In Hollywood, it’s not uncommon for the stars to meet on set and fall in love. Usually, it’s the leading man making the leading lady swoon. But actors and actresses aren’t the only ones who wind up together. Sometimes, it’s the director who gets the girl.
Kate Beckinsale and Len Wiseman
Getty Images/Kevin Mazur
Prior to her marriage, Beckinsale had been in a relationship with actor Michael Sheen for 8 years. But on the set of Underworld in 2003, she fell for her then-married director, Wiseman. The following year they were married. All parties involved, except Wiseman’s first wife, have said there was no infidelity. The couple have remained friends with Sheen, who starred alongside Beckinsale in Underworld. Aside from that franchise, Wiseman has also cast Beckinsale in his film, Total Recall.
Judd Apatow and Leslie Mann
Getty Images/Rich Polk
These two met on the set of the 1996 comedy film, The Cable Guy, which Apatow was producing. Since their 1997 marriage, Apatow has cast his wife in: The 40-Year-Old Virgin, Knocked Up, Drillbit Taylor, Funny People, and This Is 40. Not only has his spouse appeared in his films, but their two daughters, Maude and Iris, have made it into a few films as Mann’s on-screen children.
Milla Jovovich and Paul W.S. Anderson
Getty Images/Jun Sato
This couple met on the set of Jovovich’s most popular film, Resident Evil, in 2002 which Anderson was the director and producer for. The two dated first then had a child in 2007, before getting married in 2009, all while continuing to work on the franchise that brought them together. Anderson isn’t the first director Jovovich has wed. In 1997 she married her The Fifth Element director, Luc Besson, but divorced him two years later.
Kate Capshaw and Steven Spielberg
This Texas-born actress met Spielberg when she was cast as the female lead in Indiana Jones and the Temple of Doom, the prequel to Raiders of the Lost Ark, in 1984. The two married in 1991, after Spielberg’s controversial and costly divorce from his first wife, Amy Irving.
Helena Bonham Carter and Tim Burton
WENN/Adriana M. Barraza
The pair first connected during filming Planet of the Apes in 2001. While they’ve never actually gotten married, they’ve been a couple for the last 13 years and have 2 children together. Burton is not shy from having his partner in his films; Carter has appeared in: Big Fish, Corpse Bride, Charlie and the Chocolate Factory, Sweeney Todd: The Demon Barber of Fleet Street, Alice in Wonderland, and Dark Shadows.
Judd Apatow was honoured with an Icon Award by bosses of the Paley Center for Media in Los Angeles on Monday (10Mar14). The Knocked Up director and producer was joined by his actress wife Leslie Mann and their daughter Iris to receive the award.
Samuel L. Jackson and the Backstreet Boys were among the stars who came together in Los Angeles on Thursday (25Apr13) to help Seth Rogen raise more than $400,000 (£250,000) for an Alzheimer's disease charity. The Knocked Up actor and his wife Lauren Miller oversaw the second annual Hilarity for Charity bash, which they set up to raise funds for the Alzheimer's Association in honour of Miller's mother, who was diagnosed with the condition at the age of 55.
Comedian Kevin Hart took to the stage for a stand-up set, during which he joked about his recent DUI arrest, but the evening took a sombre turn when Samuel L. Jackson opened up about his own mother's battle with Alzheimer's prior to her death last year (12).
He told the audience, "I have the potential to be one of the people you're raising money for. It's a pretty devastating disease... but (those who have it) can also be very funny. I enjoyed her life and I'm glad I had her. You're all here and you're all going to be able to do something for a lot of people."
The Backstreet Boys provided the musical entertainment, performing a number of their hits, and Rogen revealed his director pal Judd Apatow had promised to match up to $15,000 (£9,375) in donations from the evening.
An email sent from Apatow to Rogen read, "If you don't donate, I will keep my money and spend it on private jets and Botox for my children. (Daughter) Maude has a wrinkle between her eyes I would like to smooth out, and Iris has some crow's feet that look terrible on 10 year olds."
Rogen joked, "He's had a lot to drink, so I just hope this is legally binding."
In Hollywood, you can take a swing at a performer's dramatic chops, comic timing, musical talents, or difficult reputation — all fair game. But there's one thing you never say about a showbiz resident: they're too old. Such a cardinal sin was undertaken by one Stevie Nicks, whose developing biopic has attracted the likes of Reese Witherspoon to headline. Entertainment Tonight relays Nicks' declaration of 37-year-old Witherspoon as "too old" for the part.
Nicks had previously named Witherspoon as the ideal choice to depict her in a movie, but the cruel hands of time have skewed the 64-year-old singer/songwriter's opinion. "I’ve already told her she’s almost too old," Nicks said during the premiere for her documentary film In Your Dreams. Of course, there was no malice in the music artist's statement — Witherspoon, apparently, agrees entirely. "I love her," Nicks continued, "but she’s like, 'I could play your mother.' I’m like, 'Okay.'"
So, if Witherspoon is indeed saddled as Stevie's mother Barbara Nicks (that exchange is as good as a contract, right?), then what actress should we look forward to as the Fleetwood Mac affiliate? Exactly how young do we want to go? Kristen Bell young? Jennifer Lawrence young? Sally Draper young? Does anyone know if Iris Apatow is available?
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Movie-goers remember This is 40 stars Debbie (Leslie Mann) and Pete (Paul Rudd) as the argument-prone and slightly dysfunctional couple in the 2007 hit Knocked Up. Now, five years later, with many titles and an endless supply of comedic ideas, Judd Apatow (The 40-Year-Old Virgin, Superbad) is gifting fans with a “sort-of sequel” and focusing more deeply on the lives of these two hilarious characters.
However, this is not Apatow’s first sort-of sequel, fans were treated to a more in-depth look of Russell Brand’s character Aldus Snow in Get him to the Greek after meeting him in Forgetting Sarah Marshall, both of which were produced by Apatow. Hollywood.com recently sat down with the writer/producer/director and asked what other characters Apatow would like to revisit. And fans of Superbad and Pineapple Express now have license to rejoice! Apatow has heard your cries and agrees that revisiting any of those beer-hungry teens or marijuana-loving adults would be a fun new adventure.
The quick-witted Apatow then revealed another sort-of sequel idea: “Or I’d like to know where Dewey Cox is right now. We could do a spin-off about Dewey Cox’s wife. Where’s Kristen Wiig's character from Walk Hard?” he said.
Check out our full interview with Apatow below to learn more about the history behind the movie’s Lost debate, and why the director is encouraging his daughters (and stars of This is 40) Maude and Iris to scream at each other. Plus ever wonder what happened to Knocked Up’s Ben and Allison?
You can catch all the hilarity of This is 40 in a theater near you.
Would you like to see a Superbad sort-of-sequel? Happy to know that Ben and Allison have has more kids? Tell us your thoughts in the comments below!
Follow Leanne on Twitter @LeanneAguilera
[Photo Credit: Universal Pictures]
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Note: This article contains spoilers regarding the endings of both This Is 40 and Lost.
Judd Apatow continues his trend of cataloguing life’s dips and peaks with This Is 40, his revival of Knocked Up supporting characters Pete (Paul Rudd) and Debbie (Leslie Mann). Here, the pair is charged with the central task of exemplifying the middle age: money problems, troublesome family members, a deterioration of their romantic relationship... and, above all, Lost. While the spotlit couple deal with issues like attempting to cut the perpetual cash flow to Pete's needy father (Albert Brooks), and shooting away to brief vacations in the effort to revive their sensual passions, the pair's middle school-aged daughter Sadie (played by Apatow and Mann’s daughter Maude) undertakes her own emotional arc. It doesn't much have to do with her entry into puberty, her chaotic relationship with her younger sister (Iris Apatow), or the Tom Petty-lookalike (Ryan Lee of Super 8) who makes her a target of his Internet bullying. In fact, it has to do entirely with Lost, and her wide-eyed experience binge-watching the ABC drama for the first time on her iPad.
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At the beginning of the movie, we learn that Sadie is quite a ways through the island series, nearing the hotly contested finale with vigor, when her parents put a cork in the household's Internet access. Sadie is forbidden from watching any more Lost; Pete and Debbie are concerned about how obsessed their daughter has become with the show. As the movie carries forth, Sadie vocalizes heated complaints about her parents' decision, growing anxious over her lack of narrative closure (they cut her off with only a few episodes to go). Sadie lashes out against Pete and Debbie, identifying Lost as a complex and important emotional saga, and defending it against her father's preferred television choice of Mad Men. It's fair to say that the vast majority of Sadie's dialogue at least revolves around, if not delving into explicit and lively detail on, Lost.
Even with the pop culture reference pandemic that has overtaken the film and television industry, it is unprecedented for a movie to devote such a large amount of its screentime, not to mention emotional revenue, to a separate piece of contemporary fiction. A This Is 40 viewer could argue that Sadie's entire character arc revolves around her watching of the show. The adolescent daughter of Pete and Debbie enters our lives with one clear-cut mission: to complete the ABC series. Her primary conflict arises when her parents deny her this right. Emotional turmoil overtakes Sadie in this chapter of the story, launching her into manic tangential scenarios such as a pattern of escalating fights with her affectionate younger sister, and aforementioned digital face-off with a seemingly insensitive classmate. But even with enough meat to stand independently, both of these side stories — likewise Sadie's uneasy relationship with her estranged maternal grandfather (John Lithgow) — are satisfied by the impassioned young lady's lifted prohibition. At last, she triumphs in concluding the six-season drama, bawling openly to her father about the fates of her favorite characters. "They were all dead," Sadie cries, hoping to transmit the significance of this horror to an uninterested Pete. Her world is upside down.
VIDEO: Megan Fox, Paul Rudd Are Funny...In their Underwear The Lost finale is one of much contention among fans and critics of the show. The oppositional camp is a highly populated community of those dissatisfied with a "cop-out" conclusion that fails to answer the slew of questions propagated over the years. It seems, at first, that Sadie might subscribe to this philosophy. Mourning the loss of Jack, Sawyer, et al, Sadie appears unnerved by the apparent meaninglessness of it all, unable to identify how she might tackle the confusing elements of her own life in light of the near certainty that in the end, none of her own mysteries will find solutions. But whether Sadie knows it or not at this point, the Lost finale speaks to her. The Sadie we see following her first run through Lost's final episode begins to show a new appreciation for the very thing her series has suggested to be the ultimate priority: the people around her. In the final act of the movie, the post-finale chapter for Sadie, she begins to extend new olive branches to figures whose enmity she once cherished. Her younger sister Charlotte, once a detested nuisance, becomes her friend and accomplice. Her bully Joseph, a sworn enemy with whom she traded scathing insults, earns what is suggested to be romantic affection. And even her grandfather Oliver, a stranger initially distrusted by Sadie, is afforded her investment as a new member of her family. Yes, the Lost finale (whose supportive camp is one at which I've worked as head counselor for the past two summers) shirks the answers to some of the show's captivating science-fiction and fantasy riddles. But in doing so, it only upholds the theme that life itself is bound to disappoint in this avenue. We will always be wanting for answers, certainties, a semblance of meaning. But what we can, and should, direct our attention to is the importance of the people around us. The love we feel for them, the substance they have brought to our lives. Each relationship we have is unique, and for better or for worse, a contributing factor to who we are. The people around us are what matter most, and that is what Lost, and its newest supporting camper Sadie, understand.
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Sadie's final scene in This Is 40 pits her among a conglomerate of her conflicting parties Charlotte, Joseph, and Oliver, in her household's living room, treating them each to their first go at the Lost finale. Without the context of the bulk of the series at their disposal, the significance of Jack's drooping eyelids as he lies enlightened in that island brush — evading the dastardly fate of "dying alone" (a theme so fervently illustrated by the show) thanks to the doting company of the all-important character of Vincent the yellow lab — seems to fall short of their grasp, with Oliver especially vocalizing his wanting confusion. But Sadie's satisfaction this time around is palpable. All that the passengers of Flight 815 has was each other. And as Sadie now understands, all she has are the people in her life: her often grating but sincerely loving parents, her classmates and friends (even the Tom Petty-looking ones), her extended family (a community into which she is willing to welcome Oliver), and, creating the most touching relationship in the whole movie (especially to anyone who grew up with a sibling), her younger sister Charlotte. These people, more than anything else that might have distracted and corroded her throughout the movie, are what matter. And thanks to Lost, she learns with newfound drive to love and appreciate them. And this is a truth — the one certainty we might actually land upon in this vast, mysterious island series of our own — to which we should all adhere. After all, you know the old saying: we live together, or we die alone. [Photo Credit: Universal, ABC] 'This Is 40': Judd Apatow on Staying Relevant and P.T. Anderson's Love of 'Heavyweights' From 'This Is 40' to Hitchcock to 'Wolverine': A Brief History of Spin-off Movies Wait, Paul Rudd is Over 40? 16 Stars Who Don't Age - GALLERY You Might Also Like: 20 Hottest Bikini Bodies of 2012: Megan Fox and More! Honey Boo Boo vs. Kardashians: An Xmas Card Showdown
Apatow's latest film is a family affair as it stars not only his wife, Leslie Mann, but their two daughters - Maude,15, and Iris,10 - who reprise their roles from the comedy's prequel Knocked Up.
The sequel was nerve-wracking for Apatow as he was terrified the youngsters would suddenly decide they hate acting and walk off set, leaving him high and dry.
He says, "I'm afraid that they're gonna want to leave. Like, literally just go, 'I want to go home and watch SpongeBob! You can't make a c**ppy movie with your family. That's really embarrassing."
It's hard to blame Judd Apatow for being ambitious.
In a big screen genre known for pandering to the lowest common denominator the producer of the great Bridesmaids and Superbad has taken his directorial opportunities to challenge viewers with comedy. His stories are homegrown and heartfelt tackling life with a baby in Knocked Up and the definition of success in Funny People. That pair paved the way for This Is 40 a film that feels even more like an adaptation of Apatow's secret journal. He seemingly crams every idea he's got about aging parenting and nurturing a family into the movie spinning his musings into script form for frequent collaborator Paul Rudd and actual wife Leslie Mann to bring to life. Apatow evokes plenty of laughter with This Is 40's wry and honest insight unfortunately diluted by a girth of material. Energetic and sharp in the beginning but as time passes the shtick gets old.
Bumped up from supporting characters to full-fledged leads Rudd and Mann evolve their Knocked Up characters Pete and Debbie into 40-year-old parents pretending to have everything figured out. They even have themselves convinced Pete certain that his investment in the first Graham Parker & the Rumour album since 1980 will spark Debbie chasing her own business prospects while basking in her modern nuclear family. But it's far from perfect with Pete and Debbie's relationship maxing out their kids coveting Lost more than the company of each other and their dads — Pete's a money-grubber (played by Albert Brooks) and Debbie's an estranged man living another life (John Lithgow) — only turning up the heat on the boiler. The bubble quickly pops for the couple who spend most of This Is 40 wrestling with life and bickering their way in and out of situations.
There is a lot of funny stuffed into This Is 40: Lena Dunham and Chris O'Dowd jump in on the riffing as Pete's record label employees Jason Segel returns as a personal trainer and Megan Fox and Charlyne Yi play Debbie's clothing store employees. Each actor has a distinct voice to add to This Is 40's mosaic of setups. Individual bits stand out as some of the funniest of the year. They also divert attention from the ups and downs of the main duo — O'Dowd and Segel's pursuit of Fox at a party the actresses knowing full well she's the best looking woman in the room is great fun. Yi brings down the house with an extended defense of her drug habits (her rambling turns "Oxycontin" into "Oxykitten " and it's brilliant). But the laughs are fleeting. This Is 40 is supposed to be Pete and Debbie's story but it drowns with excess like two seasons of television crammed into two hours.
Thankfully Rudd and Mann are as charming as any comedically inclined performers today. Alongside them are Apatow's own children Maude and Iris Apatow who play the couple's kids. But Pete and Debbie's tendency to throw up their arms in frustration as opposed to confronting their issues is infuriating. Apatow finds truth in the meandering conclusions of the duo's fights but it doesn't make for a great movie. Rudd and Mann at least make it relatable and palatable even when Pete is inspecting his nether regions for hemorrhoids or Debbie is running off to a club with her young employees to briefly flee her marriage. Brooks is the real standout of This Is 40; his lovable schmuck is biting and essential to the main story. Heck there's enough going on in Brooks and Rudd's relationship they could have had a movie all their own (and maybe they will considering This Is 40 is a "semi-sequel").
This Is 40 takes a risk on free form storytelling falling short with parts that are greater than the whole. Apatow is a master of telling stories that infuse raunchy comedy and thoughtful drama. With his fourth feature he decides to tell too many of those stories at once. It doesn't work but again it's hard to blame him for being ambitious.
If the adult relationship comedy Friends with Kids felt like a slightly more grown-up extension of the blockbuster Bridesmaids, then This Is 40, an adult relationship comedy is the slightly more grownup extension of Knocked Up with elements of Friends with Kids and Bridesmaids in there. (In that, a few of their cast members also appear in this.) Got all that?
One of the most notable differences in the latest trailer for This Is 40 — Judd Apatow's sorta sequel to his 2007 smash hit Knocked Up following supporting couple Pete (Paul Rudd) and Debbie (Leslie Mann) — is that it gives more screen time to its tremendously impressive supporting cast including Jason Segel, Albert Brooks, John Lithgow, Robert Smigel, Melissa McCarthy, Chris O'Dowd, and Megan Fox, more or less reviving her role in Friends with Kids as the young sexpot (here, in nothing but her skivvies) reminding everyone else just how old they are.
While the film, which hits theaters on December 21, doesn't seem to stray too far from the crowd-pleasing Apatow factory (heck, there's even another hotel drug trip scene here a la Knocked Up) it does seem like the writer/director learned one crucial thing from his Funny People dramedy misstep: make your leading man likable. And let's face it, there's no one in Hollywood more likable (or adorable) than Rudd, even when he's playing Words with Friends on the can or sticking a starfish down his underpants. Watch the second trailer for This Is 40 — which also features Apatow and Mann's real-life daughters Maude and Iris growing up right before our eyes (s**t, we're all going to be 90 before we know it, aren't we?) — here: Follow Aly on Twitter @AlySemigran [Photo credit: Universal Pictures]
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Judd Apatow is growing up. The first memorable feature film that the multi-hyphenate wrote was Heavyweights, about the joys and perils of early adolescence (particularly as an overweight boy). For all of its silliness and cheap laughs, Heavyweights is not too insincere a representation of life at age 12 and 13. Not long after, Apatow gave the world what might well be the most authentic televised depiction of suburban high school life in America, era notwithstanding: Freaks and Geeks. Then came the equally proficient Undeclared, about college life. Most recently, there was Knocked Up, which not only took on the subject matter of unplanned pregnancy, but also captured the visage of twentysomething-hood as well as any recent film has. And now, Apatow hands the world his long-awaited sequel to Knocked Up: This Is 40.
The movie stars Knocked Up supporting characters, married couple Debbie (Leslie Mann) and Pete (Paul Rudd), who are entering their 40s. The trailer kicks off with Debbie pronouncing a list of goals and lifestyle changes that she wants to set forth as a combat to aging. Although this seems at first to be a disappointment to the viewer, suggesting that Apatow might be narrowing the scope of the story by limiting his characters to a specific "bucket list" of sorts, it turns out to be more of a spiritual affirmation on Debbie's part than a literal one. Her only real declaration is that she wants to live her life better. She wants to feel differently, happier. She wants to feel younger. In this, the film looks to be just as Apatow as any of its predecessors. Grand in scope, somewhat vague in plot, but very captive of and true to its topic. And, as with its predecessors, this topic is just another stage of life that everyone can (or will, eventually) relate to.
Check out the trailer, and keep an eye out for other Knocked Up returners, like Jason Segel, Tim Bagley, and the young Maude and Iris Apatow, as well as Bridesmaids stars Melissa McCarthy and Annie Mumolo.
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