This week promises lots of tears. That's all I got from the promo -- crying and panicking. I have no idea what challenge is going to drive our intrepid designers into hysterics, but I'm predicting something big and scary. Maybe designing a frumpy housecoat for Queen Elizabeth or flattering outfits for the stars of "Mike & Molly" or something. Actually, that last challenge would only bother Ven. Yes, I have not forgiven him for being such a jerk last week. May he choke on a carefully constructed fabric rose, and soon.
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It's Thursday, so someone's packing their bags and heading home from the "Big Brother" house. But who? It looks like Britney, but I can't rule out one last power quack from Brit. And I still have to wonder -- was everyone really snowed by Dan's fake funeral? I mean, once the weepiness was over and clearer heads prevailed, they had to realize Dan was snowing them, right? Oh, why do I bother? As many crafty power moves have gone on in this game, I'd argue there's been an equal amount of suckerdom.
Britney, Ian and Shane are blindsided by Jenn's decision to rescue Dan -- and Frank's decision to backdoor Britney. Britney wants to know if Danielle knew this was coming. Sweet little Danielle plays dumb. She isn't in cahoots with Dan! Or anything! Danielle doesn't make eye contact, but Britney doesn't seem to notice the tell. Britney should not play poker, ever.
Taylor Swift surrounds herself with a true animal collective in the video for “We Are Never Ever Getting Back Together,” which debuted today. Watch it here.
The music clip is a single shot as Swift goes through several costume changes and different sets. She starts in her bedroom and moves through into a foyer when her boyfriend, the one she’s never, ever getting back together with again, knocks on her door
VENICE - "God, that was a lot of America," I heard an Italian critic remark to his companion as they slouched out of "At Any Price" at the Venice Film Festival earlier this evening. His tone did not convey great delight at this perceived abundance; perhaps he was among the few but unignorable critics heard lustily booing as the credits rolled on Bahrani's classically involving and unexpectedly robust drama of heartland morality spread thin amid the cornfields of Southern Iowa .
He wasn't wrong, however. America is an almost punitively dominant presence in "At Any Price": we're treated to a complete rendition of "The Star-Spangled Banner," sung in an assortment of isolated, unlovely voices, midway through the film, while the Red, White and Blue itself is a pronounced presence in many a composition, furling and flapping above characters' heads like a veritable reproach.
It had been rumored that the "mystery guest speaker" at the on-going Republican National Convention (which I've avoided like the plague, save for the inevitable Twitter eruptions over this or that nonsensical speech) would be Clint Eastwood. And today, CNN confirmed it.
My question is: why now?
Yeah, Eastwood backed Romney publicly earlier this month, just like he bumped his head and came out for Sarah Palin in 2008. He's long been considered more libertarian than conservative, though. And I've always liked that his work as a director has never seemed agenda-driven (even if I don't like a number of the films). Indeed, sometimes the art would paint a fuzzier portrait of the artist's political leanings. But I guess in the world of "mystery guest speakers" for such a thing, he makes sense.
They just keep going back and forth on this. It really is time to let the category die its deserved death, but in any case, I'll just let the press release convey the news:
"The Board of Governors of the Academy of Motion Picture Arts and Sciences has approved additional rules for the 85th Academy Awards. The most significant changes affect the Original Song category, in which there will now be five nominees.
"During the nominations process, all voting members of the Music Branch will receive a Reminder List of works submitted in the category and a DVD copy of the song clips. Members will be asked to watch the clips and then vote in the order of their preference for not more than five achievements in the category. The five achievements receiving the highest number of votes will become the nominations for final voting for the award.
"Additionally, upon the recommendation from the Designers Branch (formerly the Art Directors Branch), the Art Direction award will be known as the Production Design award.
One Direction gave fans the big news that the British boy band would have a new album out in November, less than eight months after the release of “Up All Night.”
Now we have more details to share: “Take Me Home” will come out Nov. 13. For the project, the band worked with a number of collaborators from “Up All Night,” including Ed Sheeran and McFly’s Tom Fletcher. New partners include Dr. Luke, Shellback and Toby Gad.
First single, “Live While We’re Young,” will premiere on radio on Sept. 24 and will be available for purchase on Oct. 1.
We haven’t heard any music, but you have to admit, the cover art is adorable and very swoon-worthy if you’re a 13-year old girl.
It would seem inconceivable, but “Birthday Cake” by 2 Chainz featuring Kanye West makes Sir Mix-a-Lot’s video for “Baby Got Back,” which similarly focuses on a woman’s behind, look tasteful.
[More after the jump...]
Brandy, you’re a fine girl. And it certainly shows in the artwork for your new album, “Two Eleven,” released today.
The standard and deluxe covers feature the same image of Brandy, who looks like a leather-clad glamazon with mile-long legs, a very toned belly, a ponytail that could serve as a whip, and an expression that tells us she is means all business.
The album includes “Put It Down”featuring Chris Brown, as well as new single, “Wildest Dreams. Among her collaborators on the album are TImbaland, Sean Garrett, Breyon Prescott, Danja, Jim Jonsin and Frank Ocean
“Two Eleven” comes out Ten Sixteen (Oct 16). The album, by the way, takes its name from Brandy's birthday, Feb. 11.
MONTROSE, Colo. - I've just landed at the airport and gotten a look at the fresh-off-the-presses release announcing the line-up for the 39th annual Telluride Film Festival. As I await the shuttle into Telluride for my fourth-straight SHOW, and as many of my Los Angeles brethren board the charter flight into Montrose here, let's dig in and see what's in store.
As is custom, Telluride withholds its line-up until the day before the festival really kicks off, but in the weeks leading up to the fest, people are talking and titles start to trickle out. A number of films have been expected presentations for a while now. Some respect the festival's wishes and keep mum about it online. Others don't.
What happens when you ask fans to collaborate on your new video by sending in photos and videos? You get a patchwork of images and a huge headache if you’re the editor. You also get a lot of people who came up with the exact same idea to visualize the song.
Dave Matthews Band’s video for “Mercy” may be the biggest crowd-sourced clip ever made. According to the clip, 14,334 fans contributed footage. The editor managed to find all 438 who drew hearts for the word “love,” and group many of the lipsyncers together.
[More after the jump...]
Have you ever spoken to a filmmaker via Twitter?
When I was a kid, it was unthinkable to have unfettered access to someone who made a movie I loved. If there had been a Twitter account for George Lucas, I shudder to think what kind of lunacy I'd have indulged. These days, you see all sorts of filmmakers signing up for social media outlets that allow the public to speak directly to them in a way that is truly unprecedented. There was one evening in particular recently where we all sort of simultaneously realized Billy Friedkin had signed up for Twitter, and it turned into a three or four hour free-for-all with people bombarding him with questions about everything from "Cruising" to "The Guardian" to "The Exorcist" to "Jade," and he answered everything with grace and charm. It was amazing.
It also may have been contractually obligated.
Until I interviewed Derick Martini recently about his film "Hick" as part of the Motion/Captured Podcast, I had no idea companies were now including a social media clause as part of the standard filmmaker's contract. When he told me, it blew my mind. It seems counter-intuitive to me, since forcing someone to interact with the public rarely ends well. Still, we are in a new age of how media works and how audiences interact with the media they consume, and so I guess things are going to evolve no matter what.