was it. I did not have anything to do with how the movie was made. It wasn’t a brave decision because I’ve done so many interviews in my life about Ingmar or Ingmar and me. It was only when I saw the finished movie and saw what it was about that I thought, Oh, if I had know this before, I would maybe would have been more scared because it is so much deeper than I thought based on the interviews I did. The director is a tremendously creative person, and I believe that if Ingmar were alive, he would have liked this version. It’s not how I would have described this relationship, or how he would. But nonetheless, it’s terrifically true. You’re saying that if you had directed this movie, your interpretation of your relationship with Ingmar would have been different? Mine would be different, yes, but I’m not saying that mine would be truer or closer to the truth. It would be my kind of truth. I would have talked more about the memories and the longing, but this is true in a way that I never thought about our relationship. To me, this film is interesting because the person telling the story never met us before. [Dheeraj] only knew me through reading my book Changing and through our brief work together. He never met Ingmar. And yet, Liv & Ingmar may be closer to the truth in some ways because he’s looking in at us and he sees us in a different way than somebody who was completely involved with the experience. That’s interesting. The film left me with the impression that you had worked very closely with Akolkar. No! This movie is his creative work. Except for the interviews I gave, I had absolutely nothing to do with it. We had no discussions beforehand about it. We did not talk while he was editing it or finishing it. We did not talk about music. It was his film. How did Akolkar contact you? He wrote me [to ask if I would participate], and I said, “No.” And I was so glad that the Norwegian people who have money in the film called me and convinced me to meet with him. Sometimes you need to see a person and listen to a person to make your decision. When we met, I saw this young man who was very different from me — a different country and a different religion as far as I know. But I could tell that he was hearing me. We met for one hour, and that’s it. And then we shot two days in Fårö. That’s how much we knew each other. And then when I saw the movie, I just knew this man knows me in so many ways. One of aspects of the movie that I found fascinating was that when your on-camera comments are interspersed with scenes with the Bergman movies you did, the films seem remarkably autobiographical. Was that apparent to you when you were making them? No, I’ve never known this. But that is Ingmar’s genius. The movies may be autobiographical for a lot of people. It’s easy to say, “Oh God, this movie is about us..” But maybe some other woman can say, “Oh, it’s about me, too.” I know a lot of people who’ve said they recognize themselves in these movies. That’s another thing that I really liked about this film: You don’t need to have seen your work with Bergman to feel the emotional impact of this film. It’s a story about a very intense love affair that works on a universal level. Other people have said that to me — that you don’t have to know Ingmar, or me, or our movies to enjoy this movie. That surprises me because the first time I watched it, I thought, maybe this will only appeal to people who have seen the Bergman movies. Liv & Ingmar leaves the distinct impression that you couldn’t live with each other but you also couldn’t live without each other. Exactly. But one thing is true: if we had continued to live with each other, we probably could never have been together as friends afterwards. For some strange reason, it happened at the right time for us. It was so painful — so painful. I hope I’ll never have that pain again. But it led to a deep friendship and often those friendships don’t happen either. When you’re on camera, you really communicate the emotional complexity of your relationship with Ingmar. The scene where you learn that he kept one of your notes tucked away in a favorite teddy bear is pretty devastating. I’m so happy you’re saying that, but the credit goes to the director. The moment with the teddy bear that you talk about – no one knew about it until the housekeeper in Ingmar’s house [in Fårö] said, “Do you know what’s in that teddy bear?” It was kind of a friendship letter that I wrote Ingmar around the time that I did Faithless [in 2000.] And he took the letter and put it in his teddy bear that was always at the house. When I learned about the letter, it was like Ingmar saying again: “I love you –but, of course, not like when you were in Persona . I love you in a different way, and your throwaway letter is so important to me that I’m putting it in my teddy bear.” If I hadn’t done this movie, I would never have learned that. The housekeeper would never have told anyone. The same goes for the door at the house with our drawings. Since I left Fårö, I was so scared that Ingmar would take away the door, or his wife would take away the door. And when Ingmar died, I was sure I’d lose the door. But if you see the film, you see that every year, he did things to keep the sun from bleaching our drawings. Now that there’s no one there anymore to do that, in a couple of years you won’t be able to see what we did very clearly, but now I’ll never lose the door. It’s in the film. That door symbolizes so much. There’s a hand-drawn image of two side-by-side hearts with faces, but they’re both wearing frowns. Was that the essence of your relationship –that you had this great love and yet struggled to make each other happy? You always hope that the other one will make you happy before you think of all the ways that you can make the other one happy. It’s so strange—those doors came just before it was all over [between Ingmar and me]. Why we made the hearts, I don’t know. The other thing I noticed when we made the film is that Ingmar put airmail stamps over some of the dates. I don’t know what’s under them. It’s probably sad. But again, it’s another sign of him saying he cared. Do you still feel his presence? Yes, I do. In this movie, people might say, ‘Ah, he’s not here. He probably would not have made this movie. That happens not to be true. I am so sure that Ingmar would smile and care about this film. I even made a contract with the producer: if I don’t like the movie, I’m going to badmouth it and just say that I spent two days on it and what a shame. I made a contract: no payment but I am free. So, why do you think I’m talking about it? I think this is a great movie about a relationship. It’s a great movie about love. In the movie, you talk about struggling with living in Bergman’s shadow. Do you feel free of that now? I’m will always be proud of having worked with Ingmar. But at the same time, I’m directing Uncle Vanya in Oslo now and an English film version of Strindberg’s Miss Juliet . I will also probably direct Ibsen’s A Doll’s House on Broadway. So, I feel my life has always been apart from Ingmar’s but always connected to him. If I didn’t have him, I wouldn’t have the deep satisfaction of having worked so often with one of the great people of cinema. He has given me so much knowledge and trust and I use so much of what he taught me. When I was in Hollywood and maybe doing things that weren’t the best of the best, I could smile because my luggage were some of Ingmar’s great movies. So nobody could say, ‘Ah, she shouldn’t be filming.” What are your favorite performances in non-Bergman movies? My favorite films are Jan Troell’s The Emigrants (1971) and The New Land , (1972) about Swedish immigrants to the United States. I was nominated for an Oscar for the first one. I just love those two movies. It’s been 40 years since they were made, but they still reflect the attitudes and the realness of why the Swedish came to the United States. I think they would be very important to show now that you are having a new election. I have to ask: I loved the clip in the movie of you being interviewed by Johnny Carson on the Tonight show. He seems genuinely smitten with you. Did he continue to flirt with you when you were off-camera? My husband thought the same thing. He watched it. No, [Carson] didn’t flirt with me after the show didn’t, but he did have me on his program a number of times. And the strange thing is that he didn’t want me at first. He said, “Oh God no, she’s serious. I don’t want someone like that.” He was talked into having me on because I was so open. And then I was there a lot. And no, he did not start, though I wouldn’t have even minded. My husband was very jealous. Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
Like most girls…Lucy Pinder has tits…but unlike most girls…Lucy Pinder has life changing tits…tits that inspire…and that she has made a living out of…but I think I am just tapping into my animalistic hormones today…cuz every girl I see is giving me fucking boners…all because they don’t look like my wife….even if they are old enough to be my wife…or maybe…Lucy Pinder’s a babe…..a babe who knows her worth and shows her titties to prove it…cuz really…tits aren’t a big deal…
Andy Williams, a long-time singer and television host, lost his battle with bladder cancer last night. He was 84 years old. Andy Williams Performance The artist – known for such hits as “Moon River” and the host of The Andy Williams Show from 1962-1971 – passed away at his residence in Branson, Missouri. A multiple-time Platinum-selling musician, Williams is survived by his wife Debbie and his three children, Robert, Noelle, and Christian. Williams also hosted the Grammy Awards from 1971-1977. In lieu of flowers, the family has asked fans to donate to the Bladder Cancer Advocacy Network.
Looks like Cassie is on a comeback tour….that or GQ ran out of attention seeking celebrities looking for coverage…something that I doubt is possible…there’s just an endless supply of that shit….whether it gets repetitive or boring or not…it just keeps on coming…. So I looked her up, she has a second album releasing in 2012, and this greased up hotness is probably all part of that…..but maybe I just think it is hot cuz she’s doing fitness…or pretending to… Either way, here are the pics…which is better than listening her her wannabe the next Rihanna shit music….
Elisabetta Gregoraci is some Wonder Bra model from Italy who is married to old billionalre Flavi Briatore, also known as the father to Heidi Klum’s white baby, in fact, she’s also the mother of his son, and this is her solid genes recovered from that gold digging strategy to ensure to implant the golden sperm, to trap the motherfucker to a lifetime of monthly payments, as god digging whores tend to do….you see getting pregnant is the best, longest lasting Gold Digging move…and real gold diggers know all about that…..but then again, maybe this Elisabetta Gregoraci is not the whore I accuse her of being….despite evidnce the Italian prime minister hired her as a hostess and that she offered sex for a job….which to me is just a sign of good work ethic….she kept her eye on the prize and got it…and she looks good playin’ the game….and that works for me. TO SEEE THE REST OF THE PICS FOLLOW THIS LINK
Miranda Kerr was modeling some bullshit for Cosmopolitan Korea because she’s an internation model and these pics are probably considered boring for the average viewer…but if you’re like me and think this Victoria’s Secret angel who is heavily marketed and shoved down my fucking throat….you just can’t get enough of her…even knowing she’s got a fucking kid…and a husband…two things that repulse you….all it takes is a hint of cleavage and I’m sucked right back into her wide faced trap….it’s starting to become an issue….but nothing compared to my other obessions that don’t allow me to be a normal human in society….none of which are shitting in a condom and freezing it to make homemade dildos to fuck your wife with…but they should be.
Hitman Joe ( Joseph Gordon-Levitt ) is confronted with his future self — in the form of a time-traveling Bruce Willis — in Rian Johnson’s Looper , the writer-director’s third feature and one of the freshest original science fiction tales in years. Before debuting the September 28 release at Fantastic Fest over the weekend, Johnson spoke with Movieline about the pre- Brick short script that gestated into Looper , the film’s dark streak and the 1970 soul ballad that serves as “the heart of the movie.” Take me back to the beginning – the idea for Looper began as a short story in your notebook around the time of Brick , right? Before I made Brick . It was a script for a short film, and it was a few years before we made Brick , during a time when we were spending all of our time looking for money to make Brick – Steve [Yedlin], my cinematographer, and I. We realized we were just driving ourselves crazy and to alleviate the pressure we decided to start making some shorts, and we made a few but this was one that I wrote but we never ended up shooting. What was the original seed of the idea that started it? It’s funny, at some point after the release I’m going to put the three-page script up on the internet but it started with the same voice over that the feature starts with. It explains the guy and his job, and when his older self shows up, it was a foot chase between the two of them across the city, then it ended when they caught up with each other. It has a similar ending to the feature which is why I don’t want to put it out too soon. I had been reading a ton of Philip K. Dick and was in a period when I had just discovered his books, so I think my brain was full of sci-fi ideas. Were you feeling super existential? I must have been going through one of those existential phases we all go through, continuously. The honest answer is it was ten years ago and I don’t exactly remember. Ten years ago I was 28. The quarter-life years or so. It’s true, my God. Now I’m going through an existential crisis, thanks a bunch! I’m sorry! One thing I like about the concept is that it’s so much about identity, our past selves, our future selves, how we see ourselves and the potential to change the future. And our relationship with this kind of character, our future self, our notion of what we’re going to turn into and our ideas of how our lives are going to go. That’s usually personified in your relationship with a mentor or parent, someone who’s indicative of a path you could take in life and whether you want to or not, that’s kind of the interesting question. I found the film to be quite romantic. Nice! And that was not something I was really expecting. That song you use, Chuck and Mac’s “Powerful Love,” is so beautiful and perfect. Isn’t it incredible? It’s such a beautiful song. I literally picked up blind, I think on vinyl on the Twinights [album]. Listening to that song just sticks, then the lyrics somehow attach themselves to the meaning of the whole thing and it ends up jamming in your head and it becomes a really obvious choice, you know? Actually, in pre-production I sent an mp3 of that song to Bruce [Willis] right when he signed on and told him this song is the heart of the movie, and he got really excited about it. I was listening to that song over and over while we were shooting it. That and a lot of Sam Cooke. A soul connection. I’m really happy that you felt that from the movie. There is a real deep heart of romance in the movie, and not just boy-girl romance but romance with a capital R. Love. Yeah – love in the sense that love can somehow fix things. I hope that that’s baked into it. As dark and as bleak as the movie can get at times, the reason I feel comfortable having it go there is I hope that it gets to a really hopeful and redemptive place at the end. Do you see Looper as dark and bleak? I think it goes to some pretty dark, bleak places and shows these characters, even the ones who are supposed to be good guys, doing some terrible things. I think it shows the dark side of everybody and gets to some spots where you wonder if it’s all going to be okay, but I hope it shows you that people can change and people can make decisions for the right reasons. I was really surprised to be crying as the credits rolled. Yes! I was trying to make you cry. That makes me really happy. My little sister cried! That’s what we were going for, that kind of rush of emotion at the end. Your films have been quite different, playing in different genres. When you decided Looper would be your next feature did you have any trepidation about tackling the time travel aspect knowing the geekosphere would scrutinize it? Well, yes – especially because I’m part of the geekosphere and I’m one of those guys. The thing is, I’ve never had time travel inconsistencies in a movie deny me the pleasure of enjoying a movie. For me those are two separate things. And that’s something I can’t understand. I can’t understand someone who says “I didn’t like that movie because that, that, and that…” For me it’s like, wow, that’s a cool movie with a well-told story that was awesome, and this didn’t make sense and that’s fun to dive into and pick apart. But every time travel movie that’s ever been made, if you really dig into it you’re going to hit bedrock where paradoxes kind of hit each other and it doesn’t make sense. The important thing is that the storytelling works and that it has a consistent set of rules that it plays fair by. But I was mostly terrified just because time travel is a tough thing to work into the fabric of a story. It’s a tough thing to put into a story and still have the whole thing tick – it can be like pouring grape jelly into a clockwork watch. It’s a messy ingredient that’s hard to tame. As your films have gotten bigger and your career has gone from indie to increasingly more mainstream audiences, how do you feel your trajectory has evolved? I guess the movies have gotten bigger, one by one – I still haven’t worked with a studio. Sony’s putting this out and have been awesome and I would love to work with a studio someday, but so far we’re doing each of these independently. I guess I’ve crept up in scale with each one, but at the end of the day they’re all motivated by the same thing; they all start with a story that I care about that I want to tell. It is fun to see how broad a canvas we can accomplish; even with the next step I think it would be really fun to do something bigger, working on a broader canvas and reaching a bigger audience. But it can never come from that place. It’s so much work to make a movie, and for me it has to get me off my butt. To get me actually writing you have to strike something inside, you have to hit a power main to get the energy. You have to strike something you care about. Have studios approached you a lot more in recent years with projects? Not so much after Brick – I got anything that was dark and had to do with high school. Not so much after Brothers Bloom . In the lead up to Looper there have been more people calling… but the thing that’s interesting to me is if this group, this little family that we have that we’ve made these movies with, can tell one of our stories on that scale – and that doesn’t just mean doing something, I think you have to be conscious of the size of the canvas that you’re working on, the amount of money you’re spending, and the audience you’re trying to reach and you have to adjust your storytelling. I think that’s part of your job as a storyteller. You mention this “family” of filmmakers and collaborators, from using Joseph Gordon-Levitt again to working with Nathan Johnson on the music. You named Noah Segan’s character after his own nickname. Even Joe’s character is named Joe. I was really lazy with these names! [Laughs] When it comes to working with this group of people again and again, how do you synthesize all this? Did you write these characters with their personalities or capabilities in mind? Their capabilities more than their personalities, their strengths. This is a unique case with Noah and Joe, but usually I don’t have any idea who’s going to play [my characters]. It’s not like when I’m writing these characters I’m picturing my friends. You’re creating a completely new character and hiring somebody to play to that and against it and shatter your expectations of what that character could be in some ways. With Joe for instance, the way that Joe loves transforming himself on film and the way that he loves disappearing into his role I knew was specifically suited to something where he was going to have to sell himself as a younger version of an older actor. And there’s just something about Noah that’s inherently likeable and I knew that’s a trait I wanted to shine through with this weird little pathetic villain character – I wanted there to be something where you could see the little boy in him who’s trying to be a cowboy. That’s the sort of thing you know from your friends that you can hopefully use to your advantage. How much do you think our world will be like the world of Looper by the year 2044? I think that our world will be much nicer. I’m an optimist, actually. I think everything’s going to get better. I think we’re evolving. Looper is in theaters Friday. Read more from Fantastic Fest! Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
