Hey remember when I did that Bar Refaeli post 4 minutes ago about how she used her tits to fuck famous people, like Leonardo DiCaprio, before leveraging that fame into a line of underwear she’s pushing aggressively, cuz might as well make all the money you can when you can….it’s simple business lessons many Israelis will teach you if you let them…… While, here’s the new vagina Leonardo DiCaprio is fucking, because he can, and might as well, stick his dick in all these half naked models who get paid to be half naked, cuz why bother lookin for pussy on your own, when you have model scouts out there and big brands like Victoria’s Secret out there doing the work for you…not tha someone like Leonardo DiCaprio would exclusively fuck one model…when he has the option to fuck all models…but this is his public number one…and she’s in a bikini showing you why she’s a star fucking model….it’s all in her body. TO SEE THE REST OF THE PICS FOLLOW THIS LINK
Before Twilight and even before Kristen Stewart was first approached to be in On The Road by Brazilian-born director Walter Salles, the young actress read the Jack Kerouac novel for school. She told Movieline that she picked up the book because it was an assignment given, but her experience with the now American classic evolved. “I found the book fun,” she said. But after reading and studying it more, it became much more compelling and taught her personal life lessons about growing up, making choices and dealing with inhibitions. She also emphasized that while she played the comparatively wild Marylou, she does not judge her uninhibited character. [ PHOTOS: Kristen Stewart, Garrett Hedlund, and Kirsten Dunst Go ‘On The Road’ in Toronto ] “I learned through the book that you really have a choice about who you surround yourself with. [As a young adult] you realize you can choose who you’re surrounding yourself with,” Stewart told ML in Toronto where On The Road debuted over the weekend. “Up until that point you’re really circumstantially with your family or whatever but at some point you can ‘choose’ your family. “I have a great family by the way, but you need to find people who can pull something out from you that might be otherwise unseen. And when I read the book, I thought, ‘Gosh I need to find people like that.’ I’m definitely not the Marylou type. But as I continued reading it as I got older, the weight of it started to mean something more.” In the film version of the book, Stewart plays Marylou who was first married to, then divorced from, and ultimately a lifelong companion/lover/fellow free spirit to Dean Moriarty. The story centers on Dean (based in real life on Neal Cassady) who meets up with close friend Sal (writer Jack Kerouac’s own stand-in) as the two travel across the U.S. as well as into Canada and Mexico. Like Dean, Marylou is anything but monogamous and she dabbles in pleasures that are alien to the wholesome fun of the prevailing culture of the conservative 1950s. Stewart and the rest of the cast, including Garrett Hedlund (Dean), Sam Riley (Sal) and Kristen Dunst (Camille), met and spoke with relatives of the real-life characters they played in addition to other research before embarking on On The Road . Stewart said that she didn’t want to simply approach Marylou as a rebellious young woman with loose morals, but explained that while she gained understanding of her, she remained, to some degree at least, an enigmatic figure. “To play a part like Marylou, she’s very vivid and colorful but also on the periphery,” said Stewart. “You don’t know her heart and head and the how and why she does what she does. By the time that it came to film, I didn’t want to play her simply as this character that is just a wild and sexy girl. With the research we were able to do, applying the whys and getting to know the people behind the characters makes you think about the book differently.” Stewart continued, “It’s not easy to live a life like that and that’s what makes these people remarkable. I did always wonder how she could take it. How deep is that well? How much can you have taken from you? What I found about her is, that uniquely to her — and not to the time she lived in — was her capacity to see through people’s flaws and see past them, which was unbelievable. She was just such a wonderful woman. She was infectious. And, no, I did not judge her.” Kristen Stewart appeared at some moments very pensive and at other moments playful in describing her role and unusually long attachment to On The Road . The period coincided with being catapulted to the height of fame through the Twilight franchise, which morphed into zealous attention from so-called Twi-hards who lived vicariously through her and her equally lauded co-star and real-life boyfriend, Robert Pattinson. And as the world now well knows, that relationship hit the skids in the glare of legions of fans through an onslaught of media spectacle . Just weeks after the tidal wave of attention, Stewart bravely faced media for On The Road , though handlers were clear before assigning interview time — the subject needed to remain “on topic.” Still, Stewart talked about herself personally, saying that the experience she had with On The Road had provided her some life lessons both professionally as an actor and also as an individual. “If this has taught me anything, it’s just that if you stop thinking and just breathe through it, you’re such a better actor. You just have to do the work initially and then trust that you’ve already done that work and not get too analytical. You have to trust that you’ve already completed that effort,” she said. And beyond the work, Stewart said she now has more confidence to say what she thinks with less fear than in her earlier years. “It’s opened me in a way that’s probably more appropriate to my age. I think I’m a bit less inhibited, and not thinking too much before speaking. It’s not about being shameful, I’m just a bit more unabashedly myself because of this thing, and it probably started at age 15. I can be around people and say what I think without fear.” Previously: Kristen Stewart Talks ‘Hard Love’ In Toronto For On The Road Read more from the Toronto Film Festival. Follow Brian Brooks on Twitter . Follow Movieline on Twitter .
Tearful testimonies were in full force earlier today when iconic Hip Hop figures and artists all came out to give credit and pay their last respect . A constellation of stars — many of them wearing pins emblazoned with Lighty’s face — crowded a Manhattan funeral home to pay their respects. Sean Diddy Combs, Fat Joe, Rev. Run, Missy Elliott, Michael Bivens, Wyclef Jean, Ed Lover — each stopped by the open casket where Lighty was laid out in a black suit. The mourners also included rappers Lighty had worked with like 50 Cent, singers like Mary J. Blige and Lauryn Hill, celebrities like Gayle King and Nick Cannon, and other rap moguls like Andre Harrell, Lyor Cohen and Mona Scott-Young. Rapper Busta Rhymes capped his tribute to his longtime friend with a rap. “You were the light in a lot of lives,” Busta declared at the Frank E. Campbell Funeral Chapel. “It ain’t no coincidence that your last name was Lighty.” Russell Simmons credited Lighty with helping “create a cultural revolution” and rapper Q-Tip called him “an honorable man.” “He grew up to be in so many ways a true leader in our hip hop world,” rapper LL Cool J said. “We didn’t thank him enough. I know I didn’t.” Lighty’s 17-year-old daughter Tiffany sobbed through the ceremony. Her sister, Deja, said she wasn’t surprised by the turnout. “I know my dad was a popular guy,” the 16-year-old said. Lighty, 44, the founder and chief of Violator Management, killed himself last month after a heated argument with his estranged wife Veronica outside their Riverdale townhouse, police said. R.I.P. Chris. We thank you for all the work you did and good music you gave us. Source Images via Twitter
The Toronto International Film Festival annually boasts one of the deepest and glitziest line-ups of the year, and while there are many under-the-radar discoveries to be made, TIFF can be a very effective launching pad for upcoming studio releases and Oscar hopefuls alike. With Tom Hanks, Ben Affleck , Ryan Gosling , Paul Thomas Anderson , Kristen Stewart , Jake Gyllenhaal , Spike Lee , Keira Knightley , Bill Murray and more bringing films to Toronto, which films and A-listers are set to make the biggest splash at the fest starting tomorrow night? [ PHOTO GALLERY: The 15 Toronto Titles Most Likely To Succeed ] Argo , Ben Affleck Headed to theaters in October via Warner Bros., Ben Affleck ’s third directorial effort is also his most ambitious to date following his strong crime thrillers Gone Baby Gone and The Town . Based on the true story of a joint Hollywood-CIA plot to rescue six diplomats during the Iran Hostage Crisis, Argo boasts a stellar supporting cast – Bryan Cranston, John Goodman, Philip Baker Hall, Alan Arkin, Clea Duvall, and Kyle Chandler among them – anchored by Affleck himself as real life CIA operative Tony Mendez. Oscar buzz began last weekend at Telluride , where Affleck earned kudos for his work in front of and behind the camera. The Master , Paul Thomas Anderson Paul Thomas Anderson’s much-anticipated drama has navigated its own unorthodox course of promotion through secret screenings and teaser trailers ahead of its September 14 bow in limited release. ( Read Movieline’s sneak review here .) A highly successful official bow at the Venice Film Festival before a stop in Toronto only shored up more critical support for the period drama, about an ex-seaman (Joaquin Phoenix) drawn into the inner circle of an L. Ron Hubbard-esque figure (Philip Seymour Hoffman). Expect Anderson’s latest to keep riding the wave all the way through awards season and pique interest beyond the art house with its parallels to Scientology . The Place Beyond the Pines , Derek Cianfrance In The Place Beyond The Pines Ryan Gosling – tattooed, blond, and a biker – reunites with director Derek Cianfrance, who captured one of Gosling’s finest and most wrenching performances in Blue Valentine . Here Cianfrance pits Gosling’s vagabond-outlaw motorcyclist against an ambitious young cop (Bradley Cooper) in what Toronto Film Festival artistic director Cameron Bailey calls “a study of vengeance, memory and fate.” Rose Byrne and Eva Mendes (who’s been dating Gosling, ZOMG) also star. If you loved the Baby Goose in Drive , how can you resist? On the Road , Walter Salles Despite mixed reviews out of Cannes , Walter Salles’ adaptation of the Beat generation classic is primed to make a splash upon release this December – mostly thanks to the star power (and, let’s be real, the tabloid power) of Kristen Stewart , whose turn as the wild Marylou marks the beginning of a departure from her well-known Twilight alter ego. But On the Road could also boost the profile of Garrett Hedlund ( TRON ) – and the additional wattage of Kirsten Dunst , Viggo Mortensen , and Amy Adams doesn’t hurt, either. Looper , Rian Johnson Rian Johnson ( Brick , Brothers Bloom ) is back with a sci-fi tale with a twist: Joseph Gordon-Levitt stars underneath a prosthetic Bruce Willis nose as Joe, a “looper” – a hitman who offs targets sent back in time from the future. When he encounters his future self and fails to finish the job, Joe finds himself both hunter and hunted as time runs out. After premiering on opening night of the Toronto Film Festival, Looper will hit theaters on September 28 – a surprising must-see for sci-fi fans.
Playing at the Roxy Theatre in LA August 29th Show tickets and info here: bit.ly Joseph Vincent w/Live Band playing at the Roxy Theatre Tickets: $12 Doors open 7:30pm playing songs from my debut album “Blue Skies” Excited to see you all there!! Toestah Amazing hip-hop artist check him out. youtube.com facebook.com twitter.com toestah.tumblr.com Alexandher for filming and editing this video He’s very talented, please go and support his work. http twitter.com youtube.com Moishi for helping out with the instrumental music Very talented/young up-and-coming producer. twitter.com Please support and check out my songs “If You Stay” “SAD (Single Awareness Day)” and “Bumble Bee” on iTunes, Thank You:) itunes.apple.com ………………………………………………………………. www.josephvincentmusic.com Facebook www.facebook.com Twitter: www.twitter.com Myspace: www.myspace.com http://www.youtube.com/v/GV92w_rDebQ?version=3&f=videos&app=youtube_gdata See original here: As Long As You Love Me Cover (Justin Bieber ft. Big Sean)- Joseph Vincent ft. Toestah
The X Factor kicks off Season 2 in just a few weeks, and the Fox competition is still without a host. But it has hired at least one mentor to assist contestants with their songs and routines – and you may be familiar with his work: Justin Bieber!!! Sources confirm to TMZ that Bieber will be one of four celebrity mentors brought in to help the judges with their teams. Look for him to be aligned with L.A. Reid and that panelist’s contingent of hopefuls. Rumors also state that Nick Jonas will work alongside Demi Lovato and her group, while it’s unknown at the moment who will take sides with Simon Cowell and Britney Spears. The X Factor , which returns on September 12, won’t mark Bieber’s only appeared on Fox this fall, either. He has booked a cameo on The Simpsons . [Photo: WENN.com]
Don’t shoot the messenger! This week’s wide release of the Joseph Gordon-Levitt bike courier film Premium Rush inspired Movieline to deliver this cinematic parcel to your doorstep. Once each generation, Hollywood pushes a product centered on the travails of these municipal nomads; back in the 1970s there was a love story with Tom Berenger in Rush It ; CBS tried out the courier-based sitcom Double Rush with Robert Pastorelli and David Arquette; Jessica Alba played an urban biker in Dark Angel ; and, most recently, came the Chinese import Beijing Bicycle . The desire to portray the world of bike messenger-ing is understandably tempting — the close-knit society, rebellious personalities, and high-risk action of the work beg for a dramatic treatment. But one title rises seat and handlebars above all the others in this micro-sub-genre: 1986’s Kevin Bacon vehicle Quicksilver . Nestled perfectly in the middle of the decade, this film typifies a 1980s offering, so light in actual content you could fit it in your shoulder bag. Characters are revealed less via action than by name – Apache, Cha-Cha, Airborne, Spider, and Shorty. Even the main characters are communion-wafer thin when it comes to complexity. Curiously, Quicksilver features a preponderance of comedians in the cast: Paul Rodriguez has a major part, Saturday Night Live writer Andrew Smith appears, and Louie Anderson is, theoretically, a messenger named Tiny. (I say “theoretically” because the corpulent stand-up never once straddles a bike seat, possibly because he couldn’t.) The synth-heavy score comes courtesy of Genesis keyboardist Tony Banks, and it immerses you in the era — so much so it feels like more energy went into crafting the soundtrack than the script. Roger Daltrey had a slight hit with the Giorgio Moroder song, “Quicksilver Lightning”, and other ’80s soundtrack regulars, including Ray Parker Jr., and John Parr appear as well. To go along with multiple extended chase scenes, that other ’80s cinema staple — the musical montage — gets heavy usage. No fewer than three of these occur within the first 30 minutes while we await an actual story. One of these vital plot breaks involves Kevin Bacon at home with his modern-dance/ballerina girlfriend. Despite being destitute, Jack and his leggy lovely somehow San Francisco loft that is roughly the size of a parade float manufacturing center. Behold its size as you watch the couple interact, like all lovers do, silently professing mutual love by incorporating their dance and biking professions: It becomes the job of the viewer to find the plot amid these interludes. We begin with Bacon riding in a taxi. A bike messenger cruises beside his cab, and for no reason we can understand, Jack tells the driver he’ll pay him 50 bucks if he beats the bike rider to his destination. The bike dodges obstructions and the cab skids to a halt as the courier loses his beret. Jack races over and clutches the abandoned headpiece, and we are supposed to grasp that an unspoken bond has been forged by these two. Revel in a feeling of revulsion as Jack grips a stranger’s sweaty, grime-coated hat! At the start of Quicksilver , Bacon wears glasses and sports the facial hair of a sexual sadist, looking every bit like the serial killer that neighbors are always surprised to learn has a softball team buried in the back yard. (This is the same look Bacon sported in his recent commercials for Logitech, by the way.) Jack works as a hot shot trader at the San Francisco Commodities Exchange. He and his partner Gabe try to corner the market on a stock only to have its price move on them, causing the pair to lose millions, including the life savings of Jack’s parents. He is so distraught that next we see him opt for street urchin fashions, ditch the glasses, shave off the pedophile moustache, and grow his mullet out to its Footloose splendor. He is now working for Quicksilver Courier Service. Jami Gertz plays Terri, a new hire, and this allows us to be introduced to the United Nations staff. When asked where she’s from Terri tells Hector (Paul Rodriguez) she moved around a lot because her father was a jet pilot. (Apparently the Air Force has military bases in Chicago and Detroit.) She meets Jack, but there is also a dark undercurrent to their profession: When after a meal at a diner, Terri cannot find her money, a suspicious man ominously offers to pay for her meal. The top rider at Quicksilver is Voodoo (Lawrence Fishburne), who augments his salary by making runs of contraband for a local hood named Gypsy. He happens to be the guy who bought Terri’s waffles. As villains go, Gypsy is not the most intimidating. He motors around the Bay Area in a sad, rundown Ford LTD, perhaps waiting for MTV’s Pimp My Ride to be invented. Gypsy and Voodoo have a professional disagreement, and ,later, when Jack and Voodoo challenge each other to a race that is the focus of another montage, Gypsy runs Voodoo down in the street. This means Jack Casey is now the top rider at the service. I guess it also means he needs to get a new goofy name. Soon enough, the plot gets yanked forward by the aspirations of the riders. Hector has a pregnant girlfriend and dreams of one day owning a hot dog cart. Gypsy orders Terri to take over Voodoo’s duties. (Somehow she has become indentured to a criminal over a $5 breakfast tab.) Meanwhile, Jack is getting lured back to his brokerage life by his former partner. Initially, he resists, explaining his new lifestyle to Gabe: “When I’m on the street I feel good – I feel good, I feel exhilarated. I go as fast as I like, faster than anyone. The street sign says one-way-east [CLAP] I go west. They can’t touch me! When I’m on the bike I forget about . . . I dunno – I dunno.” Okay, so it’s not the Henry the V battlefield speech, but you feel his passion . . . I guess. The financial pressures on Jack and his friends inspire him to revisit his past for the finale. After weeks of studying the Wall Street Journal he’s convinced he’s found a surefire stock choice, so he takes his shot. At the exchange Jack gets a VISITOR pass, strides onto the floor and begins buying call options instantly. And — SPOILER ALERT — after a few tense hours, his stock leaps two points in a matter of minutes! He pockets around $50,000 for a few hours’ work, everything is resolved and everyone, including his parents, get their share of the profits. I had to resort to an expert opinion as this felt more than ridiculous. Writer Brad Laidman, who had actually worked on that very options floor, assessed Quicksilver ‘s realism factor. Laidman actually recognized people on screen as legitimate exchange workers, so he knew the details. “While I could see him getting the pass and visiting the floor,” he explained, “there was no way in hell he’d be able to walk out and start trading that day. It’d take a month of paper work to get a trader’s badge, and he’d have to establish an account with the exchange.” “What they showed was like buying a ticket to a Chicago Bulls game, and somehow you found yourself on the court, taking the winning shot. Then later, he goes in the back and they start printing out checks, like he was at the race track. The whole thing was a fantasy.” As I suspected. But hey, this wouldn’t be Hollywood without a Hollywood ending. Jack sort of separates from his girlfriend and sort of gets together with Terri (after barely interacting with her up to that point). They happily amble up to their friend Hector, who’s doling out his dream dogs — the movie’s way of telling us that everyone lives happily ever after. Studios love lecturing on the venal capitalist undercurrent in this country, and yet look what they were selling audiences circa 1986: For a white guy studying the newspaper and wearing a tie, one afternoon if enterprise would net you tens of thousands of dollars. Meanwhile, if you were ethnic, applied yourself and worked extremely hard, you got the a shot at hustling tube steaks from a cart on a street corner — provided you had a smart white guy to help you out. Thanks, Quicksilver ! Read more in the Bad Movies We Love archives! Brad Slager has written about movies and entertainment for Film Threat, Mediaite, and is a columnist at CHUD.com . His less insightful impressions on entertainment can be found on Twitter .
Long before Chick-fil-A fried their way into the center of a gay rights firestorm , Compliance director Craig Zobel was searching for the right setting to tell his chilling tale of order and obedience gone terribly wrong at a fast food joint. “In the back of my head, I probably could have told you that they were on the wrong side of history,” said Zobel, who rocked Sundance with the drama, based on incredible true events, in which a telephone prankster manipulates the manager of a fictional chicken restaurant into the increasingly dehumanizing treatment of one of her employees. “I just didn’t want to look at it.” The natural impulse to obey authority, and the all too-human imperative to ignore our own wrong behavior, pulsate through every (often) cringe-inducing moment of Compliance . Veteran actress Ann Dowd is tragically relatable as Sandra, the middle-aged “Chick-Wich” restaurant manager conned by a caller claiming to be a cop ( Pat Healy ) into detaining young cashier Becky (Dreama Walker) on suspicion of stealing from a customer; interrogation by proxy devolves into humiliation and worse as other reasonable-seeming employees and colleagues get involved. It’s an escalation of events you’d think most people would never fall prey to if it hadn’t happened in real life in over 70 reported incidents in 30 states. The subject matter touches such a raw nerve that Compliance ‘s Sundance screenings prompted walkouts and shouting matches in the audience ; as recently as this week the same thing happened in New York. Zobel talked with Movieline about the highs and lows of sparking controversy at Sundance, how the Stanford Prison Experiment and the work of psychologist Stanley Milgram led him to Compliance ‘s incredibly true inspiration, why Cops is a great resource for writing policeman dialogue, and how shades of Chick-fil-A unintentionally made its way into the most debated film of the year. You made quite a splash at Sundance; were you always expecting this kind of divisive reaction from audiences? I knew that the movie would be challenging to certain types of people, and after having made the movie I thought because of the subject matter and decisions that we made, we’d be leaving some people on the table that wouldn’t like it. So I wasn’t 100 percent surprised. But I made the movie not because I knew the answer to something, but to explore — this stuff is weird, it’s not black and white, and none of it really makes a whole lot of sense to me. So I made it as this question. It was intentional to have a dialogue, and the fact that it happened as fast and as big as it did was kind of amazing. I was on the bus going to another screening at Sundance and heard two people who had no idea who I was talking about it. It was pretty great. What did they say? They were talking about the real cases, but hearing people talking as you walked by – “ Compliance !” – was exciting. Isn’t it scary as a filmmaker to ride the bus at Sundance? I could see how it could be, yeah. [Laughs] Mostly it’s just scary because if you’re riding the bus you’re probably late getting somewhere. When you first heard about these real life fast food prank cases, had you been looking for this kind of crazy real life story for inspiration? I was really interested in the Stanford Prison Experiment, and because of that I started reading about Milgram’s obedience experiments, because at first I was thinking with the prison experiment, that’d be an amazing movie. Then I found out that people are making that movie, that’s happening. Fair enough. By then I was hooked, and it’s hard when you start reading about it; almost anything that’s newer points to real cases and real situations, like the Kitty Genovese case where a woman in the Bronx in the 1970s was attacked in the courtyard of her apartment building and screamed out for help — and it turns out that 24 people heard her and nobody did anything because they thought somebody else would. These kinds of cases just pop up. I heard about these prank phone call cases from that, and I was just reading them because I was fascinated, and I think what made me really consider this as a movie was that days after reading them my first instinct was “I wouldn’t be a guy who’d do that.” Of course — everyone thinks they’d be the one person who would say no, who would feel such a strong sense of right and wrong that they’d stand up to the voice of authority. Right! And of course if it happens 70 times over a 10 year period, and if you look at the Milgram experiments which basically say two-thirds of us would do these kinds of things, how honest am I being? That every time I’ve encountered something I’ve disagreed with in an authority figure I’ve stood up immediately and said what I’ve needed to say? Is it true that you’ve always done that? And people’s relationship with authority, I was like, wow, I don’t see movies like that very much. How close a connection do you feel there is between that sentiment and the ground you explored in Great World of Sound ? I guess in my mind the other film is about rationalizing doing something that deep down you know you shouldn’t be doing, because you need to for one reason or another. In the movies, bad guys are really bad — like, Darth Vader comes out and is just bad as shit. But in real life, nobody thinks they’re a bad guy. Everyone rationalizes that they’re not a bad person, right? But bad things happen, so that can’t totally make sense. In Compliance , you humanize every one of the characters — not just the victim. Watching the film, that eventually the perpetrators of these crimes would eventually pay for their complicity. And then I read about what really happened after the fact. The manager got a settlement out of it, too! It’s hard not to become invested one way or another. The most interesting way to tell the story in my opinion was to be objective about it, and I think that has something to do with the people who reject the film or have conflict with the film who wish that the film was incredibly subjective to Dreama’s point of view, which is a way to do it. But I think that way would have had to have painted everyone else as bad people. And although I think they did something that I definitely disagree with, it was wrong, I guess I have some empathy with the decision making they get into. You start thinking in one direction, and then to back up and say that you made a mistake — for Ann’s character to say she should get out of there — would be to admit that you had done something really dumb. Nobody wants to do that, you know? It was all these human things; I tried to look at all the characters as if you were an alien from outer space. “Why is that happening?” There was one particularly unsettling thing yelled out during the Sundance Q&A… The guy who said the thing about Dreama? I had some interaction with that guy, and — it’s weird, because I’m defending somebody who yelled at me — but I do think that he maybe just didn’t know what he was saying, or said something the wrong way. I think he was reacting to multiple things; the crowd, when the first one yelled “Rape’s not entertainment, this is the year of the woman at Sundance” people were standing up and saying to her, “Well, I want my grandchildren to see this movie!” And he was reacting to the hostility towards her in the room and trying to make her case for her in a weird way. I mean, I think the guy was an idiot and put his foot in his mouth. Do you know what he said after he said that? He said, “Well, your body sure is appealing.” What was going through your head in that moment? I was just worried that Dreama was going to cry. I was like, if I put my arm around you will you just crumple? I was just there. And then [cast member]Ashlie Atkinson grabs the mic and her response is perfect, because she’s smart and has thought about this stuff. And he says, “No, I’m a faggot, I’m not even…” and I’m like, please be quiet. You’re making me uncomfortable not because of what you’re saying, but now I feel weird about you! [Pause] I know how that reads, but I don’t think a lot of people are lasciviously looking at this movie. I think it’d be hard to. We tried as hard as we could to make those scenes not feel comfortable. That was sort of the point; I felt it was important to have nudity in the film and go to a certain degree so the gravity of how insane it was would be there, but it was not meant to paint a picture that was sexy at all. It was actively attempting not to do that. Do you feel like the controversy has been a benefit? The controversy has certainly helped in helping people know about the movie, and it’s helped kickstart discussions that have become really interesting. I’ve had more interesting discussions about gender politics than I’d even hoped people would go as far with. We’ve had super interesting conversations. So in the sense that it legitimized having questions about this movie, the controversy was great. Even if you totally reject the movie and felt like I did a bad job, it’s still interesting to talk about. Was it hard to find Dreama, to find the right actress for this? It was. It was good in that Dreama was as interested in the root story as I was — all the actors were, honestly. Nobody was doing this movie because it was a great paycheck, they were doing it because they were fascinated by the questions that it raised. It wasn’t a super long process; in some ways a lot of people would be uncomfortable with this type of movie. But immediately Dreama and I clicked and she seemed to be picking up what I was putting down. The press notes emphasize how uncomfortable you were directing her in her nude scenes. [Laughs] I was! There was a lot of showing her playback and asking, “Is this okay with you?” But it’s funny, the actual screen time of how much [nudity] you see in the thing is less than you think. I think because of the subject matter it feels like that when you watch the movie. It’s because you’re in that experience with her, her nakedness and vulnerability dominates your brain . Which is really interesting. I wouldn’t say that I knew that would read like that quite to the extent that it has. I just got back from Locarno from the international premiere, and the foreign sales company that is handling our movie is also handling a movie about children during the Holocaust. And I found it funny that they were talking to some distributor in Europe and the European distributor said to Memento, the sales company, “We saw your really heavy movie.” And they were like, “Oh, you mean the one about children in the Holocaust?” And they said, “No, the one about the fast food restaurant!” Heavier than the Holocaust — now there’s a tagline. [Laughs] I don’t think I ever saw that coming. You cast the terrific Pat Healy as your phone caller, and to prepare you had him watch episode of Cops ? I was trying to figure out how to write that cop dialogue, and you quickly start realizing that most of your understanding of cops has to do with TV shows. Law & Order , that kind of thing? Yeah, stuff like that where it’s like your whole understanding of cops is through this media interpretation of them. I was like, how does a cop talk? That’s why I started watching Cops . To Pat I was like, look — it’s all about being passive aggressive. Cops are incredibly passive aggressive! That’s why I sent him the series. You hear them being like, “Okay, ma’am.” The quiet authority. It’s like your entire relationship in any conversation is from a place where you’re a little better. But you wrote the dialogue not knowing what was actually said in these real life phone calls? There are some parts that I’ll just never understand. I didn’t write the scene that gets them to the full-on assault, because I didn’t know. What would they say? It’s also like, who cares? True — you don’t need to hear the exchange leading up to the big assault to believe it. Now, you made Compliance long before the recent Chick-fil-A controversy, but rather presciently set this story within a fast food chicken restaurant. What is it about the insidiousness of chicken? [Laugh] Fried chicken sandwiches! The timing is strangely perfect. It is amazing! It’s bizarre. I’m from Atlanta, where Chick-fil-A is headquartered. I really wanted it to be a regional chain — I didn’t want it to be like, McSwiggins! I hate that in movies. It’s so distracting. Even Fast Food Nation does it, where they’re like, “Mickeys!” I’m like, Mickeys, really? So I was like, what if it’s not a famous one — what if it’s more like one where if you went to your aunt’s house in another state you would be like, there’s some weird fast food restaurant here that I’ve seen three times that I’ve never heard of, you know? And I’m from Atlanta; what is a regional fast food chain that I know? We have two big chains — one is Waffle House which I guess is more of a diner, but we’re proud of it, and the other is Chick-fil-A. It should be a southern fried chicken sandwich place! Maybe you subconsciously tapped into something there. I wonder! It’s funny when you think about it. I knew that Chick-fil-A was super Christian, and was kind of ignoring that because it’s really good food! But it’s that same thing where in the back of my head, I probably could have told you that they were on the wrong side of history. [Laughs] I just didn’t want to look at it. Compliance is in limited release. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Friday’s release of the R&B musical remake Sparkle marks a bittersweet triumph for the late Whitney Houston , whose death in February preempted what many, including producing partner and friend Debra Martin Chase, insist would have been Houston’s comeback. Co-stars Jordin Sparks , Mike Epps, Tika Sumpter, and Carmen Ejogo remembered the iconic Grammy-winning singer, actress, and executive producer as a “vibrant” and “open” force on set who was gearing up to bounce back from her recent personal troubles. Jordin Sparks, who stars as the talented but self-conscious youngest daughter of Houston’s strict churchgoing Emma, first met her idol at Clive Davis’s annual Grammy party but was too shy to speak with her at length until they arrived on the Detroit set of Sparkle . “She was so down to earth, she just wanted to sit with us and talk with us and get to know us,” remembered Sparks. “She could’ve just been like, ‘I’m gonna do my scenes and go back to my trailer,’ and that wasn’t how she was. She’d be sitting, watching. Of course she was executive producing as well but she didn’t really have to be there. [She’d ask] us if we needed anything and if we were okay. And it was amazing to be able to go through that because, you know the supernova, diva, THE voice… and she’s just going, ‘So, what’s your favorite thing?'” In May, three months after Houston’s death, Sparks was asked to sing Houston’s iconic “I Will Always Love You” at the Billboard Awards. “She was always very encouraging, which I really took away from when I had to sing her song,” said Sparks. “It was the scariest thing I have ever done in my life. But I just heard her in the back of my head going, ‘You got this, you got this, you’re good,’ because that’s how she was on set.” Mike Epps met Houston and Bobby Brown on the set of a music video years ago before facing off on-screen against her as Satin, the slick comedian who dates her eldest daughter. “She was off the hook,” Epps enthused. “She was really really vibrant. She was just full of life and really alive. She was just happy to be there. Every chance I got I’d ask her about Dionne Warwick because it’s just amazing to me that she’s part of that family. My mother was a big fan of Dionne Warwick. [Houston] was telling me about Stevie Wonder and she had me die laughing. She’d say ‘Ya know, Stevie, he was drunk as a motherfucker.’ I’d ask her, ‘How does he get drunk? He can’t even see.’ And she’d say, ‘He’s having a better time than anybody!” “When she first saw me on the set, she said, ‘Let me get a picture with you!’ That threw me off. I was like, ‘You want a picture with me ?’ She said, ‘My daughter, Bobbi Christina, told me ‘You don’t know everybody, mama,’ and I said to her, ‘Shit, I know everybody in the business!'” Producing partner Debra Martin Chase shared a company (Brownhouse Production) with Houston and produced her previous screen outing, The Preacher’s Wife . She remembered Houston as a friend and artist full of ideas — the suggestion of a Sparkle remake was Houston’s, Chase revealed — who was on the cusp of mounting a career comeback. “[Houston] would call me periodically with interesting ideas and one day she called and said, ‘What about Sparkle ?’ She loved this movie so much. It was the happiest I have ever seen her on a movie. She loved the cast, she loved [director Salim Akil], she loved Detroit… she was just passionate about everything.” Even as she finished her work on Sparkle , Houston was enthusiastic to get started on their next collaboration. “It’s funny — when she was leaving, she was walking off set that last night and I was walking her out, she said, “I’ve got our next idea! We should do David and Bathsheba ! I’ve got an idea for it!” said Chase. “I just laughed and said, ‘Girl, go get on your airplane!'” “She was back. Before that she wasn’t in the space… but this brought her back. She’s fabulous in the movie, she felt good, and she knew she gave her best performance,” Chase shared with a smile. “I’m just happy it’s the last image that people will have of her.” Tika Sumpter plays the confident aspiring doctor Dolores, Houston’s middle daughter in the film. She recalled Houston’s maternal side on set, which transcended her performance. “Growing up, my sisters and I would look at her album covers,” marveled Sumpter, who says her tearful farewell scene in the film opposite Houston is her favorite memory from set. “In those moments she was just so vulnerable and so open as an actor. So giving, and there, and very present. She had such a great presence for me — I felt like I wanted to take in everything I could from her. She was just a nurturing body… vulnerable and open and loving. And that’s what I loved about her.” Playing the role of the sultry Sister, a talented singer who spirals out of control as the girls finds greater fame, Carmen Ejogo felt a powerful connection to her onscreen mother. “I feel like [Houston] came into the movie knowing there was something to prove on her part to some degree, and there was a humility on her part as a result,” reflected Ejogo. “That meant at times I forgot how massive she was. She was the first concert I went to see! That’s something that you realize after the fact, and you’re like, whoa — this is remarkable . I feel like we had a really lucky moment with her because as her sister-in-law said at her funeral, it was one of the best times of her life and it was so evident every day.” For Ejogo, filming her final scene with Houston brought Houston’s real life past and the troubles of her own onscreen character in uncanny parallel. “[There is] an artist called Marina Abramović — she’s somebody who literally sits across from you and is entirely naked — and I felt like I had that moment with Whitney in the last scene of the film, where she and I are mirroring each other.” “It felt like this art-meets-life kind of moment because Whitney in real life is very much embodied in Sister as a character, which is something she was very aware and open about,” Ejogo continued. “It felt like a very pure, naked moment between two actors, but also two people that were connecting on a really deep level. And that was the last scene she filmed in the whole movie. After that it was time to wrap for her and that was a really emotional moment because I really saw, in that moment, that she had had a really positive experience that was just coming to an end.” Stay tuned for more on Sparkle , which opens Friday, and watch below as the cast talk more Sparkle and Whitney Houston at the film’s New York premiere with Beyond the Trailer’s Grace Randolph. Watch it on YouTube. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Well, Ms. Vergara, you were never known for your huge a$$ soooo…?? Sofia Vergara Covers Allure Magazine Sofia Vergara has never hidden the fact that she’s a woman with curves, but in a recent magazine interview, the “Modern Family” vixen reveals that it’s not just about having a voluptuos figure – it’s about the attitude you have that really completes the look. “The guys I know love it,” she told Allure magazine of exhibiting her sultry feminine side. “You don’t have to win Miss Universe, but you have to feel attractive, and you have to feel wanted. “I have so many friends that are Latin, and they’re not Miss Universe, but they have something, and they get more guys than the really tall, blonde, perfect model that is just standing there. So I think it is the attitude of you believing that you can get whatever you want.” The busty bombshell Colombian actress goes on to address the two massive, jiggly, elephants in…her bra. Vergara, 40, also revealed that she has a bra size of 32F, something that she knows is unusual in Hollywood, but not so unusual for Latin women in general. “Nobody with real boobs usually has those measurements,” she laughed, adding that she dislikes working out. “My a$$ gets smaller, and my boobs get smaller,” she explained to the magazine. “I don’t mind when the boobs get smaller. I don’t like when the a$$ gets smaller. In Latin America, if you don’t have a big ass, you’re nothing. “We’re loud. We’re passionate. We’re coloful. We’re voluptuous … I am not scared of the stereotype of the Latin woman, because I think that’s fantastic.” We think you’re fantastic too Sofia, for at least two reasons, but we’re not sure how some of your fellow ironing-board a$$ed latinas will feel about being called “nothing”. Image via SplashNews Source
