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Pirates of the Caribbean 5–> It’s On

A pirate’s life indeed.

With screenwriter Jeff Nathanson of “Catch Me if You Can” fame on board, Disney is officially proud to announce it’s intention to release a 5th installment to the Pirates of the Caribbean franchise. Yes, that’s correct, they are now up to 5.

Johnny Depp will return to play the now infamous fictional pirate, Jack Sparrow, but other A-lister reprisals such as Kiera Knightley and Orlando Bloom are yet unknown.

The movie is set to release to theatre’s on July 10 2015. 

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Interview with Please Give Writer-Director Nicole Holofcener

After studying film at Columbia University, writer-director Nicole Holofcener made her first feature, Walking and Talking, in 1996, and she has been going strong ever since, directing feature films such as Lovely & Amazing, Friends with Money and Please Give, as well as working in television, for acclaimed series such as Sex and the City, Six Feet Under, Bored to Death and Parks and Recreation. I had a chance to speak briefly with Holofcener on the occasion of Columbia’s panel on women filmmakers.

Ezra Stead: There is a striking realism and intimacy to your films, going back to the first one, Walking and Talking, and I know a lot of material is taken from your own life or that of your friends. Is your apparent muse, Catherine Keener, generally playing the Nicole Holofcener alter-ego, or is your own personality spread out more among all your characters?

Nicole Holofcener: I guess I could say she has been my muse, but in a couple of movies she has not played the “me” character. She certainly does play me well, and all the characters, I suppose, are a part of me, and even if that character she’s playing is based on someone else, there’s still pieces of me. She has been a muse, definitely.

ES: I read somewhere, in another interview with you, where you said your friends say, “Don’t say that around Nicole, it’ll be in a movie.”

NH: I know, just one friend in particular; she’s very nervous [laughs]. If somebody has shame, I suppose they don’t want to be revealed. Most people’s shame is not very interesting or theatrical, so don’t worry I’m not gonna write about it. Whatever you’re doing that you’re embarrassed about, I don’t care [laughs].

ES: So in general, your films are fairly autobiographical, or was Walking and Talking more that way?

NH: No, they all are. I mean, none of them are real, none of them come from things that really happened; I suppose there are moments that really happened and lines that really happened, but most of it is made up but, I would say, based on me and my experiences, and my friends.

ES: What future projects are you working on now, if you can tell us?

NH: I’d love to tell you. I’m so glad I have that, thank god, it’s so hard when there isn’t one. Yeah, I’m in pre-pre-production for a movie that I wrote that Fox Searchlight has been making, and I start shooting in August, I think. I hope.

ES: Untitled, so far?

NH: It is. Not fun. I’m not good at titling things. The only title I really like, that seems correct, is Friends with Money, and that’s what I wrote when I first started writing it, you know, this is gonna be about “friends with money,” it was easy. This one has Julia Louis-Dreyfus in it, and James Gandolfini, so I’m happy to publicize my next movie.

ES: I also read that you were involved at one point in directing the Seth Rogen / Joseph Gordon-Levitt film 50/50. Is that you’re still interested in pursuing – directing features written by other people?

NH: I’m still gonna direct 50/50 [laughs]. It’s something I am very interested in, and I’m sad that I didn’t get to direct it, but it was family stuff, and that’s okay, it turned out well. I liked the movie.

ES: But you are interested in directing someone else’s script?

NH: Yes, if I fall in love with it. I really want to, have to, fall in love with it. Yes, please send me things. Send me good things [laughs].

ES: You’ve directed a lot of TV as well. What are some of the differences in TV vs. feature film directing?

NH: There’s not much difference. The television shows that I’ve worked on have all been single camera. It feels like I’m working on a little film. It differs from show to show. A show like Enlightened, I feel like I’m working on a movie; a show like Parks and Recreation, I’m at a party. I mean, it’s different. I guess, to some extent, working on a television show is easier because it’s not my problem, in the end – I didn’t write it, I didn’t create it – and for the same reason, it makes me more anxious because I have someone else that I wanna please, besides myself, and I really only work on shows that I respect and am proud to have my name on, so I really do wanna please the writer, and the creator. Other than that, they’re pretty similar.

ES: So you think that, when and if you end up directing someone else’s script, it’ll be similar to that?

NH: I hope so, yeah. I hope that I have that relationship where I turn to the writer and say, “You happy with that? Is that how you saw it?” That’s a real collaboration.

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Columbia University Film Fest Presents Panel on Women Filmmakers

Last night, the Film Society of Lincoln Center in Manhattan presented a panel entitled “What Glass Ceiling: The Remarkable Success of Columbia’s Women Filmmakers,” as part of the Columbia University Film Festival‘s 25th anniversary this week. Introduced by Columbia’s Film Department Chair Ira Deutchman, the panel was moderated by film director and Columbia Film faculty member Bette Gordon, and featured acclaimed filmmakers Shari Springer Berman, Cherien Dabis, Lisa Cholodenko and Nicole Holofcener.

Gordon began the panel by proudly proclaiming the fact that Columbia has “produced more women directors than any other film school today,” but lamented that in spite of this, “the film world is predominantly white and male.” She then turned things over to the four filmmakers to discuss the challenges they faced in getting their own first features made. Berman joked that “only half my answers are valid [because] I actually work with a partner who’s male,” her husband and co-director Robert Pulcini, whom she met while they were both attending Columbia. Dabis spoke about the extra difficulties of finding financing for her first feature, Amreeka, which “was not just about women, it was about Middle Eastern women.” Cholodenko’s advice for aspiring first-time filmmakers was to “have your intention in place, articulate it and stick to it,” while Holofcener told an unhappy tale of how she and her first agent parted ways. “After a while,” she said, “he sent me a Xerox bill, and I knew that was the end of my agent.”

When asked about how they went from their initial success to their second features, Dabis, who is currently in this particular process, said, “It’s never going to be easy, and when you accept that, it is what it is, and you just sort of keep going.” Cholodenko echoed this sentiment by adding, “If you have the stomach for that, then you’ll make it, and if it turns you off, then you should maybe find another profession.” The conversation then turned to the work of creating believable characters and situations with which an audience can relate. Cholodenko offered this secondhand advice: “Someone said to me once, ‘Just write it until it breaks your own heart.’” Holofcener responded the question of how much description she uses in her scripts, as opposed to dialogue, by saying, “I hate reading scripts that tell me about the character in the description of the character,” as opposed to dramatizing it through action.

As the discussion moved on to casting and working with actors, Holofcener spoke about her close working relationship with Catherine Keener, who has appeared in all of her features. “Just looking at me,” Holofcener said, “helps her access what I need from her … It’s a very intuitive connection. If she’s crying in a scene, I’m crying.” Berman spoke about the importance of casting the right actor for any given part: “I really believe that if you cast the wrong person, there’s little you can do to save the film.” Holofcener added to this by addressing the pressure felt from studios to cast a star: “One time, I did buckle and … offered this actor the part, and I had this sinking feeling … and she passed,” she said with a sigh of relief.

The panel wrapped up by addressing the topic of its title: the idea of “women filmmakers,” a moniker that Cholodenko said she doesn’t feel is “particularly modern.” “If it has to be modified, it’s like a handicap,” she expounded, while Dabis said that “because it is that much more difficult … I’m proud to be doing it.” “The statistics [of women in the industry vs. men] are horrible,” Cholodenko continued, “but I don’t think it’s going to go backwards, to where there’s this invisible other gender with no representation.” As to why Columbia seems to be a breeding ground for female filmmakers, Cholodenko said, “The energy there is really … what’s the word?” “Feminine?” Holofcener offered. “No, it’s not,” Cholodenko responded, “it’s androgynous. You go there and you don’t feel like it’s a boy’s club.” With a new semester of Columbia’s Film program beginning in the fall, we’re sure to see many distinguished filmmakers, both male and female, ascending from its ranks in the coming years. The panel can be viewed in its entirety here.

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Oxygen Media Announces New Reality Competition Series Featuring Naomi Campbell

Photo Credit: Laspata DeCaro

Oxygen Media, most recently awarded a 2012 Gracie Award for Outstanding Reality Show for its series The Glee Project, today announced its latest foray into unscripted programming: The Face, a new reality competition series along the lines of America’s Next Top Model or Project Runway, will showcase the efforts of three teams of up-and-coming models competing for the chance to become the spokesperson for a nationally recognized brand. World-renowned supermodel and businesswoman Naomi Campbell will be one of three supermodel coaches, who will each scout and choose their teams from the ranks of young models striving all over the world, then mentor and guide them through a series of trials representing the steep ladder to success in the fashion industry.

The Face will be produced by Shine America, a producer and distributor of many well-known hit series such as The Biggest Loser, The Office and Ugly Betty. Oxygen has formerly been home to cycles of America’s Next Top Model and, in its stated purpose as “a leading force in engaging modern young women,” is undoubtedly a good home for this new series. As Eden Gaha, President of Shine America says, “We are pleased to bring The Face to Oxygen, which we believe is the perfect fit for this new competition series that will take viewers behind the scenes of the glamorous and fast-paced world of modeling. It’s an incredible opportunity for these young models to work with and learn from an industry icon such as Naomi Campbell and the chance to become ‘the face’ of a national brand will be an exciting and meaningful start to their career.”

The Face is reportedly part of a fifty percent increase in Oxygen’s original programming, and the presence of a star like Campbell should attract plenty of viewers. Fans of scandal and drama would do well to hope for some onscreen displays of her legendary temper, though it is doubtful she will actually assault anyone, as has so often been alleged in the past. At any rate, even without the possibility of such histrionics (and only time will tell), the series should provide plenty of entertainment for fashion junkies everywhere. As Campbell says, “With The Face the audience will get a real insider’s look at this exciting industry that has been so good to me. One lucky girl will become the face of a major brand.”

 

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GE and Cinelan Announce Short Film Challenge at Tribeca Film Fest

GE and Cinelan, a video publishing company co-founded by Morgan Spurlock and Karol Martesko-Fenster, presented a special preview last night at 92YTribeca in Manhattan. The event was held to announce the opening of submissions for the Focus Forward $200,000 Filmmaker Challenge, and featured the world premiere of four new short films. Focus Forward’s “Short Films, Big Ideas” initiative is a series of three-minute nonfiction films centered around the idea of people or organizations whose innovative efforts in medicine, engineering and other fields of knowledge have had a significant positive impact on humanity.

Illustrating this theme were nine short films presented in the 30-minute program following a cocktail reception in 92YTribeca’s main room. Five of these were 2012 Sundance Film Festival Selections, including the extraordinary opening film, Jeremiah Zagar’s Heart Stop Beating, about the work of two doctors who managed to save a dying man by replacing his heart with a turbine engine of their own design. It was a bold choice to open the program with a film that features open heart surgery footage, but the mood was lightened by Jessica Yu’s Meet Mr. Toilet, a humorous look at the efforts of Jack “Mr. Toilet” Sim to bring proper sanitation to the large portions of the world still lacking it.

Following these first two films were a pair of world premieres: first, Nelson George’s All Hail the Beat, an all-too-brief look at the history of the Roland TR-808 drum machine, whose sounds are still in use today by artists from Kanye West to Daft Punk, despite the fact that it hasn’t actually been manufactured since 1984. Next came Katy Chevigny’s The Honor Code, the most emotionally moving film of the evening, and the only one that focuses on innovation in human thought, as opposed to technological invention. Honor Code uses stylish animation to illustrate the ideas of philosopher Kwame Anthony Appiah and his efforts to end the deplorable practice of “honor killing.”

The other two world premieres were sandwiched between two more Sundance selections: Jessica Edwards and Gary Hustwit’s The Landfill, which documents a small New York landfill where trash is refined into electrical energy, and David W. Leitner’s Newtown Creek Digester Eggs: The Art of Human Waste, which examines the unusually beautiful Newtown Creek Wastewater Treatment Plant in Greenpoint, Brooklyn. The latter was the least satisfying film of the evening, mostly because it felt too rushed, with too much information crammed into its brief running time. On the other hand, the final film of the program, Phil Cox’s Hilary’s Straws, has a much more leisurely pace in its look at the innovative navigational tool that allowed a quadriplegic woman to sail across the world alone.

The final two world premieres were Steven Cantor’s The Bionic Eye, about research being done to artificially restore sight to patients suffering from degenerative blindness, and Michele Ohayon’s Solar Roadways, a very exciting look at the effort to produce solar-paneled roads and parking lots in order to cleanly and cheaply power nearby communities, as well as electric vehicles. Hopefully, the world premiere films will be available online soon; I would especially like to see The Honor Code and Solar Roadways again. In the meantime, the others are streaming on Focus Forward’s website, and if you have an idea that fits the theme, you can create your own film for the $200,000 Filmmaker Challenge, which you can read more about here.

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Gary Oldman discusses how he creates a character

Will Harris was recently invited to New York City to take part in the press junket for Focus Features’ new thriller, “Tinker Tailor Soldier Spy,” and along with partaking in some roundtables with the cast and crew, he also got a chance to sit down for a one-on-one interview with star Gary Oldman. Though the veteran actor had plenty to discuss regarding his role as iconic spy George Smiley, he also had something interesting comments about past performances as well, like how he based the character of Jean-Baptiste Emanuel Zorg from “The Fifth Element” on Bugs Bunny and Ross Perot, and this entertaining story about creating the look of Drexl Spivey for “True Romance.”

You know what? There’s a story behind that. I was putting together that character, and I had no rehearsal and…I was on another movie, so I actually finished on a Sunday evening, drove home, and started Drexl the next day. And I had to kind of put him together, I had to work on him while I was doing something else. Because there just wasn’t the time to meet with Tony (Scott). I wrote him a letter, sent him a note, saying, “I would like dreadlocks. What do you think?” And he said, “Yeah, great.” So I knew Stuart (Artingstall), who had been the wigmaker on “Dracula,” so he made me that wig in about 48 hours. And I went to a dentist – I was working here in New York – who made the gold teeth, and I got the eye from the prop department at the…well, it was one of the eyes I wore for “Dracula”! And I put ‘em all together and walked on the set and hoped Tony liked it.

Be sure to read the full interview on Bullz-Eye, as well as Will’s other “Tinker Tailor Soldier Spy” interviews with co-star Colin Firth and director Tomas Alfredson and writer Peter Straughan. And when you’re done, don’t forget to check out our celebrity spy feature, “They Were Spies.”

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Brett Ratner dishes on Olivia Munn

This is pretty funny. Olivia Munn let loose with some allegations, and then Brett Ratner responds in an interview promoting “Tower Heist.”

Game ReviewsE3 2012Movies and TV

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“Breaking Bad” is back, baby!

It’s been a long, cold wait for Walter White to start making meth again…so long, in fact, that the actor who plays him – Bryan Cranston, of course – has missed the window of eligibility for this year’s Emmy Awards…but on Sunday night at 10 PM EST, “Breaking Bad” will finally return to AMC.

Season Four of the acclaimed series arrives just on the heels of the network having received countless complaints from irate viewers who felt cheated when “The Killing” didn’t resolve the mystery of who killed Rosie Larsen, but if you’re one of those folks, fear not: while the answer to the question “is Gale dead?” isn’t definitely answered at the precise instant the season premiere begins (although you would be forgiven for thinking that it has been), you’ll have clarification of Gale’s state of existence mere moments after the opening credits conclude.

Mind you, despite all of the discussion about whether or not Jesse Pinkman (Aaron Paul) successfully shot and killed Gale Boetticher (David Costabile) at the end of Season Three, series creator Vince Gilligan has said outright that “it’s not actually meant to be ambiguous. It’s meant to be, ‘Oh my God, Jesse shot poor Gale.” Not that he couldn’t have changed his mind in the interim between seasons, of course, but given Gilligan’s steadfast vision for the series over the course of 33 episodes, there’s little reason to think that he has.

Okay, so everyone remembers that Gale probably got shot by Jesse, since that was the last moment of the Season Three finale, but do you remember where everyone else was at the end of the season? Let’s play a little bit of catch-up, just in case.

When we last left Walt, he (probably) was on the verge of being shot and killed by Mike (Jonathan Banks), as order by fried-chicken impresario / meth kingpin Gus Fring (Giancarlo Esposito), but the stay of execution was temporarily rescinded upon the realization that Jesse might well be in the process of murdering the only other person capable of maintaining the manufacturing of the meth. (Did I ever mention how much I love alliteration?) Victor (Jeremiah Bitsui), another one of Gus’s main men, makes a mad dash toward Gale’s apartment, but as it stands right now, we don’t officially know whether or not he made it in time…except, y’know, we probably do know, which is to say that he almost certainly didn’t.

But I digress.

Elsewhere, Walt’s wife, Skyler (Anna Gunn), now knows of her husband’s goings-on (even if she isn’t nearly as much in the know as she thinks she is) and is trying to incorporate her own business acumen into the operation. Utterly in the dark, however, is their teenage son, Walt, Jr. (R.J. Mitte), who spent much of Season Three trying to figure out just what the hell was up with his parents. And can you blame him? After all, he watched his mom kick his father out of the house, demand a divorce, and even call the cops in order to have him arrested, only to see her backpedal. You’d be confused, too.

You’ve also got Skyler’s sister, Marie (Betsy Brandt), whose DEA-agent husband, Hank (Dean Norris), was left a paraplegic after an attack by two very violent gentlemen on a quest to avenge their cousin. When last we saw Hank and Marie, she had just successfully managed to make his groundhog see its shadow…by which, of course, I mean that she gave him a hand job and made his penis stand at attention. Sure, it seems like an easy enough trick, but it was the first time he’d managed it since incurring his injuries, and the fact that Marie made it happen meant that he had to make good on his promise that he’d leave the hospital, head home, and begin further physical therapy. Once Hank’s back on his feet, it’s only a matter of time before he’s also back on the trail of the mysterious blue meth and the man responsible for manufacturing it.

Obviously, we know where Jesse was when we last left him, but prior to that, he’d had a hell of third season. He started off in rehab, and once he got out, he initially managed to stay clean while still continuing to make meth, but after spending a little too long lingering on his conviction that he had become “the bad guy,” he soon began to backslide. In addition to his chemical dependency, Jesse also had his fair share of emotional turmoil, dealing with the death of his girlfriend, Jane (Krysten Ritter) by seeking solace in Andrea, a girl from his drug counseling sessions, only to learn that her 11-year-old brother had been responsible for the murder of his friend and fellow dealer, Combo. Dude can’t catch a break.

The relationship between Walt and Jesse hit some serious highs and lows during the course of the third season, but by the end of the next-to-last episode, it became clear that the two of them have a bond which cannot be broken. What remains to be seen, however, is how Gus is going to handle their continued partnership, not simply because of his lack of respect for Jesse, but also because of the way Walt has transitioned from being a mere manufacturer into someone who clearly has an interest in working his way up the corporate ladder, as it were.

So that’s where we stand with “Breaking Bad” as we enter into the show’s fourth season. Tensions were sky high when we last left the series, and I can assure you that by the time the credits roll on the season premiere, you will feel the same way Giancarlo Esposito felt after he read the script for the episode: a little bit stunned and a little bit shaken.

True, that’s generally how most viewers feel at the end of every episode of “Breaking Bad,” but having already seen this one, I’m going to lay it on the line: the show delivers the “holy shit” moment to end all “holy shit” moments to date.

See you on Sunday, kids.

P.S. Don’t forget to visit Bullz-Eye’s “Breaking Bad” blog right after the season premiere to join in on the post-show discussion. Trust me, there’s definitely going to be a lot to talk about. In the meantime, be sure to head over to our “Breaking Bad” Fan Hub for all the interviews, reviews, and features about the show that you can stand.

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A Chat with Arthur Darvill (“Doctor Who”)

Doctor Who” returns to BBC America on Saturday, April 23, but for the first time in the exceedingly long history of the franchise, the emphasis will be on the “America.” Not only does a portion of the season take place in the US of A, but, indeed, some of it was actually filmed here in the States. Bullz-Eye had a chance to chat with Arthur Darvill – he plays Rory, in case you didn’t know – about the new season, but since the thought of accidentally revealing anything of importance about the goings-on in the new season clearly petrified him, the majority of our conversation actually ended up being about last season. Still, he was willing to offer up a few teasing comments here and there, as you’ll see.

Stay tuned for…

Bullz-Eye: Well, I’m a big “Doctor Who” fan, so I followed your exploits all last season, and I’m sure you’re as excited as I am for these new episodes to hit the air, since you worked on them awhile back now.

Arthur Darvill: Oh, yeah, absolutely. Yeah, we’re really excited about it coming out. The scale of it has gone up, and it’s bigger and better and more exciting. Yeah, I just can’t wait for people to see it, really.

Plus, of course, you’re in the States, which really ups the ante.

Absolutely.

Now, obviously, we’re excited about you guys having filmed here, but do you have a sense for how folks back home feel about you making your American debut?

I mean, it’s quite cool, I think, because “Doctor Who” is such a British institution, and it will always be quintessentially English, but to do an episode in America…? You know, we have so many… (Hesitates) All my old favorite films are American movies, and I think our cultures are very much linked, so to have an episode in America, yeah, I think everyone’s really excited about it.

Read the rest of this entry »

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Crackle furthers its attempts to crack you up

Now showing on Crackle.com: “Seinfeld.”

Yeah, we know, there probably should’ve been some kind of lead-in before breaking news that big, but after spending the last 20 minutes trying to figure out which “Seinfeld” reference we wanted to work into the opening (“Should we say, ‘Now here’s something sponge-worthy’? Or maybe a Soup Nazi reference. Those are always comedy gold!”), we figured it was better to just go ahead and get the word out as quickly as possible.

So sayeth the press release:

“Seinfeld,” one of TV’s most successful comedies of all time, is coming to Crackle.com, Sony Pictures Entertainment’s online video network. Beginning Friday, April 1st, ten iconic episodes of the hit comedy series, including such classics as “The Soup Nazi,” “The Chinese Restaurant,” “The Puffy Shirt,” “The Bubble Boy,” “The Junior Mint” and “The Yada Yada,” will be made available with ten new episodes set to launch every month thereafter—with themes such as “Summer of George,” “Best Guest Appearances” and more! Join Jerry, Elaine, George and Kramer online only on Crackle this spring. Don’t miss the opportunity to watch this crazy group FREE, ONLINE!

And with that out the way, let’s you and me settle in and watch “The Chinese Restaurant,” shall we?


From Crackle: The Chinese Restaurant

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