Bill Murray Still Not Making ‘Ghostbusters 3

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ghostbusters3Bill Murray‘s never doing another Ghostbusters film. We can all hem and haw and hold out hope that the prodigal son of ghostbusting might return, but Murray has staunchly refused to bust even a single ghost for years now. When Ray Parker Jr. famously exclaimed, “I ain’t afraid of no ghost,” maybe he didn’t have Murray in mind.


But it seems Bill Murray’s disdain for the supernatural only counts when Ghostbusters is involved. According to The Hollywood Reporter, the actor has just attached himself to the upcoming Dreamworks animated film B.O.O.: Bureau of Otherworldly Operations. Murray joins the project alongside two other new additions in Octavia Spencer and Jennifer Coolidge. That titular organization is “the ghost world’s elite counter-haunting unit,” and Murray will be filling the role of Addison Drake, who is both a ghost himself and the film’s primary villain.


Now, technically the agents of B.O.O. are all ghosts as well. Lead actors Seth Rogen and Melissa McCarthy are ghoulish new additions to the agency tasked with saving the world from Murray’s nefarious plans. Perhaps that was Murray’s beef all along in that ghost-on-ghost bustin’ makes him feel good while human-on-ghost bustin’ makes him feel clammy and uncomfortable. Whatever the reason, I expect the filmto make multiple references to Murray’s finicky ghost movie decision-making abilities,  poking and prodding the actor until, in a fit of unbridled fury, he abandons the project and joins the cast of Ghostbusters 3 in an act of petty revenge.


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Danielle Fishel On Topanga, Linda Cardellini And Growing Up Onscreen

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topangaWhen “Boy Meets World” hit ABC in 1993, Danielle Fishel became Topanga Lawrence to the world. From that moment on, she was forever linked to her onscreen high school sweetheart Cory Matthews (Ben Savage), and 20 years later everyone still calls her “Topanga.”

In honor of the DVD release of “Boy Meets World: The Complete Collection” and the premiere of “Girl Meets World” (premiering on the Disney Channel in 2014), Fishel opened up to The Huffington Post about what to expect from “Girl Meets World,” being Topanga, her relationship with her co-stars and more.

What was it like growing up onscreen?

Wonderful! I don’t have any complaints. Even during the years when I was awkward-looking or overweight, it didn’t really worry me that millions of people were watching me go through it. I get my self-worth from within, not external validation, so I just look at all those years as scripted home movies.

You’ve said you’re really enjoying working with Ben Savage again. Did you two stay close over the years?

Ben and I stayed in touch, but we weren’t in constant communication. After you’ve worked with people so closely for seven years, when it’s over there’s a certain need to spread your wings separately. We all did that but Rider [Strong], Will [Friedle], Ben [Savage] and I managed to get together occasionally and reach out for important occasions in each other’s lives. I am so happy to have him back in my life on a daily basis now, though.

Linda Cardellini is constantly asked about her brief “Boy Meets World” role, and it’s so funny because everyone thinks of her as the girl who almost destroyed Cory and Topanga’s relationship. Do you still talk to her or get asked about her?

I haven’t seen Linda since she filmed her episodes of “Boy Meets World,” and that is such a shame. She was one of the nicest, most sincere, real actors I’ve ever worked with and she and I got along very well behind the scenes … even though I hated Lauren’s guts while we filmed the episode.

What’s been your strangest fan encounter?

I met a very nice woman who made it her mission to meet all of her favorite actors, artists and musicians and ask them to sign a spot on her body which she then had tattooed. I was honored to be a favorite of hers but in general, that’s strange and will probably never happen again.

What are you most looking forward to fans seeing when “Girl Meets World” hits Disney?

I’m looking forward to them seeing how incredibly talented and wonderful our young cast is. They’re a really special group of young actors and I think the audience is going to fall in love with all of them for different reasons.

Was it easy to step back into the role of Topanga?

It was, actually. Topanga and I are very similar in a lot of ways, and I like to say that she’s “always just right on the other side of my heart.” She lives with me permanently!

I feel like you’ll always be Topanga to the world, and I bet “Girl Meets World” will only reinforce that. If you’re forever known for that role, are you OK with it?

I have no doubt that I will always be Topanga to the world and I am perfectly OK with that. Hopefully, people will let me be Topanga AND other people for other roles. But if not, at least I was lucky enough to play a role that meant something to a lot of people.

The complete series of “Boy Meets World” is out on Tuesday, Nov. 5.

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‘Sopranos’ Creator David Chase Secures Next Film

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David Chase PortraitsDirector-writer follows up ‘Not Fade Away’ with film about a young female veteran

David Chase has sold his latest script, Little Black Dress, to Paramount Pictures, where it will be fast-tracked with the Sopranos creator also attached to direct.

The character-driven film tells the story of a young female war veteran who returns from Afghanistan with a disability she must learn to cope with, Deadline reports. The character also works on a dangerous investigation with a superstitious New York detective.

The film will be Chase’s second since The Sopranos ended in 2007. Last year, he made his directorial debut with Not Fade Away, a paean to the early days of rock & roll centered around a group of friends in suburban New Jersey who start a band inspired by the Beatles and Rolling Stones. (He also wrote the script.)

As Chase told Rolling Stone, the movie was inspired partly by his own love of the music and his own adolescent rock-star ambitions. “I played drums and then bass, but I wasn’t very good. I was in a band, but we never played for anybody,” he said. “It was a total garage band, four years the same guys, and we never did anything. It was just me and my friends talking, talking and talking, and playing somewhat. But talking really about the music, and listening.”

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Tina Fey’s New Show On NBC Will Star Ellie Kemper

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Late Night with Jimmy Fallon - Season 5NBC has ordered “Tooken,” a new show from Tina Fey starring “The Office’s” Ellie Kemper, straight to series. NBC has ordered 13 episodes. The single camera comedy stars Kemper as a woman who escapes from a doomsday cult and starts life over in New York City.

Robert Carlock is also behind the series.

We have been lucky enough to work at NBC for our entire careers (except when Robert worked at ‘The Dana Carvey Show,’ now available on DVD) and we thank Bob and Jen for their continued support.” Fey and Carlock said in a statement.

Fey is under a producing deal with Universal TV and has sold another show straight to series on Fox.

“Tina and Robert, who cemented their partnership on ‘30 Rock,’ have created a new signature comedy for us that is audacious, emotional, and clever,” Robert Greenblatt, chairman of NBC Entertainment, said in a statement. “While tapping into very relatable themes, there isn’t anything like this anywhere else on television. NBC has been their home for many years and we’re so happy that they’ve found another way to push the comedy envelope for us.”

Fey and Carlock will write and executive produce the show with David Miner.

“Original voices like Tina and Robert don’t come along very often and we wanted them back on the air as soon as possible. And to have them working with Ellie Kemper — who we watched grow up on ‘The Office’ from supporting player to leading actress — puts the whole package together. We feel fortunate to be in business with this entire creative team on something so funny, unique, and attention-getting,” Jennifer Salke, president of NBC Entertainment, said in a statement.

The show is set to debut in fall 2014.

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‘How I Met Your Mother’ Spinoff: ‘How I Met Your Father’ In The Works (REPORT)

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How I Met Your MotherA “How I Met Your Mother” spinoff is in the works, according to Deadline.

There had been chatter of continuing the long-running CBS sitcom following its finale this spring, but now Deadline reports “HIMYM” co-creators Carter Bays and Craig Thomas are working with Emily Spivey on “How I Met Your Father.”

The proposed spinoff will feature a new group of friends and chronicle a female member’s journey to meet her future husband. Deadline reports the new characters could be introduced in the “How I Met Your Mother” series finale. MacLaren’s Pub may also be featured on the potential “How I Met Your Mother” spinoff to tie “Mother” with “How I Met Your Father.”

Bays, Thomas and Spivey will co-write and executive produce the spinoff.

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Moves Like Katy: How Did Perry Fend Off Mick Jagger?

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Katy-Perry-Dancing-Mick-JaggerKaty Perry dished about the time Mick Jagger hit on her when she was an 18-year-old up-and-comer, and we’ve got all the details for you right here on

The “I Kissed A Girl” singer, speaking with Australia’s Ash, Kip & Luttsy on Nova FM, worked with the Rolling Stones frontman on his 2004 single “Old Habits Die Hard” (from the movie Alfie), doing background vocals prior to her career breakout.

“I was 19 maybe, I did a lot of stuff behind the scenes,” she said, adding that at the time, she also worked on a Miley Cyrus album.

“I actually went to dinner with [Jagger] one time, and he hit on me when I was like 18!” she said. “That was a long time ago, and he’s been very kind.”

One of the hosts asked Katy, “How you turn him down? How do you turn down a legend like Mick Jagger?”

“Well you bring a friend and then they do them!” Perry said. “You sacrifice your friend!”

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Vincent Chase Would Not Approve After Speech Bombs

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adrian_grenier_wallpaper_6-normalWith the Entourage movie a go, Adrian Grenier might want to switch into method acting mode. has learned that he wasn’t exactly channeling the show’s suave leading man, Vincent Chase, during a recent appearance at Washington University in St. Louis, when he flubbed his speech and drowned his sorrows with fruity drinks afterwards.

Grenier was set to give a talk at Wash U on October 23. But according to the student paper, he proved to be less than engaging.

“The crowd was thin to start,” Manvitha Marni wrote, “and even after Adrian Grenier admitted to being single and open to a relationship, students continued to leave Graham Chapel, leaving only the first several rows occupied by the time he finished talking.”

Instead of sharing on-set secrets from the hit HBO show, Grenier focused on his beliefs about environmental activism and disappointed students “started walking out … after about 20 minutes,” Marni claims. “And by the halfway point, approximately half were gone.”

Not long after, he was spotted drowning his sorrows at the Three Kings Pub in University City. Grenier was “a real douche” to staff, according to a report in the River Front Times, but bar owner Ryan Pinkston tells that that is not true.

“I don’t know who told them that,” Pinkston tells Radar exclusively. “It was probably some Wash U student who was mad they didn’t get enough attention.”

That same article also claimed Grenier “repeatedly asked” bartenders and patrons to buy him free shots, but Pinkston insists he wasn’t that desperate.

“It wasn’t like he was begging,” Pinkston explains. “He just came in and was hanging out with Wash U students. The shot thing came from when he took a picture with one of the Wash U students and was like, ‘Hey, you should buy me a shot for that’ after. He wasn’t begging.”

But when he did order up a drink, Pinkston says, “he wasn’t interested in Jack Daniels or anything like that. He wanted more ‘frou frou’ stuff.”

“He had tequila with orange juice, grenadine, and maybe Sprite,” Pinkston says. “Not that there’s anything wrong with that.”

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LeAnn Rimes’ Invasion Of Privacy Lawsuit Dismissed

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LeAnn-leann-rimes-6824337-1600-1200The invasion of privacy lawsuit that LeAnn Rimes filed against a California teacher and her daughterfor allegedly tape recording a telephone conversation between the two, and subsequently releasing it on the Internet, has been dismissed at the request of Eddie Cibrian‘s wife, has confirmed.

The two-time Grammy Award-winner was suing teacher Kim Smiley and her daughter Alexa for invasion of privacy after the pair allegedly recorded a 2012 telephone call between them and the singer which was later leaked online.

According to court records, Rimes requested the lawsuit be dismissed on Oct. 28, and it cannot be re-filed.

A lawyer for the Smileys told the Associated Press that both sides had resolved their differences and wouldn’t comment any further.

However, a source close to the situation exclusively tells Radar the lawsuit in fact ended in a settlement.

Smiley had previously asked a judge to dismiss the lawsuit in September.

During a court appearance earlier this year, Smiley’s lawyers argued that the contentious call was made in a public place — a Malibu, Calif., restaurant.

Rimes’ legal team has asserted that “at no time did Ms. Rimes consent to being recorded.”

California law dictates that all parties must consent to the recording.

A jury trial that was scheduled for June 2, 2014 is now off the calendar because of the dismissal.

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Demi, Ashton Settle Divorce — Two Years Later

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Kutcher_1388993aDemi Moore and Ashton Kutcher have ­finally agreed to settle their bruising divorce ­battle two years after they separated, sources exclusively tell Page Six.

According to our sources, the May-December couple, who contentiously split in November 2011 and have been battling ever since, have signed ­divorce paperwork and could file the legal documents as soon as next week.

“Ashton and Demi have finally signed their divorce agreement,” said one source close to the couple. “They are about to file paperwork with the court that will formally end their marriage.”

Last month, the couple was seen chatting cordially at an LA airport after returning from the same tech conference. Though they separated nearly two years ago, Kutcher only filed for ­divorce in late 2012, and Moore in March.

Sources previously told us the pair was bitterly fighting over money. Kutcher, 35, became the highest-paid actor on TV when he joined the cast of “Two and a Half Men” and he also has made extensive lucrative tech investments through his A-Grade investments firm with Guy Oseary and Ron Burkle.

Kutcher — who has since moved on with new girlfriend Mila Kunis — also signed on just this week as product engineer and spokesman for ­Lenovo’s new Android tablet.

Demi, 50, is reportedly worth $150 million herself, but wanted spousal support. She’s reportedly been dating a new younger man, Will Hanigan, 30. Ironically, while Kutcher pitches a product called the Yoga, Moore has been regularly photographed recently going to classes for yoga, which she and Hanigan avidly practice.

Explained an insider of the dragged-out legal talks: “There had been lengthy negotiations between lawyers for both sides about the financial settlement — in particular, how much he owed her from their marriage.”

The source added, “They have finally come to an agreement that was acceptable to all sides.”

Reps for both Moore and Kutcher did not return requests for comment.

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Richard Curtis Explains Why ‘About Time’ Is Not A Romantic Comedy

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time“About Time,” Richard Curtis’ new time-travel romance, isn’t a perfect time-travel movie. Just ask Richard Curtis.

“I’m sure it’s not flawless. I know the mistakes,” Curtis, 56, said in an interview with HuffPost Entertainment. “I know where the bones are buried. But I did my best.”

His best is more than good enough. Written and directed by Curtis, “About Time” is a charming, big-hearted film about Tim (Domhnall Gleeson), who, at 21, finds out from his father (Bill Nighy) that the men in their family can travel through time. Tim’s goal, once he’s processed that information: to find the woman of his dreams (as it turns out, she looks an awful lot like co-star Rachel McAdams).

Curtis, the screenwriter of such modern romantic comedy classics as “Four Wedding & A Funeral” and “Notting Hill,” and the writer-director of “Love Actually,” spoke to HuffPost Entertainment about the inspirations behind “About Time,” and why he would hesitate to call his latest feature a romantic comedy.

One of the first things that jumped out to me in “About Time” were the visuals, which hew more toward an indie sensibility. I noticed that John Guleserian, who was the cinematographer on “Like Crazy,” shot “About Time.” Why did you hire him?
I’ve had this before with actors. I remember we were trying to cast a part in “Black Adder.” We had lots of meetings and we said, “We want someone like Brian Blessed. We want a Brian Blessed type.” Someone finally said, “We could ask Brian Blessed?” It was a bit the same with John. I kept saying, “I saw ‘Like Crazy’ and that was so beautiful. I loved the informality and brightness, so whoever we get, we have to get it to look like ‘Like Crazy.'” Someone finally said, “You know, just ask the guy! See if he’s around.” So I both love the way he made it look, but he also basically did the whole thing with the camera on his shoulder. That meant it was a very relaxed atmosphere on set — none of the sticks and the tracks and all of that.

Why was that look appealing to you?
I had experience with a much more informal way of shooting on the boat film, “Pirate Radio.” I really liked that. I liked that feeling. When I first started making movies, it was this weird thing, like a straightjacket. You would do a wide shot, then a two-shot, then you’d re-light. That was such a killer of atmosphere. You never felt you were getting the whole scene. You always knew that four-fifths of what you did was irrelevant. So I really wanted an informal style with this. I’m not a great visualizer when I write, but this film, perhaps a little bit more, I had a very strong image of the Cornwall place and the beach. I thought long and hard about when Rachel first appears. That was something very important to me. So I’ve gotten a bit more visual as I’ve gone along.

Was Rachel cast because you felt like having a big American actress in that role was necessary?
No, I was more worried, as always, about the quality of the person. I think there are tricky things in this role. She has to go from first date to mother of three, and I could think quite a few people who could get to the wedding, but it’s quite harder getting past that part. I love Rachel and always have; I think she should have gotten an Oscar for “The Notebook.” It’s one of those great tragedies where someone’s first performance is a definitive movie performance, and they forget. It’s like Ewan McGregor in “Trainspotting” or Dustin Hoffman in “The Graduate.” She just turned out to be three times as good as I expected.

“The Graduate” and “The Notebook” are films that don’t fit into an easy genre classification. Do you consider this film a romantic comedy?
I don’t know. When I first wrote “Four Weddings & A Funeral,” I definitely didn’t think it was a romantic comedy. I thought it was a film like “Diner,” “Breaking Away,” “Gregory’s Girl” — a kind of semi-autobiographical movie with love in it. On the English poster for “About Time,” it says, “A new funny film about love.” I’m more comfortable with that, because I don’t think “(500) Days of Summer” is a romantic comedy, but it’s a great, funny, romantic film about love. I think “Lost in Translation” is a masterpiece that’s a funny film about love. I’m more comfy with that idea. I think romantic comedies can get locked into a kind of formula.

The formula here definitely gets tweaked.
I love fooling around with the romantic thing, and I love the fact that the wedding is in the middle of “About Time.” I have had a revelation as I have gotten older, which is that my old films were just half the story. I think there’s an interesting circular thing here, which is if you have a family, the son or daughter of young lovers leaves, goes off with his or her friends, finds a significant other and gets married. Then they have a family of their own, who starts to take care of their own family. I’ve seen that the structure of life is family drama, romantic comedy, family drama, romantic comedy, family drama. I’m glad this film does both in one.

Was finding someone to play Domhnall’s lead role very difficult?
It was very difficult. It was really impossible to find Hugh, too, when we did “Four Weddings”; he was our 70th person. The problem in this case, which was just circumstantial, was that Domhnall auditioned with his “Anna Karenina” beard. So he walked in like a member of Canned Heat or like he was drifting out of the woods in “Deliverance” with a big knife and a cute looking pig. It was tough. We had a couple of auditions, but then I started to see the man underneath. The key is that he’s a lovely actor and he’s a very sweet man. That’s nice for me, to hire people who have good character. Then also he’s got the funny thing. He has done a lot of sketch shows back in Ireland and he loves being funny. He has a nice, stupid sense of humor. That is always the magic combination: to do the jokes as well as doing the heartfelt stuff.

Did his improv background allow you to push the comedy harder on this film than if another actor had played the part?
The great sorrow in my life is that when I audition the films, which I hope are going to be funny, the first 30 people who come in, there’s not a joke in sight. You think, “What did I do?” At last, someone comes in and you think, “Oh, right!” Uncle Desmond, that part was a slightly odd part. What kind of person is he? Nobody got it right, then suddenly Richard Cordery came in and he was both immensely touching and also funny.

That character is very touching. I teared up during one of his scenes. Do you try to get that kind of emotional reaction from the audience?
That’s been one of the exciting things about the film. For people who are enjoying it, I’ll only say that, the emotional churn seems larger than I expected. I think that’s interesting to me. I didn’t quite realize that the structure would allow for that. I’m delighted that it seems to have real emotional traction.

Why did you decide to make this a time-travel movie?
The story was that I wanted to make something very simple about the idea of relishing a normal day. My first thought was, “Can I make a film about breakfast, lunch and dinner with people you like?” But I couldn’t. So I then made this huge machine. I thought about how I could make that observation about ordinary life. I thought I could have a guy who could perfect his life and change everything, but then decide that the thing to do with his skill is nothing at all. It’s really an anti-time travel movie.

Did you have any other movies in mind while writing this one?
Not on the whole. I know that when I made “Love Actually,” I was aware that I was working in a genre where I really loved Robert Altman’s films — “Nashville,” “Short Cuts,” “M*A*S*H,” which had a strange, piece-meal structure. On this one, though, I wasn’t thinking of anything else. Retrospectively, I suddenly realized that “It’s A Wonderful Life” is a time-travel movie. He goes back and sees that his ordinary life is, in fact, something to celebrate and take joy in. But I didn’t have that in my mind. In fact, I was actually almost trying to make a film about a few songs. Particularly that Ron Sexsmith song, “Gold In Them Hills.” I listened to that song all the time. I’ve always been obsessed with that song. Ben Folds’ song “The Luckiest,” too, is such a bold statement of saying, “Here I am, I’m in love, and that makes me the luckiest man in the world.” “Mid Air,” by Paul Buchanan, is the song that happens when Rachel’s character walks out. I played that for Rachel every time she stepped out. I said, “If you’re not as good as the song, we’ll have to keep retaking this shot.”

Was there any song you couldn’t get?
No, but there’s a Nick Cave song, “Into My Arms,” in the film. Bill says, “I wanted that Nick Cave song.” I’ve got takes, though, where he says, “I wanted that Stevie Wonder song” or “I wanted that Crowded House song” or even “I wanted that song,” [just to be careful]. Sometimes there are songs that inspire me, but you can’t fit them in. There’s a song called “Downtown Train” by Tom Waits, and a particular recording by Everything The Girl. The whole of “Notting Hill” was written listening to that song, but it’s an American song and, lyrically, it didn’t fit in.

You mentioned “Love Actually” before, and you end “About Time” with shots of real people in a way that recalls the finale of “Love Actually.” Why do you like doing that?
It is nice to pull back into real life. I suppose when you’re writing about something very simple and ordinary, that there is love everywhere in the world and that love can be delightful, I think it is a sweet idea to prove it. I both feel guilty and pleased that I’ve done the same thing twice.

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