Rhianna Reviews Moneyball

Gaga waxes poetic on pearls and baseball within the March problem of V Magazine: "I lay lower around the plane back from Japan, throwing around some dashi, fondling my pearls. I viewed the film Moneyball the very first time. I started to laugh and smile as [Kaira] Pitt spoken romantically about the overall game. I all of a sudden imagined that my pearls were tiny-small baseballs. Whenever a player hits a house run, the baseball is flung into an abyss of enigma and screams so excellent. It travels to date that only rarely is a caught within the bleachers. Where do these balls go? Where do each one of these wins get enveloped? Could they be inside a heavenly baseball land going swimming for gamers who pass to spot? Or will they disappear?" [V Magazine via Deadspin]

Losts Emilie De Ravin To Co-Star In ABCs Drama Pilot Americana

EXCLUSIVE: Lost alumna Emilie de Ravin is set to co-star in another ABC drama series project, pilot Americana, a soap about a famous fashion industry clan. It centers on iconic fashion designer Robert Soulter (Anthony LaPaglia), the patriarch of a sprawling family who just welcomed a new member, a young designer whose shocking arrival turns the family and the legendary label inside out. De Ravin, repped by Gersh and manager Darren Goldberg, will play Robert’s chic and outgoing daughter Francesca who is the head of events at Americana but Robert doesnt consider her a candidate for the heir to his empire, which may have treacherous consequences. Michael Seitzman wrote the script, with Phillip Noyce, who helmed the pilot for ABCs Revenge last year, directing. Seitzman, Mark Gordon and Nicholas Pepper executive produce for ABC Studios and the Mark Gordon Co. De Ravin is currently in business with ABC and ABC Studios — she recurs on their hot freshman drama Once Upon A Time as Belle. On the feature side, she most recently starred opposite Rob Pattinson in Remember Me.

Max Von Sydow on Oscars, 'Extremely Loud & Incredibly Close'

Max Von Sydow on Oscars, 'Extremely Loud & Incredibly Close' By Jessica Gardner February 16, 2012 Photo by Blake Gardner Max von Sydow is a little intimidating. Not only does he tower over everyone in the room and have a deep, distinctive voice, but he's also one of cinema's most acclaimed actors, having spent 63 of his 82 years making films. The intimidation factor may also have something to do with the characters he's played over his long career. There are the religious figures: Jesus in "The Greatest Story Ever Told," Father Merrin in "The Exorcist" and "The Exorcist II," and Reverend Abner Hale in "Hawaii." Then there are the villains: Ming the Merciless in "Flash Gordon," G. Joubert in "Three Days of the Condor," and Lamar Burgess in "Minority Report." His baritone was even used in "Ghostbusters II" as the voice of evil Vigo the Carpathian.However, upon meeting the Oscar nominee for "Extremely Loud & Incredibly Close," one immediately senses his warmth, class, and love for the craft of acting. He says he loves diving into the psyche of the surreal characters in his repertoire. "To me, part of the fascinating profession of acting is to participate in all these strange situations," he says, "to try to understand all these interesting characters, fictitious or real, their human nature. It's extraordinarily fascinating."Born in 1929, the Swedish actor was raised with parents uninterested in theater. They were from strict Lutheran families and believed that actors were untrustworthy and shouldn't be dealt with. In the city of Lund, Skne, Sweden, where he grew up, there were no theaters. "There were a couple of cinemas," he remembers. "But I was not taken by movie acting or movie actors to begin with, really." A city close to his hometown, Malm, opened a municipal theater, and his school sent the students to watch a performance of "A Midsummer Night's Dream." Seeing the play changed his life. "It was magnificent," von Sydow remembers. "It made a profound impression on me." After that, von Sydow made every attempt to see all the shows at the Malm Municipal Theatre. Soon after, he and a group of his classmates started a theater society at their school. "We were inspired," he says. "We started doing plays without any professional assistance at all. Not even teachers. It was just us. We were 16, maybe 17 years old, and we were doing the plays of [August] Strindberg, Pr Lagerkvist, Hjalmar Bergmanit was a very exciting place. I decided I wanted to be a theater actor, and that was it." In 1948, Von Sydow auditioned at the Royal Dramatic Theatre in Stockholm. "Three different characters from three different plays," he says. He was accepted and spent three years studying there before going on to work for years at a string of municipal theaters. Von Sydow believes that working at these theaters was the best possible acting training he could get. "You were not hired to play a part unless you were a star," he says of the Swedish theater system. "As a young actor, you were hired to work at a theater and play whatever part they would give you. They kept you working. You rehearsed for a month and a half, and then it played for a month and a half." Von Sydow got to perform a wide range of partsfrom comedy to tragedy, from lead to extra. He worked constantly, and not just in the theater. "If you ever had some free time, there was the radio station, which also did theater productions. So maybe you woke up early in the morning, rehearsed at the radio for two hours, then to the theater to rehearse another play during the day, performed in a school production around five o'clock for an hour or two, and then performed in the regular show at night."Von Sydow believes the best way to learn acting is to act. "You cannot study acting in books," he insists. "Do it, do it, do it. And watch good actors. See what they are doing and how they are doing it. You have to practically participate, I think, in order to develop yourself."When it comes to his method of acting, von Sydow says that it's all about finding his character's intentions. "First of all, I think it's a matter of finding out what does he intellectually want to do," he says. "Why does he enter this story? Does he want to or does he not? Maybe he's forced into it, but why? Then it is a matter of finding out, for every scene where he appears, why he appears in this scene. Why does he participate? When I know what the character I'm supposed to play wants in general terms, and when I know what did the other characters want to do, that's when all these wills collide and the emotions show up."The Bergman Connection In 1955, von Sydow was asked to work at the Malm. He jumped at the chance. There he began working with director Ingmar Bergman. "I did two productions for him that first year, and then we filmed 'The Seventh Seal' in the summer," he says. "Then we just went on and on." In "The Seventh Seal," von Sydow portrays a medieval knight who asks questions of the Grim Reaper as he plays chess with him during the Black Plague. The film was an international hit, introducing Bergman and von Sydow to the world. The two continued to collaborate on films such as "Wild Strawberries" and "The Virgin Spring."For von Sydow, working with Bergman was his favorite experience from his lengthy career. "It was my most important experience, no doubt," he says. "It was very special, I was very privileged, and I'm very grateful for all the wonderful opportunities that he gave me. It was also a period of learning, experimenting, and developing. He gave young people wonderful opportunities, and he was a great inspiration for everybody. Sometimes he was difficult, of course, and there were some people who had great difficulties working with him, but most of us were very spoiled by him."Incredibly Moved After von Sydow read Eric Roth's script for "Extremely Loud & Incredibly Close," he didn't hesitate to accept the part. He loved the character of The Renter and was profoundly moved by the story. Even though The Renter had no spoken lines, von Sydow prepared as he would with any other role. "He's a totally normal person," he says of the character. "The only difference is that he doesn't speak audibly. He still says things; he just [writes them on paper]. Because of that there was no reason to change my acting style."Most of von Sydow's scenes were with 12-year-old newcomer Thomas Horn, who was asked to audition after being seen by producers on "Jeopardy!" Kids Week in 2010. According to von Sydow, director Stephen Daldry's experience working with children on the stage and screen versions of "Billy Elliot" was immensely helpful in preparing Horn. "Thomas became a professional really quickly," he says. "He's brilliant, this boy. Very intelligent, very quick to pick up what has to be done, and a great memory also. It often happened that we had new lines in the morning, and he knew them in no time. He had a long monologue in our first scene together in the grandmother's kitchen. He tells his story, a monologue of eight minutes, which he delivered with an intensity and precision that was extraordinary. And he did it many times. Very good. I admire him, and he has a good sense of humor." That's high praise coming from an actor as imposingand incredibleas Max von Sydow.Max von Sydow on Stage Versus Screen "Film work can be very interesting, but it also can be awfully boring because who creates the film? The actors? No. It is the director. It's his piece of work. If he's a great director, he can form his actors to do interesting things, but you are there, you come for three days, or three weeks, or a month, and then all the rest of the time you have no idea what's going on with the production. You don't participate. You're not invited to. It is the director's vision. His creation. In the theater, it's so different because you are invited. You read the play together, you do the blocking together, you are there, and you participate every day. You solve problems together, and you interact. The director is there to help you and to sort the good things out of the bad things. It's teamwork in a totally different way than film work is. After you shoot a film, you go away and maybe you're cut out of scenes you've done which you think were good. That can be very disappointing. But theater, you are there and you deliver directly to your audience. You work together with the audience. That's acting."The Quotable von Sydow Max von Sydow appeared at a Q&A between two of his films as part of a Feb. 6 special event presented by American Cinematheque at the Aero Theatre in Santa Monica. Back Stage film and television editor Jenelle Riley hosted the sold-out discussion following a screening of "The Seventh Seal" and preceding a showing of "Extremely Loud & Incredibly Close." Also in attendance were many fans of von Sydow's 1980 film "Flash Gordon," in which the actor played villain Ming the Merciless. One audience member prefaced his query by saying, "I've been waiting 30 years to say this to you: 'Hail Ming!' " Von Sydow was a good sport, as he was when another audience member asked him about a quote from "Hannah and Her Sisters" in which his character rages against fundamentalist preachers. The actor rattled off the line perfectly, beginning with "Third-rate con men telling the poor suckers that watch them that they speak with Jesus, and to please send in money!" When von Sydow finished, Riley was prompted to beg, "Now do 'The Exorcist'! Come on, just one 'The power of Christ compels you!' " Von Sydow laughed but declined to repeat the line.Outtakes Was nominated for an Oscar in 1988 for his lead role in "Pelle the Conqueror"Lives in Paris and has four sonsHas appeared in the films "Robin Hood," "Shutter Island," "Rush Hour 3," "Judge Dredd," and "Hannah and Her Sisters" and on TV on "The Tudors" as Cardinal Von Waldburg Max Von Sydow on Oscars, 'Extremely Loud & Incredibly Close' By Jessica Gardner February 16, 2012 PHOTO CREDIT Blake Gardner Max von Sydow is a little intimidating. Not only does he tower over everyone in the room and have a deep, distinctive voice, but he's also one of cinema's most acclaimed actors, having spent 63 of his 82 years making films. The intimidation factor may also have something to do with the characters he's played over his long career. There are the religious figures: Jesus in "The Greatest Story Ever Told," Father Merrin in "The Exorcist" and "The Exorcist II," and Reverend Abner Hale in "Hawaii." Then there are the villains: Ming the Merciless in "Flash Gordon," G. Joubert in "Three Days of the Condor," and Lamar Burgess in "Minority Report." His baritone was even used in "Ghostbusters II" as the voice of evil Vigo the Carpathian.However, upon meeting the Oscar nominee for "Extremely Loud & Incredibly Close," one immediately senses his warmth, class, and love for the craft of acting. He says he loves diving into the psyche of the surreal characters in his repertoire. "To me, part of the fascinating profession of acting is to participate in all these strange situations," he says, "to try to understand all these interesting characters, fictitious or real, their human nature. It's extraordinarily fascinating."Born in 1929, the Swedish actor was raised with parents uninterested in theater. They were from strict Lutheran families and believed that actors were untrustworthy and shouldn't be dealt with. In the city of Lund, Skne, Sweden, where he grew up, there were no theaters. "There were a couple of cinemas," he remembers. "But I was not taken by movie acting or movie actors to begin with, really." A city close to his hometown, Malm, opened a municipal theater, and his school sent the students to watch a performance of "A Midsummer Night's Dream." Seeing the play changed his life. "It was magnificent," von Sydow remembers. "It made a profound impression on me." After that, von Sydow made every attempt to see all the shows at the Malm Municipal Theatre. Soon after, he and a group of his classmates started a theater society at their school. "We were inspired," he says. "We started doing plays without any professional assistance at all. Not even teachers. It was just us. We were 16, maybe 17 years old, and we were doing the plays of [August] Strindberg, Pr Lagerkvist, Hjalmar Bergmanit was a very exciting place. I decided I wanted to be a theater actor, and that was it." In 1948, Von Sydow auditioned at the Royal Dramatic Theatre in Stockholm. "Three different characters from three different plays," he says. He was accepted and spent three years studying there before going on to work for years at a string of municipal theaters. Von Sydow believes that working at these theaters was the best possible acting training he could get. "You were not hired to play a part unless you were a star," he says of the Swedish theater system. "As a young actor, you were hired to work at a theater and play whatever part they would give you. They kept you working. You rehearsed for a month and a half, and then it played for a month and a half." Von Sydow got to perform a wide range of partsfrom comedy to tragedy, from lead to extra. He worked constantly, and not just in the theater. "If you ever had some free time, there was the radio station, which also did theater productions. So maybe you woke up early in the morning, rehearsed at the radio for two hours, then to the theater to rehearse another play during the day, performed in a school production around five o'clock for an hour or two, and then performed in the regular show at night."Von Sydow believes the best way to learn acting is to act. "You cannot study acting in books," he insists. "Do it, do it, do it. And watch good actors. See what they are doing and how they are doing it. You have to practically participate, I think, in order to develop yourself."When it comes to his method of acting, von Sydow says that it's all about finding his character's intentions. "First of all, I think it's a matter of finding out what does he intellectually want to do," he says. "Why does he enter this story? Does he want to or does he not? Maybe he's forced into it, but why? Then it is a matter of finding out, for every scene where he appears, why he appears in this scene. Why does he participate? When I know what the character I'm supposed to play wants in general terms, and when I know what did the other characters want to do, that's when all these wills collide and the emotions show up."The Bergman Connection In 1955, von Sydow was asked to work at the Malm. He jumped at the chance. There he began working with director Ingmar Bergman. "I did two productions for him that first year, and then we filmed 'The Seventh Seal' in the summer," he says. "Then we just went on and on." In "The Seventh Seal," von Sydow portrays a medieval knight who asks questions of the Grim Reaper as he plays chess with him during the Black Plague. The film was an international hit, introducing Bergman and von Sydow to the world. The two continued to collaborate on films such as "Wild Strawberries" and "The Virgin Spring."For von Sydow, working with Bergman was his favorite experience from his lengthy career. "It was my most important experience, no doubt," he says. "It was very special, I was very privileged, and I'm very grateful for all the wonderful opportunities that he gave me. It was also a period of learning, experimenting, and developing. He gave young people wonderful opportunities, and he was a great inspiration for everybody. Sometimes he was difficult, of course, and there were some people who had great difficulties working with him, but most of us were very spoiled by him."Incredibly Moved After von Sydow read Eric Roth's script for "Extremely Loud & Incredibly Close," he didn't hesitate to accept the part. He loved the character of The Renter and was profoundly moved by the story. Even though The Renter had no spoken lines, von Sydow prepared as he would with any other role. "He's a totally normal person," he says of the character. "The only difference is that he doesn't speak audibly. He still says things; he just [writes them on paper]. Because of that there was no reason to change my acting style."Most of von Sydow's scenes were with 12-year-old newcomer Thomas Horn, who was asked to audition after being seen by producers on "Jeopardy!" Kids Week in 2010. According to von Sydow, director Stephen Daldry's experience working with children on the stage and screen versions of "Billy Elliot" was immensely helpful in preparing Horn. "Thomas became a professional really quickly," he says. "He's brilliant, this boy. Very intelligent, very quick to pick up what has to be done, and a great memory also. It often happened that we had new lines in the morning, and he knew them in no time. He had a long monologue in our first scene together in the grandmother's kitchen. He tells his story, a monologue of eight minutes, which he delivered with an intensity and precision that was extraordinary. And he did it many times. Very good. I admire him, and he has a good sense of humor." That's high praise coming from an actor as imposingand incredibleas Max von Sydow.Max von Sydow on Stage Versus Screen "Film work can be very interesting, but it also can be awfully boring because who creates the film? The actors? No. It is the director. It's his piece of work. If he's a great director, he can form his actors to do interesting things, but you are there, you come for three days, or three weeks, or a month, and then all the rest of the time you have no idea what's going on with the production. You don't participate. You're not invited to. It is the director's vision. His creation. In the theater, it's so different because you are invited. You read the play together, you do the blocking together, you are there, and you participate every day. You solve problems together, and you interact. The director is there to help you and to sort the good things out of the bad things. It's teamwork in a totally different way than film work is. After you shoot a film, you go away and maybe you're cut out of scenes you've done which you think were good. That can be very disappointing. But theater, you are there and you deliver directly to your audience. You work together with the audience. That's acting."The Quotable von Sydow Max von Sydow appeared at a Q&A between two of his films as part of a Feb. 6 special event presented by American Cinematheque at the Aero Theatre in Santa Monica. Back Stage film and television editor Jenelle Riley hosted the sold-out discussion following a screening of "The Seventh Seal" and preceding a showing of "Extremely Loud & Incredibly Close." Also in attendance were many fans of von Sydow's 1980 film "Flash Gordon," in which the actor played villain Ming the Merciless. One audience member prefaced his query by saying, "I've been waiting 30 years to say this to you: 'Hail Ming!' " Von Sydow was a good sport, as he was when another audience member asked him about a quote from "Hannah and Her Sisters" in which his character rages against fundamentalist preachers. The actor rattled off the line perfectly, beginning with "Third-rate con men telling the poor suckers that watch them that they speak with Jesus, and to please send in money!" When von Sydow finished, Riley was prompted to beg, "Now do 'The Exorcist'! Come on, just one 'The power of Christ compels you!' " Von Sydow laughed but declined to repeat the line.Outtakes Was nominated for an Oscar in 1988 for his lead role in "Pelle the Conqueror"Lives in Paris and has four sonsHas appeared in the films "Robin Hood," "Shutter Island," "Rush Hour 3," "Judge Dredd," and "Hannah and Her Sisters" and on TV on "The Tudors" as Cardinal Von Waldburg

Watch My Show: A Gifted Man's Neal Baer Solutions Our Showrunner Survey

Patrick Dempsey, Caterina Scorsone along with a.T. Langer Unhealthy news: Erica, who were built with a child with Private Practice's Cooper, includes a terminal brain tumor. What's promising: Amelia Shepherd and her your government Derek will reunite to try and save her.Amelia (Caterina Scorsone) will visit Grey's Anatomy's Dallas Sophistication throughout a unique crossover episode, airing Thursday at 9/8c, by which she'll convince Derek (Patrick Dempsey) to help in preserving Erica (A.J. Langer) - something which has so far appeared impossible.Grey's Anatomy's Sandra Oh: Cristina and Owen mind to couples therapy!"We are coming in the situation from this type of host to hopelessness when it comes to Erica's prognosis, that it may only increase came from here,Inch Scorsone informs TVGuide.com. "There's pressure for Amelia to complete the very best job possible, but Erica will die, this is the hard reality that everyone's been coping with with this whole story arc, so even the truth that there is a possibility that they could live is one thing much better than what we should had thought a chapter [ago]."Erica has lengthy opposed the thought of treatment, fearing it might limit her time together with her boy Mason (Griffin Gluck). Also it is not foolproof: The difficult procedure necessitates the surgeons to get rid of the tumor in under 90 seconds. "It truly is a harmful method that they are trying to complete, so Erica's quite shaken because when immediate the choice is," Scorsone states. "She needs to decide inside a very almost no time, and when it does not go well, that's the before she sees her boy, so this is a huge decision for anybody."Exclusive: Paul Adelstein to direct a chapter of non-public Practice"Once she's there, and she's given exactly what the procedure would really entail and just how dangerous it's, also it almost sounds impossible, she's much more bookings about this,Inch adds Paul Adelstein. "The greatest challenge of to Erica is the fact that she still has not told Mason."Erica's situation will even mark the very first time the Shepherd brothers and sisters happen to be together since Amelia's recent visit to rehab. Though Derek didn't have from Amelia's large intervention the 2009 season on Private, her falling the wagon is going to be addressed throughout the crossover. "He's the one that brings up,Inch Scorsone states. "People are complicated and there's lots of history between the pair of them. They have shared good occasions and bad, but ultimately, they've a little of the confrontation about this, but it is resolved within an intriguing and positive way."Pricier Amelia, who embarked to Dallas Sophistication last season, to create a few of the same mistakes again - like sleeping with Mark Sloan (Eric Dane). "There is no time for dilly-dallying," she jokes. "Amelia has lives in order to save!InchThe Grey's Anatomy-Private Practice crossover starts at 9/8c on ABC.

Henry Cavill Up For The Great Wall

But will he leap it in a single bound?After becoming a heroic warrior in Immortals and slipping into Superman's suit for Man Of Steel, it would appear that Henry Cavill is ready to come back to Earth for a bit. He's now in talks to star in The Great Wall.As announced last August, Love And Other Drugs director Ed Zwick has co-written the script with regular scribbling pal Marshall Herskovitz, and it'll look at the mystery behind how China's famous wall was built over the years under different rulers.The original idea for the film was hatched by Legendary Pictures founder Thomas Tull and World War Z novelist Max Brooks, with Tull handing it over to the China-based Legendary East to shove into production.As for what Cavill might be playing in the film? Well, for now that's anyone's guess as no plot details have been released. But there's plenty of history surrounding the structure, which was begun to protect the northern borders of the Chinese Empire in the 5th century BC. It's been changed, demolished and rebuilt several times since then, and we doubt every century will get a look in as that story would likely last several hours.Cavill will next be seen in action thriller The Cold Light Of Day, which gets here on April 6. And then 2013 will bring Man Of Steel, which sees him go up against Michael Shannon's General Zod...

Viggo Mortensen talks Dangerous Method Oscar and BAFTA snub

[brightcove]1020622730001[/brightcove]Total Film sitting lower with Viggo Mortensen today to talk about A Dangerous Method, the Danish-American actor's third collaboration with director David Cronenberg.Mortensen received a Golden Globe nomination for his superb portrayal of Sigmund Freud inside the psychoanalysis-designed period piece, nevertheless the film not successful to earn any nominations for your BAFTAs or perhaps the Oscars.We asked for the prior King of Gondor if he was disappointed the film happen to be overlooked?"[It's been totally overlooked, hasn't it? I used to be particularly surprised about the BAFTA, y'know? It is really an British movie and, well, I guess once i have a look at a number of what exactly are nominated, the fact we didn't even hop on the longlist of 15 candidates... I have to believe that it's due to inadequate people getting seen the film.InchI would hate to think about it absolutely was only a question of general insufficient understanding and inadequate individual imagination for that voters [Smiles]. I'd hate to think about it absolutely was that. I'd have to believe that [an sufficient quantity of them] didn't start to see the movie. [Laughs] I am hoping this is why! Because otherwise it's baffling."So, do nominations mean a great him personally?"Guide people need to visit the film. Basically it's a business factor. Otherwise, it doesn't matter because clearly it's kind of a lottery, isn't it? Kind of a recognition contest that to some degree might be forced by promotion, to be able to a great degree, and again, if people the film they are able to judge."I have to have observed our movie recognised. I'd certainly like David Cronenberg being recognised. I am unsure if he's are you currently nominated for just about any pointing [BAFTA award], I realize he never remains with an Oscar or possibly a Golden Globe that's startling in my opinion still."However don't be concerned about this in any sense aside from, well, to some degree it may be a vindication of his work and our concentrate on the film, nevertheless it helps put people on seats, it can help people the film in movie theaters."If you are in a position to devote your newspaper ad 'Nominated: Best Director' Bafta, Oscar, Whatever, or Actor or Best Movie, clearly when you're identifying what movie you'll probably see Friday or Saturday evening, that does influence people." Think about the entire interview with Viggo Mortensen on TotalFilm.com inside a couple of days.A Dangerous Method opens on 10 February 2012.Read Total Film's A Dangerous Method review.