Julianne Hough
Date of Birth
20 July 1988, Salt Lake City, Utah, USA
Birth Name
Julianne Alexandra Hough
Nickname
Jules
Height
5' 4" (1.63 m)
Mini Biography
Julianne was raised in Utah, the youngest child of 5 children. Her mother is Mari Anne and her father is Bruce Robert Hough, a twice chairman of the Utah Republican Party. Her parents met in college, when they were both part of a ballroom dancing team. Her parents divorced and she has 9 step-siblings from their second marriages.
Her mother was instrumental in her career in entertainment, enrolling her and her siblings in various performing classes from a very young age. She began her training in Latin Ballroom dancing at the Center Stage Performing Arts Studio in Orem, Utah. At age 10, along with her brother Derek Hough, she went to London, UK, to study with coaches, Corky and Shirley Ballas. They attended the Italia Conti Academy with the Ballas' son. The three children performed as a pop music trio '2B1G' (2 Boys, 1 Girl) at dance competitions in the UK and the US. At age 15, Julianne won the Junior World Latin Champion and International Latin Youth Champion at the Blackpool Dance Festival.
During this time in London, her parents divorced. She returned to America to live with her mother in Las Vegas, where she attended the Las Vegas Academy. After a year, she moved back to Utah to live with her father and graduated from Alta high school. She then moved to Los Angeles to begin her career in Entertainment.
Julianne quickly landed her first job as a dancer on the ABC game show "Show Me the Money" (2006). She then went on tour as a company dancer with Dancing with the stars and joined the cast of "Dancing with the Stars" (2005/I) in season four.
Julianne is also known as a country singer. She released her debut album in 2008, debuting at #1 on the Billboard Country Album chart and #3 on the Billboard 200.
Her first acting role was in Harry Potter and the Sorcerer's Stone (2001) at age 13. She is appearing in her first lead role in Footloose (2011).
Julianne is also actively involved in charities and humanitarian efforts including the Susan G. Komen Foundation, Clothes Off Our Back, St. Jude's Children's Hospital and serves on the American Red Cross Cabinet.
Showing posts with label short stacked bob haircuts 2017. Show all posts
Showing posts with label short stacked bob haircuts 2017. Show all posts
2011-10-23
Craig Brewer Frequently casts Lindsey Roberts
Craig Brewer
Date of Birth
6 December 1971, Virginia, USA
Mini Biography
Father, Walter D. Brewer worked in a number of high-level corporate positions for Matson Navigation Company, culminating in the position of director of corporate development from 1990-1998, when he
died. His work caused the family to move from Vallejo, California (where Craig attended elementary school and junior high) to Orange County, returning to Vallejo in the early 1990s. Walter frequently rented out local theaters to present young Craig's plays and often financed Craig's productions.
Craig's mother, Gail, was a school board member for Vallejo's district both times the family lived there and taught English and Drama in nearby Mt. Diablo School District. She allowed her son, fresh out of high school, to teach her drama courses at College Park High School in Pleasant Hill, California and produce/direct the school's plays, with the school occasionally serving as a showcase for his original works. Craig's father also helped finance school productions, and helped to rent out local theaters for additional shows. Craig's high school friends, including future wife, Jodi Brewer and Chris Barela, took an active role in CPHS's drama department productions. Craig's younger sister, Amanda Brewer, attended CPHS from 1992-1995.
Spouse
Jodi Brewer (? - present) 1 child
Trade Mark
Most of his films are set in Memphis
Frequently casts Lindsey Roberts
Often uses music as a key element
Trivia
Named among Fade In Magazine's "100 People in Hollywood You Need to Know" in 2005.
Spent most of his childhood in Memphis, Tennessee.
His maternal grandfather was former Major League baseball player "Marvelous" Marv Throneberry (1933-1994), a feared Minor League power-hitter but best remembered as an integral part of the legendarily inept 1962 New York Mets.
His mother, Gail Brewer, was Meredith Patterson's drama teacher at College Park High School in Pleasant Hill, California.
Date of Birth
6 December 1971, Virginia, USA
Mini Biography
Father, Walter D. Brewer worked in a number of high-level corporate positions for Matson Navigation Company, culminating in the position of director of corporate development from 1990-1998, when he
died. His work caused the family to move from Vallejo, California (where Craig attended elementary school and junior high) to Orange County, returning to Vallejo in the early 1990s. Walter frequently rented out local theaters to present young Craig's plays and often financed Craig's productions.
Craig's mother, Gail, was a school board member for Vallejo's district both times the family lived there and taught English and Drama in nearby Mt. Diablo School District. She allowed her son, fresh out of high school, to teach her drama courses at College Park High School in Pleasant Hill, California and produce/direct the school's plays, with the school occasionally serving as a showcase for his original works. Craig's father also helped finance school productions, and helped to rent out local theaters for additional shows. Craig's high school friends, including future wife, Jodi Brewer and Chris Barela, took an active role in CPHS's drama department productions. Craig's younger sister, Amanda Brewer, attended CPHS from 1992-1995.
Spouse
Jodi Brewer (? - present) 1 child
Trade Mark
Most of his films are set in Memphis
Frequently casts Lindsey Roberts
Often uses music as a key element
Trivia
Named among Fade In Magazine's "100 People in Hollywood You Need to Know" in 2005.
Spent most of his childhood in Memphis, Tennessee.
His maternal grandfather was former Major League baseball player "Marvelous" Marv Throneberry (1933-1994), a feared Minor League power-hitter but best remembered as an integral part of the legendarily inept 1962 New York Mets.
His mother, Gail Brewer, was Meredith Patterson's drama teacher at College Park High School in Pleasant Hill, California.
2011-10-18
THE LIFE OF "Carrie" Snodgress
Caroline "Carrie" Snodgress (October 27, 1945 – April 1, 2004)
Snodgress was born in Park Ridge, Illinois. She attended Maine Township High School East in Park Ridge then Northern Illinois University before leaving to pursue acting. Snodgress trained for the stage at the Goodman Theatre, in Chicago.
After a number of minor TV appearances, her film debut was an uncredited appearance in Easy Rider in 1969 and a credited appearance in 1970 in Rabbit, Run opposite James Caan.
Her next film, Diary of a Mad Housewife (1970), earned her a nomination for Academy Award for Best Actress and two Golden Globe wins, as Best Actress in a Comedy or a Musical (an odd category, given the dramatic nature of the film) and New Star of the Year - Actress. She left acting soon after to live with rock musician Neil Young and care for their son Zeke, who was born with cerebral palsy. She returned to acting in 1978 in The Fury.
According to Sylvester Stallone,
The first choice for Adrian (in the movie Rocky) was a girl named Carrie Snodgress, who I wanted badly because, at the time, I wanted Adrian's family to be Irish and Harvey Keitel would be the brother. She said there wasn't enough money in it (we were getting paid $360 before taxes), so I said “I'll give you my share, I truly want you.” She passed to do a part in Buffalo Bill and the Indians, which never happened for her.
Neil Young's song "A Man Needs a Maid" was inspired by Snodgress, featuring the lyric "I fell in love with the actress/she was playing a part that I could understand."[citation needed] The song "Motion Pictures" from On the Beach is also inspired by their relationship. She and Young split up about 1975.
Later she and film score composer Jack Nitzsche became lovers. In 1979, Nitzsche was charged with threatening to kill her after he barged into her home and beat her with a handgun. He pleaded guilty to threatening her and was fined and placed on three years' probation.
Her Broadway debut came in 1981 with A Coupla White Chicks Sitting Around Talking. She also appeared in All the Way Home, Oh! What a Lovely War, Caesar and Cleopatra, Tartuffe, The Balcony and The Boor (all at the Goodman Theatre, Chicago); and Curse of the Starving Class at the Tiffany Theatre (in Los Angeles). Other films include Murphy's Law, White Man's Burden, Pale Rider and Blue Sky.
She had been hospitalized in Los Angeles awaiting a liver transplant when she died of heart and liver failure. She was 58 years old.
Snodgress was born in Park Ridge, Illinois. She attended Maine Township High School East in Park Ridge then Northern Illinois University before leaving to pursue acting. Snodgress trained for the stage at the Goodman Theatre, in Chicago.
After a number of minor TV appearances, her film debut was an uncredited appearance in Easy Rider in 1969 and a credited appearance in 1970 in Rabbit, Run opposite James Caan.
Her next film, Diary of a Mad Housewife (1970), earned her a nomination for Academy Award for Best Actress and two Golden Globe wins, as Best Actress in a Comedy or a Musical (an odd category, given the dramatic nature of the film) and New Star of the Year - Actress. She left acting soon after to live with rock musician Neil Young and care for their son Zeke, who was born with cerebral palsy. She returned to acting in 1978 in The Fury.
According to Sylvester Stallone,
The first choice for Adrian (in the movie Rocky) was a girl named Carrie Snodgress, who I wanted badly because, at the time, I wanted Adrian's family to be Irish and Harvey Keitel would be the brother. She said there wasn't enough money in it (we were getting paid $360 before taxes), so I said “I'll give you my share, I truly want you.” She passed to do a part in Buffalo Bill and the Indians, which never happened for her.
Neil Young's song "A Man Needs a Maid" was inspired by Snodgress, featuring the lyric "I fell in love with the actress/she was playing a part that I could understand."[citation needed] The song "Motion Pictures" from On the Beach is also inspired by their relationship. She and Young split up about 1975.
Later she and film score composer Jack Nitzsche became lovers. In 1979, Nitzsche was charged with threatening to kill her after he barged into her home and beat her with a handgun. He pleaded guilty to threatening her and was fined and placed on three years' probation.
Her Broadway debut came in 1981 with A Coupla White Chicks Sitting Around Talking. She also appeared in All the Way Home, Oh! What a Lovely War, Caesar and Cleopatra, Tartuffe, The Balcony and The Boor (all at the Goodman Theatre, Chicago); and Curse of the Starving Class at the Tiffany Theatre (in Los Angeles). Other films include Murphy's Law, White Man's Burden, Pale Rider and Blue Sky.
She had been hospitalized in Los Angeles awaiting a liver transplant when she died of heart and liver failure. She was 58 years old.
Sydney Penny Enjoys Horseback Riding
Sydney Penny returned to the cast of All My Children in 2005, playing fan favorite Julia Santos Keefer. She originated the popular role in September 1993, having received a Daytime Emmy and a Soap Opera Digest Award nomination in 1995.
Ms. Penny received critical acclaim for her performance as young Meggie in the hit ABC miniseries The Thorn Birds, and played the popular role of B.J. Walker on Santa Barbara. She also played Samantha Kelly on The Bold and the Beautiful, and starred in the TV movie Hidden Places.
Ms. Penny's entrance into show business came early. Her parents, country western entertainers Hank and Shari Penny, took their daughter to many of their performances. On one occasion and without prompting at three-and-a-half years old, she jumped up on stage and sang her own composition, My Little Pony. Three years later she landed her first paying job, a toy commercial.
Her long list of credits include a co-starring role in the syndicated television series The New Gidget and movie roles in Pale Rider with Clint Eastwood, La Ciociara with Sophia Loren and Bernadette. In addition, she has made guest appearances on a variety of primetime television shows, including Jack's Place, The Twilight Zone and St. Elsewhere.
Off camera she enjoys horseback riding, cooking and has "a passion for anything to do with the era of the 1930s and 1940s."
Ms. Penny received critical acclaim for her performance as young Meggie in the hit ABC miniseries The Thorn Birds, and played the popular role of B.J. Walker on Santa Barbara. She also played Samantha Kelly on The Bold and the Beautiful, and starred in the TV movie Hidden Places.
Ms. Penny's entrance into show business came early. Her parents, country western entertainers Hank and Shari Penny, took their daughter to many of their performances. On one occasion and without prompting at three-and-a-half years old, she jumped up on stage and sang her own composition, My Little Pony. Three years later she landed her first paying job, a toy commercial.Her long list of credits include a co-starring role in the syndicated television series The New Gidget and movie roles in Pale Rider with Clint Eastwood, La Ciociara with Sophia Loren and Bernadette. In addition, she has made guest appearances on a variety of primetime television shows, including Jack's Place, The Twilight Zone and St. Elsewhere.
Off camera she enjoys horseback riding, cooking and has "a passion for anything to do with the era of the 1930s and 1940s."
Reservoir Dogs (1992) QUOTES
Mr. Brown: Let me tell you what 'Like a Virgin' is about. It's all about a girl who digs a guy with a big dick. The entire song. It's a metaphor for big dicks.
Mr. Blonde: No, no. It's about a girl who is very vulnerable. She's been fucked over a few times. Then she meets some guy who's really sensitive...
Mr. Brown: Whoa, whoa, whoa, whoa, whoa... Time out Greenbay. Tell that fucking bullshit to the tourists.
Joe: Toby... Who the fuck is Toby? Toby...
Mr. Brown: 'Like a Virgin' is not about this sensitive girl who meets a nice fella. That's what "True Blue" is about, now, granted, no argument about that.
Mr. Orange: Which one is 'True Blue'?
Nice Guy Eddie: 'True Blue' was a big ass hit for Madonna. I don't even follow this Tops In Pops shit, and I've at least heard of "True Blue".
Mr. Orange: Look, asshole, I didn't say I ain't heard of it. All I asked was how does it go? Excuse me for not being the world's biggest Madonna fan.
Mr. Blonde: Personally, I can do without her.
Mr. Blue: I like her early stuff. You know, 'Lucky Star', 'Borderline' - but once she got into her 'Papa Don't Preach' phase, I don't know, I tuned out.
Mr. Brown: Hey, you guys are making me lose my... train of thought here. I was saying something, what was it?
Joe: Oh, Toby was this Chinese girl, what was her last name?
Mr. White: What's that?
Joe: I found this old address book in a jacket I ain't worn in a coon's age. What was that name?
Mr. Brown: What the fuck was I talking about?
Mr. Pink: You said 'True Blue' was about a nice girl, a sensitive girl who meets a nice guy, and that 'Like a Virgin' was a metaphor for big dicks.
Mr. Brown: Lemme tell you what 'Like a Virgin' is about. It's all about this cooze who's a regular fuck machine, I'm talking morning, day, night, afternoon, dick, dick, dick, dick, dick, dick, dick, dick, dick.
Mr. Blue: How many dicks is that?
Mr. White: A lot.
Mr. Brown: Then one day she meets this John Holmes motherfucker and it's like, whoa baby, I mean this cat is like Charles Bronson in the 'Great Escape', he's digging tunnels. Now, she's gettin' the serious dick action and she's feeling something she ain't felt since forever. Pain. Pain.
Joe: Chew? Toby Chew?
Mr. Brown: It hurts her. It shouldn't hurt her, you know, her pussy should be Bubble Yum by now, but when this cat fucks her it hurts. It hurts just like it did the first time. You see the pain is reminding a fuck machine what it once was like to be a virgin. Hence, 'Like a Virgin'.
Joe: Wong?
Joe: This man set us up.
Nice Guy Eddie: Dad, I'm sorry, but I don't know what the hell's happening.
Joe: It's all right, Eddie. I do.
Mr. White: What the fuck are you talking about?
Joe: That lump of shit's working with the L.A.P.D.
Mr. Orange: Joe, I don't have the slightest fucking idea what you're talking about.
Mr. White: Joe, I don't know what you think you know, but you're wrong.
Joe: Like hell I am.
Mr. White: Joe, trust me on this. You've made a mistake. He's a good kid. I understand. You're hot, you're super fucking pissed. We're all real emotional. But you're barking up the wrong tree. I know this man. He wouldn't do that.
Joe: You don't know jack shit! I do! The cocksucker tipped off the cops and had Mr. Brown and Mr. Blue killed.
Mr. Pink: Mr. Blue is dead?
Joe: Dead as Dillinger.
Mr. White: How do you know all this?
Mr. Orange: [after killing Mr. Blonde] Hey you, what's your name?
LAPD Officer Marvin Nash: Marvin.
Mr. Orange: Marvin what?
LAPD Officer Marvin Nash: Marvin Nash.
Mr. Orange: Listen to me, Marvin, I'm a c...
[pauses]
Mr. Orange: ...listen to me, Marvin Nash, I'm a cop.
LAPD Officer Marvin Nash: Yeah, I know.
Mr. Orange: You do?
LAPD Officer Marvin Nash: Yeah, you're name's Freddy something.
Mr. Orange: Newendyke. Freddy Newendyke.
LAPD Officer Marvin Nash: Frankie Ferchetti introduced us about five months ago.
Mr. Orange: Shit, I don't remember that at all.
LAPD Officer Marvin Nash: I do. Freddy... Freddy, how do I look?
Mr. Orange: [Freddy laughs] I don't know what to tell you, Marvin.
LAPD Officer Marvin Nash: That fuck! That sick fuck! That fucking bastard!
Mr. Orange: Marvin, I need you to hold on. There's cops waiting less than a block away.
LAPD Officer Marvin Nash: What the fuck are they waiting for? This fucking guy slashes my face, and he cuts my fucking ear off! I'm fucking deformed!
Mr. Orange: [yells] FUCK YOU! FUCK YOU! I'M FUCKIN' DYING HERE! I'M FUCKIN' DYING!
[pauses and calms down]
Mr. Orange: All right, now you heard them, we'll make the move when they get back, so don't pussy out on me now, Marvin. We're just gonna sit here and bleed until Joe Cabot sticks his fucking head through that door!
Mr. Pink: We were set up. The cops were waiting for us.
Nice Guy Eddie: What? Nobody set anybody up.
Mr. Pink: The cops were there waiting for us!
Nice Guy Eddie: Bull shit!
Mr. Pink: Hey, fuck you, man! You weren't there - we were! And I'm tellin' ya, the cops had that store staked out.
Nice Guy Eddie: Okay, Mr. Fucking Detective! You're so fucking smart. Who did it? Who set us up?
Mr. Pink: What the fuck d'ya think we've been askin' each other?
Nice Guy Eddie: And what are your answers? Was it me? You think I set you up?
Mr. Pink: I don't know, but somebody did!
Nice Guy Eddie: Nobody did! You assholes turn the jewelry store into a wild west show, and you wonder why the cops show up?
Nice Guy Eddie: C'mon, throw in a buck!
Mr. Pink: Uh-uh, I don't tip.
Nice Guy Eddie: You don't tip?
Mr. Pink: Nah, I don't believe in it.
Nice Guy Eddie: You don't believe in tipping?
Mr. Blue: You know what these chicks make? They make shit.
Mr. Pink: Don't give me that. She don't make enough money that she can quit.
Nice Guy Eddie: I don't even know a fucking Jew who'd have the balls to say that. Let me get this straight: you don't ever tip?
Mr. Pink: I don't tip because society says I have to. All right, if someone deserves a tip, if they really put forth an effort, I'll give them something a little something extra. But this tipping automatically, it's for the birds. As far as I'm concerned, they're just doing their job.
Mr. Blue: Hey, our girl was nice.
Mr. Pink: She was okay. She wasn't anything special.
Mr. Blue: What's special? Take you in the back and suck your dick?
Nice Guy Eddie: I'd go over twelve percent for that.
Mr. Blonde: Listen, I appreciate what, you guys are doin' for me, but I was wonderin' when I can come back and, you know, do some real work.
Joe: Well, that's hard to say, It's kind of a strange time now. Things are a little...
Nice Guy Eddie: They're a little fucked-up is what they are. Listen we got a big meetin' goin' down in Vegas right now.
Joe: Just let Eddie for now set you up in Long Beach, get you some cash, Get this Scagnetti fuck off your back, and then we can start talkin' okay? Huh?
Nice Guy Eddie: Listen daddy, I got an idea. Now just, hear me out. Now, I know you don't like usin' the boys on jobs like these, but Vic has been nothin' but good luck for us. The guy's a fuckin' rabbits foot for cryin' out loud. I'd like to have him in. You know he's reliable and you damn well know trust him.
Joe: [pause] How would you feel about pulling off a job with about five other guys?
Mr. Blonde: I'd feel great about it.
Marvin: I already told you I don't know anything about any fucking setup; you can torture me all you want.
Mr. Blonde: Torture you? That's a good idea. I like that.
Mr. Blonde: Are you gonna bark all day, little doggy, or are you gonna bite?
Mr. White: What was that? I'm sorry, I didn't catch it. Would you repeat it?
Mr. Blonde: Are you gonna bark all day, little doggy, or are you gonna bite?
Mr. White: You can't leave this guy with them.
Nice Guy Eddie: Why not?
Mr. White: Because he's a fucking psycho. And if you think Joe's pissed off, that ain't nothing compared to how pissed off I am at him, for putting me in the same room as that bastard!
Mr. Blonde: See what I've been putting up with, Eddie? I fucking walked in here, I told these guys about staying put. Mr. White whips out his gun, he's sticking it in my face, calling me a motherfucker, saying he's gonna blow me away and blah, blah, blah, blah, blah.
Mr. Pink: [walks in] Was that a fucking set up or what?
[sees a bloodied Mr. Orange lying on the floor]
Mr. Pink: Shit! Orange got tagged?
Mr. White: Gut shot.
Mr. Pink: Fuck! Where's, uh, Brown?
Mr. White: Dead.
Mr. Pink: How'd he die?
Mr. White: How the fuck do you think? The cops shot him.
Mr. Pink: This is bad. This is so fucking bad. Is it bad?
Mr. White: As opposed to good?
Mr. Pink: Man, this is fucked up. This is so fucked up. Somebody fucked us up big time, man.
Mr. White: You really think we were set up?
Mr. Pink: Do you even doubt it, man? I don't THINK we got set up, I KNOW we got set up! I mean, really, seriously, where did all those cops come from, huh? One minute they're not there, the next minute they're there? I didn't hear any sirens. The alarm went off, okay. Okay, when an alarm goes off, you got an average of four minutes response time. Unless a patrol car is cruising that street, at that particular moment, you got four minutes before they can realistically respond. In one minute there were seventeen blue boys out there. All loaded for bear, all knowing exactly what the fuck they were doing, and they were all just there! Remember that second wave that showed up in the cars? Those were the ones responding to the alarm, but those first motherfuckers were already there, they were waiting for us. Haven't you fucking thought about this?
Mr. Pink: [Mr. Blonde and Mr. White begin to quarrel; Mr. Pink pushes them away from each other] Hey, you two assholes knock it the fuck off and calm down! Cut the bullshit. We ain't on a fuckin' playground! I don't beleive this shit. Both of you guys got ten years on me and I'm the only one acting like a professional. You guys act like a bunch of fuckin' niggers. You wanna be niggers, huh? They're just like you two - always fightin' and always sayin' their gonna kill each other...
Mr. White: You said yourself you thought about takin' him out!
Mr. Blonde: You fuckin' said that?
Mr. Pink: Yeah, I did. But that time has passed. Right now, Mr. Blonde is the only one I completely trust. He's too fuckin' homicidal to be workin' with the cops.
Mr. White: You takin' his side?
Mr. Pink: No, man. Fuck sides! What we need here is a little solidarity! Somebody's shoving a red hot poker up our asses and I wanna find out whose name is on the handle. Now, I know I'm no piece of shit.
[referring to Mr. White]
Mr. Pink: And I'm pretty sure you're a good boy.
[referring to Mr. Blonde]
Mr. Pink: And I'm fucking positive you're on the level. So let's figure out who the bad guy is.
Joe: Give me that book.
Mr. White: Are you gonna put it away?
Joe: I'm gonna do whatever the fuck I want with it.
Nice Guy Eddie: The chick got tired of him beatin' her so one night she walks in the guys bedroom and super glues his dick to his belly. Ambulance came and had to cut the prick loose.
Mr. White: Was he all pissed off?
Nice Guy Eddie: How would you feel if every time you had to take a piss you had to do a fuckin' hand stand?
Mr. Pink: For all I know, you're the rat.
Mr. White: For all I know you're the fucking rat!
Mr. Pink: All right, now you're using your fucking head!
Joe: So who's your parole officer?
Mr. Blonde: Seymour Scagnetti.
Joe: What's he like?
Mr. Blonde: He's a fuckin' asshole.
[Joe counts the tip and finds it is a buck short]
Joe: Hey, who didn't throw in?
Mr. Orange: Mr. Pink.
Joe: Mr. Pink? Why not?
Mr. Orange: He don't tip.
Joe: He don't tip? Whaddaya mean you don't tip?
Mr. Orange: He don't believe in it.
Joe: Shut up!
Mr. Brown: I'm blind, man. I'm fucking blind.
Mr. Orange: You're not blind, you've just got blood in your eyes.
Mr. White: We're leaving. You should go with us.
Mr. Blonde: Nobody's goin' anywhere.
Mr. White: Piss on this fucking turd! We're outta here.
Mr. Pink: [entering the warehouse] Was that a fucking setup, or what?
[sees Mr. White tending to a seriously wounded Mr. Orange]
Mr. Pink: Shit. Orange got tagged?
Mr. White: Gut shot.
Mr. Pink: Fuck. Where's Brown?
Mr. White: Dead.
Mr. Pink: How did he die?
Mr. White: How the fuck do you think? The cops shot him.
Mr. Pink: This is so fucking bad.
[referring to Orange's wound]
Mr. Pink: Is it bad?
Mr. White: As opposed to good?
Mr. Pink: [Mr. Pink throws his tip on the table] All right, but normally I would never do this.
Joe: Never mind what you *normally* would do.
Mr. Blonde: No, no. It's about a girl who is very vulnerable. She's been fucked over a few times. Then she meets some guy who's really sensitive...
Mr. Brown: Whoa, whoa, whoa, whoa, whoa... Time out Greenbay. Tell that fucking bullshit to the tourists.
Joe: Toby... Who the fuck is Toby? Toby...
Mr. Brown: 'Like a Virgin' is not about this sensitive girl who meets a nice fella. That's what "True Blue" is about, now, granted, no argument about that.
Mr. Orange: Which one is 'True Blue'?
Nice Guy Eddie: 'True Blue' was a big ass hit for Madonna. I don't even follow this Tops In Pops shit, and I've at least heard of "True Blue".
Mr. Orange: Look, asshole, I didn't say I ain't heard of it. All I asked was how does it go? Excuse me for not being the world's biggest Madonna fan.
Mr. Blonde: Personally, I can do without her.
Mr. Blue: I like her early stuff. You know, 'Lucky Star', 'Borderline' - but once she got into her 'Papa Don't Preach' phase, I don't know, I tuned out.
Mr. Brown: Hey, you guys are making me lose my... train of thought here. I was saying something, what was it?
Joe: Oh, Toby was this Chinese girl, what was her last name?
Mr. White: What's that?
Joe: I found this old address book in a jacket I ain't worn in a coon's age. What was that name?
Mr. Brown: What the fuck was I talking about?
Mr. Pink: You said 'True Blue' was about a nice girl, a sensitive girl who meets a nice guy, and that 'Like a Virgin' was a metaphor for big dicks.
Mr. Brown: Lemme tell you what 'Like a Virgin' is about. It's all about this cooze who's a regular fuck machine, I'm talking morning, day, night, afternoon, dick, dick, dick, dick, dick, dick, dick, dick, dick.
Mr. Blue: How many dicks is that?
Mr. White: A lot.
Mr. Brown: Then one day she meets this John Holmes motherfucker and it's like, whoa baby, I mean this cat is like Charles Bronson in the 'Great Escape', he's digging tunnels. Now, she's gettin' the serious dick action and she's feeling something she ain't felt since forever. Pain. Pain.
Joe: Chew? Toby Chew?
Mr. Brown: It hurts her. It shouldn't hurt her, you know, her pussy should be Bubble Yum by now, but when this cat fucks her it hurts. It hurts just like it did the first time. You see the pain is reminding a fuck machine what it once was like to be a virgin. Hence, 'Like a Virgin'.
Joe: Wong?
Joe: This man set us up.
Nice Guy Eddie: Dad, I'm sorry, but I don't know what the hell's happening.
Joe: It's all right, Eddie. I do.
Mr. White: What the fuck are you talking about?
Joe: That lump of shit's working with the L.A.P.D.
Mr. Orange: Joe, I don't have the slightest fucking idea what you're talking about.
Mr. White: Joe, I don't know what you think you know, but you're wrong.
Joe: Like hell I am.
Mr. White: Joe, trust me on this. You've made a mistake. He's a good kid. I understand. You're hot, you're super fucking pissed. We're all real emotional. But you're barking up the wrong tree. I know this man. He wouldn't do that.
Joe: You don't know jack shit! I do! The cocksucker tipped off the cops and had Mr. Brown and Mr. Blue killed.
Mr. Pink: Mr. Blue is dead?
Joe: Dead as Dillinger.
Mr. White: How do you know all this?
Mr. Orange: [after killing Mr. Blonde] Hey you, what's your name?
LAPD Officer Marvin Nash: Marvin.
Mr. Orange: Marvin what?
LAPD Officer Marvin Nash: Marvin Nash.
Mr. Orange: Listen to me, Marvin, I'm a c...
[pauses]
Mr. Orange: ...listen to me, Marvin Nash, I'm a cop.
LAPD Officer Marvin Nash: Yeah, I know.
Mr. Orange: You do?
LAPD Officer Marvin Nash: Yeah, you're name's Freddy something.
Mr. Orange: Newendyke. Freddy Newendyke.
LAPD Officer Marvin Nash: Frankie Ferchetti introduced us about five months ago.
Mr. Orange: Shit, I don't remember that at all.
LAPD Officer Marvin Nash: I do. Freddy... Freddy, how do I look?
Mr. Orange: [Freddy laughs] I don't know what to tell you, Marvin.
LAPD Officer Marvin Nash: That fuck! That sick fuck! That fucking bastard!
Mr. Orange: Marvin, I need you to hold on. There's cops waiting less than a block away.
LAPD Officer Marvin Nash: What the fuck are they waiting for? This fucking guy slashes my face, and he cuts my fucking ear off! I'm fucking deformed!
Mr. Orange: [yells] FUCK YOU! FUCK YOU! I'M FUCKIN' DYING HERE! I'M FUCKIN' DYING!
[pauses and calms down]
Mr. Orange: All right, now you heard them, we'll make the move when they get back, so don't pussy out on me now, Marvin. We're just gonna sit here and bleed until Joe Cabot sticks his fucking head through that door!
Mr. Pink: We were set up. The cops were waiting for us.
Nice Guy Eddie: What? Nobody set anybody up.
Mr. Pink: The cops were there waiting for us!
Nice Guy Eddie: Bull shit!
Mr. Pink: Hey, fuck you, man! You weren't there - we were! And I'm tellin' ya, the cops had that store staked out.
Nice Guy Eddie: Okay, Mr. Fucking Detective! You're so fucking smart. Who did it? Who set us up?
Mr. Pink: What the fuck d'ya think we've been askin' each other?
Nice Guy Eddie: And what are your answers? Was it me? You think I set you up?
Mr. Pink: I don't know, but somebody did!
Nice Guy Eddie: Nobody did! You assholes turn the jewelry store into a wild west show, and you wonder why the cops show up?
Nice Guy Eddie: C'mon, throw in a buck!
Mr. Pink: Uh-uh, I don't tip.
Nice Guy Eddie: You don't tip?
Mr. Pink: Nah, I don't believe in it.
Nice Guy Eddie: You don't believe in tipping?
Mr. Blue: You know what these chicks make? They make shit.
Mr. Pink: Don't give me that. She don't make enough money that she can quit.
Nice Guy Eddie: I don't even know a fucking Jew who'd have the balls to say that. Let me get this straight: you don't ever tip?
Mr. Pink: I don't tip because society says I have to. All right, if someone deserves a tip, if they really put forth an effort, I'll give them something a little something extra. But this tipping automatically, it's for the birds. As far as I'm concerned, they're just doing their job.
Mr. Blue: Hey, our girl was nice.
Mr. Pink: She was okay. She wasn't anything special.
Mr. Blue: What's special? Take you in the back and suck your dick?
Nice Guy Eddie: I'd go over twelve percent for that.
Mr. Blonde: Listen, I appreciate what, you guys are doin' for me, but I was wonderin' when I can come back and, you know, do some real work.
Joe: Well, that's hard to say, It's kind of a strange time now. Things are a little...
Nice Guy Eddie: They're a little fucked-up is what they are. Listen we got a big meetin' goin' down in Vegas right now.
Joe: Just let Eddie for now set you up in Long Beach, get you some cash, Get this Scagnetti fuck off your back, and then we can start talkin' okay? Huh?
Nice Guy Eddie: Listen daddy, I got an idea. Now just, hear me out. Now, I know you don't like usin' the boys on jobs like these, but Vic has been nothin' but good luck for us. The guy's a fuckin' rabbits foot for cryin' out loud. I'd like to have him in. You know he's reliable and you damn well know trust him.
Joe: [pause] How would you feel about pulling off a job with about five other guys?
Mr. Blonde: I'd feel great about it.
Marvin: I already told you I don't know anything about any fucking setup; you can torture me all you want.
Mr. Blonde: Torture you? That's a good idea. I like that.
Mr. Blonde: Are you gonna bark all day, little doggy, or are you gonna bite?
Mr. White: What was that? I'm sorry, I didn't catch it. Would you repeat it?
Mr. Blonde: Are you gonna bark all day, little doggy, or are you gonna bite?
Mr. White: You can't leave this guy with them.
Nice Guy Eddie: Why not?
Mr. White: Because he's a fucking psycho. And if you think Joe's pissed off, that ain't nothing compared to how pissed off I am at him, for putting me in the same room as that bastard!
Mr. Blonde: See what I've been putting up with, Eddie? I fucking walked in here, I told these guys about staying put. Mr. White whips out his gun, he's sticking it in my face, calling me a motherfucker, saying he's gonna blow me away and blah, blah, blah, blah, blah.
Mr. Pink: [walks in] Was that a fucking set up or what?
[sees a bloodied Mr. Orange lying on the floor]
Mr. Pink: Shit! Orange got tagged?
Mr. White: Gut shot.
Mr. Pink: Fuck! Where's, uh, Brown?
Mr. White: Dead.
Mr. Pink: How'd he die?
Mr. White: How the fuck do you think? The cops shot him.
Mr. Pink: This is bad. This is so fucking bad. Is it bad?
Mr. White: As opposed to good?
Mr. Pink: Man, this is fucked up. This is so fucked up. Somebody fucked us up big time, man.
Mr. White: You really think we were set up?
Mr. Pink: Do you even doubt it, man? I don't THINK we got set up, I KNOW we got set up! I mean, really, seriously, where did all those cops come from, huh? One minute they're not there, the next minute they're there? I didn't hear any sirens. The alarm went off, okay. Okay, when an alarm goes off, you got an average of four minutes response time. Unless a patrol car is cruising that street, at that particular moment, you got four minutes before they can realistically respond. In one minute there were seventeen blue boys out there. All loaded for bear, all knowing exactly what the fuck they were doing, and they were all just there! Remember that second wave that showed up in the cars? Those were the ones responding to the alarm, but those first motherfuckers were already there, they were waiting for us. Haven't you fucking thought about this?
Mr. Pink: [Mr. Blonde and Mr. White begin to quarrel; Mr. Pink pushes them away from each other] Hey, you two assholes knock it the fuck off and calm down! Cut the bullshit. We ain't on a fuckin' playground! I don't beleive this shit. Both of you guys got ten years on me and I'm the only one acting like a professional. You guys act like a bunch of fuckin' niggers. You wanna be niggers, huh? They're just like you two - always fightin' and always sayin' their gonna kill each other...
Mr. White: You said yourself you thought about takin' him out!
Mr. Blonde: You fuckin' said that?
Mr. Pink: Yeah, I did. But that time has passed. Right now, Mr. Blonde is the only one I completely trust. He's too fuckin' homicidal to be workin' with the cops.
Mr. White: You takin' his side?
Mr. Pink: No, man. Fuck sides! What we need here is a little solidarity! Somebody's shoving a red hot poker up our asses and I wanna find out whose name is on the handle. Now, I know I'm no piece of shit.
[referring to Mr. White]
Mr. Pink: And I'm pretty sure you're a good boy.
[referring to Mr. Blonde]
Mr. Pink: And I'm fucking positive you're on the level. So let's figure out who the bad guy is.
Joe: Give me that book.
Mr. White: Are you gonna put it away?
Joe: I'm gonna do whatever the fuck I want with it.
Nice Guy Eddie: The chick got tired of him beatin' her so one night she walks in the guys bedroom and super glues his dick to his belly. Ambulance came and had to cut the prick loose.
Mr. White: Was he all pissed off?
Nice Guy Eddie: How would you feel if every time you had to take a piss you had to do a fuckin' hand stand?
Mr. Pink: For all I know, you're the rat.
Mr. White: For all I know you're the fucking rat!
Mr. Pink: All right, now you're using your fucking head!
Joe: So who's your parole officer?
Mr. Blonde: Seymour Scagnetti.
Joe: What's he like?
Mr. Blonde: He's a fuckin' asshole.
[Joe counts the tip and finds it is a buck short]
Joe: Hey, who didn't throw in?
Mr. Orange: Mr. Pink.
Joe: Mr. Pink? Why not?
Mr. Orange: He don't tip.
Joe: He don't tip? Whaddaya mean you don't tip?
Mr. Orange: He don't believe in it.
Joe: Shut up!
Mr. Brown: I'm blind, man. I'm fucking blind.
Mr. Orange: You're not blind, you've just got blood in your eyes.
Mr. White: We're leaving. You should go with us.
Mr. Blonde: Nobody's goin' anywhere.
Mr. White: Piss on this fucking turd! We're outta here.
Mr. Pink: [entering the warehouse] Was that a fucking setup, or what?
[sees Mr. White tending to a seriously wounded Mr. Orange]
Mr. Pink: Shit. Orange got tagged?
Mr. White: Gut shot.
Mr. Pink: Fuck. Where's Brown?
Mr. White: Dead.
Mr. Pink: How did he die?
Mr. White: How the fuck do you think? The cops shot him.
Mr. Pink: This is so fucking bad.
[referring to Orange's wound]
Mr. Pink: Is it bad?
Mr. White: As opposed to good?
Mr. Pink: [Mr. Pink throws his tip on the table] All right, but normally I would never do this.
Joe: Never mind what you *normally* would do.
JUN JI HYUN AND GIANNA JUN
Jun was born in Seoul, South Korea, and studied in the Department of Theater and Film at Dongguk University. Jun's childhood dream was to be an airhostess, but at the age of 16, a neighbour introduced her to modelling. She began her career as a fashion model for Echo Magazine in 1997.
After appearing in a number of TV sitcoms, her movie debut came in White Valentine (1999). This was followed by a role in Il Mare (2000), which proved to be a success. An American remake of Il Mare, The Lake House, was released 14 June 2006. However, her biggest breakthrough was in My Sassy Girl (2001), a romantic comedy that bought her international recognition, and won her a Best Actress award at the Grand Bell Awards in 2002. It was the highest grossing Korean comedy film at the time. In 2004, she starred in the film Windstruck, a South Korean fantasy-romantic comedy which was directed by Kwak Jae-yong. The film was also another major success and was the 8th-highest grossing Korean film of 2004. In 2006, she was also in the movie Daisy. In 2008, she was also in the film A Man Who Was Superman.
Ji Hyun worked closely with CJ Entertainment, particularly with the distribution of Windstruck, The Uninvited, and A Man Who Was Superman.
In 2009, she made her English-language film debut when she starred as Saya in Blood: The Last Vampire alongside Masiela Lusha. The movie was filmed in China and Argentina in March 2007. It was during filming and before the March 2009 release that she adopted the Westernised name Gianna Jun. The film was Jun's first official action film and was a "drastic" change in her image from previous films.
As of February 2010, she began filming Snow Flower and the Secret Fan in China.
After appearing in a number of TV sitcoms, her movie debut came in White Valentine (1999). This was followed by a role in Il Mare (2000), which proved to be a success. An American remake of Il Mare, The Lake House, was released 14 June 2006. However, her biggest breakthrough was in My Sassy Girl (2001), a romantic comedy that bought her international recognition, and won her a Best Actress award at the Grand Bell Awards in 2002. It was the highest grossing Korean comedy film at the time. In 2004, she starred in the film Windstruck, a South Korean fantasy-romantic comedy which was directed by Kwak Jae-yong. The film was also another major success and was the 8th-highest grossing Korean film of 2004. In 2006, she was also in the movie Daisy. In 2008, she was also in the film A Man Who Was Superman.
Ji Hyun worked closely with CJ Entertainment, particularly with the distribution of Windstruck, The Uninvited, and A Man Who Was Superman.
In 2009, she made her English-language film debut when she starred as Saya in Blood: The Last Vampire alongside Masiela Lusha. The movie was filmed in China and Argentina in March 2007. It was during filming and before the March 2009 release that she adopted the Westernised name Gianna Jun. The film was Jun's first official action film and was a "drastic" change in her image from previous films.
As of February 2010, she began filming Snow Flower and the Secret Fan in China.
WEDDING DRESSES OF SHANNEN DOHERTY
Three is the magic number for Shannen Doherty.
The former 90210 star wore not one but three designer dresses for her third marriage on Saturday.
The blushing bride started the day in a Monique Lhuiller gown for hers and Kurt Iswarienko nuptials at a private Malibu estate.
'I felt great,' she told Us Weekly. 'My dress [was] stunning.'
'The moment I saw it, I knew it was my dress! I felt like a fairy-tale princess.'
She then slipped into another Lhullier design in 'blush with lots of tulle', followed by a figure-hugging knee-length frock with a slit up the side.
'It was my get-down and be-sexy bridal dress,' explained the 40-year-old, who has previously been married to Ashley Hamilton and Rick Salomon.
shannen doherty holly marie combs show
The former 90210 star wore not one but three designer dresses for her third marriage on Saturday.
The blushing bride started the day in a Monique Lhuiller gown for hers and Kurt Iswarienko nuptials at a private Malibu estate.
'I felt great,' she told Us Weekly. 'My dress [was] stunning.'
'The moment I saw it, I knew it was my dress! I felt like a fairy-tale princess.'
She then slipped into another Lhullier design in 'blush with lots of tulle', followed by a figure-hugging knee-length frock with a slit up the side.
'It was my get-down and be-sexy bridal dress,' explained the 40-year-old, who has previously been married to Ashley Hamilton and Rick Salomon.
shannen doherty holly marie combs show
PATRICIA MCPHERSON INTERVIEW
What was your reaction to leaving Knight Rider after the first season?
I was surprised at the world-wide reaction I received, although it was quite flattering to realize that I was that popular. I suppose a lot of it is down to the fact that when people start watching a show they get used to the people in it and don't like change.
What was your view of Rebecca Holden(April) replacing you?
Rebecca Holden, who took over from me for the next season, was good and she developed her own fan following once the fans had adjusted to things!"
So is it true that you and Rebecca did not like each other?
It was just like a reunion party when I walked back onto the set of Knight of the Drones. People assume that there was this bitchy rivalry between Rebecca and me because she filled my shoes. But that's not the case at all. She's a really nice lady and we get on tremendously well. She wished me good luck when she left and I hoped that things would go well for her.
So what was the best part of you coming back after Season 2?
It was also great meeting David and Edward Mulhare after the year break. We got on like family and that goes for the crew as well as the cast. David and Edward told me that they wanted me back and perhaps that had something to do with it too. We're lucky because we all mix socially and have parties and things like that. It's not quite a 'bye 'bye I'm pleased to be off home affair.
What was your fan mail like?
You'd be surprised how much of it says things like: 'It's nice to see a woman computer technologist for a change'. In other words... a woman in a show with brains who isn't just a decoration or love interest. And it's fellas writing it not the women's libbers."
What was your most frightning on set experience?
Things can get a bit tough before the cameras, especially when you are involved in some of the heavy action. I remember there was a scene I had to do once in Knight of the Drones where I was supposedly unconscious and this other guy had to pick me up and put me over his shoulder before carrying me off somewhere. Well everything went according to plan and then he suddenly tripped on a camera cable or something like that and we both fell over. I nearly was unconscious then!
So what did you do when you were not shooting Knight Rider?
I guess we usually start filming at around 6:30am and often I'm not home until midnight. Everybody works hard. But there are quite a few moments when I'm not wanted and so I sit around the studio doing a lot of reading. I love books and also talking to people. I spend hours mingling with the members of the crew and chatting to them. It's quite fascinating learning all the stuff that goes on behind the cameras. I often manage to nip off and do some shopping for a couple of hours if a scene doesn't require my presence.
What is your family background like?
I was born in North West Washington State and my father was in the military. That meant that we moved around a lot and I went to loads of different schools. Most of my time was spent in France and you'd expect me to be able to speak the language, but I'm not fluent in it at all."Because of this nomadic existence it meant that my best friends were my brothers. It was difficult to be friends with anyone else, because as soon as I did, we'd be moving somewhere and I had to start all over again. But my brothers, being with me, were constant companions. We've always got on terrifically.
So what got you started in acting?
I always loved acting as a kid, but not with any intention of doing it for a living. I didn't even know you could. I used to make up stories a lot and do little plays. It was only when I went to school in San Diego that I met actors and actresses and did some acting in college. I got myself an acting coach too. But really it was commercial art that fascinated me and I majored in that at College. From there I went to work for a Los Angeles magazine whilst doing my acting classes on the side and ended up doing advertising. From there it was commercials before I took the plunge into full time acting!
I was surprised at the world-wide reaction I received, although it was quite flattering to realize that I was that popular. I suppose a lot of it is down to the fact that when people start watching a show they get used to the people in it and don't like change.
What was your view of Rebecca Holden(April) replacing you?
Rebecca Holden, who took over from me for the next season, was good and she developed her own fan following once the fans had adjusted to things!"
So is it true that you and Rebecca did not like each other?
It was just like a reunion party when I walked back onto the set of Knight of the Drones. People assume that there was this bitchy rivalry between Rebecca and me because she filled my shoes. But that's not the case at all. She's a really nice lady and we get on tremendously well. She wished me good luck when she left and I hoped that things would go well for her.
So what was the best part of you coming back after Season 2?
It was also great meeting David and Edward Mulhare after the year break. We got on like family and that goes for the crew as well as the cast. David and Edward told me that they wanted me back and perhaps that had something to do with it too. We're lucky because we all mix socially and have parties and things like that. It's not quite a 'bye 'bye I'm pleased to be off home affair.
What was your fan mail like?
You'd be surprised how much of it says things like: 'It's nice to see a woman computer technologist for a change'. In other words... a woman in a show with brains who isn't just a decoration or love interest. And it's fellas writing it not the women's libbers."
What was your most frightning on set experience?
Things can get a bit tough before the cameras, especially when you are involved in some of the heavy action. I remember there was a scene I had to do once in Knight of the Drones where I was supposedly unconscious and this other guy had to pick me up and put me over his shoulder before carrying me off somewhere. Well everything went according to plan and then he suddenly tripped on a camera cable or something like that and we both fell over. I nearly was unconscious then!
So what did you do when you were not shooting Knight Rider?
I guess we usually start filming at around 6:30am and often I'm not home until midnight. Everybody works hard. But there are quite a few moments when I'm not wanted and so I sit around the studio doing a lot of reading. I love books and also talking to people. I spend hours mingling with the members of the crew and chatting to them. It's quite fascinating learning all the stuff that goes on behind the cameras. I often manage to nip off and do some shopping for a couple of hours if a scene doesn't require my presence.
What is your family background like?
I was born in North West Washington State and my father was in the military. That meant that we moved around a lot and I went to loads of different schools. Most of my time was spent in France and you'd expect me to be able to speak the language, but I'm not fluent in it at all."Because of this nomadic existence it meant that my best friends were my brothers. It was difficult to be friends with anyone else, because as soon as I did, we'd be moving somewhere and I had to start all over again. But my brothers, being with me, were constant companions. We've always got on terrifically.
So what got you started in acting?
I always loved acting as a kid, but not with any intention of doing it for a living. I didn't even know you could. I used to make up stories a lot and do little plays. It was only when I went to school in San Diego that I met actors and actresses and did some acting in college. I got myself an acting coach too. But really it was commercial art that fascinated me and I majored in that at College. From there I went to work for a Los Angeles magazine whilst doing my acting classes on the side and ended up doing advertising. From there it was commercials before I took the plunge into full time acting!
2011-10-17
SHANNEN DOHERTY WAS MARRIED, WITH WHO?
After failed twice in making nice wife, Shannen Doherty, Beverly Hills TV series actress, was married for the third time. The party held in her lux house in Malibu, California. Kurt Iswarienko, a photographer, marry to her...
Just a close friend and family was present, privacy must be an important thing to pretend.
But, the party which "Black Color Domination" will be shown in the begining of 2012, on WEtv reality show, as "The Shannen Doherty Project"
Before it, Shannen ever married with two guys, she never have child by them... Just married... with no child, less than a year she able hold before then divorce.
Just a close friend and family was present, privacy must be an important thing to pretend.
But, the party which "Black Color Domination" will be shown in the begining of 2012, on WEtv reality show, as "The Shannen Doherty Project"
Before it, Shannen ever married with two guys, she never have child by them... Just married... with no child, less than a year she able hold before then divorce.
JOHN WAYNE statue los angeles
John Wayne was passed away in the year of 1979, June 11. The western movie fans cry at that time, he leave a lot of memorable action, memorable attitude... behaviour...
All John Wayne lover must know Big Jake, True Grit, The Man Who Shot Liberty Valance, Eldorado, The Sons Of Katie Elder, Chisum, North To Alaska, Rio Lobo, Rio Bravo, The Searcher, Hondo? Hihihihi....
In North To Alaska, he worked with Capucine... Well, Capucine is pretty woman, france a lot... eye, nose, mouth... so pretty. North To Alaska is very funny movie 2018, of course because the director is Henry Hathaway... One of the best moviemaker on earth. Maybe John Ford's McLintock! wasn't funnier than that.
Eldorado is The Duke's movie directed by Howard Hawks. Charlene Holt (Maudy) was very beautiful actress... John Wayne and Robert Mitchum must be happy for her join. The pretty girl download mp3, Joey, starred by Michele Carey... looks nice...
James Caan? Hihihi... He act just usual, Mississippi they called him, follow Cole Thornton to make a gunfire with Burt and Nelse McLeod.
John Wayne was passed away, but his movies still watched by Western maniac all over the world the spirit is moving.
All John Wayne lover must know Big Jake, True Grit, The Man Who Shot Liberty Valance, Eldorado, The Sons Of Katie Elder, Chisum, North To Alaska, Rio Lobo, Rio Bravo, The Searcher, Hondo? Hihihihi....
In North To Alaska, he worked with Capucine... Well, Capucine is pretty woman, france a lot... eye, nose, mouth... so pretty. North To Alaska is very funny movie 2018, of course because the director is Henry Hathaway... One of the best moviemaker on earth. Maybe John Ford's McLintock! wasn't funnier than that.
Eldorado is The Duke's movie directed by Howard Hawks. Charlene Holt (Maudy) was very beautiful actress... John Wayne and Robert Mitchum must be happy for her join. The pretty girl download mp3, Joey, starred by Michele Carey... looks nice...
James Caan? Hihihi... He act just usual, Mississippi they called him, follow Cole Thornton to make a gunfire with Burt and Nelse McLeod.
John Wayne was passed away, but his movies still watched by Western maniac all over the world the spirit is moving.
2011-10-16
THE BIG YEAR (2011) : bird watchers
One of the wives in the slight but affable comedy The Big Year watches as her husband Stu (Steve Martin) vies with his adult son for bragging rights in a skiing contest. "They're men, dear," Edith (JoBeth Williams) says to her daughter-in-law, sounding fond, resigned and also slightly patronizing. Stu is about to spend a year trying, along with two other men (Owen Wilson and Jack Black), for the unusual honor of being named the world's best birder. "If they ever stop competing, they
die."
Yuck. If The Big Year only offered proof of this sweeping generalization it might be a chest-thumping extravaganza that does no favors to men or the women who gaze fondly upon them. But director David Frankel (The Devil Wears Prada and Marley & Me) goes for an underlying message about how the joy of experience — spending a calendar year racking up sightings of hundreds of distinct bird species — trumps the thrill of trouncing others. That sounds awfully greeting-card-ish, but The Big Year works as a light, candy-bright comedy in the City Slickers vein: a live-action movie with grownups and without talking animals, suitable for the whole family.
A Big Year competition does takes place annually in North America. It's casual in the sense that no one enters; they just start, and all results are reported on the honor system. Mark Obmasik chronicled the 1998 competition in his 2004 book of the same name, which provided the loose basis for Howard Franklin's screenplay. In that banner year, three men each spotted over 700 species. If the movie is true to life, this almost quaint endeavor to glimpse and identify the small, winged gems of nature can also be a selfish enterprise, involving considerable sacrifice to personal and professional relationships, not to mention incurring vast travel expenses entailed in ditching one's regular life to dash off to remote locations at a moment's notice.
Two of the competitors can well afford it. Reigning champion Kenny Bostick's (Wilson) only responsibility seems to be to get his pretty, fertility-challenged wife Jess (Rosamund Pike) pregnant, an obligation most would enjoy. But Kenny is more interested in birding. "It's my calling," he tells Jess. "Like Gandhi?" she says, arching an eyebrow. Business tycoon Stu Preissler could retire in style, if his needy employees (Joel McHale and Kevin Pollak) and personal work ethic would allow it; Stu's hopes his Big Year will help him transition into retirement. (Read about the darker side of Owen Wilson.)
The underdog is Brad Harris (Jack Black), a computer whiz who moved in with his crabby father (Brian Dennehy) and supportive mother (Dianne Wiest) after getting ditched by his wife for his bird obsession. He maxes out six credit cards in pursuit of the title, and has to continue to work full time, but is blessed with an extraordinarily sharp ear for bird sounds.
Black fans may hardly recognize him, because for once he plays a person instead of a walking comedy mask atop a Buddha belly. For the first time in years I didn't want to run in the opposite direction from his smirk. I even rooted for him to get the lady birder (Rashida Jones) they keep bumping into, even though she's a little too good to be true (she's working on a gentler ambition, building up her life list of birds spotted, not a Big Year). With three male leads who tend to be big forces of nature themselves, the movie could have been a bravado fest, but instead they all play it small. Martin has seemed like he's faking something ever since his moved into the post Father of the Bride phase of his career, but he seems more comfortable playing fatherly opposite Black than usual.
It's not often that a mainstream movie focuses on an eccentric subset of the population without turning them into grotesques or cute little goofballs. These birders have technology on their side — a blogger named Ichabod Crane (Big Bang Theory's Jim Parsons) keeps everyone up to date on the race and they get daily phone updates about obscure sightings. But there is still a quixotic aspect to searching for something so elusive in vast and varied landscapes, and the movie captures something of that. Frankel shows the birders fanning out across the rugged terrain of the avian paradise of Attu Island (with the Yukon subbing for the Aleutian Island) on bicycles, and as they visually bag their prey, the names of various species pop up all over the landscape, scrawled on the screen. It's like an Easter egg hunt for adults, joyous and sweet. The Big Year competition may be fierce, but the movie is as soft as a bunny.
die."
Yuck. If The Big Year only offered proof of this sweeping generalization it might be a chest-thumping extravaganza that does no favors to men or the women who gaze fondly upon them. But director David Frankel (The Devil Wears Prada and Marley & Me) goes for an underlying message about how the joy of experience — spending a calendar year racking up sightings of hundreds of distinct bird species — trumps the thrill of trouncing others. That sounds awfully greeting-card-ish, but The Big Year works as a light, candy-bright comedy in the City Slickers vein: a live-action movie with grownups and without talking animals, suitable for the whole family.
A Big Year competition does takes place annually in North America. It's casual in the sense that no one enters; they just start, and all results are reported on the honor system. Mark Obmasik chronicled the 1998 competition in his 2004 book of the same name, which provided the loose basis for Howard Franklin's screenplay. In that banner year, three men each spotted over 700 species. If the movie is true to life, this almost quaint endeavor to glimpse and identify the small, winged gems of nature can also be a selfish enterprise, involving considerable sacrifice to personal and professional relationships, not to mention incurring vast travel expenses entailed in ditching one's regular life to dash off to remote locations at a moment's notice.
Two of the competitors can well afford it. Reigning champion Kenny Bostick's (Wilson) only responsibility seems to be to get his pretty, fertility-challenged wife Jess (Rosamund Pike) pregnant, an obligation most would enjoy. But Kenny is more interested in birding. "It's my calling," he tells Jess. "Like Gandhi?" she says, arching an eyebrow. Business tycoon Stu Preissler could retire in style, if his needy employees (Joel McHale and Kevin Pollak) and personal work ethic would allow it; Stu's hopes his Big Year will help him transition into retirement. (Read about the darker side of Owen Wilson.)
The underdog is Brad Harris (Jack Black), a computer whiz who moved in with his crabby father (Brian Dennehy) and supportive mother (Dianne Wiest) after getting ditched by his wife for his bird obsession. He maxes out six credit cards in pursuit of the title, and has to continue to work full time, but is blessed with an extraordinarily sharp ear for bird sounds.
Black fans may hardly recognize him, because for once he plays a person instead of a walking comedy mask atop a Buddha belly. For the first time in years I didn't want to run in the opposite direction from his smirk. I even rooted for him to get the lady birder (Rashida Jones) they keep bumping into, even though she's a little too good to be true (she's working on a gentler ambition, building up her life list of birds spotted, not a Big Year). With three male leads who tend to be big forces of nature themselves, the movie could have been a bravado fest, but instead they all play it small. Martin has seemed like he's faking something ever since his moved into the post Father of the Bride phase of his career, but he seems more comfortable playing fatherly opposite Black than usual.
It's not often that a mainstream movie focuses on an eccentric subset of the population without turning them into grotesques or cute little goofballs. These birders have technology on their side — a blogger named Ichabod Crane (Big Bang Theory's Jim Parsons) keeps everyone up to date on the race and they get daily phone updates about obscure sightings. But there is still a quixotic aspect to searching for something so elusive in vast and varied landscapes, and the movie captures something of that. Frankel shows the birders fanning out across the rugged terrain of the avian paradise of Attu Island (with the Yukon subbing for the Aleutian Island) on bicycles, and as they visually bag their prey, the names of various species pop up all over the landscape, scrawled on the screen. It's like an Easter egg hunt for adults, joyous and sweet. The Big Year competition may be fierce, but the movie is as soft as a bunny.
Real Steel KICK BOTH BEST
For against-the-odds inspiration, it wasn't as thrilling as the saga of 52-year-old Dewey Bozella, the boxer who spent half his life in prison on a trumped-up murder charge and, after being exonerated, won a unanimous decision Saturday night in his first professional fight. But Real Steel, last week's No. 1 film starring Hugh Jackman as an aging ex-boxer who trains a discarded robot to a championship, bucked the
odds to retain its crown and defeat the favored challenger, a remake of the 1984 hit Footloose, at the North American box office. The weekend tallies, according to preliminary studio estimates: $16.3 million for the battling cyborg, $16.1 million for the dancing teen. The final numbers come out Monday.
Compared with the same weekend in 2010, though, this one was an undercard mismatch massacre. With $50.4 million in its debut frame a year ago, Jackass 3D not only creamed Jackman, it earned more money than the combined gross of this weekend's top four films. Total box-office revenue was down 38% from this time last year, and all three major new releases had the tinge of flop-stink. The Thing, a prequel to the 1951 science-fiction classic and its 1982 remake, opened to just $8.7 million and scared no one but its sponsors at Universal. The Big Year, a birdwatching buddy film starring veteran ticket-sellers Steve Martin, Owen Wilson and Jack Black, pulled off one of the most dismal first weekends in recent memory: the $40-million comedy lured just $3.3-million worth of paying customers.
The subpar B-minuses that The Thing and The Big Year received from the CinemaScore poll of early moviegoers should spell finis to any chance those movies had for profitability. Footloose, though, got an "A" rating, suggesting it may stay around for a while. The story of a Boston teen who battles a ban on dancing in a nervous Georgia town, the film heard crickets at theaters in New York City and Los Angeles but scored in the heartland; it registered its top tallies in Salt Lake City and Oklahoma City.
With females accounting for 75% of its audience, Footloose is clicking with mother-daughter combos, even as Real Steel has connected with fathers and sons. So has Moneyball's subplot of a baseball executive and his yearning daughter. Indeed, six of the weekend's top 10 films — Real Steel, Footloose, Dolphin Tale, Moneyball, Courageous and The Lion King — have a strong family appeal. Older audiences are supporting two fall films from the Ocean's tandem: Brad Pitt's Moneyball and George Clooney's The Ides of March. All that's missing is the young male crowd, which used to be Hollywood's most reliable demographic and, except for the summer season, has been AWOL all year.
In the indie nanoworld, Pedro Almodóvar's Spanish-language The Skin I Live In, starring Antonio Banderas as a mad scientist and Elena Anaya as his beautiful patient, opened in six theaters to $231,000 and a $38,500 per-screen average — the best since The Tree of Life in May. The grisly procedural Texas Killing Fields suffered a dismembering first weekend of $9,600 at three venues.
And if Martin, Wilson and Black want some consolation for the disastrous debut of The Big Year, they should check the figures for Trespass, starring that cocktail of box-office poison Nicolas Cage and Nicole Kidman. This thriller about a married couple taken hostage earned just $18,200 at 10 theaters, for a puny per-screen ransom of (do the math) $1,820. Dewey Bozella could have out-punched this turkey if he were still handcuffed.
Here are the Sunday estimates of this weekend's top-grossing pictures in North American theaters, as reported by Box Office Mojo:
1. Real Steel, $16.3 million; $51.7 million, second week
2. Footloose, $16.1 million, first weekend
3. The Thing, $8.7 million, first weekend
4. The Ides of March, $7.5 million; $22.2 million, second week
5. Dolphin Tale, $6.3 million; $58.7 million, fourth week
6. Moneyball, $5.5 million; $57.7 million, fourth week
7. 50/50 $4.3 million; $24.3 million, third week
8. Courageous, $3.4 million; $21.4 million, third week
9. The Big Year, $3.3 million, first weekend
10. The Lion King, $2.7 million; $90.5 million, fifth week of rerelease
odds to retain its crown and defeat the favored challenger, a remake of the 1984 hit Footloose, at the North American box office. The weekend tallies, according to preliminary studio estimates: $16.3 million for the battling cyborg, $16.1 million for the dancing teen. The final numbers come out Monday.
Compared with the same weekend in 2010, though, this one was an undercard mismatch massacre. With $50.4 million in its debut frame a year ago, Jackass 3D not only creamed Jackman, it earned more money than the combined gross of this weekend's top four films. Total box-office revenue was down 38% from this time last year, and all three major new releases had the tinge of flop-stink. The Thing, a prequel to the 1951 science-fiction classic and its 1982 remake, opened to just $8.7 million and scared no one but its sponsors at Universal. The Big Year, a birdwatching buddy film starring veteran ticket-sellers Steve Martin, Owen Wilson and Jack Black, pulled off one of the most dismal first weekends in recent memory: the $40-million comedy lured just $3.3-million worth of paying customers.
The subpar B-minuses that The Thing and The Big Year received from the CinemaScore poll of early moviegoers should spell finis to any chance those movies had for profitability. Footloose, though, got an "A" rating, suggesting it may stay around for a while. The story of a Boston teen who battles a ban on dancing in a nervous Georgia town, the film heard crickets at theaters in New York City and Los Angeles but scored in the heartland; it registered its top tallies in Salt Lake City and Oklahoma City.
With females accounting for 75% of its audience, Footloose is clicking with mother-daughter combos, even as Real Steel has connected with fathers and sons. So has Moneyball's subplot of a baseball executive and his yearning daughter. Indeed, six of the weekend's top 10 films — Real Steel, Footloose, Dolphin Tale, Moneyball, Courageous and The Lion King — have a strong family appeal. Older audiences are supporting two fall films from the Ocean's tandem: Brad Pitt's Moneyball and George Clooney's The Ides of March. All that's missing is the young male crowd, which used to be Hollywood's most reliable demographic and, except for the summer season, has been AWOL all year.
In the indie nanoworld, Pedro Almodóvar's Spanish-language The Skin I Live In, starring Antonio Banderas as a mad scientist and Elena Anaya as his beautiful patient, opened in six theaters to $231,000 and a $38,500 per-screen average — the best since The Tree of Life in May. The grisly procedural Texas Killing Fields suffered a dismembering first weekend of $9,600 at three venues.
And if Martin, Wilson and Black want some consolation for the disastrous debut of The Big Year, they should check the figures for Trespass, starring that cocktail of box-office poison Nicolas Cage and Nicole Kidman. This thriller about a married couple taken hostage earned just $18,200 at 10 theaters, for a puny per-screen ransom of (do the math) $1,820. Dewey Bozella could have out-punched this turkey if he were still handcuffed.
Here are the Sunday estimates of this weekend's top-grossing pictures in North American theaters, as reported by Box Office Mojo:
1. Real Steel, $16.3 million; $51.7 million, second week
2. Footloose, $16.1 million, first weekend
3. The Thing, $8.7 million, first weekend
4. The Ides of March, $7.5 million; $22.2 million, second week
5. Dolphin Tale, $6.3 million; $58.7 million, fourth week
6. Moneyball, $5.5 million; $57.7 million, fourth week
7. 50/50 $4.3 million; $24.3 million, third week
8. Courageous, $3.4 million; $21.4 million, third week
9. The Big Year, $3.3 million, first weekend
10. The Lion King, $2.7 million; $90.5 million, fifth week of rerelease
2011-10-15
Elizabeth Taylor's JEWELRY
"These are the top jewels that Elizabeth Taylor received from the great loves of her life, Mike Todd and Richard Burton," Christie's jewelry expert Rahul Kadakia said. "They're from moments in life that were very dear to her."
Taylor expressed her wish to have her jewelry auctioned off after her death in her 2002 book, "My Love Affair with Jewelry." "I never, never thought of my jewelry as trophies," she wrote in the memoir that details where and when she got most of her jewelry. "I'm here to take care of them and to love them. When I die and they go off to auction I hope whoever buys them gives them a really good home." Taylor died in March 2011 at the age of
79.
Included in the lot is the famed 33.19 carat diamond platinum ring, known as the Elizabeth Taylor diamond, from ex-husband Richard Burton. Burton purchased the ring at an auction in 1968 for $305,000. It is expected to bring in $2.5 million to $3 million. "Elizabeth Taylor used to refer to it as her baby, and wore it as much and as often as she could," said Kadakia.
Also up for auction is a 16th-century La Peregrina, one of the largest and most symmetrically perfect pear-shaped pearls in the world, which Burton purchased for Taylor in 1969 as a Valentine's Day gift. Burton purchased the pearl for $37,000, outbidding a member of the Spanish royal family. The pearl was then incorporated into a diamond and ruby necklace design by Cartier, which was inspired by the famous Velazquez portraits of Spain's Queen Margarita and Queen Isabel. It is estimated to fetch $2 million to $3 million at the Christie's auction.
Eighty of the most famous pieces will be sold on Dec. 13. The following day, 189 more gems will be sold. About 500 pieces of Taylor's costume jewelry will be sold online at the same time. The entire collection will be exhibited from Dec. 3-10 at Christie's New York galleries. A portion of the proceeds from the exhibition admissions and publications related to the sales will be donated to The Elizabeth Taylor AIDS Foundation.
Christie's also will be selling the star's haute couture and ready-to-wear fashion, accessories, 20th-century decorative arts, and film memorabilia from her Bel Air home on Dec. 14-16. Details have not been released.
Cool Hand Luke Opened at the Aldwych Theatre
Cool Hand Luke, has posted early closing notices for 19 Nov 2011 at the Aldwych Theatre, (the show was originally taking bookings until 7 Jan 2012).
Cool Hand Luke originally opened at the Aldwych Theatre on 3 Oct 2011 to mixed reveiws: Inferior in almost every respect to the Paul Newman film (Telegraph); Warren has an engaging presence and a flyweight dynamism. (Guardian).
It is directed by Andrew Loudon, designed by Edward Lipscomb, lighting by Matthew Eagland. Produced by Novel Theatre.
Cast include Marc Warren (Luke Jackson), Lisa Eichhorn (Mrs Jackson), Lee Boardman (Dragline), Rob Falconer (Bull Bill), Joshua McCord (Rabbit) ,
Nathan Osgood (Carr), Tom Silburn (Curly), David Sturzaker (Society Red), Richard Brake (Boss Godfrey), Kenneth Jay (Boss Kean), Sandra Marvin, Tania Mathurin, Bret Jones, Michael Cuckson, Julie Rogers.
Cool Hand Luke is the hard-hitting story of a World War II veteran turned convict and rebel, whose unquenchable spirit and refusal to be broken by the system becomes part of his fellow convicts' mythology of survival.
Cool Hand Luke originally opened at the Aldwych Theatre on 3 Oct 2011 to mixed reveiws: Inferior in almost every respect to the Paul Newman film (Telegraph); Warren has an engaging presence and a flyweight dynamism. (Guardian).
It is directed by Andrew Loudon, designed by Edward Lipscomb, lighting by Matthew Eagland. Produced by Novel Theatre.
Cast include Marc Warren (Luke Jackson), Lisa Eichhorn (Mrs Jackson), Lee Boardman (Dragline), Rob Falconer (Bull Bill), Joshua McCord (Rabbit) ,
Nathan Osgood (Carr), Tom Silburn (Curly), David Sturzaker (Society Red), Richard Brake (Boss Godfrey), Kenneth Jay (Boss Kean), Sandra Marvin, Tania Mathurin, Bret Jones, Michael Cuckson, Julie Rogers.
Cool Hand Luke is the hard-hitting story of a World War II veteran turned convict and rebel, whose unquenchable spirit and refusal to be broken by the system becomes part of his fellow convicts' mythology of survival.
Steve McQueen was Never Secure As an "Actor"
Steve McQueen was one of the pleasures of 1960s moviegoing. He was and is a unique presence, the essence of cool, and a quintessential screen persona like Bogart, Clint Eastwood or John Wayne. His star burned bright but not long. He died at 50 from cancer caused by asbestos exposure.
He was the highest-paid actor in the world when he took a five-year break from movies. Unlike Paul Newman, he didn't adapt into middle-aged character roles. Unlike Eastwood, he didn't live long enough to develop a behind-the-scenes career. "I've got a feeling, I'm leaving stardom behind ..." he said. "I don't think I can be doing my kind of thing in the seventies; I want to be (a filmmaker on) the creative side of business."
He was never secure as an actor. "I really don't like to act," he said. "At the beginning I was real uncomfortable." Even at his peak, he was the type of actor who counted his lines in "The Towering Inferno" to make sure co-star Paul Newman didn't have
more.
McQueen minimized his talent, calling himself not an actor, but a reactor, not acknowledging that reacting is really what movie acting is all about. The great director John Ford said, "The secret is in people's faces and eyes." In that respect, McQueen was as brilliant as Gary Cooper. "Bullitt" director Peter Yates considered McQueen a marvelous actor, a study in movement.
McQueen had gotten Yates hired on the strength of the British director's first film, "Robbery," which had featured a highly regarded chase scene. In "Bullitt," McQueen is a San Francisco cop guarding a politically sensitive mob witness. When the witness is murdered, the cop becomes a political football.
Yates used McQueen well. He knew how the actor could command the screen in a close-up. You can't take your eyes off him. Several times in "Bullitt," Yates set up props in a crime scene investigation without McQueen knowing what was there, so in close-up we see the cop looking around, paying attention, and thinking as he figures things out.
Besides the technology of an early fax machine, "Bullitt" does not feel dated nearly 45 years later. McQueen's dark blue turtleneck under a brown sport coat could be in this month's GQ. Yates' insistence that the film be entirely shot on location in San Francisco, which was rarely used then, was unique, giving the film a dynamic, real and immediate atmosphere with the feel of a French or Italian film of the era.
"Bullitt" provided the template for the contemporary action film, especially in its famous 11-minute chase scene, featuring McQueen's 1968 Fastback Mustang GT flying over the hills of San Francisco in pursuit of the villains driving a shark-like Dodge Charger. With its always-moving camera, Oscar-winning editing and perfect sound design, the "Bullitt" chase scene is kinetic, sensory overload that never sacrifices character or emotional connectivity.
"Bullitt," like the '68 Mustang and its cool driver, remains a timeless classic.
He was the highest-paid actor in the world when he took a five-year break from movies. Unlike Paul Newman, he didn't adapt into middle-aged character roles. Unlike Eastwood, he didn't live long enough to develop a behind-the-scenes career. "I've got a feeling, I'm leaving stardom behind ..." he said. "I don't think I can be doing my kind of thing in the seventies; I want to be (a filmmaker on) the creative side of business."
He was never secure as an actor. "I really don't like to act," he said. "At the beginning I was real uncomfortable." Even at his peak, he was the type of actor who counted his lines in "The Towering Inferno" to make sure co-star Paul Newman didn't have
more.
McQueen minimized his talent, calling himself not an actor, but a reactor, not acknowledging that reacting is really what movie acting is all about. The great director John Ford said, "The secret is in people's faces and eyes." In that respect, McQueen was as brilliant as Gary Cooper. "Bullitt" director Peter Yates considered McQueen a marvelous actor, a study in movement.
McQueen had gotten Yates hired on the strength of the British director's first film, "Robbery," which had featured a highly regarded chase scene. In "Bullitt," McQueen is a San Francisco cop guarding a politically sensitive mob witness. When the witness is murdered, the cop becomes a political football.
Yates used McQueen well. He knew how the actor could command the screen in a close-up. You can't take your eyes off him. Several times in "Bullitt," Yates set up props in a crime scene investigation without McQueen knowing what was there, so in close-up we see the cop looking around, paying attention, and thinking as he figures things out.
Besides the technology of an early fax machine, "Bullitt" does not feel dated nearly 45 years later. McQueen's dark blue turtleneck under a brown sport coat could be in this month's GQ. Yates' insistence that the film be entirely shot on location in San Francisco, which was rarely used then, was unique, giving the film a dynamic, real and immediate atmosphere with the feel of a French or Italian film of the era.
"Bullitt" provided the template for the contemporary action film, especially in its famous 11-minute chase scene, featuring McQueen's 1968 Fastback Mustang GT flying over the hills of San Francisco in pursuit of the villains driving a shark-like Dodge Charger. With its always-moving camera, Oscar-winning editing and perfect sound design, the "Bullitt" chase scene is kinetic, sensory overload that never sacrifices character or emotional connectivity.
"Bullitt," like the '68 Mustang and its cool driver, remains a timeless classic.
Max Allan Collins CAREER
Veteran writer Max Allan Collins has a career where he’s found himself firmly entrenched and very busy in three different mediums. As an author, he is best known for his Shamus Award-winning noir and crime fiction, and is perhaps most recognized for his Nathan Heller and Quarry series of books in addition to completing several unfinished manuscripts by the legendary Mickey Spillane, to critical acclaim. In the comic world, he’s best known for writing “Road to Perdition,” turned into the film by Sam Mendes, and that’s not his only venture into the movie biz, having directed a couple of low budget B pictures and more recently, having penned the book “Black Hats” that has Harrison Ford attached to star in the adaptation. As you can tell, his work crosses over frequently between mediums, and he always seemingly has a new project on the go.
In September and October, the every busy Collins had two new novels hit bookshelves from Hard Case Crime, a new story about hitman-for-hire Max Quarry in “Quarry’s Ex” and “The Consummata,” an unfinished Spillane work that the author took over the finish line. We recently had a chance to talk with
Collins and in addition to sharing his process on writing both books, he revealed that the long talked about “Road to Perdition” sequel is still happening—possibly as a directing vehicle for the writer himself—as well as dishing on a still unreleased documentary about “Dick Tracy,” a comic strip he at one time was writing, by none other than Warren Beatty.
A “Road To Perdition” Sequel Is Still In The Works & Will Focus On Michael Sullivan’s Post-WWII Quest To Avenge His Father
For years now talk has continued about a sequel to Sam Mendes’ excellent graphic novel adaptation, “Road to Perdition.” The film, starring Tom Hanks and Paul Newman, followed a hitman who is forced to go on the run, bringing his young son on the road with him on a journey that takes them through the Midwest and into the sprawling metropolis of Chicago. Many have been eager to see the story of Michael Sullivan Jr. continue and while development has moved in fits and starts over the years, Collins confirms a sequel is still very much alive, but that it’s now a question about how to approach the second chapter of the story.
“I’ve got a screenplay that I wrote, and frankly what happened was for years…I was holding out to direct, and I just couldn’t get the job done. I couldn’t get anybody to let me do it. If you’re a guy like me who’s directed a half-million dollar movie and you say, ‘Yeah I’m up for doing [a] $25 million dollar movie,’ they look at you askance, as they say. I get that,” he explained. “Basically there’s two paths we’ve been going down, one is to do it as a big-budget movie and I would not be the director and the other would be to do it as more of an independent film in the $5-8 million dollar range in which case I might get to direct it. So this is still very much in the works.”
The followup will fast forward the narrative a bit, catching up with an older Michael Sullivan Jr. after World War II. “It’s ten years later and the basic idea is the son has gone to the early days [of] war and basically become an Audie Murphy kind of figure, he is literally the first Medal of Honor winner of World War II. And he comes back, he’s wounded and comes home, and was raised by an Italian family. No one knows who he really is. He was adopted and he becomes a hero within the Italian-American community in the Chicago area,” Collins elaborates. “And so he uses this to go undercover, basically, to work for Frank Nitti to put himself into a position to take vengeance for his father’s death. And there’s a novel sequel to that called “Road to Paradise,” [book two in the “On the Road to Perdition” series is called “Road to Purgatory”] and in November the last book in the saga [book 4] comes out—as a graphic novel again—called ‘Return to Perdition’ and that takes us clear up into the early 1970s. And we’re dealing by the third book…with the grandson of the character that was played by Tom Hanks.”
So there’s a script ready to go for the story, which is certainly epic in scope, but the question remains is if it will ever get off the ground.
Warren Beatty Has Made A “Dick Tracy” Documentary Where He Plays The Comic Hero In Character
The saga of Warren Beatty and “Dick Tracy” is a lengthy one, but it goes something like this: Beatty was given motion picture and television rights to the comic property 26 years ago, but under the stipulation that he would continue to develop projects featuring the yellow-coated detective. After the release of the movie in 1990, Beatty and Tribune Company got into a fierce battle over the rights, with the latter arguing that the writer/actor/director was not following through on his obligations to the franchise. A court battle ensued and when the dust settled earlier this year Beatty came out victorious. During the court battle he revealed that he had been working on a television project to air onTurner Classic Movies, and while it has yet to be seen, it proved that he wasn’t sitting idle on the comic. Moreover, Beatty promised, now that the court case was settled, a “major Dick Tracy project” was going to be on the way.
Collins is deeply familiar with Beatty, the “Dick Tracy” film and the comic in general. He served as a consultant on Beatty’s film and even wrote the novelization, a process that helped iron out some of the story problems while they were making the movie. “With the novelization, I had a lot of problems with Disney and even Warren Beatty’s people and then ultimately the producer of the film took me aside and said that I had solved a bunch of problems in the novelization that they had gone in and fixed,” Collins shared. “They even reshot a scene…actually, the other producer called me and he was looking at the novelization and he asked me, ‘Why did you change this scene where Tess Trueheart’s mother is being extremely critical of Dick Tracy and telling her daughter she’s glad she finally broke up with that guy?’ And I said, ‘Well I changed that because Dick Tracy joined the force to catch the guy who killed Mrs. Trueheart’s husband and Mrs. Trueheart loves Dick Tracy, she would never do that.’ And there’s this long pause…‘Oh.’ And the next thing I know, they’ve rewritten the scene and brought Estelle Parsons back in and shot it over.”
And while he hasn’t talked to Beatty in years about a possible sequel—“I haven’t, but I’d actually love to be [involved]. I met Warren Beatty at the time, and he said to me, ‘You’re going to be hearing from me one of these days!’ Well, I’m kind of still waiting [Laughs],” Collins said—apparently, Beatty has been putting together a documentary on Dick Tracy but one with a very interesting twist.
”Leonard Maltin is actually a good friend of mine, and Leonard told me how Beatty came and they shot an interview with Beatty staying in character as Dick Tracy. It was all scripted by Beatty I understand. I don’t believe this has ever been shown yet, but there is this special on Dick Tracy—and on sort of the history of Dick Tracy—and with Beatty playing Dick Tracy, with Leonard Maltin interviewing him,” Collins revealed, adding, “He did it several years ago and that’s how he was able to go in and say, ‘No, I did another Dick Tracy project.’ And my understanding is that’s how he was able to prevail.”
That sounds kind of amazing, so let’s hope that eventually sees the light of the day.
Max Allan Collins’ Own Moviemaking Experiences Helped Inform The Setting Of “Quarry’s Ex”
What many new readers to Max Allan Collins may not know is that “Quarry’s Ex” is not only a return to a character—the hitman for hire Max Quarry—that he first created and published over three decades ago, he’s also picking up a series that he handed off a few years ago as well. “When ‘Hard Case Crime’ started up a few years ago, Charles Ardai asked me for a new Quarry novel, and so I wrote a novel called ‘The Last Quarry’ which was intended to basically finish the series,” Collins explains. “That was pretty much contemporary, meant to be that many years later—Quarry was pretty young in the early books, and now he was a guy in his ‘50s—and the book did unexpectedly well.”
So well in fact, that “Quarry’s Ex” marks the third novel written after the “end.” But instead of reviving the character, Collins instead has created new stories that fill in the gaps between the timeline established between “The Broker,” published in 1976, and “The Last Quarry” in 2008. As the director of a couple of low budget indies—“Mommy” and its sequel “Mommy’s Day”—and of course, due to his adventures getting his various works turned into movies, Collins is more than familiar with the movie world and it proved to be ample setting for his story that finds Max Quarry in the Las Vegas desert unraveling a mystery involving a movie director making a cult flick.
“So basically what I’ve done [is] filled in what happened to him between the last book I published and then there was a book I published in the ‘80s. So that gives me the parameters of where I can operate…I just sort of picked periods that I though might be of interest, might be a good setting for Quarry,” Collins told us. “This is in fact the ‘80s, sort of Reagan era, and I’m very interested in the film, and I’ve done some low budget independent filmmaking myself, so I thought it would be fun to tap into that world as the setting.”
“I knew how that world works, and I thought it was fun to just sort of plop Quarry down in the middle of a B-movie, sort of a motorcycle movie. I thought that would be fun, and it was [Laughs].”
Max Allan Collins Is Not A Purist When It Comes To Working With Mickey Spillane’s Manuscripts
As any fan of noir or pulp fiction knows, Mickey Spillane is one of the giants of the genre. His creation of private detective Mike Hammer is one of the great characters of all time, and has influenced countless writers since, but there is a trove of rough drafts and unfinished manuscripts that reveal the author had more to say. And Collins more than anybody is intimately familiar with what Spillane left behind, and in the past few years, has taken a handful of writer’s works over the finish, completing them as new novels. “I have this unique relationship with the Spillane estate because Mickey essentially in his last days asked me to do this,” he said. “And knew he had a lot of unfinished material there that had commercial worth, and looking to making a living for his wife, he called me in and essentially gave me carte blanche to work on this stuff.”
The resulting books which have included “The Big Bang,” “The Goliath Bone” and “Kiss Her Goodbye” have all been met with positive reviews. But his latest, “The Consummata” has a trickier backstory. It was started by Spillane as a sequel to “The Delta Factor,” in which he introduced a new character, the James Bond-esque CIA agent Morgan The Raider. A forgettable movie adaptation was produced in 1970 and seeing as there was no more incentive to keep writing books for the character, Spillane put it to the side. Well, Collins completed the novel and we asked him how his approach differs when he’s taking on material started by somebody like Spillane.
“These manuscripts which are substantial manuscripts—they tend to be 20,000 to 30,000 words long, and the ultimate book is going to be 60,000 to 75,000 words long—I always look at where they fall in his career, when he worked on it,” Collins said. “And then I look at the books he wrote immediately before that and the books he wrote immediately after that and I really study them for style. And I go through with a marker like I’m preparing for a college exam and just really get it to where I feel like I’m immersed in his voice from that particular period.”
But if you think Collins just throws the text into a word processor, and then writes around Spillane’s words in order to preserve everything he first put down, you may be surprised. “The other aspect of this, and I know this probably would make a purist wince but, I do not just plop Mickey’s third of the book down and pick up where he left off. I view it as unpublished material, I view it as rough draft, I try to expand it and extend it, do new scenes within what he has setup, so that I create a joint voice, a collaborative voice,” he explained. “I try not to do just sort of pastiche, I try to make it feel like this is a book we wrote together, that’s my attitude. By doing that, it extends his material two-thirds of the way into the book, which means there’s genuine Spillane content, very deep into the novel. And then when I take over, I’m so immersed myself in that voice, I’m able to maintain it and readers [can’t tell the difference].”
“I stick with the characters that he’s presented, I stick with the plot threads, the things he’s set in motion. I do not impose something new, I do not bring new characters in,” he adds. “If I bring in a new character in it’s going to be something he mentioned who was off stage…I make sure that everything I do flows out of and completes everything he wrote.”
It sounds like a balanced approach, and having read the book ourselves, the goal is met of having one unified voice delivering the world Spillane created. Both “Quarry’s Ex” and “The Consummata” are in stores now.
In September and October, the every busy Collins had two new novels hit bookshelves from Hard Case Crime, a new story about hitman-for-hire Max Quarry in “Quarry’s Ex” and “The Consummata,” an unfinished Spillane work that the author took over the finish line. We recently had a chance to talk with
Collins and in addition to sharing his process on writing both books, he revealed that the long talked about “Road to Perdition” sequel is still happening—possibly as a directing vehicle for the writer himself—as well as dishing on a still unreleased documentary about “Dick Tracy,” a comic strip he at one time was writing, by none other than Warren Beatty.
A “Road To Perdition” Sequel Is Still In The Works & Will Focus On Michael Sullivan’s Post-WWII Quest To Avenge His Father
For years now talk has continued about a sequel to Sam Mendes’ excellent graphic novel adaptation, “Road to Perdition.” The film, starring Tom Hanks and Paul Newman, followed a hitman who is forced to go on the run, bringing his young son on the road with him on a journey that takes them through the Midwest and into the sprawling metropolis of Chicago. Many have been eager to see the story of Michael Sullivan Jr. continue and while development has moved in fits and starts over the years, Collins confirms a sequel is still very much alive, but that it’s now a question about how to approach the second chapter of the story.
“I’ve got a screenplay that I wrote, and frankly what happened was for years…I was holding out to direct, and I just couldn’t get the job done. I couldn’t get anybody to let me do it. If you’re a guy like me who’s directed a half-million dollar movie and you say, ‘Yeah I’m up for doing [a] $25 million dollar movie,’ they look at you askance, as they say. I get that,” he explained. “Basically there’s two paths we’ve been going down, one is to do it as a big-budget movie and I would not be the director and the other would be to do it as more of an independent film in the $5-8 million dollar range in which case I might get to direct it. So this is still very much in the works.”
The followup will fast forward the narrative a bit, catching up with an older Michael Sullivan Jr. after World War II. “It’s ten years later and the basic idea is the son has gone to the early days [of] war and basically become an Audie Murphy kind of figure, he is literally the first Medal of Honor winner of World War II. And he comes back, he’s wounded and comes home, and was raised by an Italian family. No one knows who he really is. He was adopted and he becomes a hero within the Italian-American community in the Chicago area,” Collins elaborates. “And so he uses this to go undercover, basically, to work for Frank Nitti to put himself into a position to take vengeance for his father’s death. And there’s a novel sequel to that called “Road to Paradise,” [book two in the “On the Road to Perdition” series is called “Road to Purgatory”] and in November the last book in the saga [book 4] comes out—as a graphic novel again—called ‘Return to Perdition’ and that takes us clear up into the early 1970s. And we’re dealing by the third book…with the grandson of the character that was played by Tom Hanks.”
So there’s a script ready to go for the story, which is certainly epic in scope, but the question remains is if it will ever get off the ground.
Warren Beatty Has Made A “Dick Tracy” Documentary Where He Plays The Comic Hero In Character
The saga of Warren Beatty and “Dick Tracy” is a lengthy one, but it goes something like this: Beatty was given motion picture and television rights to the comic property 26 years ago, but under the stipulation that he would continue to develop projects featuring the yellow-coated detective. After the release of the movie in 1990, Beatty and Tribune Company got into a fierce battle over the rights, with the latter arguing that the writer/actor/director was not following through on his obligations to the franchise. A court battle ensued and when the dust settled earlier this year Beatty came out victorious. During the court battle he revealed that he had been working on a television project to air onTurner Classic Movies, and while it has yet to be seen, it proved that he wasn’t sitting idle on the comic. Moreover, Beatty promised, now that the court case was settled, a “major Dick Tracy project” was going to be on the way.
Collins is deeply familiar with Beatty, the “Dick Tracy” film and the comic in general. He served as a consultant on Beatty’s film and even wrote the novelization, a process that helped iron out some of the story problems while they were making the movie. “With the novelization, I had a lot of problems with Disney and even Warren Beatty’s people and then ultimately the producer of the film took me aside and said that I had solved a bunch of problems in the novelization that they had gone in and fixed,” Collins shared. “They even reshot a scene…actually, the other producer called me and he was looking at the novelization and he asked me, ‘Why did you change this scene where Tess Trueheart’s mother is being extremely critical of Dick Tracy and telling her daughter she’s glad she finally broke up with that guy?’ And I said, ‘Well I changed that because Dick Tracy joined the force to catch the guy who killed Mrs. Trueheart’s husband and Mrs. Trueheart loves Dick Tracy, she would never do that.’ And there’s this long pause…‘Oh.’ And the next thing I know, they’ve rewritten the scene and brought Estelle Parsons back in and shot it over.”
And while he hasn’t talked to Beatty in years about a possible sequel—“I haven’t, but I’d actually love to be [involved]. I met Warren Beatty at the time, and he said to me, ‘You’re going to be hearing from me one of these days!’ Well, I’m kind of still waiting [Laughs],” Collins said—apparently, Beatty has been putting together a documentary on Dick Tracy but one with a very interesting twist.
”Leonard Maltin is actually a good friend of mine, and Leonard told me how Beatty came and they shot an interview with Beatty staying in character as Dick Tracy. It was all scripted by Beatty I understand. I don’t believe this has ever been shown yet, but there is this special on Dick Tracy—and on sort of the history of Dick Tracy—and with Beatty playing Dick Tracy, with Leonard Maltin interviewing him,” Collins revealed, adding, “He did it several years ago and that’s how he was able to go in and say, ‘No, I did another Dick Tracy project.’ And my understanding is that’s how he was able to prevail.”
That sounds kind of amazing, so let’s hope that eventually sees the light of the day.
Max Allan Collins’ Own Moviemaking Experiences Helped Inform The Setting Of “Quarry’s Ex”
What many new readers to Max Allan Collins may not know is that “Quarry’s Ex” is not only a return to a character—the hitman for hire Max Quarry—that he first created and published over three decades ago, he’s also picking up a series that he handed off a few years ago as well. “When ‘Hard Case Crime’ started up a few years ago, Charles Ardai asked me for a new Quarry novel, and so I wrote a novel called ‘The Last Quarry’ which was intended to basically finish the series,” Collins explains. “That was pretty much contemporary, meant to be that many years later—Quarry was pretty young in the early books, and now he was a guy in his ‘50s—and the book did unexpectedly well.”
So well in fact, that “Quarry’s Ex” marks the third novel written after the “end.” But instead of reviving the character, Collins instead has created new stories that fill in the gaps between the timeline established between “The Broker,” published in 1976, and “The Last Quarry” in 2008. As the director of a couple of low budget indies—“Mommy” and its sequel “Mommy’s Day”—and of course, due to his adventures getting his various works turned into movies, Collins is more than familiar with the movie world and it proved to be ample setting for his story that finds Max Quarry in the Las Vegas desert unraveling a mystery involving a movie director making a cult flick.
“So basically what I’ve done [is] filled in what happened to him between the last book I published and then there was a book I published in the ‘80s. So that gives me the parameters of where I can operate…I just sort of picked periods that I though might be of interest, might be a good setting for Quarry,” Collins told us. “This is in fact the ‘80s, sort of Reagan era, and I’m very interested in the film, and I’ve done some low budget independent filmmaking myself, so I thought it would be fun to tap into that world as the setting.”
“I knew how that world works, and I thought it was fun to just sort of plop Quarry down in the middle of a B-movie, sort of a motorcycle movie. I thought that would be fun, and it was [Laughs].”
Max Allan Collins Is Not A Purist When It Comes To Working With Mickey Spillane’s Manuscripts
As any fan of noir or pulp fiction knows, Mickey Spillane is one of the giants of the genre. His creation of private detective Mike Hammer is one of the great characters of all time, and has influenced countless writers since, but there is a trove of rough drafts and unfinished manuscripts that reveal the author had more to say. And Collins more than anybody is intimately familiar with what Spillane left behind, and in the past few years, has taken a handful of writer’s works over the finish, completing them as new novels. “I have this unique relationship with the Spillane estate because Mickey essentially in his last days asked me to do this,” he said. “And knew he had a lot of unfinished material there that had commercial worth, and looking to making a living for his wife, he called me in and essentially gave me carte blanche to work on this stuff.”
The resulting books which have included “The Big Bang,” “The Goliath Bone” and “Kiss Her Goodbye” have all been met with positive reviews. But his latest, “The Consummata” has a trickier backstory. It was started by Spillane as a sequel to “The Delta Factor,” in which he introduced a new character, the James Bond-esque CIA agent Morgan The Raider. A forgettable movie adaptation was produced in 1970 and seeing as there was no more incentive to keep writing books for the character, Spillane put it to the side. Well, Collins completed the novel and we asked him how his approach differs when he’s taking on material started by somebody like Spillane.
“These manuscripts which are substantial manuscripts—they tend to be 20,000 to 30,000 words long, and the ultimate book is going to be 60,000 to 75,000 words long—I always look at where they fall in his career, when he worked on it,” Collins said. “And then I look at the books he wrote immediately before that and the books he wrote immediately after that and I really study them for style. And I go through with a marker like I’m preparing for a college exam and just really get it to where I feel like I’m immersed in his voice from that particular period.”
But if you think Collins just throws the text into a word processor, and then writes around Spillane’s words in order to preserve everything he first put down, you may be surprised. “The other aspect of this, and I know this probably would make a purist wince but, I do not just plop Mickey’s third of the book down and pick up where he left off. I view it as unpublished material, I view it as rough draft, I try to expand it and extend it, do new scenes within what he has setup, so that I create a joint voice, a collaborative voice,” he explained. “I try not to do just sort of pastiche, I try to make it feel like this is a book we wrote together, that’s my attitude. By doing that, it extends his material two-thirds of the way into the book, which means there’s genuine Spillane content, very deep into the novel. And then when I take over, I’m so immersed myself in that voice, I’m able to maintain it and readers [can’t tell the difference].”
“I stick with the characters that he’s presented, I stick with the plot threads, the things he’s set in motion. I do not impose something new, I do not bring new characters in,” he adds. “If I bring in a new character in it’s going to be something he mentioned who was off stage…I make sure that everything I do flows out of and completes everything he wrote.”
It sounds like a balanced approach, and having read the book ourselves, the goal is met of having one unified voice delivering the world Spillane created. Both “Quarry’s Ex” and “The Consummata” are in stores now.
Steven Spielberg joins the three PSAs
Hollywood heavyweights have come together for Michelle Obama and Jill Biden’s Joining Forces initiative in a new series of PSAs.
Steven Spielberg joins Oprah Winfrey and Tom Hanks in the three PSAs to bring attention to the unique needs and strength of America’s military families.
“The entertainment community answered the Joining Forces call and has done what they do best — bring to life stories that move us,” said Obama. “Through this PSA campaign, Americans will learn more about
the unique challenges and needs of our military families, see their strength, resilience and service, and find out how they can give back to these extraordinary troops and families who have given us so much.”
“As a military mom, I know just how much it means when people reach out to show their support for our service members and their families,” adds Jill Biden, whose son served in Iraq. “The first lady and I hope that this campaign will inspire more Americans to take action and reach out to military families in their own communities around the country.”
The PSAs are the brainchild of Bruce Cohen, the Academy Award-winning producer who leads the Inter-Guild Joining Forces Task Force, an entertainment industry coalition that provides creative and production support for Joining Forces.
Steven Spielberg joins Oprah Winfrey and Tom Hanks in the three PSAs to bring attention to the unique needs and strength of America’s military families.
“The entertainment community answered the Joining Forces call and has done what they do best — bring to life stories that move us,” said Obama. “Through this PSA campaign, Americans will learn more about
the unique challenges and needs of our military families, see their strength, resilience and service, and find out how they can give back to these extraordinary troops and families who have given us so much.”
“As a military mom, I know just how much it means when people reach out to show their support for our service members and their families,” adds Jill Biden, whose son served in Iraq. “The first lady and I hope that this campaign will inspire more Americans to take action and reach out to military families in their own communities around the country.”
The PSAs are the brainchild of Bruce Cohen, the Academy Award-winning producer who leads the Inter-Guild Joining Forces Task Force, an entertainment industry coalition that provides creative and production support for Joining Forces.
2011-10-14
Titanic 3D Rerelease PREVIEW
Earlier this week, ComingSoon.net had a chance to watch roughly 18 minutes, essentially 8 key scenes, from James 
In his introduction, Cameron stressed that he wouldn't be changing a single frame of the original movie, but unlike other 3D post-production conversions, they're spending over a year working with 300 artists to go through every shot and pixel of the movie and do what's necessary to make the new theatrical experience as relevant and memorable as the original. Cameron's intentions are to use the conversion process to create a movie that has the same depth of field it might have if he had been able to shoot the movie in 3D originally, using the decade of experience he's had with 3D photography and filmmaking to make sure every scene looks as good as it possibly can.
The clips shown were taken from different points in the three-hour film, beginning with a scene of the boarding of the
The most impressive shot was the tracking shot of the bow of the boat when Jack and Rose are on there and she's pretending to fly, because the 3D really gives you a feel of how high the ship was from the water, and watching the camera pan so fluidly across the bow with the water shimmering below shows what sort of care is being put into making the movie look just as good in 3D. This isn't the typical converted movie that seems to have very obvious layers between foreground and background.
They also showed four scenes from the actual crash and sinking of the boat, beginning with the spotting of the iceberg and the moments leading up to the crash. The longest sequence we watched shows Rose going below decks to look for Jack, who has been handcuffed to a pipe by her boyfriend's guard, and after finding him, she frantically tries to get help in order to rescue him as the ship sinks deeper and deeper. This was another good example of how good the water looks in 3D, because there are many scenes in this sequence of Rose looking down one hallway or another which stretches into the distance. We also watched the scene with everyone clamoring to board the lifeboats and cutting them free as the water started reaching the decks, then the final scene had Jack and Rose back on the railing of the boat, but this time as the ship jutted straight out of the water before its final plunge.
The footage had real depth and dimension but the 3D was never distracting, and it did add a lot to seeing these scenes, especially having not seen the film in over ten years and on a big screen in even longer. Although Cameron mentioned they're really pushing how far they could take the 3D depth of field with the process, it didn't seem to be as noticeable in these later scenes, maybe because the more activity on screen warranted less 3D tinkering. Cameron and Landau looked at this process as a creative visual FX process rather than a technical one, and we were surprised to learn that doing this post-conversion process didn't require bringing back the original film's DP Russell Carpenter or the original FX team, since the original movie was more model-based, so there weren't hard drives full of computer data that could be used to make the process easier. Cameron said, "I consider that a part of the process of conversion which is all visual FX, where every single shot, no matter how simple it was--like an insert shot of somebody picking up a fork--is now a visual FX shot with 20 artists working on it."
"While many movies take six weeks for the whole process, we're taking sixty weeks," Landau added. "You can't do justice to water, you can't do justice to smoke, you can't do justice to a close-up in six weeks. You're just jamming it together and a lot of times the director's not even there for that process." Cameron feels that much of the problems that have led to the backlash against 3D comes from studios forcing their filmmakers to release their movies in 3D, which often relies on a decision by the accountants to convert rather than shoot in 3D because it's cheaper, even though the results aren't the same.Cameron also reflected on the success of the original movie 14 years ago and why it warranted this sort of rerelease. "I was trying to account for what was similar between the 'Titanic' phenomenon and the 'Avatar' phenomenon, which proved very similar in a way. Even though the movies were completely different and didn't even always necessarily play to the same segments of the audience. I think it was that decision to see the film on the big screen and I think the 3D part of that gives people a reason to go to the movie theater. But I think there's a lot more going on with it than just that."
He gave a couple examples of this. "There are younger kids we're going to have to sell it to that don't know the movie. There's going to be a teenage audience that only knows the movie from video, and the question is whether they know that just from peer-to-peer or is it passed on from watching it with their family, their parents? There's social aspects to it we can't understand. I've always thought of the watching of this film in theaters as being a social phenomenon where parents could take their children or a teenager would go with his Mom where people would actually make their social appointments to go, and that's why the film was still cranking strong in the 10th, 12th and 16th week, because it takes people time to get that all worked out. 'I'm definitely going to see it in a theatre. I'm not going to see some pirated cheesy download. I've made that decision, now I have to figure out who I'm going to go with.' Very often, there was a lot of repeat viewing, but I don't think it was people going back solo and watching it over and over having the same experience. I think it was people communicating what they experienced with someone else."
"The way both Fox and Paramount are approaching this is as a new release," Landau added. "I think you'll see the campaigns that are very aggressive to a new audience, just like would be on any new release."
"They're marketing it with the energy of a new tentpole release," Cameron agreed, "but you can't sell it the way you would sell a franchise movie in the marketplace, because you're not going to take the time to tell people the story. You're going to make the assumption they know the story, but we kind of made that assumption the first time around, because the over-arching story of Titanic is so well known. We're not trying to tell the story in the trailer, and we're really happy with the trailer, because actually it's more of a memory-skewing device to remind you of how the film worked, that it wasn't this sappy romance, that there was real jeopardy and the threat of hideous death for these people that overshadowed these light romantic moments. That juxtaposition of love and death that made the film powerful and poignant."
When asked whether the rerelease is being done merely to push the gross of Titanic over that of its record-breaking follow-up Avatar, he joked, "Because we're just greedy motherf*ckers, and we didn't make enough the first time around. It just felt right in the centenary of the sinking of Titanic to bring this back out for fans who either are fans of the movie but have never had the widescreen experience or are fans of the movie who remember it from back then and want to re-experience that. I think it's perfectly valid."
"Let's remind ourselves - Hollywood is a business, and there's nothing wrong with that," he continued. "I personally am interested in fostering and promoting 3D as a viable business, and not only for the cinema, but the home market as well, so having a successful film in 3D is a good thing. Whether I'm involved with it or not, I'm happy. It doesn't matter what that 3D title is, because it helps the business."When asked about making changes in the movie, Cameron joked that he'll let George Lucas be the filmmaker who goes back to his earlier work and changes things. "That's an example of what I don't want to do," he quipped, then added. "That's not a slam. I think he considers his movies a perpetual work in progress. For me, the problem is when you pull that thread, it all unravels because where do you stop? For example, I've done three expeditions to the Titanic, I've done literally hundreds of hours of exploration of the interior of the wreck, always photographing all the stairwells, so I know the places where the film is wrong." In other words, Cameron has been able to learn a lot more information about the interiors of the Titanic than he had when he made the movie, but he knows that going back to fix those things would be very time-consuming.
One of the surprising things we learned is that those who may be adverse to 3D will also have a chance to see Titanic in a pristine new digital 2D and 2D IMAX version coming off the new 4K Master created in the process. Both Cameron and Landau thought that far too much emphasis of the story was put on the 3D of Avatar and how that contributed to its record-breaking box office. Similarly, he feels that too much of the media are to blame for the idea that 3D is losing ground at the box office just because it may be accounting for smaller percentages of a movie's take, and he's not worried about it affecting the rerelease either.
"Look, I think there's a trick to how you play the 3D card in the marketing of this," Cameron stated while stressing that the focus of the rerelease is to give those who loved the movie another chance to have the theatrical experience. "The 3D is interesting and it does galvanize the experience and ratchet it up to a new level, but it's still 'Titanic' in a movie theater which a lot of people have never seen, so from my perspective, I'd like that to be the lead line, that it's 'Titanic' being released after 14 years away on the 100th Anniversary of the Titanic itself to a new generation that's never seen it in theatres... and it's in 3D!"
Cameron isn't ruling out the idea of someday rereleasing some of his other popular movies like T2 in this manner, but for now, the filmmakers are going to be off-the-grid making the sequels to Avatar, and it was only the time they had between to see how this experiment of converting and rereleasing might work with Landau considering Titanic a "no-brainer" for this sort of re-release.
Cameron concluded with his thought on this. "We've seen one 3D rerelease so far that's been successful (The Lion King), and we're about to see another one right after the first of the year with Star Wars and then we'll be the third one, and then after that, I think we'll have a sense of whether people consider that valid. Maybe with the changing way people consume media, the idea of these favorite, beloved movies actually do have a place back in the cinema."
Titanic will get its rerelease into 3D, 2D and 3D IMAX theatres on April 6, 2012.
Jim Carrey AND Steve Carell Project
After teaming with a group of flightless birds for Mr. Popper's Penguins, Jim Carrey will have a more human partner in his next comedy when he teams with funnyman Steve Carell.
Deadline reports that Carrey in in negotiations to join Burt Wonderstone. Carrel is the title character, a traditional magician who breaks with his longtime partner and finds that he is upstaged by a hip, street-magician rival — likely the role Carrey will play.
Carell has been attached to the comedy for a while, with writer-director Jason Reitman (Up In the Air) doing a rewrite of the script initially penned by Horrible Bosses screenwriters Jonathan Goldstein and John Francis Daley. TV director Charles McDougall, who worked with Carell on The Office, was hired to direct in February.
Burt Wonderstone is likely to start production this fall. Carrey and Carell last worked together on 2003's Bruce Almighty, right before Carell was cast in The Office.
Deadline reports that Carrey in in negotiations to join Burt Wonderstone. Carrel is the title character, a traditional magician who breaks with his longtime partner and finds that he is upstaged by a hip, street-magician rival — likely the role Carrey will play.
Carell has been attached to the comedy for a while, with writer-director Jason Reitman (Up In the Air) doing a rewrite of the script initially penned by Horrible Bosses screenwriters Jonathan Goldstein and John Francis Daley. TV director Charles McDougall, who worked with Carell on The Office, was hired to direct in February.
Burt Wonderstone is likely to start production this fall. Carrey and Carell last worked together on 2003's Bruce Almighty, right before Carell was cast in The Office.
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