Pharrell Williams added another major honour to his trophy cabinet on Friday (04Jul14) after picking up the Raymond Weil International Award at the O2 Silver Clef Awards in London. The Happy hitmaker was honoured for his most recent hits, which also include Robin Thicke's Blurred Lines and Get Lucky, his collaboration with Daft Punk.
Other winners at the prestigious lunchtime gala included former Led Zeppelin guitarist Jimmy Page, who picked up the O2 Silver Clef Award, Sir Tom Jones, who was presented with the Sony Mobile Lifetime Achievement Award and Black Sabbath.
In addition to the prizegiving event, the awards ceremony also serves as a charity for Nordoff Robbins, which provides therapy to adults and children suffering from various diseases and conditions.
Prizewinner Page says, ''I played on the original Silver Clef show that was way back at Knebworth, which had Cliff Richard and Pink Floyd and I played with Robert Plant there. I went to the Nordoff Robbins centre the other day and they told me that the centre was established from that charity concert, so that was really nice to find out.
"When I was at the centre I met someone who was a recipient of the work the charity is doing and it was quite a moving experience I have to say. When you see the results that they get you can see it's what you always believed music could do. Music is a great communicator... Music has a power.''
The 02 Silver Clef Award Winners are:
Pharrell Williams - Raymond Weil International Award
Paloma Faith - Royal Albert Hall Best British Act Award
Giorgio Moroder - American Express Innovation Award
Gareth Malone - PPL Classical Award
Laura Mvula - Jack Daniel's Best Newcomer Award
Sir Tom Jones - Sony Mobile Lifetime Achievement Award
Chas & Dave - Investec Icon Award
Black Sabbath - AEG Live Ambassadors of Rock Award
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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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.
When you hear the phrases "sexual addiction" and "that guy from The Rocker" teamed together, you're ordinarily going to prepare for a comedic result. But Stuart Blumberg is a magician who aims to thwart everything you believe the be true.
Josh Gad, who you'll recognize from movies The Rocker and Love and Other Drugs and from the Jon Stewart-approved Broadway musical The Book of Mormon (and hopefully the upcoming film adaptation), is slated to join the new dramedy Thanks for Sharing. The film will be the directorial debut for Stuart Blumberg, who wrote The Kids are All Right, The Girl Next Door and Keeping the Faith to varying degrees of quality (and humor).
Gad's role is suspected to be a soulful and dramatic one, as a matter of fact, which will be a departure for the actor. Furthermore, it seems that Blumberg is getting more and more dramatic as the years go on. Keeping the Faith was a pretty upbeat whimsy. The Girl Next Door, while more than anything else a comedy, had its share of sincerity (I don't care what you say, Roger Ebert, I liked that movie). And last year's The Kids are All Right was a family drama, albeit primarily a light one. One consistency in each of these films, as well as in Thanks for Sharing, is that sex is a theme in the forefront. But of course, that could mean anything.
Joining Gad in Blumberg's film are Tim Robbins, Mark Ruffalo, Gwyneth Paltrow and Joely Richardson.
Sara Ramirez is about to trade in her scalpel for a bouquet. Ramirez and her boyfriend, Ryan Debolt, are officially engaged! This won't be the first time this Grey's Anatomy star will walk down the aisle though. A month ago her character, Callie Torres, married her on-again, off-again love interest and fellow doctor, Arizona Robbins on the show. But now fantasy is about to become reality. Perhaps the couple will even steal a few wedding ideas and tips from that episode (please have Dr. Bailey officiate the ceremony). Might I suggest a little less pink for Ryan's sake.
Where did Ryan pop the question? A spokesperson for Ramirez confirmed, "Sara Ramirez and her longtime partner, Ryan Debolt, are thrilled to announce their engagement, which took place in Paris, France, on June 17, 2011." They don't call Paris the city of love for nothing! Congrats to the happy couple! Let the wedding planning begin!
Source: E Online
I’m pretty sure Tim Robbins is insane, but in the best way possible. This is pure speculation, but I’m pretty sure I’m correct. We shouldn’t lock him up or anything drastic like that, let’s keep him out in the wild while he’s not hurting anyone. I just think there's something abnormal going on between those ears.
What that has to do with his latest project, Thanks for Sharing, is that the film revolves around people in a 12-step sex addiction program in New York. And sex addiction is insane! See, it all ties together. Anyway, Robbins joins Mark Ruffalo in The Kid’s Are All Right writer Stuart Blumberg’s directorial debut. Hopefully this means we’ll at least get one scene of Robbins recounting a particularly steamy and/or weird sexual escapade while the rest of the group looks on in awe and/or disgust. Fingers crossed!
Source: Hollywood Reporter
You've got to admire Guillermo Del Toro's ability to multitask. The Mexican writer, producer and director is infamous for having a number of creative projects in the works at any one time, and right now, right this second is no exception. In addition to preparing The Hobbit with director Peter Jackson and At The Mountains of Madness with producer James Cameron, Del Toro has just joined the Jim Henson Company and Pathé to produce Pinocchio, a 3D stop-motion animated adaption of the Carlo Collodi fairy tale that will be far "edgier" than the original 1940 Disney animated version.
Yes, you can go ahead and roll your eyes if you must -- it's another "darker" and "edgier" adaptation/remake/reboot of a classic film -- but if we can't have faith in the creative mind of Guillermo Del Toro, who can we believe in?
“There has to be darkness in any fairy tale or children’s narrative work, something the Brothers Grimm, Hans Christian Anderson and Walt Disney understood,” Del Toro said. “We tend to call something Disney-fied, but a lot of people forget how powerfully disturbing the best animated Disney movies are, including those kids being turned into donkeys in Pinocchio. What we’re trying to do is present a Pinocchio that is more faithful to the take that Collodi wrote. That is more surreal and slightly darker than what we’ve seen before.”
Del Toro's Pinocchio was conceived with script-writer Matthew Robbins and inspired by storyteller Gris Grimly's unique vision of the classic Collodi fairytale, published in 2002. Grimly, a Los Angeles-based artist, will co-direct along with Mark Gustafson, the animation director for Wes Anderson's 2009 stop-motion feature Fantastic Mr. Fox. Production is set to begin later this year with famed Australian rock artist and film composer Nick Cave on board as a music consultant.
“We’ve designed key frames and characters, we know the mood and the feel, we’ve created a bible,” said Del Toro, who released several design photos from the planning stages of the production. "Shooting stop motion animation takes a lot time, but we’ve got the right team and I will be there for daily or weekly updates on how it’s going." Check out the photos below to get a feel for the dark, whimsical style that Grimly and Del Toro have in mind for Pinocchio, and let us know what you think in the comments.
Ryan Reynolds' upcoming film Green Lantern has become a star-studded affair -- Tim Robbins and Peter Sarsgaard have signed on to play father and son in the film.
Robbins will play Senator Hammond in the Martin Campbell film and Sarsgaard his villainous son, Dr. Hector Hammond.
Based on the DC Comics superhero, the movie will begin filming in New Orleans in March, according to The Hollywood Reporter.
Reynolds will play Hal Jordan (aka the Green Lantern) in the movie.
(c) 2009 WORLD ENTERTAINMENT NEWS NETWORK LTD. All global rights reserved. No unauthorized copying or re-distributing permitted.
Hollywood power couple Susan Sarandon and Tim Robbins have split after 23 years together.
The actors began dating in 1988 after meeting on the set of Bull Durham.
They never married but went on to have two children -- sons Jack Henry, 20, and Miles Guthrie, 17.
Confirming the news to People.com, her representative Teal Cannaday says, "Actress Susan Sarandon and her partner of 23 years, actor Tim Robbins, have announced that they separated over the summer.
"No further comments will be made."
(c) 2009 WORLD ENTERTAINMENT NEWS NETWORK LTD. All global rights reserved. No unauthorized copying or re-distributing permitted.
On Emmy night the only place filled with more glittery winged statuettes than the trophy room at the ceremony was HBO’s annual after party, thanks to a series of sweeping victories – 26 in all – by the pay cable network’s programming, including the miniseies John Adams, the telepic Recount, the drama In Treatment and the comedy Entourage.
West Hollywood’s Pacific Design Center served as the epicenter for HBO’s bash, converted into a swanky, sprawling blue-green Brazillian-themed party palace as a sea of stretch limos deposited an increasingly starry contingent of Emmy-toting actors, writers, directors and producers, as well a dozens of famous faces from film and television.
Appropriately for a glitzy blowout filled with free-flowing champagne and low-cut gowns, the gang from Entourage led the party pack: Adrian Grenier greeted In Treatment star Gabriel Byrne at the door and congratulated him on his Emmy victory effusively, along with Curb Your Enthusiasm’s Ted Danson and Mary Steenburgen; Kevin Dillon and Jerry Ferrara huddled up with the show’s upcoming guest star Jamie-Lynn Sigler, the only member of The Sopranos family on hand; Kevin Connelly belied up to the bar alongside Stacy Keibler; and dapper Jeremy Piven worked the room with a stogie in one hand and an Emmy in the other before DJ RAVIDRUMS invited him to the platform high above the dance floor to play the drums for an appreciative crowd of stars that included the show’s sexiest guests, Emmanuelle Chriqui, Malin Akerman and Carla Gugino who swayed to the Piv’s beat.
The octogenarian “Mr. Warmth” himself, Don Rickles, held court at a table by the door alongside his shiny Emmy, circled by a crowd filled with HBO’s comedy superstars Larry David, Bill Maher, Cynthia Nixon, Jeff Garlin and Flight of the Conchords' Jemaine Clement and Brett McKenzie. Baby mama Amy Poehler parked her pregnant frame in a nook near the outdoor patio overlooking a specially created candlelit “pond” while hubby Will Arnett fetched food for her.
John Adams executive producer Tom Hanks and his wife Rita Wilson cruised in with the latest addition to his already impressive trophy mantle, and Hanks told Hollywood.com that even with his abundance of awards each honor had special significance to him. Looking at each honor, “you go back and remember all of the people that were working on it with you,” Hanks said.
The Hanks fam slipped out early, just missing the miniseries’ Emmy-winning stars Paul Giamatti and Laura Linney, and as the night wore on the celebrity wattage only increased, with appearances by Jamie Foxx, Kevin Spacey, Teri Hatcher, Felicity Huffman, Michael C Hall, Susan Sarandon and Tim Robbins, Tina Fey, Denis Leary, Mary-Louise Parker, John Krasinski, Hayden Panettiere, Sally Field and Lost-ies Daniel Dae Kim, Harold Perrineau, Jr. and Michael Emerson.
The party raged on into the wee hours – even Los Angeles Mayor Antonio Villaragosa took a turn on the drums! – and even after spending hours squeezed into her Christian Laboutin shoes all day, Kate Walsh danced the night away as long as she could. “I’ve gotta work tomorrow,” she lamented, “but not too early.”