It's the semi-finals of "Dancing with the Stars" and for whatever reason we're still stuck with Rob Kardashian, whose only reason for clinging to the bottom of the D-list is.... well, there isn't really a reason, other than one of his sisters made a sex tape, his mother is a marketing machine and lo and behold, the Kardashians are famous for no discernible talent or skills. In any case, his dancing seems to be progressing so we may get yet another week of Rob, but it's anyone's game at this point. Or, at least we can hope. There's some dancing and some talking to kick off the show, but pretty soon we're right in the thick of it, as our competitors have three (yes, three) dances to get through tonight.
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To be honest, I'm normally not a fan of studio created features or interviews edited by them, but after watching this conversation between George Clooney and Alexander Payne the chance to exclusively premiere it was just too hard to turn down.
What do Quentin Tarantino, Gil Cates, Taylor Hackford, Henry Selick and now Rob Marshall have in common? Not a lot, to be honest. But they have all won the annual Filmmaker Award from the Cinema Audio Society, the guild that gives out its own sound awards in February.
I'm not sure whether or not the CAS determines recipients of this award based on their specific contribution to the art of sound in cinema, or simply who they like and who's available, but Marshall's work certainly has as much sound as anyone else's, and has been kindly treated by this fraternity: both "Chicago" and "Memoirs of a Geisha" landed CAS nominations (the former actually won the sound mixing Oscar). Moreover, if "Nine" failed to follow in their footsteps, musicals are still the genre that industry types most automatically connect with the notion of excellence in this particular craft.
Plus, he directed the last "Pirates of the Caribbean" film, and those are nothing if not noisy. I bet no one thought he'd be winning an award in the year he turned to that franchise, so good on the CAS for proving us all wrong. Anyway, congratulations to Marshall. Edited press release after the jump.
I'm a big fan of "Bellflower."
I think that's been pretty clear since January when I ranted and raved and ran both a pair of interviews and a review during the festival.
Now it's finally arriving on home video this week, and the Blu-ray is flat out gorgeous. It's also got the DVD inside, and it's a handsomely packaged release by Oscilloscope Laboratories. In honor of the release at home, I'm going to be running some lists this week that were put together by the cast of the film, in which they name their favorite post-apocalyptic films.
First up, fittingly, is Evan Glodell, who wrote and directed the film, and he also stars in it. He's a real talent, and an interesting guy overall, and yet when he sat down this weekend to record the podcast, he confessed that he has some strange blind spots in terms of what he has or hasn't seen.
Note to Blake and Miranda: You do not need to worry about the new country couple of the moment, “American Idol” season 10 contestant Paul McDonald and “Twilight’s” Nikki Reed.
Today, the two debuted “Now That I Found You” on Ryan Seacrest’s morning show. The pleasant mid-tempo ballad, which wraps around a pedal steel and a chugging beat, tells us that the newlyweds like each other alot, including loving each other’s smile in the morning and the fact that they (or one of them) wears socks to bed. We actually think one of the lines is about doing laundry in their house.
[More after the jump...]
Elijah Wood seemed startled when he saw me at the Beverly Hilton hotel.
"What are you doing here?"
"I didn't know you did the TV stuff."
"Well… I do. See you in there."
It's weird because I see Elijah several times a year in Austin at this point at film festivals, and I think he's a really sharp, fun film fan. I know him from his constant interest in music, his fondness for Texas barbecue, and his willingness to indulge every crazy, glorious whim of Tim League's. It's almost always a surprise for me at this point when I see him in something like FX's show "Wilfred," which was a dark, twisted ride this season, one I liked a lot, and I think it struck him the same kind of strange seeing me in this context.
NBC just put out its mid-season schedule press release, a flowery document that boasts of the return of "The Voice" and "30 Rock," the debut of the musical drama "Smash," a TV series version of "The Firm," the "Chuck" series finale on January 27th, and many, many, many timeslot changes.
Know what words the release doesn't contain? "Community" and "Prime Suspect."
Gym Class Heroes have always been all over the place musically, wearing their myriad influences on their collective sleeve.
On “The Papercut Chronicles II,” out Nov. 15, the same aesthetic applies. While Travie McCoy’s spoken vocals dominate, pop, R&B, hip hop and aggressive rock all splice together, often on the same track.
The results are mixed, but one thing is clear: what works best for Gym Class Heroes is their tried-and-true method of cannily bringing in someone with singing chops that are in direct contrast to McCoy’s rapping. First single, clever “Stereo Hearts” featuring Maroon 5’s Adam Levine works perfectly and has provided the band with one of its biggest hits in its 14-year career. That yin and yang approach has proven a good call for the band on the past, especially on such tunes as the poignant “Live Forever” featuring McCoy’s hero Daryl Hall from 2008’s “The Quilt” or on 2006’s “Cupid’s Chokehold,” which blended McCoy’s gruff rap with Patrick Stump’s delicate take on Supertramp’s “Breakfast in America” (or, of course, McCoy’s solo success with Bruno Mars on last year’s “Billionaire.”)
Firewall & Iceberg Podcast, episode 102: Catching up on 'Homeland,' 'Boardwalk Empire,' 'Prime Suspect' & more
The Firewall & Iceberg Podcast took a week off while I was sick, so we're back with an extra-long installment in which we catch up on a bunch of new and returning dramas now that we're several months into the TV season, and we also answer some mail and drop random references to Oscar Gamble's batting stance, Soul Glo and more.
Lady Gaga may have lost a vital limb, as it's been confirmed she's split with longtime creative director and choreographer Laurieann Gibson.
All-caps-inclined site MediaTakeOut reported the news last week that Mother Monster and Gibson had a "bitter fight," and that sources near the pair had insinuated the latter developed a big head, ever since she launched her E! reality show series "The Dance Scene" and got a second pump with BET's "Born to Dance." The Hollywood Reporter firmed with reps today that the two were dunzo.
Gibson had worked on routines for artists like JoJo and Danity Kane before she was linked with Gaga; she went on to choreograph Gaga's videos for "The Fame" and "The Fame Monster" (like "Poker Face" and "Bad Romance") as well as some like Katy Perry's "California Gurls" and Keri Hilson's "The Way You Love Me." As for "Born This Way," Gibson choreographed, and tried her hand at directing by co-helming "Judas" with Gaga and heading up "You and I."