Now that The Hills has been off the air for three years, Ryan Cabrera is looking for ways to hoist himself back into the zeitgeist. What better way to get everyone talking about you than to permanently etch the face of the Internet's favorite person into your leg? To keep his pointy hair company, Cabrera added another indelible form of self expression to his body: he got a tattoo of Ryan Gosling's portrait on his right calf… and now we are all talking about it.
Wanting to judge the artist's portraiture skills for ourselves, we decided to track down the photo from which the tattoo was copied. We typed "Ryan Gosling scruff jacket" into Google Images, and — lo and behold — in the sixth row of search results, we found the exact portrait. The tattoo, it appears, was taken from a step-by-step "How to Draw Ryan Gosling" guide on DragoArt.com (the final result of which is above).
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The site is also the first search result when you google "How to draw Ryan Gosling." It seems Cabrera's tattoo artist needed a little guidance in creating his lifelike sketch.
Cabrera tells the Las Vegas Review-Journal that the tat (which is 100% real) was the result of a game of tattoo roulette he plays — playS, not playEd... as in, this is an ongoing hobby — with his friends. "We blindfold each other," Cabrera says. "You get to pick a tattoo for me, and I get to pick a tattoo for you. And you don’t get to see it till they’re both done." Sounds like a valuable use of one's time and money.
Think Cabrera's tattoo is nutso? Check out these other ill-advised bits of celebrity body art.
GALLERY: Craziest Celebrity Tattoos
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[Photo Credit: Steven Lawton/FilmMagic; DragoArt.com]
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David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
In this week’s Drive, not one but two big names from the land of TV have juicy roles: Breaking Bad star Bryan Cranston and Mad Men’s Christina Hendricks (the latter also appears in Friday’s I Don't Know How She Does It). They’re hardly the first TV mainstays to find time for movies; likewise, they won’t be the first to boost their overall profile in so doing.
Take a trip down memory lane with highlights of a few actors who, in the midst of TV stardom, found time for movies—and benefited.
Hit Show: Friends
Concurrent Movies of Note: Office Space, Rock Star, The Good Girl, Bruce Almighty, Along Came Polly
The most obvious example of an actor’s TV stardom affording movie opportunities galore, Aniston was almost as ubiquitous on the big screen during Friends’ 10-year run as she was on the small screen. Her first movie during that time, 1996’s She’s the One, bombed, but by the time her hit series came to an end, in 2004, she’d used movies to bolster her acting cred (The Good Girl), geek appeal (Office Space) and box office power (Bruce Almighty, Along Came Polly).
Hit Show: The Sopranos
Concurrent Movies of Note: 8MM, The Mexican, The Man Who Wasn't There, The Last Castle, Surviving Christmas, All the King's Men
The man who will forever be known as Tony Soprano didn’t find the kind of success in film that he enjoyed – er, resented – on the beloved HBO show, but it wasn’t due to inactivity: During The Sopranos’ eight years on TV, Gandolfini starred in eight feature films, even though most sailed under the radar, which was perhaps intentional (except for Surviving Christmas). We can only hope we’ll someday see him reprise his Sopranos role – on the big screen.
Hit Show: Grey's Anatomy
Concurrent Movies of Note: Knocked Up, 27 Dresses, The Ugly Truth
Seemingly overnight, Heigl went from being something of an also-ran as Dr. Izzie Stevens on ABC’s medical drama Grey’s Anatomy to the possible “next Julia Roberts.” It all started with Knocked Up – even though she would ultimately denounce director Judd Apatow’s treatment of her character – which begat the hit rom-com 27 Dresses, which begat the even bigger hit rom-com The Ugly Truth. It’s basically been downhill ever since for Heigl, however, as 2010’s Killers and Life As We Know It were both panned by critics and somewhat ignored by moviegoers.
Hit Show: That '70s Show
Concurrent Movies of Note: Dude, Where's My Car?, Just Married, The Butterfly Effect, Guess Who, A Lot Like Love
It’s been quite a ride for Kutcher’s career, and in a way it’s come full circle – as he’s now back on the tube (Two and a Half Men), where he started. But for a while during That ‘70s Show’s run, he was parlaying his surge to stardom into movie roles, and it could be argued that the series ultimately ended because each of the main cast members became too big for the small screen (it’s certainly inarguable that Mila Kunis is the biggest alum right now!).
Hit Show: Party of Five
Concurrent Movies of Note: The Craft, Scream (first three movies), Wild Things
For a while there in the ‘90s, Fox’s Party of Five was all the rage, and its lead actress, Neve Campbell, capitalized the most. She became a(n) (oc)cult icon for her role in The Craft, a full-fledged household name thanks to the Scream franchise, and a Mr. Skin hall-of-famer following a scene in Wild Things (which hurt her career as much as it helped Denise Richards’). Ironically – or maybe unironically – Campbell’s movie career has pretty much consisted of one misfire after another, including this year’s Scream 4, precisely since the end of Party.
Hit Show: Mad About You
Concurrent Movies of Note: Twister, As Good As It Gets
Mad About You served as a launching pad for what would become a successful movie career for Helen Hunt, and although it has since tapered off considerably – likely of her own volition – Hunt at one point threatened to become the biggest actress in the biz, all thanks to Paul Reiser’s hit sitcom. In the end, she starred in a then-groundbreaking special-effects movie that is now a ride at Universal Studios (Twister) and one of the biggest rom-coms of the ‘90s (As Good As It Gets), the latter of which won her an Oscar.
Hit Show: Alias
Concurrent Movies of Note: Pearl Harbor, Daredevil, 13 Going on 30, Elektra
Like the other Jennifer on this list, Garner’s show really shot her to superstardom. Alias displayed so many of Garner’s, ahem, assets and so many different molds she could be tidily squeezed into, it was only a matter of time before the big screen beckoned her full-time attention. But prior to her departure from the J.J. Abrams-created action series, Garner made quite a splash in movies, first with smaller roles in big movies (Pearl Harbor, Catch Me If You Can), then, ultimately, two movies all to herself that would ultimately make (13 Going on 30) and not quite break but temporarily hurt (Elektra) her movie career.
Hit Show: ER
Concurrent Movies of Note: From Dusk Till Dawn, One Fine Day, Batman & Robin, Out of Sight
It’s easy to forget, but George Clooney became “George Clooney” because of ER, and while he didn’t become a Serious Movie Actor until he left the hit series, it afforded him quite a wide variety of big-screen roles – including the dream role in what turned out to be probably the most disastrous Batman movie ever. All will likely agree that Steven Soderbergh’s Out of Sight was the cinematic high point for Clooney during his days as Dr. Doug Ross (and the high point of J. Lo’s career, period).
Sarah Michelle Gellar
Hit Show: Buffy the Vampire Slayer
Concurrent Movies of Note: I Know What You Did Last Summer, Simply Irresistible, Cruel Intentions, Scooby-Doo
Her movies weren’t always works of art (or, OK, even decent), but with the help of her title role on the beloved Buffy, Gellar was in the late ‘90s the go-to actress for young, angsty female roles in mainstream movies (i.e., I Know What You Did Last Summer and Cruel Intentions). And Scooby-Doo at least made her a good amount of money. Hopefully.
Almost Everyone on Saturday Night Live
It is well-known that Saturday Night Live is largely a stepping for its cast members on their way to bigger and better things (read: movie stardom); at this point, it’s almost a rite of passage to launch a successful movie career shortly before exiting the sketch-comedy show. Current cast member Kristen Wiig is an anomaly in that she has an absolute blockbuster movie under her belt (this summer’s Bridesmaids), yet she has not confirmed that she will be departing SNL to capitalize on the momentum. The formula is well-documented, though: Everyone from Eddie Murphy (48 Hrs. and Trading Places while on SNL) to David Spade (Tommy Boy) and many in between and since have released a big movie during their “residence” and left because of said big movie soon thereafter.