ENTOURAGE CAST STOP BY TO TALK ABOUT THEIR MOVIE

Four years after the TV show went off the air the cast of Entourage have reunited for a feature film based on the award-winning HBO series.entourage 2

And the stars of the movie, Jeremy Piven, Kevin Connolly, Adrian Grenier, Jerry Ferrera and Kevin Dillon, along with the show’s creator and writer Doug Ellin, stopped by the Beverly Hilton hotel before an HFPA meeting to chat with members about the movie.

In it movie star Vincent Chase (Grenier) and his boys, Eric (Connellly), Turtle (Ferrera) and Johnny (Dillon) are back in business with super agent-turned studio head Ari Gold (Piven). Some of their ambitions have changed but the bond between them remains strong as they navigatge their way throught he often cutthroat world of Hollywood.

Also starring are Billy Bob Thornton and Haley Joel Osment as father and son Larsen and Travis McCredle.

entourage  The movie is due to be released in the U.S. in June.

 

 

SHAILENE TELLS HFPA OF HER LATEST (SECRET) PROJECT

shailene wShailene Woodley has become a heroinel for teenagers through her roles in the young adult movies The Fault In Our Stars and the Divurgent series.

But the 23-year-old actress told Hollywood Foreign Press members she is currently working on a much  more adult film. In Snowden, which is being directed by Oliver Stone, who has insisted on keeping details secret, she is playing Lindsay Mills, the girlfriend of whistleblower Edward Snowden..

“I can’t say too much about it but I will say that it is based on the true relationship that Edward Snowden and Lindsay Mills actually had throughout their lives together,” said Shailene, who met HFPA members at the Four Seasons in Beverly Hills. Snowden is being portrayed by Joseph Gordon-Levitt.

Shailene’s new film, the Divergent sequel Insurgent, is being released on March 20 and she is contracted to two more in the series as the final book in the trilogy, Allegiant, is being split into two films.

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    JULIE ANDREWS CELEBRATES 50TH ANNIVERSARY OF SOUND OF MUSIC

    It made her one ofJULIE the most popular stars on the planet and earned her a Golden Globe. Now Julie Andrews celebrates the 50th anniversary of The Sound of Music with a newly-remastered, special recording.

    The score from Rodgers & Hammerstein’s movie musical will be available  on an expanded two disc version on 180-gram vinyl (!). The original 16-track RCA Victor soundtrack album will also be available on 180-gram vinyl and super audio CD (SACD), and include the eight-page booklet which accompanied the original vinyl release. All releases will be available on March 10.

    Her Golden Globe for the leading role in the musical was one of her three Golden Globe wins over the span of her long career. The HFPA nominated Julie Andrews ten times for her performances and awarded her four special awards.

    Besides Julie Andrews the director of the musical, Robert Wise, was awarded a Golden Globe (1966).

    As part of an extensive half-century celebration, The Sound of Music – 50th Anniversary Edition will feature previously unreleased orchestral cues from the score, and all vocal performances in one set for the first time. Led by Julie Andrews, the soundtrack rings out with heartwarming, iconic standards. From the title composition, “The Sound of Music,” to “Sixteen Going on Seventeen,” “Do-Re-Mi,” “Edelweiss,” “So Long, Farewell,” “Climb Ev’ry Mountain,” and “My Favorite Things,”

    The Sound of Music stands as the most successful movie musical of all time. The soundtrack is a classic in its own right, having spent its first four years on the Billboard Top Albums chart, including fourteen weeks at number one. It has subsequently sold over 20 million units to date.

     —-ELMAR BIEBL

     

    RAIN FALLS ON DOWNTON ABBEY

    DOM_3986Forty HFPA members braved a day of pouring rain in the English countryside to visit Highclere Castle, where many scenes of the hit series Downton Abbey are filmed.

    Members were greeted  by Lady Carnarvon and then watched filming before talking with Hugh Bonneville, Elizabeth McGovern, Michelle Dockery and Jim Carter, who plays the deep-voiced Carson the butler.

    They were joined at lunch by more cast members, including the show’s writer and creator, Julian Fellowes, and two Golden Globe winners , Dame Maggie Smith (Countess Violet Crawley) and Joanne Froggatt (Anna Bates).

     

     

    HFPA AND GHOSTS WALK THE STREETS OF DUBLIN

    PENNY

    The Dr, Frankenstein laboratory set of Penny Dreadful

    Dr. Frankenstein’s spooky lab was just one of the elaborate sets at Ireland’s Ardmore Studios visited by a delegation of the HFPA. Showtime is currently shooting the second season of Penny Dreadful occupying the entire studio located an hour outside of Dublin.

    The TV series brings icons of classic Gothic literature such as Dr. Frankenstein and Dorian Gray into a new light by weaving their original stories into a narrative that takes place in the dark corners of Victorian London.

    The creator and writer of the series, playwright and screenwriter John Logan („The Aviator“) welcomed the journalists and explained his fascination with horror and the occult: “We have to experience and overcome our nightmares in order to find beauty and truly human values.”

    The leading actors of the series, Timothy Dalton, Eva Green, Josh Hartnett also greeted the group. Timothy Dalton, who plays the explorer Sir Malcolm, revealed that his very first movie role, The Lion in Winter (1968), was filmed at the Ardmore Studios and he remembered shooting a scene with Katherine Hepburn and Peter O’Toole in the very room where he met with the visiting journalists.

    The Ardmore Studios (founded 1958 and recently used for The Tudors and Camelot) has 5 sound stages currently all dedicated to Penny Dreadful, filled with specially manufactured or original Victorian furniture and decorated with the typical fixtures of Gothic fantasy. The walls of one of the sets are covered with over 8.000 artificial bones including 600 human skulls. After lunch in the candle-lit Dorian Gray’s Gallery Hall, the journalists went to the recently constructed backlot to observe the scenery: A sleazy London street filled with horse carriages, market stalls and extras in hats and drab-glooking costumes.

    Center of the series is Sir Malcolm Murray who has lost his daughter to the city’s creatures. He will do whatever is needed to get her back and to right past wrongs. His accomplice, the seductive clairvoyant Vanessa Ives (Eva Green), recruits charming American Ethan Chandler (Josh Hartnett) to help locate Sir Malcolm’s daughter and slay  the monsters.

    Penny Dreadful takes its name from the cheap, sensational papers sold in the 1800’s specializing in stories about murder and mayhem. According to helmer John Logan, Ireland has been an inspirational place for the series because Dublin’s unspoiled architecture perfectly captures London at the turn of the last century. He adds: “The ghosts of Bram Stoker and Oscar Wilde walk the streets of Dublin.  What more can you wish for?.”

     —–ELMAR BIEBL

    TAKING KURT COBAIN OFF HIS PEDESTAL: SUNDANCE DOCUMENTARY HUMANIZES THE LEGEND

    kurt-cobain-montage-of-heck  Every year the Sundance Festival boasts a formidable amount of documentaries, even opening with one (What Happened, Miss Simone?) this year. Another impressive doc about a dead musician, Kurt Cobain: Montage of Heck, screened  in overbooked venues, even though some festivalgoers were ignorant of its subject matter. As HFPA member Vera Anderson overheard while waiting in line: «Is Kurt Cobain gonna be here tonight?» Well, he was. In spirit anyway.

    After the screening, the HFPA’s Silvia Bizio sat down with director Brett Morgen who worked for years on it. What got him interested in the first place was not being the biggest Nirvana fan, he says: «I saw them play a bunch of different times but they weren’t like my favorite band. When Courtney Love showed me Kurt’s artwork, I got very excited that there was an opportunity to show a side of Kurt we hadn’t seen before. The audio and the journals gave me an unfiltered insight into Kurt’s psyche.»

    But it wasn’t until he connected with Cobain’s daughter that he felt compelled to tackle the documentary: «After I met Frances it became a mission. Everything up to that point was ‘hey, this would be a cool project, blablabla…’ and then I understood why I was making this film. And I was making this film to bring a sense of connectiveness to Frances and Kurt. Kurt died when she was two. She has no memory of him.»

    Morgen was deeply touched by the story: «The first thing she said to me after she shook my hand was ‘I’ve known you longer than I have my father’. And from that point on my goal was to give Frances two and a half hours with her father that she never had. I felt that if it would work on that level, it would work for other people as well.»

    «This was a very difficult film to make. I’m not gonna lie. I mean, I’ve been doing this long enough to know that all films are hard. But this was far and away the most challenging movie I have ever attempted to do.» And not just because of the sensitivity of the subject matter, he says: «There wasn’t a lot of footage. From the time he was seven years old to when he was 22, there is nothing. Kurt never participated in a cinema verite documentary. But as my editor said: ‘Don’t you understand? Not having as much footage is a blessing in disguise because it forces us to be more creative.‘ So we ended up creating an experience rather than throwing in videos of Kurt doing this or that. It’s not an academic history lesson but an encounter with Kurt.»

    Morgen who has done documentaries on the Rolling Stones and Robert Evans believes there is no point in simply doing a biography: «You cannot achieve the same impact if you just film a book. You get so much closer to Kurt in a cinematic way than you would if you just read his biography. Or watch his interviews. He was a terrible interview, so self conscious and uncomfortable that he made me uncomfortable watching him. Yet he could express himself so beautifully through his music and his art. There was an honesty in his art that resonates strongly with people.»

    And so the quest became to humanize a very insecure man and take him off the pedestal. For his daughter to see the real person: «Frances was at my office a couple of months ago where I showed her an early cut, and then I walked her out, we were hugging and she whispered in my ear ‘thank you, you made the film I wanted to see’»

    And that is possibly the only critique that counts.
    —ELISABETH SEREDA

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