Tuesday, November 21, 2017

Emilia Clarke Defends 'Game of Thrones' Nudity: 'People F---- For Pleasure'

68th Annual Primetime Emmy Awards - Arrivals"Game of Thrones" star Emilia Clarke is fed up with the outrage over nudity in the hit HBO drama.

In an interview with Harper's Bazaar, the actress said, "There are so many shows centered around this very true fact that people reproduce. People f--- for pleasure — it's part of life."

From the start, the show has been criticized by some for including so many nude scenes. Clarke herself has been part of a few iconic ones, including when Daenerys rose from the ashes with her three baby dragons in Season 1 and when she emerged from the fiery Dothraki khal tent in Season 6.

And of course, there was the "boat sex" scene between Daenerys and Kit Harington's Jon Snow in the Season 7 finale.

"I'm starting to get really annoyed about this stuff now because people say, 'Oh, yeah, all the porn sites went down when Game of Thrones came back on.' I'm like, 'The Handmaid's Tale?' I fucking love that show, and I cried when it ended because I couldn't handle not seeing it. That is all sex and nudity," she said.

Clarke has defended the show's use of nudity before, telling Elle in July, "I get a lot of crap for having done nudes scenes and sex scenes. That, in itself, is so antifeminist. Women hating on other women is just the problem."

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Laura Dern's Admiral Holdo Will 'Shake Things Up' in 'Star Wars: The Last Jedi'

Laura Dern is bringing more than purple hair to "Star Wars: The Last Jedi."

The actress plays a new character, Admiral Holdo, who "enters the Resistance to shake things up," she told Entertainment Weekly.

Although the Resistance destroyed the Starkiller Base in "The Force Awakens," their side — commanded by General Leia (the late Carrie Fisher) is in some disarray. Holdo arrives to take charge, temporarily, and butts heads with pilot Poe Dameron (Oscar Isaac)

"She doesn't particularly look like your typical military leader, and so I think there's a bit of distrust for Poe," Isaac said. "He's not sure what to make of her, and then the way she speaks, the things she says."

Poe seems to take issue with Holdo's longer view of the Resistance's strategy. "With the Resistance being in such a precarious situation, he wants to do the right thing, and doesn't want to just wait and let things happen," Isaac explained. "He doesn't necessarily agree with the way Holdo sees the role of the Resistance in this particular moment."

Dern noted that the reaction to Holdo's unconventional style mirrors how female bosses are viewed in our world.

"From the director to the producers, everyone was painstaking about not only the look, but even the exact color of hair, what it should be and trying different versions," Dern said. "And all I know is I think it's so cool. I love the way she looks. I want to be Holdo for Halloween."

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Phil Lord and Chris Miller Address Firing From Han Solo Movie

Phil Lord and Chris Miller have no hard feelings for "Star Wars."

The directors publicly addressed their firing from "Solo: A Star Wars Story" for the first time at the Vulture Festival last weekend. They were let go from the project by Lucasfilm in June, then replaced by veteran director Ron Howard. But the breakup seems to be completely amicable.

"The experience of shooting the movie was wonderful. We had the most incredible cast and crew and collaborators," Lord said. "I think in terms of us leaving the project, I think everybody went in with really good intentions and our approach to making the movie was different than theirs. That was a really big gap to bridge, and it proved to be too big."

He laughed and added, "Sometimes people break up, and it's really sad, and it's really disappointing, but it happens and we learned a lot from our collaborators and we're better filmmakers for it."

Miller joked that the duo was "super well-adjusted" and "super drunk right now." They did take a vacation after the brouhaha, and now are back in the swing of things with their project projects.

He said, "Now we're writing and producing a sequel to 'The Lego Movie' and producing a Miles Morales animated Spider-Man."

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Lizzy Caplan to Join Channing Tatum in 'Gambit': Report

2016 Summer TCAs Getty Images Portrait StudioThe long-delayed "Gambit" movie may be hitting the gas pedal. Variety reports that "Masters of Sex" star Lizzy Caplan is in talks to join Channing Tatum in the "X-Men" spinoff.

The project has been on a rollercoaster for years, but things seemed to look up when Tatum came on board as the star and producer in 2015. Director Rupert Wyatt was attached, but then dropped out. He was replaced by Doug Liman. After some work on the script, Liman also dropped out, to be replaced by Gore Verbinski.

Details of Caplan's character are unknown, but some fans are speculating she could play Belladonna Bourdreaux, the mutant leader of the Guild of Assassins — which rivaled Remy LeBeau's own assassins group in New Orleans. In the comics, she's also a love interest of Remy/Gambit.

Caplan next appears in "The Disaster Artist" with James Franco.

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'Olaf's Frozen Adventure' Directors Reveal How They Pulled Off This 'Frozen' Short Film

While the wait continues for "Frozen 2" (2019! We swear!), those wanting to get their Arendelle fix can scratch that itch this weekend when attending Pixar's wonderful "Coco."

Preceding that film is a brand new, 22-minute "Frozen" short film entitled "Olaf's Frozen Adventure." In the new film, everyone's favorite snowman (once again voiced by Josh Gad) goes out hunting for seasonal traditions for Anna and Elsa (Kristen Bell and Idina Menzel). And, of course, things go awry, lessons are learned, and some very catchy songs are sung (they're by Elyssa Samsel and Kate Anderson and they're fantastic).

Ahead of "Olaf's" release with "Coco," we attended a special presentation at Walt Disney Animation Studios and sat down with directors Stevie Wermers and Kevin Deters, who fans of holiday cheer will know from their work on the "Prep & Landing" specials.

During our chat, we talked about the weight of expectations entering this franchise, what makes them the de facto Christmas filmmakers, and the one character that they couldn't fit into the featurette -- a goat named Mr. Jingles.

MOVIEFONE: You've done so many Christmas things. What makes you the holiday experts?

Stevie Wermers: We don't know.

Kevin Deters: We're the most joyful people you'll ever meet.

Wermers: I think it just started with "Prep & Landing." Then we got the second one. Then we got the short. And I guess John [Lasseter] just figured, "Well they're good at holiday stuff."

Deters: But it's cool. Christmas is my favorite time of year. So we've been living Christmas 24/7 for a while.

Does it get any easier?

Deters: They're all different. The "Prep & Landing" stuff was a little bit of a different animal altogether because it was more of a modern family. But, with this, we knew the world of "Frozen" and the characters and that was really helpful. And I think it was like: "What is the natural story to tell with this character of Olaf?" We wanted to say something with it that would resonate.

Wermers: When you're given the holiday, there are parameters that narrows down what something can be about, which is a huge help. There are only so many things that you can do when you think about the holidays. And tradition is a huge part of that. It was easier in that regard.

Did you ever hit a wall and think: "Why can't this be a Halloween special?"

Deters: [laughs] Every day.

Wermers: Oh yeah.

You guys were brought on in 2015. What were the initial discussions? Was it always going to be a theatrically exhibited film?

Deters: The two of us met with John in January 2015, right after the holidays. So. we were fresh from Christmas.

Wermers: It was perfect timing.

Deters: The idea was, originally, that it'd be a television special like "Prep & Landing." And as it got into development, John got wind of what we were doing and recognized that it could be more special playing on the big screen. In a nutshell, that's what happened. As far as our initial meeting with John, he was excited to have a story that was centered around Olaf. That was his only ask of us -- to have a story centered around Olaf. Obviously, the other characters would be involved, too. But that was it.

Well, I imagine that could present some unique challenges, too. You don't want it to be like the later seasons of "Happy Days" where it's just all about the Fonz.

Deters: I agree with you. And Chachi was long in the tooth.

Wermers: That was one of the challenges, too, when you're doing something with sidekick characters. If they're on the screen for too long, because they're the sidekick character, they have a tendency to wear out their welcome. We were really conscious of that. Hopefully, we struck the right balance.

Deters: Being a supporting character, he's designed with that in mind. So, to put him center stage is risky because he's a guileless character -- he doesn't get mad at anybody -- so, dramatically, you have to have conflict. That was a unique challenge. We just realized that he was a child and it's the holidays and he's wide-eyed with wonder.

Wermers: Josh Gad said it, too -- he sees Olaf as a child and he's going to be growing. In the first "Frozen," and in this one, we agreed that he would have to hit an emotional low. He's never been all that low. We want to push him. I think it's going to be a lot of fun to see the character grow.

The other challenge has got to be that this is part of a huge ecosystem. Did you feel pressure taking that on?

Wermers: Yeah, for sure. We had fun while we're making it and had all the help of everyone at the studio who made the original movie. So, they were there to help guide and support us and let us know that we were on the right track.

Deters: And we've been there for the development of the feature and we had a lot of insight in that respect. Even if you're not directing a project, all of the directors are pretty involved in the development of all the features.

It must have also been fun to expand that world.

Wermers: Absolutely. I wish we had more time! There was another character that we tried to introduce but we ran out of time. Maybe in the sequel!

Deters: One of the things that was cool was that, because it takes place after the feature and Anna and Elsa are reunited and together and everyone is happy, it afford us the opportunity to have Elsa be funny. Obviously, in the feature, she's much more angst ridden. It was fun to see Elsa laugh a little bit.

Did we ever cut away to Marshmallow and the Snowgies?

Deters: In various versions, we tried.

Wermers: I remember doing a drawing of Marshmallow and Olaf in a local pub, drinking root beer floats. I thought that'd be a funny little moment.

Deters: We knew, from "Prep & Landing," how much story we could tell in 21-ish minutes.

Wermers: It's not a lot.

Deters: We knew it was Olaf doing something for Anna and Elsa. And we figured Olaf and Sven were the dynamic duo. We thought that if we could squeeze them in there, then great -- but if it's just tangential to the narrative spine, then we can't get sidelined.

Can we talk about this deleted character?

Wermers: We did a bunch of research and in Scandinavia, at Christmastime, one of their traditions is to make a goat. I forget where it comes from but it goes back thousands of years.

Deters: It goes back to the Festival of Yule, which would celebrate Thor; his sleigh was pulled by two goats.

Wermers: And you probably saw on Anna's dress that she's got a little motif of goats. They're peppered throughout. And we had an actual live goat. I forget how he entered the picture, but he was going to go on the adventure with Olaf and Sven. His name was Mr. Jingles. He didn't have any lines.

Deters: But he swallowed a jingle bell. Olaf called him "Mr. Jingles."

"Olaf's Frozen Christmas" plays in front of "Coco," in theaters Nov. 22.

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15 Things You Never Knew About 'Planes, Trains, and Automobiles'

Steve Martin and John Candy for Planes, Trains & Automobiles.It's been 30 years since John Hughes released "Planes, Trains, and Automobiles" (on November 25, 1987), and perhaps somewhere out there, Steve Martin is still trapped in some crowded transport hub waiting room or some motel bed with a beer-soaked mattress.

The hit comedy proved Hughes could write about adults as well as teenagers, launched the domesticated-family-man phase of former wild-and-crazy-guy Martin's career, and set the gold standard as the ultimate Thanksgiving-travel nightmare.

As many times as you've watched Martin listen to one more of John Candy's cheerfully pointless anecdotes, or curse out that chirpy car rental agent for standing between him and a reunion with his family, there are still some secrets behind "PT&A." Here's what what really happened throughout a filmmaking journey where life all too often imitated art.
1. Advertising executive Neal Page's (Martin) return from New York to Chicago may have been the worst (and funniest) road trip since Hughes sent the Griswolds to Walley World four years earlier, but the writer-director wasn't just repurposing old material. In fact, much of what happens to Neal had happened to Hughes in real life.

2. Before he turned to filmmaking, Hughes, too, had been a Chicago-based ad exec trying to get home after making a presentation in Manhattan. Snow stranded him at a motel near La Guardia airport, then kept his plane from landing in Chicago or even Des Moines. He wound up in Phoenix, moaning over pay phones to the folks back home about his lack of a clean shirt. What should have been a one-day shuttle trip from Chicago to New York and back turned into a five-day slog.
3. It's no wonder, then, that Hughes was able to write the "PT&A" screenplay so quickly. Reportedly, he wrote the first 60 pages of it in just six hours and completed the script in just three days.

4. Initially, Hughes was going to direct "The Great Outdoors" and hand off directing duties for "PT&A" to frequent collaborator Howard Deutch. But when Martin signed on to star, Hughes got Deutch to switch movies with him.
5. The shoot was a trek as roundabout as the one shown on screen. Ironically, the reason was a lack of snow in Chicago. The production had to pack up and move to Buffalo, then back to Chicago, then New York City, and finally, to Los Angeles for some highway shots. "We actually lived the plot of the movie," Martin recalled. "As we would shoot, we were hopping planes, trains, and automobiles, trying to find snow."

6. Between Hughes's dredged-up memories and Martin and Candy's improvisations, there was a wealth of material for the director to draw from. Martin claimed that the shooting script was 145 pages long (compared to 90 to 120 for a typical movie) and that the first cut of the movie was four and a half hours long.
7. Future "Star Trek: Voyager" siren Jeri Ryan was supposed to make her film debut in "PT&A" as a passenger on the bus. But she kept laughing at Martin and Candy's antics and ruining takes, so she was fired after just three days on the set, and her scenes were reshot.

8. In a weird time-travel moment, when Neal's wife is watching TV in her bedroom, the movie that's playing is Hughes's "She's Having a Baby" -- a film that wouldn't be released in theaters until the following year. In fact, there's a fan theory that Kevin Bacon, seen early in "PT&A" in a cameo as a sidewalk rival of Neal's who's racing to hail the same taxi, is playing the same junior ad man he would play in "Baby."
9. A lot of Hughes fans think that Neal's sprawling house in the Chicago suburbs is the same house used three years later in "Home Alone," which was scripted by Hughes. They do look similar, but you can see from the street layout (which ends in a "T" intersection at the Page home) that they're not.

10. Edie McClurg, fresh from her scene-stealing role as school secretary Grace in Hughes's "Ferris Bueller's Day Off," played the car rental agent at the receiving end of Neal's profane tirade. She improvised her entire Thanksgiving-cooking-themed phone conversation in one take. Hughes was astounded. She explained to him, "John, I'm a cannibal. Just like you, I take everything in my life and I'll use it. Everything I used in that run about Thanksgiving, all of that was just my family."
11. Because of those 18 F-bombs Martin drops in a single minute while ranting at McClurg, "PT&A" was the first Hughes movie to earn an R rating. Hughes appealed to the ratings board, but language alone was enough to force the restrictive rating.

12. Elton John was commissioned to write a theme song for the movie, but a legal dispute between Polygram (John's record label) and Paramount Pictures -- which was over who would own the recording master tapes -- kept the tune out of the film.
13. Originally, the movie was going to end with Neal discovering that Del (Candy) had hopped a cab and followed him all the way home. Hughes decided at the last minute to scrap that ending. "I realized I don't like this guy at the end," Hughes said. "He just went from being a pain in the ass to a tragic pain in the ass."

14. Instead, Hughes came up with the ending where Del finally takes the hint and leaves Neal alone, only for Neal to realize that Del has nowhere to go and invite him to his own home. Hughes and his editors revised the ending largely through careful recutting. The sequence where a reflective Neal silently realizes the truth about Del came from an outtake, shot between scenes, while Martin had been pondering his next lines.
15. "PT&A" cost a reported $30 million to make. It returned just shy of $50 million in North American theaters.

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Monday, November 20, 2017

Jason Momoa Is Avoiding 'Justice League' Criticism: 'I Don't Think That's Useful'

'Justice League' PhotocallPeople can say what they will of "Justice League," but Jason Momoa isn't keeping tabs.

The actor has opened up about critics' negative response to the film, and it sounds like he isn't interested. Rather than dwelling on the film's lukewarm reception, he is largely avoiding it.

"I try to stay the f— away from what people say," he told EW, revealing that some of his friends told him the film hasn't been "doing well." The news was disappointing to him, but he has refrained from obsessing over the disappointing reviews that have emerged.

"I don't want to look up the bad and the negativity," he said. "I don't think that's useful; it doesn't help."

He defended the final film, including the decision to remove some of the backstory of his own character, Aquaman. While he acknowledged that "a lot of things got cut," he pointed out that the movie had to introduce three new characters -- Aquaman, The Flash (Ezra Miller), and Cyborg (Ray Fisher).

"There was a lot that ... we just couldn't get in," he said.

Momoa assured fans that we'll get plenty more of Aquaman in his standalone movie. The film will continue the DCEU's growth and bring more of its superhero adventures to screen.

For his part, Momoa loves "Justice League" -- so much so that he plans to take his kids to see it again in a theater with regular moviegoers.

"Justice League" is in theaters now.

[via: EW]

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