Here’s a look at the first released photos of Anne Hathaway as Catwoman in Christopher Nolan’s The Dark Knight Rises.
At the TCA CBS Summer Press Tour during the panel for “Two Broke Girls”, Michael Patrick King, “Sex and the City” writer and the director of its two film adaptations, announced that a prequel for Sex and the City is something he doesn’t “even imagine doing.” Rumors have been abuzz about a prequel film following Carrie, Samantha, Miranda and Charlotte taking place prior to the popular HBO television show. According to the rumors, Blake Lively would play young Samantha, Selena Gomez would play Charlotte, Emma Roberts would play Miranda, and Elizabeth Olsen would play Carrie Bradshaw.
King stated, “The idea of going backwards on ‘Sex & The City’ is something that I don’t even imagine doing. I haven’t read the books, but I have no connection to the prequel.” King said that he was only interested in Carrie Bradsaw as a character in her mid-30’s to 40’s. He went on to add, “I didn’t even want to know who her parents were.”
Now this doesn’t really put an end to the chance of a prequel, but it doesn’t seem like Michael Patrick King would be on board. What do you think?
The Inside Reel’s Tim Wassberg got a chance to speak with director Cameron Crowe at the TCA PBS Summer Press Tour this past weekend about his new documentary Pearl Jam Twenty. The doc marks the 20th anniversary of Pearl Jam’s tenure as juggernauts in the music industry. “PJ20” spans the band’s history from their inception in the Seattle grunge scene of the early 90’s to their position today as a monument to the musical idealism that is too often sacrificed for money or individual praise. Read on for the brief interview with Pearl Jam Twenty director Cameron Crowe.
TIM WASSBERG: As a community of musicians that both make up Pearl Jam and surround them as well, how has that social interaction affected how their sound and music has evolved over the years from your perspective?
CAMERON CROWE: The band has changed and they talk about that pretty openly in the film. The band started out as Stone Gossard’s group and really evolved into Eddie’s band. And one of the things that Jeff Ament, the bass player of the group, told me early on is “I hope this movie is like group therapy. I want to learn about us”. So we really tried with the interviews to discuss all that as well as the dynamic and how the songs have changed. I know Eddie [Vedder] in particular says “I don’t work so hard at trying to get every song to be three dimensional and mean so much…I just want to breathe right now with the music” which is all part of it. The song “Just Breathe” is a fantastic journey because, I think, it is about being true to your roots while still moving on.
TW: Could you also talk about achieving a visual style for the doc. After a short while following “Ten”, Pearl Jam stopped making music videos. Because of the lack of that visual representation, could you talk about capturing who they are now? For example, within the footage in “PJ20” of them performing “Release Me” in Verona, you really get to see who they are now which is not possible to a mass audience now that often.
CC: I love that “Release” performance that you mentioned. It’s so much about Eddie and his own relationship with his father…still. That’s one of the things we tried to capture in the film is that, with all these songs, Eddie still means them when he sings them. The band still feels it. And some of these songs are pretty aching content-wise. They [Pearl Jam] don’t just go through the motions. The live footage [thereby] is generally riveting in that way.
Pearl Jam Twenty will premiere at the Toronto International Film Festival. The film is part of PBS’ “American Masters” series.
This weekend at the TCA Cable Press Tour, The Inside Reel’s Tim Wassberg asked legendary comedian Jerry Lewis (who was there to promote the Encore original documentary Method to the Madness of Jerry Lewis) to discuss the differences between the entertainment industry nowadays compared to back when the comedian was getting started. Tim’s question spurred a rant in which Lewis called television a “medium that’s running around knocking their brains out trying to see how we beat the fat lady at 375 pounds, and in four months she is going to be 240.” Lewis adds, “Who gives a shit?” He went on to refer to “American Idol” contestants as “McDonalds wipe-outs” and the motion picture industry as dead because “they put all of their product on the goddamn stupid phone.” Check out the full response below. It’s definitely worth the read.
TIM WASSBERG: My question is about making bones in the business and paying your dues. You obviously did. What does it take now versus then to pay dues in the business and become a great comedic actor and person like yourself?
JERRY LEWIS: You just have to be bad. The business is scrounging around for what to do. The first thing a good comic must do is let them know he hasn’t changed. He can bring that same veracity, and that same performance to a medium that’s running around knocking their brains out trying to see how we beat the fat lady at 375 pounds, and in four months she is going to be 240. Who gives a shit?
It’s ridiculous…ridiculous. And kids, they get on “American Idol”. They’re all McDonalds wipe-outs. They’ve all been dumped. They’ve worked there and now they’re doing that. And they all play guitar which takes the place of music.
We don’t have the soul in this industry that we had when I was working. The soul has been desperately deteriorated, only because you’ve got a guy who is running a network whose aunt died and left him some stock. So someone says: “Make me a malted.” And he says “Poof. You’re a malted.” He’s now an executive in charge of entertainment. Do I sound pessimistic?
I love my industry. I love what it does. I don’t allow the people in my family to use the term “TV”. That’s stupid. It’s “Television”. It’s a miracle. It’s entitled to that respect. And that’s the way I am about it. And when I watch it, I want it to grab me. I want it to be like I ran home and made sure to be there before goddamn “Law & Order” went on, and long before Jack Webb and the cop shows. We ran home to see [Milton] Berle on Tuesday night. Nobody wants to run home now and see anything. They run home and hope there’s something. And we got to fix that.
The industry has destroyed themselves. The motion picture industry is no longer as far as I’m concerned. And we can fix it. But it’s no longer because they put all of their product on the goddamn stupid phone. You’re going to put “Lawrence Of Arabia” on that stupid son-of-a-bitch [device].
That gets me crazy pal. That gets me crazy.
But you’ll see “Lawrence Of Arabia” on your television set because there won’t be a television set in three years. Why? Because Proctor & Gamble says “Are you nuts?” You want me to spend 1.6 million for that variety show when I can get that fat lady to lose weight for 62,000 bucks? Let’s go with that one. We’ll call it “reality”, And that that’s what they’ve done. Do you notice that in a dramatic part in a film, you don’t hear music…you hear a vocal. You hear someone singing a vocal that relates to the scene. Well the first thing you don’t do as a filmmaker is distract. The biggest danger in your work is distraction. And you’re putting the vocal at the top of the film’s big moment because they don’t want to spend it on an 80-piece orchestra to score. [Instead it’s] “Let’s do what they’re doing with the guitar. It will be fine”. Oh OK.
Method to the Madness of Jerry Lewis premieres on Encore this fall.
The Inside Reel’s Tim Wassberg caught up with Ethan Hawke to discuss his role as Starbuck in the upcoming Encore mini-series, “Moby Dick”. The series, based on Herman Melville’s classic novel, stars William Hurt as Captain Ahab. Tim asked Hawke to discuss his character as well as his relationship with Ahab through modern eyes. Hawke had this to say:
“Starbuck is a person I found very interesting because it is often hard to play the good guy….the person who is morally just…because you kind of know what he is going to do. People with bizarre brain waves you never know how [they are going to function]. Bad guys are so fun to play because you never know what they are going to do. They could do a nice thing. They could do a cruel thing. What is fascinating about Starbuck, who is kind of the moral figure in the book, is that he really doesn’t do the right thing. It’s actually in his silence, in his inability to stop the inevitable. You ask questions about the book? Why is the book so great is that it is so open for interpretation. There is so many different things people can love about it. I might love one aspect of it that won’t even make it on somebody else’s radar while I might miss some bigger point. [That said] I loved trying to play this character who had a great respect for his leader but actually, when all is said and done, knew that he was the one person who truly knew they were off track….and he couldn’t act [on it]. There is a great chapter in the book where he thinks and knows that he should actually kill Ahab…but he’s not a killer. It’s interesting because it is his own innate goodness, so to speak, that prevents him from doing the just thing, which is what makes it so wonderful and complex from my point of view.”
“Moby Dick” premieres Monday, August 1 at 8 p.m. ET on Encore.