When I first read this I thought it seemed absolutly terible and the fall of classic films. But maybe it could be a good thing. I’m still kind of torn on how I feel about this.
Steven Spielberg and George Lucas, two of the biggest filmmakers of all time, expect some massive upheaval in Hollywood as the division between TV and film content disappears. Spielberg even forecast that the film industry would “implode.”
Both see changes in the way movies are made, the way content is distributed and to the business itself, they said during a panel discussion at University of Southern California’s School for Cinematic Arts, where they are board members.
But Spielberg also said that it’s like 2008 in the business again, with the market bottomed and on the way up. There has never been more exciting potential, he added.
Spielberg and Lucas expect consumers to watch more content, including movies and TV shows, on giant screens at home, as the separation between TV and film content disappears and theatrical releases are limited to fewer, big-budget films.
“There’s going to be an implosion where three or four or maybe even a half-dozen mega-budgeted movies go crashing into the ground, and that’s going to change the paradigm again,” Spielberg said.
Lucas predicted that the movie-going experience would become more of a luxury.
“You’re going to end up with fewer theaters, bigger theaters with a lot of nice things,” he said. “Going to the movies will cost 50 bucks or 100 or 150 bucks—like what Broadway costs today, or a football game.”
He forecast that the movies that do make it to theaters will stay for a year, similar to the run of a Broadway show.
The two joked that they barely got their films “Lincoln” or “Red Tails” into theaters. Spielberg ribbed his friend that more people saw “Lincoln” than saw Lucas’ “Red Tails” but admitted that it was a close call, adding that the presidential biopic almost ended up on Time Warner’s HBO.
In the future environment, neither of those films would have made it into theaters but would have been available instead on the big screen in people’s living rooms, in a new video-on-demand paradigm, they said.
In a building full of high-tech tools to help the next generation of filmmakers tell stories, Spielberg and Lucas had warnings for students.
First, technology should never be in the driver’s seat, because the narrative is always the most important thing, they said.
“There is going to be a day when the experience is going to be the price of admission,” Spielberg said. “What I fear about that day coming is that the experience will trump the story or the ability to compel people through a narrative. And it’s going to be more of a ride, a theme park, than it is going to be a story, and that’s what I hope doesn’t happen.”
He doesn’t want movies and TV to become too interactive. The best movie experiences are ones “where we lose control, and the movie and the images and the excitement is washing over us,” Spielberg said.
But he seemed optimistic about entertainment’s potential to be immersive. “We will be literally inside the experience, so the imagery will envelop us,” he said. “You won’t even sense you are in a chair. … You’ll totally be … enrapt and drowning in images, and that is going to happen someday.”
Both passed the buck on another Indiana Jones movie. Spielberg said Lucas is the boss and that Indy’s future lies with him.
“I’m happy to direct for George,” he said. “If George decides to make another one, I’ll be happy to shoot it.”
Lucas countered that he didn’t hold the power, saying that Lucasfilm President Kathleen Kennedy will make the call.
“I’m just a lowly writer. I mean, I won’t even be a writer—I’m just the guy that comes up with the story,” he said. “And I’ve been working on a story. You know the issue is that now it’s owned by Disney and Paramount, and I don’t know how they’re going to work that out.”
—By CNBC’s Julia Boorstin. Follow her on Twitter:
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17: Did acting help you discover more about yourself?
DR: More than anything, acting helped me discover who I’m not. I’ve learned that I’m a girly girl, but not a prissy girl. When you play a character, you learn the inner workings of someone’s heart. I’ve learned something about myself through every character I’ve played!
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You don’t make movies for your ego. You make movies to transfer information, to bring joy, to add value to the world.
Source: The Huffington Post
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For me this is the big break that I’ve been looking for. Being on Glee is a full-time job because you have dance rehearsals, singing rehearsals, recording sessions; it truly is a musical every day. I have so much respect for the crew and cast. I think I’m going to learn a lot. It’s funny because I finished up a show called Terra Nova about a year ago and I’ve been auditioning since then. There was a time that I thought I needed to go back to acting classes or have a coach before every audition. I even had a chat with my manager who told me that I needed to up my game. I was getting worried about my work. Every actor goes through a time when they doubt themselves. I’m really looking forward to getting back into singing. I haven’t been in the studio or written any songs for a couple of years now. Music was my first passion. Being able to get back into the studio in addition to acting is a big deal for me. It’s the best of both worlds.
I’m going to work on it until I literally have zero time left to work on it, because I’m having so much fun working on this album.I made my last album, Speak Now, with this idea I really wanted to make an album without writing with anyone else just because I always wanted to do that. And now I have a different approach to this record. I’m getting to work with people that I’ve always wanted to work with.I’m trying to be as much of a sponge as possible. You have to evolve and try new things and change and that’s what I’ve loved to do with this album.
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I know this is so old, but it is still hilarious and can brighten any day. Epsecially when she gets excited at the end.
But Faris, a self-proclaimed homebody “bordering on agoraphobic,” was ill-suited to the Lindsay Lohan routine and quickly abandoned it. A year later, she got engaged to Parks and Recreation’s Chris Pratt. The pair are tabloid neverminds, rarely photographed at L.A.’s usual paparazzi-flecked hot spots. They prefer, instead, to entertain at their modest three-bedroom home in the Hollywood Hills. There, Faris says, she has a front-row view of the come-one-come-all business model of Hollywood’s young comic guns. “Jonah Hill used to be our neighbor. We’d see him all the time,” she explains. “He’s doing all these projects, and he’d say [to Chris], ‘You gotta do this!’ All the guys are buddies, everyone’s helping each other out and writing roles for each other. But you can’t say to a bunch of girls, ‘Hey, you’re my friend, come join my movie!’”
That’s because women lack that level of clout. That small but explosive truth was the thruline of a provocative New Yorker profile of Faris by Tad Friend that ran last April, in which studio execs and directors confirmed just how deeply sexism runs in the business. (Faris acknowledges that the article caused some controversy with New Regency, the studio behind What’s Your Number?,but declines to elaborate.) “Hollywood studio executives don’t recognize the value of female performers as much as male performers,” she adds. But that’s not the only reason it’s so tough to get a group of actress friends to collaborate on a film together. Roles for women are scarce, so actresses rarely get to network on set with each other, an upside to filmmaking that men take for granted. “When we meet each other, it’s always at some fussy event where everyone’s, you know, schmoozy and full of shit. So it’s difficult,” says Faris. “I would love to have more actress friends, but I just don’t.” To hear Faris describe it, scheduling a casual meet-and-greet coffee date between two actresses in Hollywood is as soul-crushing as having a movie go straight to DVD. “I have to call somebody’s agent and be like, ‘Hey, I know this is crazy — I don’t even have a specific project — but I’d really like to hang out with this girl,’” says Faris, wincing. “It has to be awkwardly coordinated like that.”
Faris’ goal is to become big enough in the industry that she can retreat from acting, focus solely on developing material, and command a posse of her own, à la mega-producer/director Judd Apatow, whose blockbusters (Knocked Up, Superbad, Forgetting Sarah Marshall) typically feature the same round-robin of actors, including Seth Rogen, Jonah Hill, and Jason Segel, among others. “I want my group,” Faris says coolly, without a whiff of implausibility. “I want my equivalent of the Judd Apatow crew.”
This month, she’ll star in What’s Your Number?, a raunchfest she also executive produced about a hard-partying, plucky 30-something who freaks out after reading in, ahem, Marie Claire that a woman’s chances of landing a husband plummet if she’s had more than 20 partners. Directed by Entourage vet Mark Mylod, it’s already being hailed as a potential game-changer on par with Kristen Wiig’s recent bad-girl gut-buster, Bridesmaids, which has to date banked $256 million at the box office worldwide, hard proof that female-driven comedies can actually pack them in. “I would love to think my film gets the same kind of momentum,” she says, alluding to a viral e-mail campaign on Bridesmaids’ opening weekend urging women to see the movie.
If What’s Your Number? succeeds, Faris will easily become one of the industry’s unlikeliest power players, influential enough to helm her own movies and dole out invites to costar the way the fellas do. Among the favorite actresses she name checks: Zooey Deschanel, Rashida Jones, Emily Blunt, Emma Stone, and up-and-comers like Saturday Night Live regular Vanessa Bayer and Community’s Alison Brie. “I would just love to be able to find young female talent and be like, ‘This person is amazing. I want to support her, and I want to take credit for discovering her,’” she adds.
Her interests aren’t entirely altruistic. Though on-screen she can easily pass for someone 10 years younger, Faris, who turns 35 next month, is also keenly aware of her shelf life as an actress, especially one whose specialty is playing the wide-eyed nymph. “The hardest thing in my industry is longevity, getting your next job. It’s hard to get the first job, but it’s so much harder to get the sixth or seventh as a woman,” Faris sighs. So having a cadre of loyal actresses with whom she can collaborate is a forward-thinking act of self-preservation. Pretty smart for a woman whose cleavage is an uncredited supporting character in just about every film she’s made.
Faris is currently filming The Dictator with Sacha Baron Cohen (she reportedly beat out Kristen Wiig for the lead). She’s also producing her own films, including Gold Diggers, which she describes as the female answer to Wedding Crashers. “You have to create your own stuff,” she says. “It’s really exciting to create something, sell it, and feel like I’m not just a pawn waiting to be cast.”
As we settle up, Faris reveals that she’s toying with an idea for a movie about a drunk, louche nanny working at a resort in Hawaii. The lead is inspired, she tells me, by Bridget Fonda’s character in Jackie Brown. “She’s like a big stoner, super-sexy in her bikini top and jean shorts. She smokes pot all day, flops herself down everywhere. I just love that,” Faris says, nearly swooning. She’s pitched the concept to a couple of producers, who, she says, bristled at mixing up kids with this kind of fecklessness. “I’m like, ‘No, no, no, you don’t understand, this is kind of like Adventures in Babysitting!’”
She’s yet to recruit a writer, and nobody’s committed to financing. But if producers need more convincing, she need only remind them: Guess who plays the drunk nanny?
The youngest JoBro spilled about starring on Broadway, mentoring young singers, and teaming up with Joe and Kevin.
Read More http://www.teenvogue.com/industry/2011/11/nick-jonas-interview#ixzz1j6hC5p39
What’s your advice for someone who wants to break into the music industry
Find things you’re passionate about and find others who are as passionate as you are and will focus on giving you an opportunity to shine and to have your moment where you can be in front of others to show what you can do. At the end of the day, it’s really about the passion and whether or not you’re willing to give all that you have for something.
The thing about my brothers and I and our career—at the beginning, we were dropped by our first label and we had to make that decision whether we wanted to continue, whether or not our passion would drive us to that point. We were much more inspired, had a lot more to say, and thankfully we pressed on and have had an amazing journey since then. It’s all about continuing to press on, finding your passions, and finding other people who are passionate as well.
Who do you look up to in the music industry?
I admire Paul McCartney, and have had the opportunity to meet him a few times. He’s an incredible guy and an incredible musician and songwriter and performer. Stevie Wonder is also another one I’m thrilled to have met and spoken with and performed with, actually. Just another amazing person and such an incredible talent.
I love great music and have no real favorite genre or anything that I listen to exclusively. Great music is always on my iPod. Right now, I’m listening to the Adele record. I love that. And I know everybody is, but it’s really great. NeedToBreathe—I love NeedToBreathe. I’m really digging Fleetwood Mac, I just think they’re awesome. I met Mick Fleetwood in Hawaii on vacation earlier this year and he’s… well, extremely tall.
The one mentality I’ve always tried to have is that no matter what stage in your career that you are in as a musician or a performer or a songwriter or whatever, there’s always more to learn. People that have been doing this for 20, 30, 40, 50, 60 years would say as long as you have an open mind, there’s always more to learn.
I’ve learned some in my 10 year career now in both the theater world and recording music. I’ve been blessed to learn quite a bit and I plan to learn even more. Of what i have learned, I’m excited to share with someone who’s just breaking into it now and wants to have a long career in music and wants to continue to grow himself.
What do think about the resurgence of boy bands?
I think Europe has never let it go; it’s never been out of the spotlight there. America is taking on the European mentality. There’s a band called The Wanted that I think is fantastic. I loved their music when i was over there in March or April this year, and I saw their videos and was like, “These guys are great.” I’m all for them making a transition over there. As far as One Direction goes, and Mindless Behavior and all the other bands, I’m all for it and if there’s ever an opportunity to work with them, that’d be great. At the end of the day, I love pop music and always have. There’s something to be said about a great pop song. It’s great to see that people are into it.
What’s your favorite show right now?
I love television, but all of the shows that I love get canceled. I loved Heroes; it got canceled. I loved Flash Forward, and it got canceled. I loved this show seven or eight years ago called Jack and Bobby. I loved Jack and Bobby, it was so good, and then it got canceled. I try not to actually like TV shows anymore because it ruins it for everyone. Of the shows out right now, I’d say Modern Family is just awesome and it would be cool to be part of it in some way.
The end of the year is quickly approaching. What’s your New Years’ resolution?
I made a resolution in 2010 to stop drinking Diet Coke and I haven’t had Diet Coke since then. I think it was the best life change I’ve ever made, because I drank quite a lot of it. As far as new resolutions go… I’m just going to stick with my Diet Coke.
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Now that guys like Harrison Ford, John Travolta, Brad Pitt, and Orlando Bloom have settled down, it’s time for a new crop of young actors to take Hollywood—and the ladies—by storm. These guys make teenage girls swoon, inspire directors to take note and most importantly, have the acting chops to back up their heartthrob statuses.
In the September issue of VMAN, The Archetype Issue, the magazine crowns a group of young, talented newcomers as Hollywood’s next big heartthrobs.
Logan Lerman, who plays D’Artagnan in this fall’s“The Three Musketeers” and the starring role in next year’s anticipated “The Perks of Being a Wallflower,” is one of the young actors who made the list.
It looks like Percy Jackson is all grown up.
Even though the 19-year-old heartthrob seems to be landing some of the hottest roles in Hollywood at the moment, he admits that he never set out to become an actor—it just found him.
“I just kind of did it,” Lerman told VMAN in regards to acting. “It was a blind leap of faith. I just went for it. A big ‘f—k it’ moment so to speak.”
But that blind leap of faith turned into a burning passion for anything related to the cinema.
“I love watching movies; I’m a total cinephile,” said Lerman. “I love learning about anything that goes into filmmaking, whether it be cinematography, editing, anything. Outside of that, I’m very passionate about music—anything from movie compositions or classical pieces to rock and pop. I love to play music. I love to listen to music. I just love music.”
Joining young Lerman on the list is Xavier Samuel, a 27-year-old Aussie who shot to the top of the Hollywood hot list when he had a primary role in “The Twilight Saga: Eclipse.” He also stars in Roland Emmerich’s Shakespeare thriller “Anonymous,” which is set for release this fall.
A self-described nomad, when asked how he defines success, Samuel takes the Bob Dylan approach.
“I think success has something to do with living life your own way,” the Aussie actor told VMAN. Bob Dylan said: ‘A man is a success if he wakes up in the morning and goes to bed at night and in between does what he wants to do.’ That sounds about right.”
But there are a few extra things—aside from complete freedom—that make being deemed a young successful heartthrob worthwhile for Samuel.
“Money, cash, hos.”
Joking or not, he has a point.
To read the entire interview and to see who else makes the list of young Hollywood heartthrobs, check out the September issue of VMAN, The Archetype Issue, on stands Sept. 1.
Photo: Alexandra Wyman/WireImage for Film Independent
A while back, after doing a table read for one of his own screenplays, directorJason Reitman, whose acclaimed films Juno, Up in the Air, and Young Adulthave become subtle emblems of a kind of aughts deadpan, was having so much fun listening to a group of actors read a script from start to finish, he wondered why he didn’t do it more often. “To see actors really deal with the material for the first time right before your eyes, and have them working with other great actors, that’s exciting,” he said recently from Massachusetts, where he’s prepping to shoot his next film, Labor Day, starring Kate Winslet and Josh Brolin. With that sentiment, and in partnership with LACMA’s Film Independent program, Reitman has grown an immensely popular Live Read series, begun last October, when Jennifer Garner, Patton Oswalt, Aaron Paul, and Mindy Kaling were among a group that sat down to read The Breakfast Club in front of an audience of 600. “I had no idea how it would go,” admits Reitman. “I thought, Will people sit through an entire screenplay, just watching people talk? But the truth is, the scripts are so good, that after about five or ten minutes you get over the fact that you’re watching cool actors read these classic parts, and you fall into these stories.” Since then, big names, including Natalie Portman, Steve Carell, Olivia Wilde, Bradley Cooper, Anthony Mackie, and Kate Hudson, have all taken part in the lively evenings that revisit some of film’s most beloved stories. Tomorrow, Reitman’s series debuts in New York at The TimesCenter, where Paul Ruddand Emma Stone will read the parts of Baxter and Fran in Billy Wilder’s The Apartment. Vogue spoke to Reitman about bringing the series to New York.
What is it about a table read that’s worth sharing with an audience?
When you make a movie, you do it so piecemeal. You’re doing it, not only scene by scene, out of order, but shot by shot, line by line. And there’s this idea that the director has the whole thing in his or her head and they’re going to somehow weave it all together in the end. Here, it’s the one chance you get to see a movie read start to finish. It’s the one time you’re going to get to hear these dialogues you know by heart in different mouths and different voices. And for us, there’s no rehearsal. Everyone meets each other about 30 minutes before. So, in a weird way they’re like great jazz musicians who don’t know each other and are thrown in a room and given the sheet music. What’s remarkable about the actors we’ve been able to work with is their ability to find chemistry with each other almost immediately. And what’s fun is that, for five or ten minutes, they don’t. Someone’s too loud, someone’s too soft, someone’s too emotional, someone’s too unemotional. Everyone’s sort of playing in a different key. Then one person kind of takes a bit of a lead, one person follows, another kind of harmonizes, and it just takes about five or ten pages, and all of the sudden they’re playing music together.
How do you pick the films?
It’s just about great writing. For the reads we did in L.A., we did six different writers—all of which are kind of the greatest screenwriters of all time. And each of them has a different writing style. You’re not only hearing the dialogue, you’re hearing scenes you’ve never heard before. We go to the original if a scene was deleted from the film, we’ll still read the scene from the script. But on top of that, there’s all this scene description that no one’s ever heard. I read the scene directions on stage. There’s a great line in The Apartment when Wilder andI.A.L. Diamond refer to Sylvia this girl you meet as “A real first baseman of a dame.” It’s stuff like that that you never hear.
One of the actors you just announced on Twitter for Friday’s show was Lena Dunham. Have you seen Girls? What shows inspire you right now?
Oh my God, I can’t wait to see Girls, I’m a huge fan of Tiny Furniture. I saw a scene the other day while I was waiting for Game of Thrones to start—I haven’t watched the first episode yet because it’s not on iTunes—but the one scene I saw was amazing. From everything I’ve heard, it’s brilliant. I also really love that show Louie. Love Mad Men, can’t wait for Breaking Bad to be back, and Family Guy for me is the constant. The heartbeat.
The Live Reads have a performance element that’s reminiscent of theater; is that a genre you like?
I really enjoy theater. I just went to see Death of a Salesman, and it knocked me on my ass. It’s the kind of good that makes me never want to make another movie because it’s like so fucking good, you’re like, Why do I even try? I was in New York for a year when I directed and edited Young Adult, I went to see a lot of plays—Jerusalem, The Motherf**ker with the Hat. I probably went to more plays than the average New Yorker because I was just so excited to be able to do it.
There’s a similar kind of energy in your series. Like anything could happen.
Yeah, I mean, look, Patton Oswalt did a spit-take in the first live read. I remember, we were doing Reservoir Dogs, Terrence Howard played theMichael Madsen character and he gets shot and killed. But he was having a really good time, and he just said out of nowhere, “I’m not ready to die!” and I, as the narrator, said something like “Mr. Blonde miraculously dodged a few of the bullets, but was finally hit with a kill-shot to the head.” Everyone there is trying on those clothes for the first time, so anything really can happen, and you’ll find each actor figuring the role out as they go.
What’s the next film?
I can’t say, but I have a bunch of ideas. In this first series we did a lot of cool things. Among them, we did one cross-race film, where we took Reservoir Dogsand recast it with black actors. We did a cult hit (The Big Lebowski), we did a big fantasy film (The Princess Bride). Could we do a cross-gender film? I’d love to do that. There’s a film we’ve been toying around with where we’d have the guys play the girls and the girls play the guys. I think that would be awesome.
The Apartment will be copresented by The New York Times and Film Independent at The TimesCenter on Friday, April 27, at 7:30 p.m.;nytliveread.com
A friend of mine posted this on her facebook page and I now love it. This girls voice is brilliant.
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