Well, it's not every award where you'll find James Franco's oddball S&M diversion "Interior. Leather Bar." nominated alongside Mexican auteur Carlos Reygadas' wildly experimental Cannes winner "Post Tenebras Lux." To be more precise, it's not any award but this one. The Cinema Eye Honors for documentary filmmaking -- onre of the biggest precursors on the non-fiction circuit -- announced their slate of nominees a couple of weeks ago, with "The Act of Killing" and "Cutie and the Boxer" leading the pack, but they added five nominees for their Heterodox Award yesterday.
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"My personal feeling is that he got away," he tells GQ. "But the most likely thing, as negative as this sounds, is that they're going to find this kid's fingerprints all over this lab and they're going to find him within a day or a week or a month. And he's still on the hook for the murder of two federal agents." PLUS: A 135-minute documentary titled "No Half Measures" accompanies the "Breaking Bad" Complete Series DVD set.
The Christmas special will be called "The Time Of The Doctor."
Pablo Schreiber's' serial killer character returns on Jan. 8.
Grammer is working on "The Code" with "The Color Of Water" author James McBride.
Watch his holiday tribute for Jimmy Fallon.
Following the release of her best-of collection this week on RCA, Dido is officially out of her record contract and a free agent.
“I’m like an overexcited kid,” the British singer/songwriter tells HitFix. “I have so many ideas. ‘I can do this, I can do that.’ I’m like ‘take a breath’.”
More about what’s next for Dido a little later, but first she spent a few minutes looking back with us over her nearly 15-year career covered on “Greatest Hits,” a compilation of all her singles from her 1999 debut, “ No Angel,” on. Among the selections are “Here With Me,” “Thank You,” “White Flag,” “Life for Rent,” and Eminem’s “Stan,” which samples “Thank You,” and helped catapult Dido to stardom.
She listened to the album from start to finish while mastering the project. “It was this crazy, emotional 15-year diary in an hour,” she says. “When you write a song, you’re so clear about where you were and what you were feeling, even more so than when I see a picture. I have such clear memories.”
As often happens, the songs take different meaning and shapes as life progresses. “Everything to Lose,” originally featured on the 2010 “Sex and the City 2” soundtrack, “is probably more relevant now,” Dido says. “When you do finally really fall in love, having a kid, and having the fear” of losing it all.
Indeed, the birth of her son in 2011 has changed the prism through which she views life. “I’m a more emotional person since having Stanley. I was never the big cry person. Now I’ll be in the cinema and I start crying. I was crying at ‘Philomena’ 10 minutes in. My husband was like, ‘Are you alright?’ So any of these songs that are emotional, I feel it all bigger because of Stanley. It opens up a part of you.”
The collection includes a new track, “NYC.” Though written recently, it is about an era, pre-1999, when everything was still possible for her, including failure. “It’s about a time back at the very beginning when I came to New York City with the words of my brother ringing in my head: ‘This is probably not going to happen for you, but good luck’.”
Even after all her success —she’s sold more than 30 million albums worldwide and garnered an Oscar nod for “If I Rise” from “127 Hours”—the uncertainty remains. And she’s fine with that. “I’m still unsure of where the road ahead goes,” she says. “I’ll always be that person. I feel more comfortable not knowing. I crave those feelings. There’s room for magic to happen.”
While being without a record contract would strike fear in some, for Dido, it strikes a sense of possibility where music dictates every decision. “You can just put music out. For me that’s extremely exciting,” she says. “Sometimes [on a label] I feel like you make things and you have to wait for ages and you just play this big waiting game. Now, you can do this project here and that project there. It’s dictated by what you’re doing creatively.”
She’s coy about what’s next as she has material now that is taking her in two “extremely different ways,” and she hasn’t chosen which path to take yet. “It all becomes about the music and that’s the world I live in.”
It was bound to happen sooner or later on "The Real Housewives of Beverly Hills." After all, these society matrons couldn't possibly be working so hard at self-maintenance strictly for the amusement of their husbands. It was about time a few of the gals found a romantic spark with someone who could truly appreciate their designer clothes, handbags, and face-freezing Botox. C'mon, guys don't get Hermes! Short of making out with a mirror, the next best thing? Another Housewife, of course!
By far the coolest thing on the internet was the New York Times' Making a Scene project, in which 11 of the year's most celebrated actors -- ranging from Cate Blanchett to Oprah Winfrey, Adele Exarchopoulos to Robert Redford -- perform in individual short films directed by Oscar-winning cinematographer (and Steven Spielberg's right-hand man) Janusz Kaminski. "Short" is the operative word: advertisement-like in length and style, they're not exactly deep, but they're a lot of fun, whether it's Oprah channelling her inner torch diva or Bradley Cooper doing some rain ballet, all to stray strands of dialogue from the likes of Seth Rogen and Spike Jonze. Have fun. [New York Times]
Oh no. The show is starting with a Very Inspiring slow motion intro that looks sort of like our final four are headed to war. I know you have to goose the drama, "Dancing with the Stars," but this is a bit much. Still, it's the finals, so let's get excited!
It's Thanksgiving on "Sleepy Hollow," and that means an episode rich in family, traditions and ... tree monsters?
One of the things that is always interesting when a film changes directors or writers or any key member of a creative team is seeing how much of the original plan for the film stays intact. Back when Matthew Vaughn was set to make the sequel to his own "X-Men: First Class," he seemed more than happy to reveal certain details and ideas about how he'd approach the film.
In particular, he talked about opening the movie with the assassination of JFK, then revealing how Magneto would be revealed to be the killer, driven by a fury that Kennedy took credit for the Cuban Missile Crisis solution, pretending mutants had no part in it at all. Our interview about his plans was pretty widely quoted at the time, and when he left the film, I assumed they pretty much scuttled Vaughn's plans completely.
After all, he wasn't planning to do "X-Men: Days Of Future Past" at the time. That idea came after he departed the film, and we've heard now that the new film is set in 1973, which would seem to leave the JFK thing out completely.
Tonight, "How I Met Your Mother" told a trio of stories all in rhyme, with Marshall trying to get Marvin to sleep on the bus to Farhampton. On the one hand, I thought the rhymes themselves were fairly clever, particularly anytime we were back on the bus with Marshall and the other passengers — particularly Tony-winning guest star Lin-Manuel Miranda, who of course was asked to do a rap about the difficulty of rhyming "Canada." On the other hand, I thought the stories the rhymes were built around were dumb to varying degrees, and represented various latter-day "HIMYM" flaws regarding broad characterization, portrayals of women being stupid, Barney being a superhero, etc.
But these posts are designed to hear what you all have to say, so let's hear it about "Bedtime Stories." Did the rhymes make you smile or grit your teeth? Did you enjoy watching NPH play so many roles? Ted's LeBron grudge? The thought that, as hinted at by the Future Ted narration, it may still be many episodes before Marshall gets to the Inn?
What did everybody else think?
Ron Burgundy will guest-anchor "SportsCenter"
Will Ferrell's "Anchorman" character will take over the ESPN news show on Dec. 5.
Poor Margo Martindale. On a brisk Sunday morning in New York, the Emmy Award winner was paired with Oscar winner Chris Cooper to discuss their impressive performances in John Wells' big screen adaptation of Tracy Letts' acclaimed stage play "August: Osage County." Both actors have outside chances at best supporting Oscar nominations and, of course, what do I want to talk about? All I want to do is ask Martindale questions about a television show she isn't "officially" a regular guest star on anymore, "The Americans."