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Last week, I ran my long-form interview with make-up effects legend Rick Baker, which may be my favorite thing we've done so far this year here on HitFix.
While we were at his Glendale studio getting ready for the interview, we had some time to kill in the showroom, where he has many elaborate make-ups on display, and we decided to shoot as much of it as we could for you.
The result isn't he most formal walk-through tour of all time, but should offer you a flavor of what it's like to be there, and just how remarkable these creations are when you see them up close. Stan Winston used to have the same sort of showroom at his company, and I think it's a testament to the artistry that goes into the making of these things. Built right, they endure long past when you'd expect them to, and even without knowing the film they came from, they are remarkable.
And as always, feel free to e-mail us questions for the podcast.
We found a line of string long enough to connect my tin can in New Jersey with Dan's tin can in London, which means we were able to record a trans-Atlantic edition of the Firewall & Iceberg Podcast, which starts with a review of A&E's "Longmire," ends with the beginning of our summer-long "Buffy the Vampire Slayer" rewatch, and in between deals with the end of "Awake" and a "Mad Men" with much to discuss. (Dan hasn't been able to see "Game of Thrones" yet, or else we might've tried some "Blackwater" chat.)
Paramount's been making some odd and potentially expensive choices recently, and no matter what's really going on behind closed doors, it's making them look like they are rudderless and even desperate.
I was not at CinemaCon this year for Paramount's presentation, but that's where they first showed footage from what they hope will be a kickoff to an ongoing franchise based on the Lee Childs novels about Jack Reacher, an ex-military cop who wanders America and frequently finds himself in harm's way. They're starting with an adaptation of the ninth book in the (so-far) seventeen novel series, "One Shot," and until now, that's the title they've been using for the film itself. Today, though, it appears that they have decided to retitle the piece.
It will now officially be known as "John Carter."
Oh, wait… I mean they're changing the title to "Jack Reacher." But my entirely-intentional slip makes a point, and I'm curious how no one brought up Disney's marketing debacle from this spring when they were having meetings about this title switch. Of course, this is just the latest in a series of strange choices that Paramount's made on this one.
Adam Lambert’s video for “Never Close Our Eyes” takes place somewhere in a dystopian future where all those beautiful multi-ethnic models from the old Benetton commercials have been rounded up and imprisoned. Their freedom may be taken away, as has their possession of any clothes not in the beige/gray family, but, thank God, they still have access to hair dye, as evidenced by Lambert’s fierce highlights.
Food has been replaced with pill pellets and the days seem to pass in drudgery, scrubbing the floor in a series of coordinated, ballet-like moves, and checking into some plexiglass box that scans our eyes, while Big Brother keeps constant surveillance.
[More after the jump...]
Beyonce wrapped up her four-night stand at Revel's Ovation Hall in Atlantic City last night. They were her first shows since becoming a mom and, by all accounts, she put on an incredible show. We’re not sure why anyone would have doubted that she would. Yes, she had a baby and while we’re not discounting the miracle that is Blue Ivy, we’ve never known a baby to get into its mama’s brains and steal her ability to perform.
The Philadelphia Inquirer's Dan DeLuca, who covered the second of Beyonce's four performances (the one attended by Michelle Obama and her daughters), called the show, "relentlessly entertaining, highly energetic and expertly staged." The New York Times' Ben Ratliff said, "With her all-female band and 10 dancers, she preformed with serious stamina and rigor."
[More after the jump...]
Let’s call it New Justin Swing. On Justin Bieber’s new single, “Die In Your Arms,” he’s bringing back retro soul that blends the vocal feel of ‘60s Motown crossed with the synths and beats of the late-‘80s New Jack Swing movement.
In the sloping, mid-tempo ballad, which also owes a debt to Michael Jackson, Bieber, who scuffled with a photographer over the weekend, has it so bad for his girl that he if he could just “die in your arms, I wouldn’t mind.” He’d go finger-snapping and with a grin on his face. He’s the opposite of a player here: he’s willing to do anything even just to stand next to his Boo. He’s a smart one, that Bieb, he knows every one of his tween fans will be swooning over the thought of a Bieber who is so in love that they can wrap him around their finger. The heavy drum loop complements the slow rhythms.
[More after the jump...]
On July 18, James Murphy and his band LCD Soundsystem will be taking the stage at Madison Square Garden once more -- on the screens at about six dozen movie theaters nationwide.
More than six months after the dance-rock band bid adieu in "Shut Up and Play the Hits" at its Sundance Film Festival premiere, Oscilloscope Laboratories is taking the documentary-feature on a one-day tour all over the country, with many tickets going on sale June 8.
Mumford & Sons' North American tour last year proved to be rather unorthodox, so the British songwriters will continue to askew the traditional performance schedule with their Gentlemen of the Road Stopovers this summer.
The group has announced four one-day, mini-music festivals for August, with different lineups featured at each. The Mumfords will headline every night in Portland, Maine; Bristol, Va.; Dixon, Ill; and Monterey, Calif., and will be sharing the stage with "friends" like Gogol Bordello, St. Vincent, Dawes, the Maccabees, Justin Townes Earle and Two Gallants.
"The Gentlemen of the Road Stopover is based loosely upon our favorite festivals like Colorado's Telluride Bluegrass and Scotland's Loopallu Festivals. We want to stop off in towns where bands don't usually tour, and celebrate the local people, food and music," said Mumford & Sons in a statement. "We're keen to promote the town's local businesses, and we'll be using the local bars and venues for after-show parties, whilst working closely with the local people to get everyone involved in making these shows spectacular.
"There will be a host of our friends playing too, and the vibe falls somewhere between 'traveling Victorian circus' and 'Victorian traveling circus.'"
The summer TV season technically began last Thursday, with the premieres of "So You Think You Can Dance" on FOX, "Duets" and "Rookie Blue" on ABC and "Men at Work" on TBS, among other things. There are going to be dozens and dozens of shows premiering on broadcast and cable between now and Labor Day, but the quantity won't always be matched by quality. I'm not running to set my DVR to record FOX's dating show/"Voice" rip-off "The Choice," nor the new season of "Franklin & Bash," nor a lot of other new and returning summer offerings.
But this summer will also bring with it the return of two of the very best shows on all of television, new series from two of my favorite TV writers of the last decade, and a revival of one of the biggest hits of my childhood, among other things.
I'll be watching far more than these 10 shows, but these are the ones whose premieres I'm most looking forward to seeing, for one reason or another.
"As a designer, you have to solve a lot of problems. Even though people are wearing clothes that are supposed to look beautiful, they'll have to do all kinds of things." So says leading Hollywood costume designer Colleen Atwood, and she knows whereof she speaks: among the many things her overachieving clothes have done over the years, they've won her three Academy Awards, three BAFTAs and an unmatched six Costume Designers' Guild Awards. Whatever the problem facing a designer may be, she appears to have solved it. And we get to see her in action in two of this summer's releases: Tim Burton's "Dark Shadows" and Rupert Sanders's "Snow White and the Huntsman," for which Kris interviewed her a couple of weeks ago.
Even at their most lavishly decorative -- the busily printed, crinoline-molded Red Queen ensembles in "Alice in Wonderland," for example, or the copious ruffles and bows of "Little Women" -- Atwood's costumes are almost always active, moving, doing.