Larry David Wants Another Season Of ‘Curb Your Enthusiasm’

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larryDon’t curb your enthusiasm just yet, Larry David fans.

While answering questions in the Q&A session portion of “Citi Presents Larry David and David Steinberg in Conversation,” David expressed that “Curb Your Enthusiasm” could come back one day for Season 9, reports Variety.

Though he said he didn’t know if he had enough ideas for another season of the HBO show, David left the door wide open:

“I feel bad that I don’t have shows for them,” he told Steinberg of obsessed series fans, “and I haven’t given up the hope.”

After Season 8 of “Curb,” which ended in 2011, there’s been a lot of speculation as to whether or not the show would return, with David admitting that he just didn’t know.

The comedian’s Broadway play “Fish in the Dark” is set to open early next year, so a ninth season of the show would probably be pretty far off anyway, but the latest news definitely gives fans something to be enthusiastic about.

Presented by The Griper – E.Cowan

Written by huffingtonpost.com

The Original Son Of Anarchy

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ssThe most important thing to know about Kurt Sutter is that he once weighed 400 pounds. One might wish it otherwise, but what can you do? Without that immense amount of weight planted firmly in his background, he wouldn’t be here today, looking tough and trim at 190 tops, 54 years old, arms slathered in tribal tattoos, hair dragged back into a ponytail, tugging at a patch of peppery chin scraggle inside the North Hollywood building where he oversees everything that has anything to do with the ultraviolent, super bloody motorcycle psychodrama and mega FX hit, Sons of Anarchy.

Actually, it’s the biggest hit in the history of the network, by far, and its success has been rollicking. It averaged 2.6 million viewers an episode in 2008, its first year, jumped to 4.5 million its second year, and this fall 10.6 million people watched the first episode of Season Seven the night it premiered. Its fans are fanatical. They get themselves tattooed with the gang’s grim-reaper symbol. They make their own YouTube teaser trailers. They grieve over the deaths of beloved characters. And it’s entirely Sutter’s doing. He conceived Sons, produces it, often writes it, sometimes directs it, and right now today, as SOA enters its final season, has gathered together his senior staff for what’s known as a “tone meeting” for an upcoming episode. Sons isn’t high-minded, highbrow fare, of course, so that’s not the kind of tone they’re talking about; instead, these meetings are about getting it right – Sutter’s vision of life in a gun-running, family-comes-first-unless-they-fuck-you-then-you-fuck-them-back gang of Harley-happy dudes and their ladies.

Sutter slides toward the table. For the past hour, he’s dealt with the finer points of blackmail, silencers and how far through a dead guy’s back a shard of glass should stick. Then comes the matter of gouging out a man’s eyeball and exactly how you do it. But first things first. “In the past, when we’ve looked at body parts, it’s been hard to see what they are,” Sutter says. “So this time, let’s just make sure we’re very clear it’s not, like, an oyster or a penis, OK?” A few people nod. Others scribble notes. No one laughs. This is serious business.

“We should arrange it so it looks up at you, and blood is gushing out the socket,” says Paris Barclay, a Sons executive producer and this episode’s director. “The problem is, his hands are tied, so he can’t hold his eyeball, so what do you see then?”

Sutter plucks at his T-shirt thoughtfully. “If he’s down and it’s dark and he’s screaming and moving around, have him close his eye, and it’ll be all swollen and shit, and we’ll put strips of skin and shit in there, and then just goo. And blood.” More nodding. More note-taking. He goes on, “OK, now let’s figure out what’s going to be used to do that.”

At this point, the floor opens up to a free-for-all. “Isn’t it traditionally a spoon?” one guy says.

“I’d use a knife myself,” says a different guy.

“But then you’d kill him, ’cause you might hit the brain.”

“Well, the problem with a spoon is, it doesn’t have a good edge to it.”

“What about a grapefruit spoon?”

“How about a spork?”

And so on. Finally, Sutter jumps back in. “Let’s just look up ‘cartel torture’ and see how they removed eyeballs, OK?” And that’s where the matter is left. It’d be easy enough to just go with, say, the grapefruit spoon and call it a day. Who would care? But that’s not how Sutter operates. He cares. He cares very deeply, and darkly, which is what has led to all the many singular delights the show has delivered: castrated child-rapists, tattoos removed by blowtorch, far-flung amounts of Jackson Pollock blood splatter, death by crucifix, death by fork, a chopped-off head simmering in a vat of chili, face-eating ants, tongues self-severed to keep from tattletale-ing, and more histrionic-size emotions than you can shake a cattle prod at, all in the service of trying to answer the question that Shakespeare poses in the first line of Hamlet, whose essential warped triangle of mother, son and stepfather Sons of Anarchy has been most often compared to. Spoken into darkness, the question is, “Who’s there?” Which, of course, is a good question to ask of Sutter, as well.

Before Sons, Sutter was a writer on FX’s The Shield, a nearly-as-violent Golden Globe-winning series about corrupt L.A. cops, a position he held from 2001 to 2008, rising up through the ranks to an executive producer, and before that he was nobody. He spent his days churning out spec scripts and attending AA meetings. That was about it until Shawn Ryan, The Shield‘s showrunner, called him in for a meeting based on a West Wing spec and quickly hired him, if only because they’d talked about Sutter’s past troubles with alcohol and drug addiction and Ryan realized that Sutter could bring “a really fantastic perspective” to his show’s world. “He became a very, very valuable member of the team,” says Ryan, “though he was definitely not the most beloved member. He wasn’t always the nicest to people in the writers’ room.”

Indeed, these days, all over Hollywood and beyond, Sutter is well-known for his sensational temper and for flying off the handle to an almost operatic, cuckoo degree. For instance, during SOA‘s second season, after a studio bean counter got on his nerves, Sutter snarled in an e-mail, “Crawl out of my ass and let me do my fucking job,” which led to him being slapped with a hostile-work-environment claim. Or, take his more famous public outbursts: Every year Sons of Anarchy is snubbed by the Emmys, and every year it makes Sutter so mad that he goes ballistic via Twitter. Here’s a bunch of his 2011 post-Emmy-slight tweets run together as one glorious moment: “The worst part of not getting any Emmy nods is all the wasted blowjobs I gave at the academy picnic. My breath still smells like sour ammonia. Fuck Glee. Hate those annoying, ‘please accept me for who I am’ singing brats. Best part of not getting an Emmy nod? Now I don’t have to pretend I give a shit about the profiteering douche-bag academy.” It doesn’t get any better than this, does it, kids?

Firing up an American Spirit outside his offices, Sutter kind of chuckles and says, “I’m a smartass with a big mouth and without filters. I made a joke the other day, which was, ‘I’ve learned to make fuel from the heat of burning bridges.’ Which is true, you know? But I’ve definitely calmed down. I’m not as easily triggered as I was the first couple of seasons of the show. I’m not quite so insecure. But, I mean, FX’s PR guy has sort of given up. Every once in a while, he’ll be like, ‘OK, can you do me a favor? Can you at least not use the word “cunt”?’ I listen and acknowledge his desire, and then I usually do what I wanna do. Quite frankly, though, some of it for me is just stirring shit up, keeping the fans interested in the show when it’s off the air. I tend to feed the beast.” He takes a drag on his ciggy. “Look. I know the book on me is I’m bombastic and over-the-top, but I think people who know me know that’s a part of who I am, but it’s not who I am.”

Or, as his old boss Ryan puts it, “There are two Kurt Sutters. There’s the outlaw rebel he likes the world to see, and there’s a more sensitive, thoughtful Kurt. It’s not that the rebel is an act. It’s more like a wish-fulfillment deviation and way to mask the pain from what he was as a kid and a young adult.”

As a kid, growing up in Clark, New Jersey, right next to the state prison there, Sutter spent most of his time tucked away in the basement. His dad, a General Motors exec, was distant; his mother turned into an alcoholic by the time he was 13, and he had two older sisters who weren’t really in the picture. He attended Catholic schools, no horror stories to tell (“I wasn’t sodomized”). The only horrors in his life were his mom’s collection of Hummel figurines, which terrorized him for reasons unknown (“Those crazy-ass fucking things . . .”); a recurring nightmare that cost him sleep for three years running (he was submerged in water under a corpse and unable to escape: “I just had a sense of the dull eyes and the flesh”); and his weight.

He’s outside again. It’s a different day. He’s leaning against a different wall. He lights another cigarette and again starts fiddling with his T-shirt, which he does a lot, halfway burrowing his hand into the fabric. He says that all he ever did back then was watch TV: Happy Days; All in the Family; Welcome Back, Kotter; Yogi Bear; Bugs Bunny. “Fucking hours and hours of it.” And then, around the time his mother started drinking, he started eating. “She was my only friend, and when she checked out, I was, like, fucked. That’s when I started to eat. Food was my first drug of choice. By the time I was a teenager, I weighed 400 pounds. I didn’t really have a girlfriend. At 400 pounds, people don’t want to fuck you, because you can crush them to death.” Pluck, twist, knead that T-shirt. “I was very much isolated,” he goes on. “My dad was disappointed in me, because I was obese and he was a sports guy. As a result, I spent a lot of time in that basement. I could go down there and escape and be whatever I wanted to be. I had a huge fantasy life. It always involved vengeance. I was really angry, which I coupled with rage and fear, all of which somehow plugged into my imagination. I wasn’t daydreaming about riding ponies in the open field. I was daydreaming about, you know, how to fuck things up.”

By the time high school was over, in 1978, he’d started supplementing his eating habit with a boozing habit. At Rutgers, where he studied mass media and English, he decided to add exercise and cocaine to the mix. And surprisingly enough, it allowed him, for the first time, to get a glimpse of who he really was. “I’ve been self-medicating since I came out of the fucking womb,” he says. “But at a certain point, I realized I’m never gonna get fucking laid at 400 pounds, and that’s when I flipped the switch on the food addiction and swapped it out. I got down to literally half my size in less than a year. Yeah. I halved my body size and doubled my insanity.” All along, he’d been a trim guy in a fat guy’s body, and now, finally, he could get laid. This was good. This was a start.

After college, though, and for the next 20 or so years, he drifted from one city to the next, from one career in show business to another, unable to find his calling. He was a stand-up comedian in New York for a while. He was a theater actor. He was a guy driving across the country on a motorcycle, later selling his Harley to become a fine-arts grad student at Northern Illinois University. By 2000, he was a husband struggling to make it as an actor in L.A. Then he was divorced and still struggling. He’d been sober for nearly a decade. He was 40. He was sending out spec scripts. It took two years of doing that before Ryan called him about The Shield, in 2001. And so now here he is, having become just what he was meant to become.

“He’s a rock-star showrunner,” says FX president John Landgraf, fondly. “I really love Kurt. We’ve had our big blow-out fights, but he doesn’t go around unconsciously scorching the earth. He’s extremely self-aware and willing to expose the more primitive and unsavory side of his personality. He’s an artist. He’s a provocateur. He’s one of the most entertaining characters there is.”

Tight clothes and short skirts must be pretty happy when they see Sutter’s wife, Katey Sagal, show up. She’s got a way with both, and for that alone, as well as for her vicious and sympathetic portrayal of biker-gang den mom Gemma in Sons, she deserves an Emmy (and another nail in the coffin of her past as the hotsy-totsy wife on the sitcom Married . . . With Children). Sagal has the biggest, deepest root-beer-colored eyes, too, which turn kind of sparkly carbonated when she talks about the first time she went on a date with her future husband. They met at a coffee shop. She brought a friend, just in case he turned out to be a freak. “I didn’t really know what it was going to be,” she says, “but I was responding to him.” She takes a moment before going on: “After that date, I kissed him.” Was tongue involved? “Might’ve been.” (Sutter says, “She totally jammed her tongue down my throat. I was like, ‘I like this girl!’ I don’t like ambiguity, man.”) The couple married a few years later, with him pitching in to help raise her two kids from a previous marriage and then their own child, a daughter named Esmé.

Sagal has been around Sutter a long time and has no doubt seen a lot; even so, certain things about how extreme he can be still catch her off-guard. For the most part, Sutter’s blog, SutterInk.com, is a place for him to vent and then to repent. He’s big on apologies. He once said, “If I didn’t apologize, I’d have no fucking friends.” It’s also where he can step back, take a look at himself and conclude that he is most alive when he’s in a “state of self-righteous agitation.” And it’s where he sometimes reveals a darkness almost beyond darkness. In one post, he recounts a daydream he’d recently told his wife about, in which “an obese, mentally challenged teen was vaginally raping the corpse of his dead mother with a forearm he just chewed off his nearly dead, thin older brother.” This outdoes by a far cry anything that’s been seen on Sons. Today, hearing about it again, Sagal’s big eyes sag a little, and she looks pained and confused. “He said that to me? I might have blanked it out. I mean, that’s pretty–.” She waves her hand. She doesn’t seem able to say more.

They live tucked away in the Hollywood Hills, at the top of a steep driveway, bushes, trees, shadows, a swimming pool, a dog and Sutter’s pet African Grey parrot. It’s cool and tidy inside his writing studio. He sits on the couch, extends his legs, and continues to be self-reflective. He says he gets panic attacks in crowds and would most often prefer to be by himself, like he used to be, back in that basement. “My favorite thing even now is to be locked in a room,” he says, “listening to the voices in my head and playing out scenes and seeing stuff happen.” He says that, outside of work, his main connection to other people is through AA meetings. He takes the antidepression-and-anxiety drug Cymbalta and visits a talk-oriented psychiatrist twice monthly (“It’s maintenance. I’m not on the ledge anymore”). He has no photos of himself at his peak weight, none, and wraps his fingers into his T-shirt talking about it.

“I’ve pretty much burned all of those,” he says. “At a certain time, anything that I had, I got rid of.” He says that after losing that 200 pounds, he then had to deal with the flaps of loose skin that hung off his body. “I’ve had several surgeries,” he says. “I’ve had excess skin removed two or three times over the course of 20 years. Some of it just for health reasons.” And some of it, presumably, not. Whatever. Reminders, who needs them?

But, of course, the way things work for him, if it’s not one thing, it’s another. “I’m way too hypersensitive. I’m not the kind that can let shit roll off my back. I can be in a room where 999 people love me and I will focus and obsess about the one dude who doesn’t. I did not get filled as a kid. I am forever hungry. I want to find that one guy and find out why he doesn’t like me. But it’s not about changing his mind. I wanna fuckin’ chop his head off. But then afterward, if I was wrong, I have no problem apologizing.”

After Sons ends, Sutter’s got a new show on FX to run. It’s called The Bastard Executioner, about an executioner in late-medieval England. FX’s Landgraf describes it this way: “Ultimately, just like Sons of Anarchy, it’s got a very strong Shakespearean journey in the center of it.” Of course it does. It also promises to be another bloody affair, full of the stuff that constantly runs through Sutter’s mind. He’s looking forward to it. His only worry now is the possibility of downtime between gigs. “When I’m not writing, I don’t quite know who I am,” he says. “I’m lost a little bit. It’s like, what am I? Who am I? What am I doing? I don’t do well. Idle hands and all. I’m a little bit fucked up. But it’s part of my charm.” He’s smiling, and his fingers are still wrestling with his T-shirt, almost turning it inside out, as can sometimes happen when you aren’t paying attention

Presented by The Griper – E.Cowan

Written by rollingstone.com

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‘The View’ Feuds: Rosie O’Donnell & Whoopi Goldberg Go At It

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rThe View is a platform for public debate among the co-hosts, but the debate took a turn for the worse when Rosie O’Donnell and Whoopi Goldberg continued to fight during a commercial break – in front of the studio audience!

O’Donnell allegedly got upset when the show’s moderator, Goldberg, cut her off during a “Hot Topic” discussion that O’Donnell had said she was passionate about backstage. But because the segment was running over its allotted time limit, producers told Goldberg to cut to commercial, a source tells MailOnline.

Because O’Donnell allegedly refuses to wear an ear monitor, producers are unable to talk to her throughout the show. As a result, producers told Goldberg, who does wear a monitor, to end the segment. That’s when O’Donnell began to air her grievances.

“As soon as they went to commercial break, Rosie took the handheld microphone that they use to engage the audience,” the show insider told the publication.

“Instead of talking to the crowd, Rosie spoke directly to Whoopi in the mic that she ‘hurt my feelings,’ and that she was ‘very upset by it’ and ‘didn’t appreciate’ what Whoopi had done.”

But Goldberg wasn’t having it. Rather than engaging in the fight with her co-host, she merely said, “This isn’t the time for this, Rosie.” O’Donnell continued to press on with her grievances, saying, “Well I just don’t appreciate you saying that you were going to do something and not doing it. It makes me upset and I just don’t want to have to go through this,” O’Donnell said.

Eventually, the moderator had had enough and snapped.

“F*ck it, I told you to leave it alone and you just don’t want to listen. If you want to go there Rosie, I will dammit. I’m really sick of your sh*t!”

Fortunately, newcomer Rosie Perez lightened the mood with some comedic relief.

“Oh sh*t, Twitter is going to be off the hook now,” she joked.

O’Donnell and Goldberg have been allegedly feuding for a long time now because O’Donnell wants her old job back as moderator.

Presented by The Griper – E.Cowan

Personally I think Rosie is being an idiot. She seems to be a Bully despite all her efforts to be this ‘every woman.’ Perhaps she should wear an ear piece and be involved in the production of the program rather than just sit there as this entitled egomaniac. Good on Whoopi…set the bitch straight.

Written by radaronline.com

William Shatner In ‘Star Trek 3’?

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wsThe ever-evolving tale of William Shatner’s possible return for the third film in the rebooted “Star Trek” series has taken another strange turn – with Shatner now confirming that he has been in contact with the production.

“Trek Movie” has the latest twist in the tale worthy of being an M. Night Shyamalan production, with video footage of Shatner himself addressing the topic at the Nashville Comic Con. The actor broached the subject of “Star Trek 3” when asked if he had any interest in playing Kirk again. In his response, the actor told a funny story about how Abrams approached him for the first “Star Trek” reboot, showing him a dummy script that Shatner says “stunk.”

As we all know, Shatner’s appearance in the first film didn’t pan out, but then the actor then revealed that Abrams recently called again, and said, “I’m calling, Bill, because the director of the ‘Star Trek’ movie, the next one, has had an idea where you might be involved in it. So I am calling to see if you would be interested.”

Shatner says he’d be interested in “Star Trek 3” if the part is “meaningful”, which presumably rules out a simple cameo, but added he’d be “delighted” to do it. Abrams apparently swore Shatner to secrecy about it, hence his Twitter denial – which he seems to only be breaking now because the cat is pretty much out of the bag at this point.

The hitch here remains whether or not director Bob Orci and his team can concoct a way to bring both Kirk and Spock – Shatner believes they’re a package deal – back in the new film. Orci apparently has an idea, but will it be meaningful enough to get Shatner back into his tunic? The actor isn’t sure, adding that he has no idea how they’d bring Kirk back all these years later. But he’s obviously interested.

So, what does this mean in the grand scheme of things? It appears that Orci and Abrams have ideas about bringing both Nimoy and Shatner back for the new “Star Trek,” but it’s not a done deal yet. It’s too soon to really guess which way things will go, but if I were a betting man, I’d guess that Shatner is going to be in “Star Trek 3.”

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Written by foxnews.com

Walmart Claims Tracy Morgan Partially Responsible For Injury

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Actor Tracey Morgan attends the Celebrity Gridiron Basketball Game at Southern Methodist University on February 5, 2011 in Dallas, Texas.Actor-comedian Tracy Morgan and other people in a limousine struck from behind by a Walmart truck on a highway in June are at least partly to blame for their injuries because they weren’t wearing seatbelts, the company said in a court filing Monday.

The filing was made in federal court in response to a lawsuit Morgan filed in July over the accident, which killed his friend James McNair, who was accompanying the former “Saturday Night Live” and “30 Rock” star back from a show in Delaware. Morgan spent several weeks in rehab with rib and leg injuries.

Walmart Stores Inc., based in Bentonville, Arkansas, said in the filing that the passengers’ injuries were caused “in whole or in part” by their “failure to properly wear an appropriate available seatbelt restraint device,” which it said constitutes unreasonable conduct.

An attorney representing Morgan and the other plaintiffs called Walmart’s contentions “surprising and appalling.”

“It’s disingenuous,” attorney Benedict Morelli said. “It’s not what they said they were going to do initially, which was take full responsibility. I’m very upset, not for myself but for the families I represent.”

The lawsuit seeks a jury trial and punitive and compensatory damages. It says the retail giant should have known that its truck driver had been awake for more than 24 hours before the crash and that his commute of 700 miles from his home in Georgia to work in Delaware was “unreasonable.” It also alleges the driver fell asleep at the wheel.

Walmart spokeswoman Brooke Buchanan said in an email that the company “continues to stand willing to work with Mr. Morgan and the other plaintiffs to resolve this matter.”

Passengers Ardley Fuqua and Jeffrey Millea and Millea’s wife, Krista Millea, also are named as plaintiffs in the lawsuit. Krista Millea was not in the limousine when the crash occurred but is a plaintiff because she has a related loss-of-services lawsuit stemming from the crash.

Truck driver Kevin Roper, of Jonesboro, Georgia, pleaded not guilty to death by auto and assault by auto charges in state court. A criminal complaint also accuses him of not sleeping for more than 24 hours before the crash, a violation of New Jersey law.

A report by federal transportation safety investigators said Roper was driving 65 mph in the minute before he slammed into the limo van. The speed limit on that stretch of the New Jersey Turnpike is 55 mph and was lowered to 45 mph that night because of construction.

Roper had been on the job about 13 1/2 hours at the time of the crash, the report concluded. Federal rules permit truck drivers to work up to 14 hours a day, with a maximum of 11 hours behind the wheel.

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Written by foxnews.com

Stevie Nicks: I Was Pregnant With Don Henley’s Baby

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snIn a no-holds-barred Billboard interview, Stevie Nicks confirms a long-standing rumor: She was once pregnant with Eagles frontman Don Henley’s baby. Years ago, Henley told a reporter that during his relationship with Nicks, she got pregnant and named their unborn baby Sara, and that that’s what the Fleetwood Mac song “Sara” is about. Asked by the Billboard writer about that, Nicks said, “Had I married Don and had that baby, and had she been a girl, I would have named her Sara. But there was another woman in my life named Sara, who shortly after that became Mick’s wife, Sara Fleetwood.” So Henley’s story about the song “Sara” was “accurate,” Nicks said, “but not the entirety of it.”

Gawker fills in some of the backstory: According to Marc Eliot’s book about the Eagles, Nicks and Henley had “a serious two-year affair,” but when Nicks got pregnant, “the ‘situation’ was resolved quickly and quietly when Nicks, between tour dates, had an abortion. Although Henley did not try to force the issue, according to friends, she was deeply upset about what she considered his fast and easy consent to her decision. Nicks took it as Henley’s way of saying he wasn’t interested in any type of serious long-term commitment.” In Henley’s interview years later, according to a 2006 book excerpted here, he said Nicks “named the [unborn] kid Sara, and she had an abortion—and then wrote the song of the same name to the spirit of the aborted baby.”

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Written by newser.com

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Ed Sullivan Statue Stolen From Television Academy

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edA statue of Ed Sullivan has been stolen from the Television Academy, The Hollywood Reporter has confirmed.

The statue, which went missing Sunday, had been on display at an outdoor exhibit at the Academy’s Hall of Fame Plaza. The Wrap previously reported the news.

The bronze statue of the late variety-show host weighs roughly 20 pounds and is 1′ 6″ tall. The plaza it was taken from contains likenesses of several other legendary TV figures.

A spokesperson for the Los Angeles Police Department told THR that there are not currently any leads, nor is there any video of the incident.

Police urge anyone with knowledge of the crime to notify North Hollywood detectives at (818) 623-4081 or text info to 274637.

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Midnight Rider’: 1st Assistant Director Charged With Involuntary Manslaughter

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saraCriminal charges have been filed against Midnight Rider first assistant director Hillary Schwartz in the February 20 death of camera assistant Sarah Jones. Schwartz was charged on September 10 with involuntary manslaughter and criminal trespass, the same two counts filed against director Randall Miller and producers Jody Savin and Jay Sedrish. Under Georgia law, a manslaughter conviction would carry a sentence of 10 years in prison. Criminal trespass is a misdemeanor and carries a potential sentence of one year.

This will come as no surprise to Hollywood’s production community, who understand that one responsibility of the 1st A.D. is to help keep the crew safe on set. Schwartz was on set the day of the tragedy, although location manager Charley Baxter was not present. Baxter had made his refusal known to other crew members because the production had not obtained permission to access the train tracks. In addition to Jones, several others on the shoot were injured but survived. The film was to be distributed in the U.S. by Open Road Films. Production was shut down following the accident and attempts to restart the shoot in LA were rebuffed.

The filmmakers are engaged in multiple legal entanglements. The tragedy also prompted a civil suit brought by Richard and Elizabeth Jones, the parents of the young camera assistant, against all parties. That suit has prompted responses from Miller, Savin, Open Road, Rayonier, CSX, executive producer Jeffrey Gant, Meddin Studios, and Baxter distancing themselves from legal liability.

OSHA also charged the production company Film Allman (the concern set up by Miller and Savin to produce the Gregg Allman biopic) with “one willful and one serious safety violation” that carried a fine of $74,000, which they are currently contesting.

Schwartz, who worked on The Italian Job, We Are Marshall, Disney’s John Carter, and TV’s Franklin and Bash and The Bridge, was employed as the 1st A.D. on the Midnight Rider production. She had worked previously with Miller and Savin as 1st A.D. on their 2013 film CBGB, which drew a number of safety concerns during filming in Savannah, Georgia.

Jones was struck by a freight train on the first day of filming. The film’s crew members were on the tracks of the Doctortown train trestle for the shoot by Unclaimed Freight Productions Inc., the production company owned by Miller and Savin. A special status conference is being held tomorrow in the Superior Court of Said County.

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Written by deadline.com

Jeremy Renner Is Actually Really Excited That Matt Damon May Come Back For ‘Bourne’

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jrIn mid-September, Deadline.com reported that Matt Damon was in talks to reprise his role as Jason Bourne in the franchise’s next film. The news was met with some trepidation by Jeremy Renner fans. In 2010, fresh off “The Hurt Locker” and gearing up for “Marvel’s The Avengers,” “The Bourne Legacy” and “Mission Impossible,” it seemed like Renner might be our next big action star. But the 43-year-old, who plays agent Aaron Cross in the Bourne franchise, never thought of himself that way and is fairly certain that Damon’s return doesn’t spell his demise. Actually, he’s really excited about it.

“I think it really opens up the world and it keeps Bourne’s character active,” Renner told HuffPost Entertainment during an interview for “Kill The Messenger.” That film, which stars Renner, is out next month.

“I think Cross’ character is already going to continue to be active,” Renner added. “I think it will take creatives to bring them together, which is what I think is ultimately the plan.”

According to Deadline.com, Universal Pictures is so “bullish” on Damon working with director Paul Greengrass again, that the studio plans to release the fourth Bourne film with Damon in the title role in July of 2016, ahead of the spin-off sequel with Renner as Aaron Cross. But perhaps because Renner’s had so much work lately, he hadn’t considered the implications of that possibility.

“I love the idea of Greengrass and Damon,” he said, “or whatever it might be, let them be adversaries, let them become buddies, whatever the heck it might be, them coming together would be a pretty tremendous thing.”

Maybe part of that openness comes from the fact that Renner doesn’t see a fourth Damon film as a threat to his star power. That he wasn’t a leading man in any of the aforementioned franchises might spell doom for those concerned with his blockbuster prospects, but it still allows Renner to do the kind of work he’s drawn to as an actor.

“I never consider myself a big action star,” he said. “I’d been working for 20 years before ‘Mission Impossible’ or ‘Avengers’ came along. You know, ‘The Hurt Locker’ and ‘The Town’ and movies like that are a little bit more my wheelhouse as an artist.”

And besides, who needs to be the next big action star, when there are hardly any action films to star in anymore? “There are a lot less action movies being made,” he said, discussing how he’s seen the genre change through his time in the industry. “You know, where are those movies? You don’t see the ‘Lethal Weapons’ and the ’48 Hours’ and all that stuff being made. […] Are audiences more sophisticated now? Less sophisticated? I don’t know. It’s hard to tell.”

Presented by The Griper – E.Cowan

Written by huffingtonpost.com

Reese Witherspoon Talks ‘Raw’ Sex Scenes

Categories: Uncategorized

reece.jpg2America’s sweetheart has gone “Wild.” Reese Witherspoon spoke with Vogue about breaking free from her Southern Belle stereotype in her upcoming movie “Wild.”

“When people underestimate me, it’s actually a comfortable place for me,” the 38-year-old told Vogue. “‘Oh, that’s what you think I am; well, no, I’m not.’ I’m a complex human being. I have many different shades.”

“Wild” is based on the Cheryl Strayed memoir about a a young woman’s journey of self-discovery. Witherspoon told Vogue how she prepared for the intense role which includes a few racy sex scenes.

“I just didn’t want to hear, ‘Oh, we don’t want to see Reese have sex…Oh, can we not have any profanity?'” she said. “I wanted it to be truthful, I wanted it to be raw, I wanted it to be real.”

Although the role was out of her comfort zone, Witherspoon did draw upon her own experiences for the film.

“Nobody knows what goes on behind closed doors, but I think there’s a general sense now that I’ve lived a pretty textured life,” she told Vogue. “So many of the things that Cheryl goes through in the book I’ve been through, you know? I’ve been married, I’ve been divorced,” the mom of three said who was married to actor Ryan Phillippe until 2008 and is currently married to Jim Toth.

Presented by The Griper – E.Cowan

Written by foxnews.com

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