stars, sex and nudity buzz : 10/14/2012

Da Vinci's Demons creator David Goyer, Tom Riley, Laura Haddock and Lara Pulver on what to expect from the new Starz series.
The stars talks how the show is graphic and visceral in portraying the sex and violence. But never gratuitous. "You'll see everything you could see" according to Tom as Laura nods in agreement.
Laura Haddock without a doubt will be the star of the show. Big blue eyes and bee stung lips will go well together with bare breasts and bubble butt. Still fuzzy about full-frontal though.


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Flight: New York Film Festival Review

The Bottom Line

Denzel Washington excels as a pilot whose heroics hide a very dark side.

Cast: Denzel Washington, Don Cheadle, Kelly Reilly, John Goodman, Bruce Greenwood, Brian Geraghty, Tamara Tunie, Nadine Velazquez, Peter Gerety, Garcelle Beauvais, Melissa Leo

Director: Robert Zemeckis.

Onscreen for nearly the entire running time, Washington has found one of the best parts of his career in Whip Whitaker, a middle-age pilot for a regional Southern airline who knows his stuff and can still get away with behaving half his age. In the film's raw opening scene, he's lying in bed in Orlando at 7 a.m. after an all-night booze, drugs and sex marathon with a sexy flight attendant. With a little help from some white powder, he reassures her they will make their 9 o'clock flight for Atlanta.

With his night's companion Katerina (Nadine Velazquez) working the passenger compartment, Whit zooms up into the clouds, shaking up the passengers and scaring the co-pilot as he rams at top speed toward a pocket of clear sky. 

Update : http://www.shockya.com/news/2012/10/14/nyff-2012-flight-movie-review/
and confirmation of Nadine's nudity...
When the film opens, we see the aftermath of a drunken night. The pilot Whitaker is woken up by a phone call from his ex-wife about his estranged son. A naked flight attendant Trina (Nadine Velazquez) gets ready for the day ahead. Both hungover (or still drunk) from the night before taking control of an airplane full of passengers.

* Nadine Velazquez is naaaked....Nadine Velazquez is naaaked. We're going to see her tittiessss.....We're going to see her tittiesss. 

Nadine has been dropping clues about her first on-screen nudity by posting racy pics just before talking about the movie. It's a worry though as Denzel also bangs Kelly Reilly in the movie. I hope and praying the nudity doesn't come from her but I'm super confident it's Nadine who shows off her goods.

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Lindsay Lohan talks about her racy new movie role

by: Molly Sullivan

Lindsay Lohan has been working a little bit, and now she is opening up about her racy role in the new movie ‘The Canyons.’

Lohan commented that she recently saw the final product and couldn’t be happier even if it was hard for her mom to watch, states Hollyscoop. “It’s great, I saw it with my mom. It was hard for my mom to watch but it was really good. [Director] Paul Schrader did a great job,” Lohan commented.

The film has her working with real-life porn star James Deen in some sexy scenes. 

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couple of news on Jeremy Piven's Mr.Selfridge:

MURDER ON THE SHOP FLOOR
E used to be a nation of shopkeepers and we are fast becoming a nation of shop watchers. Any television show with the hint of a retail slant can draw millions. Even a Dispatches documentary about discount shop Poundland on Channel 4 last week found almost two million viewers.

The trend has not escaped the eyes of ITV and the BBC, which are about to be embroiled in a battle over period “sex and shopping” dramas.

The shows are the BBC’s The Paradise and ITV’s Mr Selfridge. While the two series are not going out against each other both broadcasters are well aware that if one of them steals a march on the other the competitor’s series will never have the same appeal.

Both the Beeb and ITV are banking on their period extravaganzas built around sexual intrigue in department stores to win big audiences. Humbled by its trouncing in the ratings when it pitched its new version of Upstairs Downstairs against ITV’s Downton Abbey, the BBC has drawn first blood by launching its flagship costume shop drama The Paradise.

Love affairs are a key element in The Paradise, based on a classic 1883 Emile Zola novel, while ITV is gambling £12million on its elegant Mr Selfridge which, by “making shopping as thrilling as sex,” it hopes will prove as big a success as Downton.

Set in a similar period to the original series of Downton, Mr Selfridge focuses on the racier side of Edwardian life, written as it is by Andrew Davies, the master at sexing up such classics as Pride And Prejudice and Sense and Sensibility. Davies promises as much nudity “as you can get within the limits of prime-time viewing”.

Despite the BBC’s spoiling tactics, ITV bosses are confident Mr Selfridge, starring American actor Jeremy Piven, will be a huge hit when it screens, with the vast Christmas audience an obvious target.

It is such a high-profile venture, Boxing Day evening would be the ideal launching pad for the 10 hours 30 minutes of TV as it details the story of Harry Gordon Selfridge, the American “showman of shopping” who opened his London store in Oxford Street in 1909 but was destroyed by his addictions to gambling, mansions and mistresses.

ITV has thrown the cheque book at Mr Selfridge. Even the working replica of the plane in which Louis Bleriot first flew the English Channel is used for one of Selfridge’s promotions.

Filming on the drama, which will be screened over two series of five episodes, continues for another month but TV insiders are confident that, like Downton, it will run and run.

While Mr Selfridge has the same glossy feel as Downton, Davies insists that it is not “Downton in a shop”. They are, he says, totally different, with Downton concentrating on preserving an era, while Mr Selfridge captures the excitement, fun and wickedness of the master showman who created a brave new liberating world for women by putting the sex into shopping with his paint and powder.

Davies says: “We have different values to Downton. We are about glamour, modernity and are also
anti-aristocracy.” He is dismissive of the BBC spoiler insisting: “imitation is the sincerest form of flattery.”

Zoe Tapper: Sex and the shop-floor showgirl
While other actresses might kick up a fuss at the slightly kitsch play on their name, Zoë Tapper is
tap-dancing for our photographer with the poise of a professional hoofer. And why worry? After all, our styling idea, she says, is in keeping with her latest role as the singing, dancing Gaiety Girl Ellen Love in ITV’s Mr Selfridge. This glitzy, ten-part period drama tracks the origins of our shopping obsession right back to the American Harry Selfridge, founder of the iconic Oxford Street store.

The drama is set to be the TV event of the autumn. It is scripted by Andrew Davies, who based the story on Lindy Woodhead’s book Shopping, Seduction and Mr Selfridge, and has breathtaking sets. (A  large carpet warehouse in Neasden, Northwest London, has been converted into a circa 1909 Selfridges shop floor.) The impressive cast is led by Jeremy Piven – Golden Globe- and Emmy-winning star of US series Entourage – as Mr Selfridge. Zoë’s role as his beautiful but tortured mistress will be unmissable.

She is married to actor Oliver Dimsdale and they have a 17-month-old daughter, Ava. Here Zoë tells us why the happy collision of motherhood and the role of a lifetime could not have been more perfectly choreographed…

I was determined to get the role of Ellen. The morning of the audition I travelled into town in
a faux-fur coat, a bright red dress, fake diamond earrings and siren red lips. I got some funny looks but I didn’t care because I felt very Ellen Love-ish. And I got the part, so it was worth it.

You could easily hate Ellen. She’s a potential marriage wrecker. But I had so much sympathy
for her. Harry lusts after her. He sets her up in an apartment and makes her the face of Selfridges. But once he owns her she’s like a trinket that’s lost its lustre. He discards her and she spirals out of control.

Ellen has so much vulnerability. She reminds me of Marilyn Monroe or Holly Golightly in Breakfast at Tiffany’s. She’s a social butterfly, blowing kisses to the crowds, but she has gossamer wings.

Harry Selfridge wanted to make shopping as thrilling as sex. He came up with concepts such as ‘The customer is always right’ and ‘Try before you buy’. He believed products should be displayed, not hidden under counters. In a way, his ideas went hand in hand with the suffragette movement. He made shopping respectable and liberated women in the process. He also built Selfridges in a rundown part of London, where others followed. So the fact that the West End is now a shopping mecca is largely down to him.

The beauty of a period drama is that the clothes are so different to what women wear now. When you put them on you immediately feel different. You move differently too. You can’t slouch in a corset or in one of the big hats that Ellen wears.

The cocaine-snorting scenes were a hoot. Andrew Davies always likes to inject a bit of naughtiness to give his scripts a modern feel. Opium was possibly more the drug of choice in those days, but cocaine is Ellen’s poison. Before putting it up my nose, I made the props department tell me what was in it – mostly flour and lactose powder. I made them take a bit themselves, though – just to be on the safe side.

Actresses have to be up for anything. In Mr Selfridge I do a dance number in pink pyjamas while hurling teddy bears into the audience from the stage of the Theatre Royal, Drury Lane. There’s also a scene where Ellen poses as the face of Selfridges, on the wing of Blériot’s historic, Channel-crossing plane. [They managed to get a replica inside the Neasden set, just as Harry had managed to get the real thing into the store in 1909.] She’s draped in scarves like Isadora Duncan. It was fun but, then, I think I got forgotten. I was shouting, ‘Yoo-hoo, I’m still up here. Don’t lock up and go home. I do have a life to get back to!’

I wouldn’t be ashamed to show my post-baby body on screen. Women’s bodies change – mine has – and we should celebrate it. I’ve always admired Kate Winslet. She has a lovely body, but it’s not a perfect Hollywood size zero. It’s the body of a woman who’s had children.

As an actress, though, I’m careful about nudity. There’s a danger in our industry for women to feel pressurised to take their clothes off. I’ve certainly done it, but only, I hope, where the script and the character required it. In Twenty Thousand Streets Under the Sky I took off my clothes because I was playing a prostitute. What else would you expect? But I can’t bear it when you’re looking at breasts on screen for no particular reason. At this stage, I think I know the difference.

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'Carrie' remake: New teaser trailer debuts at New York Comic-Con

by Darren Franich

The Project: Carrie, the new adaptation of Stephen King’s classic horror novel, coming in 2013.

The Panel: Stars Chloë Grace Moretz and Julianne Moore, director Kimberly Peirce, producer Kevin Misher. Moderated by Entertainment Weekly‘s very own Dalton Ross.

Footage Screened: The NYCC crowd got an exclusive first look at Carrie‘s teaser trailer, which begins with a helicopter shot showing the school gym on fire, but then shows a trail of destruction leading throughout Carrie‘s small town…ending with a close-up on a blood-covered Moretz. The teaser features a cacophony of voices talking about Carrie — including the memorable line “She wasn’t some monster. She was just a girl.” — implying, perhaps, that the remake would adhere close to the structure of King’s original novel, which was written in a pseudo-epistolary style. (Brian De Palma’s original Carrie film in the late ’70s jettisoned that structure in favor of a more straightforward linear narrative.)

Snap Judgment: The teaser looked positively apocalyptic, and the image of a completely unhinged Moretz indicated that the remake will have plenty of propulsive energy. If nothing else, this looks worlds better than The Rage: Carrie 2.

The Big Revelations: Everyone on the panel made a point of praising the original Carrie film — Peirce is a friend of De Palma — but noted that part of the intention of making Carrie again was to faithfully reproduce certain elements of King’s novel left out of the original. That includes more destruction: hence the vision of the ruined town. However, the panel did hint at at least one major change in the story: Peirce implied that contemporary social media would play a key role in mean girl Sue Snell’s campaign of terror against Carrie.

Most Prepared Panelist: Moore, who responded to a question from an audience member about the portrayal of bullying in Carrie by asking, “Have any of you read Stephen King’s book On Writing?” She proceeded to regale the crowd with an in-depth explanation of King’s original inspiration for Carrie. (In an intriguing twist, the audience member in question turned out to be a teacher at the school attended by Moore’s child.)

Most Popular Panelist: Moretz, who is clearly well on her way to becoming a Comic-Con demi-goddess, at least to judge by the shout-outs she received her role as Hit-Girl in Kick-Ass.

Amount of Blood Used in the making of Carrie: 1000 gallons, according to an extremely rough on-the-spot estimate by Peirce.

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Clara Morgane nude clip for "Like a boomerang" (Serge Gainsbourg)

Clara Morgane sexy and topless in honor of Serge Gainsbourg . The former porn star takes "Like a Boomerang" and modern dance version. For black and white clip, Clara Morgane wiggles in a sensual photo shoot for a future calendar 2013.

Clara Morgane - Comme un Boomerang Vidéo claramorgane sélectionnée dans Musique

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Yam Concepcion : FHM Cover Girl October 2012
Go behind-the-scenes with our October muse, Yam Concepcion,  in this FHM TV exclusive!
http://www.fhm.com.ph/fhm-tv/sub/toprated?gid=2356&mode=flv

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27-years old Daniela de Jesus Cosio : Lingerie Photoshoot [Backstage]
Ava Strahl came up with another beautiful location to shoot this year's Autumn/Spring collection with the same model as last year's, Daniela De Jesus Cosio and photographer, Kirk Edwards..


Daniela de Jesus Cosio (born January 11, 1986 in La Paz, Baja California Sur, Mexico) is a Mexican fashion model and former beauty pageant contestant. She began modeling after participating in the national beauty pageant Nuestra Belleza Mexico 2005, where she placed as the runner-up.

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NYFF Review: 'Casting By' A Wonderfully Entertaining Doc Shining A Light On The Art of Casting 

Reviews by Gabe Toro

In the early days, actors signed multi-film contracts and became “studio players.” This meant that they were wedded to each production company, assigned to a number of different films each year playing a role probably familiar to their last. Actors were cogs in a machine, and it was rare that someone worked their way up from small-time character actor to full-blown star. If you looked like a Leading Man, you became a Leading Man, or you were soon out of the business. There’s a whole generation of filmgoers that don’t understand that non-traditional casting is a relatively contemporary invention, and for them, the documentary “Casting By” should prove to be tremendously enlightening.

“Casting By” traces the evolution of casting directors at one starting point, the late Marion Dougherty. The unspoken truth, of which the film delicately hints, is that the west coast simply had a surplus of gorgeous faces, many of whom followed the bright lights to Hollywood. Based on the east coast, however, Dougherty brought a new sensibility, different faces, and serious performers. Hollywood wanted models, but Dougherty, who regularly scanned the Broadway stages, brought them actors. The turning point, the film argues, is Dougherty taking the reins on the edgy New York City crime series “Naked City.” Fully in charge of casting the show, which was shot on location, Dougherty uncovered a gold mine of character types that didn’t fit the conventional leading man roles. In footage from the show, we see the work of barely teenaged would-be legends, including Jon Voight, Gene Hackman, Christopher Walken and Robert Duvall.

Explains Dougherty in one of the many interviews she gave for the film (sadly right before her passing), someone like Duvall wasn’t handsome, per se, but he could play a hero, or he could play a villain. It’s also a treat to see Dougherty reflect on discovering very raw talent like an initially uncooperative James Dean and a marble-mouthed, genuinely terrible Warren Beatty (his early work on “Kraft Television Theatre” is credited to an attempt to be like Marlon Brando).

Under the surface of Dougherty’s suggestions for East Coast talents is a widening of the pool of ethnic actors, obscuring the typical WASPy appearance of leading men and women to include the likes of Carroll O’Connor, Dustin Hoffman and Cicely Tyson. In a telling moment, director Richard Donner speaks of casting “Lethal Weapon,” and hearing Dougherty suggest Danny Glover, only to rebuff her with a kneejerk retort, “But he’s black.” Though Donner’s revelation has a touch of Hollywood Grandstanding, the script had been written colorblind, and Donner had simply automatically leaned toward 'white' as the default. Though Donner’s confession was filmed at a Hollywood event in 2006, you hope the doc circulates amongst current studio heads, who still adhere to old-fashioned methodology.

The one hot-button topic of the doc that arises is of credit, and those who would denigrate the work done by casting directors. Proudly sticking his head out to come across as the most obnoxious, pigheaded talking head is Taylor Hackford, the current head of the Directors Guild of America. He supports the long-held belief that casting directors don’t even deserve the name “director” in their job title (which long ago resulted in the onscreen credit “casting by”) because they don’t direct anything -- though if you saw “Love Ranch,” you’d say the same for Hackford. While industry types constantly push for an Academy Award for casting directors, Hackford argues that casting ultimately falls under the umbrella of “directing” and that casting directors don’t deserve credit for something in which someone like Hackford has final say. Hackford comes across as smug and dim-witted, contradicted by nearly every other voice in the doc, some of whom are other directors.

There’s a slight disappointment in “Casting By” as it only hints at the chronological bookends of this story. The idea of studio execs auditioning people to be a Lead Actor or Actress regardless of the role is an idea worth understanding in greater detail, and the notion of contemporary casting being done by risk-averse number-crunching executives is another thoughtful nugget to pursue. Fact is, “Casting By,” which runs a little over an hour and a half, simply tackles, in-depth, a neglected part of Hollywood that could easily span several different documentaries. With an all-star collection of interviews from the likes of Clint Eastwood, Jeff Bridges, Robert De Niro and scores of other similarly huge names, “Casting By” zips past with boundless energy and sharp editing, an absolute pleasure for Hollywood hardcores and casual moviegoers alike. [A-]

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Film Exec: Smartphones and Tablet Screens Will Overtake Theaters 'Within Months, Not Years'

The way people view movies on mobile devices will have profound implications for the movie industry, according to former film financier Angus Finney.

ABU DHABI -- One-time film financier and production executive Angus Finney, who now runs Europe's Production Finance Market, predicts people will be watching movies first on tablets and mobile devices "within months."

Finney, the former Renaissance Films chief, says the shift will have profound implications for the movie industry while giving a Masterclass at the Abu Dhabi Film Festival.

Finney said tablets and cellphones will take over as the dominant screen “within months, not years."

"You only have to notice the number of people who watch movies and TV shows on handheld devices," he said. "That’s going to require a lot of thought as to the kind of content people make."

The finance expert, whose clients include ADFF organizer Twentyfour54 and $2.4 billion City of London fund manager Octopus Investments, delivered his verdict to mostly young Abu Dhabi filmmakers.

Finney spent two hours explaining how the film industry works and the qualities you need to be a successful producer.

“Stars are struggling because they mean less. They don’t dictate the market any more, and, as a result, they don’t earn so much,” was among Finney's opinions.

"The dark art of film financing is for financiers to leave you dangling while they decide whether to invest. That way they get you pregnant. You start spending your own money, trying to push things along, and by that stage, you are so desperate to get into production you’re pushed into deferring your fee."

And he said that in the current climate created by Facebook and LinkedIn, "a good sales agent will know the names of the children of each territory’s distributor -- even what his dog is called."

Finney also told the audience that most financiers only read a script once.

"So if you go back to them saying, ‘Here’s the fifth draft, it’s much funnier’ by then it’s too late. You only get one shot,” Finney said.

And he also took a dig at L.A. agents.

"When I ran a sales agency, we used to call Hollywood agents ‘film prevention officers.’ Their job seemed to be stopping movies from getting made."

He also claimed most people decide what film to see based on its genre, not who's in it or who directed it.

But for Finney, the single biggest challenge facing producers over the next five years will be "managing talent -- the screenwriter, director, cast."

He said: "Many producers drop the ball when it comes to keeping talent on side by the time their film is released. Either they’ve fallen out with them or they’ve moved on to other projects. Which means the star or the director is not available when it comes to doing junkets. That’s bad management."

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