The man best known for portraying Tony Soprano on HBO's acclaimed gangster drama The Sopranos died in Italy today. The initial reports from Deadline.com attributed cause of death to a stroke, but was later changed to a heart attack. Gandolfini was 51 years old.
Gandolfini is survived by his wife Deborah Lin, their infant daughter Liliana, and a teenage son Michael from his previous marriage.
His filmography includes roles in True Romance, In the Loop, Crimson Tide, Get Shorty, The Mexican, Killing Them Softly, and Where the Wild Things Are, where he voiced Carol. His is the first voice you hear in the following trailer—
—and his face is the last thing audiences saw in the final moments of what has become maybe the most controversial ending in modern television.
I've been squirting Michael Cera OUT THE ASS this week, but you should probably really watch this trailer for his new indie film Crystal Fairy and the Magic Cactus (Just a smidge of NSFW). Here's the very apt description!
On a trip through Chile a boorish American expat named Jamie (Michael Cera) and three Chilean brothers plan to set off in search of the prized San Pedro cactus and its promise of beachy hallucinations. But in the previous night's drunken stupor Jamie invites a free-spirited fellow American (Gaby Hoffmann), whose devil-may-care worldview gives them more of an adventure than any of them had bargained for.
Guys! GABY HOFFMANN! Yes, Field of Dreams' Gaby Hoffman! And her eyebrows are A-MAY-ZING. Oh, and Michael Cera's in it too... so that's pretty cool, I guess. I want to watch this whole thing!!
For this week's film section, I interviewed Nathan Fillion about his performance as the bumbling, self-important lawman Dogberry in the new Joss Whedon-directed adaptation of Much Ado About Nothing. He said something great when I asked him what informed his character:
“Stupid people don't know that they are stupid. Stupid people think that they're the smartest guy in the room. So I learned that that's very important, to play smart. The smarter you can play it, the funnier and more stupid you can come off. So I just focused on trying to be smart, and letting vanity play a large role in how Dogberry behaves.”
That brought to mind a fascinating multi-part blog series that Errol Morris did for the New York Times called "The Anosognosic’s Dilemma: Something’s Wrong but You’ll Never Know What It Is." In the first post of the series, Morris introduces something called the Dunning-Kruger Effect, which is explained in the article by Cornell professor David Dunning:
[W]hen you’re incompetent, the skills you need to produce a right answer are exactly the skills you need to recognize what a right answer is. In logical reasoning, in parenting, in management, problem solving, the skills you use to produce the right answer are exactly the same skills you use to evaluate the answer.
In other words, "our incompetence masks our ability to recognize our incompetence." This concept has basically haunted me since reading Morris' post; I'm glad, at least, that Fillion was able to apply it to such good comedic use in Much Ado.
(Much Ado is perfectly fine and fun, btw. Don't let people tell you it's the best Shakespeare adaptation ever made—they are only saying that because Joss Whedon touched it—but it is a perfectly charming and enjoyable little movie. My writeup is here, with more of my interview w/Fillion.)
Actress Shailene Woodley discovered firsthand what a cordial and welcoming place the internet can be when on-set pictures of her as Mary-Jane Watson in The Amazing Spider-Man 2 hit back in February. And if having legions of pindicks projectile vomiting their facile opinions about her looks everywhere wasn't bad enough, today she learned that she endured the firehose stream of liquefied asshattery for nothing, as Marc Webb announced her character is being excised from the movie, and bumped to the sequel.
Superficial Spider-Fans excited that this might be step one towards the role being recast were immediately served a steaming plate of "Tough shit"; Woodley is not going anywhere. Which is very likely for the better, because last time Spider-Fans got this pissed off, it was about the mere concept of Spider-Man being black, which ended up not only becoming a reality, but (surprise) one of the best written realities in all of Superhero comics.
More level-headed Spider-Fans consumed the news in a different way, speculating on how The Amazing Spider-Man 2 will now play, and how the next two films in the series will proceed from there, with Dave Gonzales of Latino Review breaking down the idea that this announcement starts locking in place the puzzle pieces needed to build a Sinister Six trilogy.
Which could be pretty fucking awesome, so long as audiences haven't become exhausted by the nonstop onslaught of Superheroes wrecking shit at the multiplex by then.
I think we can all agree that this—and I do not offer such praise lightly—is the second-best thing that has ever been set to Journey's "Don't Stop Believin'."
Every summer, the NW Film Center shows some movies on top of the Hotel deLuxe's parking structure; preceded by bands and with plentiful amounts of booze on hand, it's a fairly delightful way to spend a summer evening, provided you get there early enough to fight off the bluehairs and secure some good seats. This summer's Top Down: Rooftop Cinema series just got announced, and it's good, with one truly excellent selection:
July 25 – Thursday 8 p.m.
JOUR DE FÊTE
Band: Lincoln’s Beard
August 1 – Thursday 8 p.m.
DANCING OUTLAW I & II: JESCO GOES TO HOLLYWOOD
Band: Barry Brusseau
August 8 – Thursday 8 p.m.
Band: Jaime Leopold and the Short Stories
August 15 – Thursday 8 p.m.
BILL AND TED’S EXCELLENT ADVENTURE
August 22 – Thursday 8 p.m.
Band: Foreign Talks
August 29 – Thursday 8 p.m.
Well okay, I guess that's fine and all, while Bill and Ted is cleary going to be the most fun, I wouldn't be surprised if The Hunger turns out to be pret—WAIT. WHAT. HOW CAN THE BAND BE "TBA" FOR BILL AND TED? Are you telling me you couldn't get every Portland band ever to do an awesome Wyld Stallyns tribute act? Are you even kidding me? How is this not happening?
Other than that, should be fun. More info's over at the nwfilm.org.
Though a bit troubling in spots, This is the End is still a pretty damn good bro movie with lots of laffs. AND! As I spent a little too much time on in my review, the most glorious moment of all is when Rihanna slaps the ever-loving shit out of Michael Cera. I called it a "slap for the ages" and you can now see that slap in action in GIF form after the jump. (Note: The lack of sound takes some of the power away... but look at that wind up and follow through! I hope they shot that scene 17 times.)
Check out this hilariously awesome car chase using Matchbox-sized cars—and three hip hoorays for whoever did the sound editing on this mini-cinematic masterpiece.
Check out this short—seriously, it's only four minutes long—film called Failure written/directed/starring Michael Cera and co-starring Parks and Recreation's Aubrey Plaza. For being only four minutes long, it sure is chock-a-block with tension, atmosphere, confusion, and good-natured creepiness.
I wish I could be this good in four minutes. :(
Thank you, Criterion Collection Twitter feed.
You know, I've always said that if you got Martin Scorsese and Kanye West in the same room at the same time, they'd hit it off like gangbusters. So much in common! And now we have proof, in the first trailer for Scorsese's The Wolf of Wall Street, edited and set to West's "Black Skinhead" off of Yeezus, an album I've been told I will have a higher opinion of if I give it a few more listens*. That is my goal today! Also to watch this a few more times, because it is an excellent trailer and it gets me very excited for a Scorsese movie, which is a thing I have not felt for quite a while.
*After one listen, I'm inclined to agree with Mercury Calendar Editor Bobby Roberts, who observed this morning that "Yeezus sounds like [Kanye's] going fucking insane and nobody's intervening."
Everyone from Steven Soderbergh to Steven Spielberg and George Lucas have been remarking on the current state of Hollywood, with more or less everybody agreeing that things are... ah... less than ideal. Just as a reminder, that Soderbergh thing is seriously fantastic—and the Spielberg 'n' Lucas chat is interesting too, if only to hear two of Hollywood's most powerful creators discussing how powerless they currently feel:
Lucas and Spielberg told USC students that they are learning about the industry at an extraordinary time of upheaval, where even proven talents find it difficult to get movies into theaters. Some ideas from young filmmakers "are too fringe-y for the movies," Spielberg said. "That's the big danger, and there's eventually going to be an implosion—or a big meltdown. There's going to be an implosion where three or four or maybe even a half-dozen megabudget movies are going to go crashing into the ground, and that's going to change the paradigm."
Lucas lamented the high cost of marketing movies and the urge to make them for the masses while ignoring niche audiences. He called cable television "much more adventurous" than film nowadays. (Via.)
There might be fixes for the problems currently troubling Hollywood, but—if you ask me, WHICH NO ONE EVER DOES—they're probably kind of maybe related to diversifying the kind of films being made (and the filmmakers being hired), going back to making an occasional movie that doesn't need to literally make ONE BILLION DOLLARS to be considered a "success," and also making more action-comedies about me and my talking dog and how we go on space adventures! No one ever listens to that last suggestion :(
Anyway, here's what Paramount's trying out next week, and I bet it will fix everything: They're offering a "mega ticket" at certain Regal theaters showing World War Z, where a mere $50 will get you a ticket to the movie, a digital download of the movie in a few months, "one  pair of World War Z collector's custom 3D glasses," a movie poster, and a small popcorn. As Jordan Raup at the Film Stage points out, World War Z is a weird/terrible movie to test this strategy with, considering nobody's really excited for it, and even if people do give World War Z a shot, they might think buying a copy of it before they even see it is... questionable? But Raup also points out that with something like Star Wars or Avengers, this idea would probably sucker in a lot of idiots who have too much money.
In other words, Paramount's trying to milk even more money out of an already super-expensive gamble—which is basically the mentality that got us to a summer like the one we're in, in which massive blockbusters are coming out almost every single week, each needing to make a ton of money to succeed. There just isn't that much money out there, and as we're already seeing with thudding bombs like After Earth and The Internship, I'm guessing we're in for a long summer of wannabe blockbusters face-planting on their heavily marketed faces. And yet studios keep doubling down on the blockbuster bet instead of figuring out what it is about movies like, say, Fast & Furious 6, The Purge, and Frances Ha so successful. (In the case of The Purge, jaw-droppingly so.) Each of those movies has at least one thing that's nearly impossible to find in this summer's blockbusters: A diverse, likeable cast. Someone who doesn't have a penis in the lead role. A clever concept. Unlike mega-expensive blockbusters, there isn't a formula when it comes to these (relatively) smaller pictures, but there is a change in focus, and—even in the case of Fast & Furious 6—an earnestness that goes a long way, both in terms of the films' quality and in audiences' willingness to support them.
Or, you know, they could try to charge people $50 to see World War Z. Whatever.
MAN OF STEEL Here's something surprising, considering what a non-fan I am of most Zack Snyder movies: I really dug Man of Steel! Like, way more than most critics, it's looking like? WEIRD.
BEFORE MIDNIGHT Here's something the opposite of surprising: Alison liked Richard Linklater's second remake of Before Sunrise!
THIS IS THE END Steve hates Michael Cera! Michael Cera gets slapped in this movie! STEVE LOVES THIS MOVIE!
THE HISTORY OF FUTURE FOLK Ned says it's okay.
PORTLAND JEWISH FILM FESTIVAL Marjorie: NOT JEWISH! She sure does like movies about Jewish people, though.
There's more, as ever, in Film Shorts, including Ben Coleman's take on The Guillotines, Alex Ross' review of The Wall, and Courtney Ferguson trying to figure out The East.
Next week, we'll have a very exciting piece about Joss Whedon's Much Ado About Nothing, plus reviews of The Bling Ring and World War Z. Until then, here are your Movie Times.
This morning I was raving about the Roseway (and their summer-long 2D-only policy), but one of Portland's other great independent theaters is the Hollywood Theatre (4122 NE Sandy). Over the past few years, the not-for-profit Hollywood's been on a streak of massive improvements, spiffing up the historic building and coming up with a daunting amount of varied, inventive programming. Now they're stepping up their game with three digital projectors that'll look significantly better than the ones they have now. Via their Facebook page:
Thanks to grants from several area foundations and funding generated by the theatre and its board, the Hollywood has raised $161,650 to convert to industry compliant HD Digital Cinema Projection systems. It’s perhaps the biggest change in the movie industry since the transition from silent films to talkies.
The Hollywood will remain of the country's few remaining bastions for 35mm—they'll be keeping 35mm projectors in two auditoriums (including the biggest and best auditorium, on the ground floor), as well as adding a 16mm projector to one of the auditoriums. But the really exciting thing is that they'll be upgrading their big auditorium to show 70mm prints.
Right now, the only place in the Pacific Northwest to see 70mm—when it screens, which is exceedingly and increasingly rare—is at Seattle's Cinerama; me and some dumb buddies drove up there to see The Master in 70mm, and while seeing that film in the format it was shot in was totally worth it, it was also a pain in the ass to drive up to Seattle just to see a movie. Programmer Dan Halsted promises a 70mm film series coming to the Hollywood this fall, once they're all set up; I can't wait to see what they line up. I'll be keeping my fingers crossed for 2001.
UPDATE: Just got this in an email from Halsted, which I think is interesting, because it involves THIEVING PROJECTIONISTS! So here's some more background on the 70mm business.
Yeah, the Norleco AA11 projectors in the main theater originally ran both 35mm and 70mm. Some of the 70mm parts were stolen by former projectionists over time, since 70mm hasn't been run at the Hollywood for decades. We've been tracking down everything we need, we're almost there. I've been talking with some studios about available 70mm prints, it's going to be pretty awesome.
FUN TRIVIA FACT! In the image above (click to make it bigger), see those two weird little rooms to the far left and far right of the image? Back when the Hollywood was a single-screen theater (the upstairs was the balcony), those creepy little closets housed 35mm projectors so that the Hollywood could play films in the Cinerama format, which used three 35mm projectors running at the same time! Crazy, right! Anyway, that's all. I just think that's neat.
This is the End opens this Friday in a cinematheque near you—and you can read my review of it right here! And before we get to the video of Danny McBride pissing all over the Portland Real World walls, I'd like to add a couple of notes about the film that I didn't have room for in the print edition:
1) Danny McBride's character should've been played by Michael Cera. I describe how Michael gets the ever-loving shit slapped out of him by Rihanna in the movie—which is one of its greatest scenes—but his grotesque character out-grotesques Danny's character, which is why he should've been given the meatier role. And it would have been 38 percent more funny.
2) I'm kinda tired of bro movies. Don't get me wrong, This is the End is a great bro movie, and very funny nearly all the way through. But when only two women are featured and in very tiny roles, and one of those sequences revolves around an argument of who is NOT going to rape her... well, do you see what I'm driving at? Enough bro movies for awhile, Hollywood.
Otherwise, read my review for more details and then go see it. As one theater-goer said after the movie, "If this movie doesn't get 100% on Rotten Tomatoes, I'm going to kill myself." He REALLY liked it.
Okay. Check out this cross-promotional video of the Real World: Portland and This is the End in which Seth Rogan, Jay Baruchel, James Franco, Danny McBride and two Real World: Portland mannequins share a house together and get real. It's funny, but VERY NSFW. Headphones up!
In this issue's My, What A Busy Week!, we recommended people check out Man of Steel. But when it came to recommending where people check out Man of Steel, we did something a bit different: Instead of just telling people it was at "various theaters," we pointed them toward one theater in particular, the Roseway (7229 NE Sandy).
There are a few reasons why: The Roseway's picture and sound are top notch, the theater's locally owned, and both concessions and tickets are cheaper than at most first-run theaters. (Day or night, a ticket to see Man of Steel at the Roseway costs $7; elsewhere, you'll be charged significantly more.*) But there was another big reason: The Roseway's only showing the 2D version of Man of Steel, not the unneccessary, post-converted 3D version that's at most of Portland's chain theaters.
That's because all summer long, the Roseway is showing everything in 2D.
The Roseway's owner, Greg Wood, says there were a few reasons he decided to go all 2D this summer, including his customers telling him they preferred 2D and national box office trends "clearly showing 2D outgrossing 3D for some movies." And there was something else, too: "It occurred to me that I haven't watched a movie at my own theater in a long time," he says. "Reason being, I dislike 3D."
"Studios clearly make more money with [3D], so they keep pushing it," Wood says, but he points out that while international audiences prefer 3D, "it's apparent in the numbers" that domestic audiences are tiring of the trend. Still—since studios like being able to make more money by charging more for 3D tickets—switching to all 2D can be difficult for theater owners, who have to negotiate with studios and distributors. "At the Roseway, it was simply our decision [to book 2D], as it's pretty low-profile," he says. But Wood also manages one of Seattle's best theaters, the Cinerama. At a higher-profile theater like that one, it was a bit trickier. "Up there," he says, "we started doing '2D Tuesdays.'"
While the Roseway will me making less money by showing 2D, Wood isn't concerned. "I think the additional amount of people coming will make up for it," he says. "We try to do what is right for our customers rather than trying to do anything for a buck."
Wood says that if ticket sales do well this summer, he'll consider having the Roseway go all 2D indefinitely—with a few exceptions. "Certain movies, such as Avatar, deserve 3D, as they're filmed with 3D cameras," he says. "I would imagine when that rolls around again, we would show it in 3D, as it is a technical achievement. Everything since then... well, not so much, in Hollywood's post-conversion meltdown."
In the meantime, he's stoked to see some moves at his own theater again. "I'm very excited to see Man of Steel," Wood says. "And [even] more so, Elysium in August."
*A matinee ticket for Man of Steel at Regal's Lloyd Center 10 theater costs $8 (or $11.50 for 3D), while a nighttime show costs $10.50 (or $14 for 3D). And if you want to see it on Lloyd Center's not-even-actually-IMAX IMAX screen, you're looking at—jesus—$17 per ticket.
Six months in, Spring Breakers is one of my favorite movies of 2013. (I might be forgetting some stuff, but offhand, the only film I can remember liking more was Sightseers. But I haven't seen Frances Ha yet, which everybody I've spoken to fucking loved.) Anyway, that means I'm intrigued by this tweet by Los Angeles Times entertainment writer Chris Lee:
Okay! Also: THERE IS NO WAY THAT SPRING BREAKERS CAN GET MORE SIZZURPED. Or is there? If anybody can sizzurp up Spring Breakers even more, I guess it'd be Harmony Korine; I am terrified (and excited?) to see what such a thing might look like. Meanwhile, if you want to see the theatrical cut of Spring Breakers on the big screen—an experience I would highly recommend, assuming you aren't my mother—it's still playing at the Laurelhurst (2735 E Burnside) every night at 9:30, at least through Thursday, June 20. The fact that the Laurelhurst is not offering sizzurp at their concessions counter seems like a grave oversight.
BEFORE YOU GO ANY FURTHER, HERE IS THE SOUNDTRACK TO THIS BLOG POST. PLEASE PRESS "PLAY," THEN CONTINUE.
The Terminator and Terminator 2: Judgment Day are things of beauty. Terminator 3: Rise of the Machines is not very good. Terminator: Salvation is even worse. But wait! Come back! Terminator: The Sarah Connor Chronicles was a fucking awesome TV show that was canceled far, far too early; even typing its name makes me sad for what could have been.
BUT EVERYTHING IS STILL OKAY! Because it turns out that this week is the best week in history if you are a Terminator fan and live in Portland and like beer! Check out these events:
TONIGHT! TERMINATOR NIGHT! At 7:30 pm at Ground Kontrol (511 NW Couch) there will be Terminator trivia ("hosted by Terminator superfans Nic Goans and Matt Cummins," two gentlemen who I have not heard of, so I cannot vouch for their credentials, but I shall give them the benefit of the doubt), followed by a Terminator costume contest at 9 pm. And from 5-8 pm, there's a T2 Pinball Challenge, leading up to a tournament later tonight for the best T2 pinball players. Plus, Ground Kontrol will be serving Lompoc Brewing's Brave New Brew IPA.
FRIDAY NIGHT! TERMINATOR DOUBLE FEATURE! At the Hollywood Theatre (4122 NE Sandy) at 7:30 pm, they'll be playing The Terminator, followed at 9:30 by Terminator 2. Both films are on 35mm, and the theater will also be offering up the "specially brewed Ryes of the Machines IPA from Lompoc." There will also be "seven other sci-fi inspired IPAs," from the Prime Directive IPA to the Gallifrey IPA. If you just realized you can't make it to the double feature, jesus, just stop hyperventilating and settle down for a second—both Terminator and T2 will be playing separately through Thursday, June 20.
So go forth, readers, and do some Terminator-y stuff and drink some beer, and remember that there's no fate but what we make. And you're lucky I have plans tonight, because I'm pretty sure I could beat all of you at Terminator trivia. And don't even get me started on how awesome my Sarah Connor costume is.
The direct-to-video Magic Magic, featuring MICHAEL CERA AS A SINISTER KILLER?
The 3D, 48-frames-per-second The Hobbit: The Desolation of Smaug, featuring DWARVES IN BARRELS?
Thank you for your time.
If you're not already on the Sarah Polley fan bandwagon, I highly recommend you come aboard. In her early 30s, she's still a young woman, but she's always seemed older than her years—as an actress, but more pointedly as a director. Your average 20-something doesn't make her feature length directorial debut an absolutely devastating drama about Alzheimers, like she did with Away from Her, for example.
Her latest is an autobiographical documentary that focuses on her mother, who died when Polley was just 11. But Stories We Tell is more interesting than it seems at face value. Through unrelenting interviews with family and close family friends, she peels back the layers on a family secret, aided by a wealth of archival footage. Not satisfied to merely tell an affecting, personal story, she also calls into question the methods and purpose of documentaries that draw on the memories of interviewees, elevating the film into an intellectual realm that wouldn't be out of place as the subject of study in a post-graduate film course.
It's currently playing at the Fox Tower, and needless to say, I recommend you see it. (For a longer-form argument in favor of the film, you can check out my official review from a couple weeks back.)
The trailer for Woody Allen's new movie turned up today and... well... without going into too much detail, yuck.
Okay, here's a little more detail: Blue Jasmine stars Cate Blanchett as a rich white person who is sad about stuff—money, or lack of it, judging by the trailer. But we also see her at fancy dinner parties and receiving expensive gifts from Alec Baldwin, so who really knows how poor she is. Blue Jasmine looks like one of Allen's "serious" movies, without a joke or gag or labored one-liner to be found. This is a problem, as the movie also stars the funniest man in the world, Louis CK (who's in the trailer for literally less than one second), and... Andrew Dice Clay? Okay, Diceman in a non-comedic Woody Allen movie is something I can get behind.
But—and I say this as a lover of more Woody Allen films than one can reasonably defend—this just looks whiny, solipsistic, and depressing. Even Blanchett looks irritating in this. The few shafts of light look like they come from the always amazing Sally Hawkins (as Blanchett's sister, I think) and the underrated Bobby Canavale, who I'm guessing plays the blue-collar, down-to-earth guy who turns Blanchett's WASP-y world of privilege on its ear. Expect outdated class jokes, a spectacularly nearsighted worldview, and perhaps about 10 minutes of exceptional filmmaking.
(Other weird things of note: Apparently much of the movie is set in San Francisco, definitely not Allen's milieu—a good sign. And the typeset of the title and cast cards are not in the instantly recognizable Windsor font that has labeled virtually all of Allen's movies, which would be a good sign if it weren't for that awful, washed-blue thing that's going on instead. Oh, and Peter Sarsgaard and Michael Stuhlbarg are apparently in this, too, but I didn't spot them in the trailer.)
In 2011, for a story on Group Doueh, I ended ended up interviewing Sublime Frequencies co-founder and part-time Portland resident Hisham Mayet. Enamored as I was with Doueh, I came away even more interested in Mayet.
He's got one of the coolest jobs ever: Approximately six months each year, Mayet travels the globe particularly Africa, on the hunt for great bands to share with the rest of the world. Since the early '00s Mayet has been integral to the international success of many, including Omar Souleyman, Bombino, and Group Inerane. In musical terms, when it comes to opening ears, Mayet is one of the most influential Portlanders ever.
But Mayet is more than a guy running a label. He's a modern-day Alan Lomax, trekking to far-out locales, focused on field recordings moreso than pushing artists into studios. A lot of that archival work includes video as well. Indeed, Mayet's been shooting since the beginning.
Which brings us to the this weekend's offering: a screening of Mayet's latest film, Vodoun Gods on the Slave Coast. A brief overview:
Hisham Mayet’s exploration of West African possession ceremonies continues in Benin. Benin is the cradle and birthplace of Voodoo. Formally known as the Slave Coast as, most of the slave industry was exported from its shores. Voodoo worship is integral to the every day lives of the people of Benin. This film, shot in 2010 during the country’s rich Vodoun celebrations, is an impressionistic lens on the myriad ceremonies that this rich and diverse culture has to offer. Showcasing intimate observations of a variety of Voodoo ceremonies: The cult of Sakpata (god of Pestilence and healing), Egoun dramas shrouded in magisterial costumes and the Secret Police of the Zangbeto night watchmen, among other highlights.
After Vodoun, Mayet will screen The Divine River, which boasts a "new and final cut." Also, he'll take questions. All together, the program is expected to run about two hours.
Tomorrow night is the World Naked Bike Ride—and while the idea of you shooting your HUMP! film in the midst of 10,000 nude people might sound terrific initially... I don't know... I JUST DON'T THINK IT'S IN THE SPIRIT OF THE EVENT. However, maybe I'm full of crap. Maybe it's the best idea EVER! (No, seriously, it's not.)
Regardless, you're hot, you're horny and this weekend will signal perfect weather to shoot your quickie 5-minute film for the HUMP! amateur dirty movie festival! Check out the deets and BIG PRIZES below!
I've written about the upcoming salary dispute between Robert Downey Jr. and Marvel's movie-making division. It looks like Marvel wants to treat the talent in their films the same way they do the talent in their comics: Interchangeable, in service of the intellectual property. But that's going to be a harder sell with movies than it is with comic books, especially since it looks like Avengers director (and upcoming Marvel TV show Agents of SHIELD developer) Joss Whedon is in Downey's corner:
He is Iron Man. He is Iron Man in the way that Sean Connery was James Bond. I have no intention of making Avengers 2 without him, nor do I think I’ll be called upon to do that. I don’t think it’s in my interest, Marvel’s interest, or his interest, and I think everything will be fine. But I know that this is Hollywood and you roll with things. You have to be ready for the unexpected. But I loved working with Robert, and everybody knows he embodied that role in a way no one else can. The day he was cast, I went up to [Marvel Studios president] Kevin Feige and said, “You brilliant son of a bitch.”
It's a pretty great interview, and you should read it all. Whedon also talks about how he hates that there are no female-led superhero movies on the horizon:
It’s frustrating to me that I don’t see anybody developing one of these movies. It actually pisses me off. My daughter watched The Avengers and was like, “My favorite characters were the Black Widow and Maria Hill,” and I thought, Yeah, of course they were. I read a beautiful thing Junot Diaz wrote: “If you want to make a human being into a monster, deny them, at the cultural level, any reflection of themselves.”
First, do you know how amazing the Rock is?
For the past 15 weekends—yes, since Feb. 22—the Rock has had at least one movie in the Top 10 at the U.S. box office. And considering audiences’ enduring love of the Fast franchise, he’s got a few more weekends left before that streak ends, too. (Via.)
Second, do you know how inspirational the Rock is? Here's what he just tweeted about having at least one movie in the top 10 for the past 15 weeks:
Third, do you know that the Rock's reality show starts tomorrow night on TNT? And that the first five minutes of it are already online? I just watched them! On the downside, I do not like a single one of the contestants. On the upside, sometimes those contestants get tear gassed! So all in all, I'd say this show looks like it's going to be pret-ty good.
"I'm gonna go get tear gassed now, kids. I love you."
This has been "Today's News About the Rock" for Wednesday, June 5, 2013.
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