#Lindsay Lohan filmography

[reportwire]

(Not) Falling For Shitmas

(Not) Falling For Shitmas

There’s a famous line from Sunset Boulevard said by Joe Gillis (William Holden) that goes, “Sometimes it’s interesting to see just how bad bad writing can be. This promised to go the limit.” Needless to say, that’s the only clear motivation for watching the utterly uninspired in title (in addition to content) Falling For Christmas. And while most Netflix movies (imitating Hallmark ones) of this…

[acosmicdisappointment]

— mallory jade.

is that RENEÉ RAPP? oh, no, that’s MALLORY JADE WATSON, a TWENTY-FIVE year old SINGER/FORMER CHILD ACTRESS (GONE WILD) who uses SHE/HER pronouns. they currently live in VALPARAÍSO, and the character they identify with most is SANTANA LOPEZ FROM GLEE. hopefully they find their own little paradise here in el país de los poetas!

BASICS.

FULL NAME. mallory jade watson NICKNAME(S). mallory jade (NEVER JUST JADE), mallory, mally, mal AGE/BIRTHDAY/ZODIAC. 25 / june 10th / gemini SEXUALITY. chaotic lesbian BIRTHPLACE. los angeles, california HEIGHT. 5'7" EYE COLOR. blue ILLNESSES/CONDITIONS. a chaotic and mean lesbian TATTOOS/PIERCINGS/SCARS. standard lobe and upper lobe piercings, double helix, has a little tramp stamp, a cheeky tattoo, a scar on both knees, right shin, and left elbow FC. reneé rapp

PERSONALITY.

blunt headstrong fiercly loyal and supportive overconfident judgmental bitchy

HER-STORY.

— Born into a family with a deep-rooted history in the industry (ehem nepo baby), Mallory was destined for stardom. With her cherubic face and natural talent, she quickly became a household name, starring in hit TV shows and movies. She was known as ‘Jade Watson’ back then (Lindsay Lohan, Miley Cyrus and Amanda Bynes filmography claim). — However, as Mallory transitioned into her teenage years, the pressures of fame began to take their toll. Growing up in the spotlight, Mallory struggled to navigate the complexities of adolescence under the watchful eyes of the public. — She felt like she couldn’t breathe with all the pressure of being a celebrity. Mallory couldn’t fully express her true self, as she was boxed in a stereotype of being the 'good girl’. — At 18, Mallory started to rebel against the image that had been carefully crafted for her, yearning for the freedom to explore her own identity. Inspired by the rebellious characters she portrayed on screen, Mallory began to embrace a more daring persona thus choosing to go by Mallory instead of Jade.* (Jade is a good luck stone while the name Mallory meant 'unlucky’; the irony really) — Somewhere in the middle of all that, she fell in love with her female co-star and best friend. It was sort of a chemistry off the charts kind of thing. I’m talking about them going out together, posting cutesy things and then people shipping them. Mal kinda misread all that and fell in love.  — I’m talking down bad, like she wrote a song about them. Finally, she gathered the courage to confess, hoping her love would be reciprocated and then this girl was like ‘whaaaat?’ and maybe laughed at her face. So yeah, poor baby girl was heartbroken has never been the same. — This was when Mallory decided to leave behind acting and just focus on making music (Reneé Rapp, Chappell Roan, and Miley Cyrus discography). She became a little reckless from the heartbreak and thus began the string of multiple scandals. — She had a string of short-lived, intense relationships. Mallory was a serial ghoster, always running away from any hint of commitment in fear of what happened before. She would ignore her own feelings, burying them beneath layers of bravado and sass. — She thrived on drama and excitement, always seeking out the next big thrill. Mallory was fiercely independent and unapologetically herself. She refused to be boxed in by society’s expectations, instead forging her own path, consequences be damned. — Her parents decided that it was best if she stayed away from the spotlight and lay low, making her move to Valparaíso while they try and clean up her mess. And there she was living her most unapologetic life in the region.

EXTRAS.

to read to see to listen

HEADCANONS.

— certified girl kisser™ — would be the type to randomly ask "do you wanna make out?" or "are we about to kiss right now?" (will keep you guessing if she's serious or not) — had her first (and last) boyfriend at the age of 13, immediately knew boys didn't do it for her — a MASSIVE flirt and would call everyone a pet name (she has a hard time remembering names so this is easier) — is a serial GHOSTER and absolutely doesn't want to commit — can't cook for shit (will always eat you out) — always gets hurt on her birthday (it's a reneé rapp canon as well) — her facial expressions are enough to tell you how she's feeling

WANTED CONNECTIONS/PLOTS.

going ghost! — what's more awkward than seeing someone you pulled a vanishing act on fun silly little girl time — friends she can just let loose with i'm your biggest fan — someone who remembers her as a child actress and is a fan of her work (both now and then) more tbd! my dm's open if you wanna plot!

[themomsandthecity]

Lindsay Lohan Shares the "Fitting" Movie She's Most Excited to Show Her Son

Lindsay Lohan has appeared in dozens of films over the course of several decades, and yet, she's never really played a mom - unless, of course, you count "Freaky Friday." Instead, it seems Lohan held out for the real thing: the actor welcomed her first child, a son named Luai, in July 2023 with her husband, Bader Shammas. "The family is over the moon in love," her rep told PS at the time. Now, Lohan is approaching her first Mother's Day. Ahead of the holiday, Lohan has partnered with Tommee Tippee on a social campaign to celebrate the child-care brand's relaunch. This comes on top of an already busy year: she recently starred in two rom-coms as part of her ongoing movie deal with Netflix, with a third, "Our Little Secret," expected later this year. She also made a much-suspected cameo in the "Mean Girls" musical movie. Earlier this year, it was also confirmed that a "Freaky Friday" sequel was in the works at Disney, with Lohan and Jamie Lee Curtis both reprising their roles. Even so, Lohan is prioritizing family at the moment - and she said as much in an email interview with PS ahead of Mother's Day. Ahead, Lohan discusses her parenting style, what she's learned from motherhood, and the movie in her extensive filmography she's most looking forward to showing Luai. PS: Have you discovered any unexpected talents or strengths since becoming a mother? Lindsay Lohan: Lifting things, I also work out more to focus on building more muscle in my upper body. Also, I feel you develop a new kind of multi-tasking becoming a mother. PS: What's been the greatest lesson you've learned in motherhood so far? LL: Prioritizing what's most important. PS: Are there any specific lessons from your own childhood that you're applying to your parenting style? LL: I was a playful baby and kid so we always want to always surround our son with happiness and positivity. PS: You've partnered with Tommee Tippee ahead of their relaunch. What are your favorite products from the brand? LL: The Natural Start Silicone Bottle because Luai loves to hold that one it's comfortable for him and I don't have to worry if he plays with it and it falls because it's soft. PS: How would you describe your parenting style? LL: I'm pretty hands-on with Luai. I like to build a routine. I'm a playful mom. Now that Luai is getting bigger, we love to finger paint and do music time and sports time. PS: How has having a child changed your relationship with your partner? LL: It's added even more joy to our lives. The time the three of us have together is indescribable. I am smiling all the time. PS: Which movie of yours are you most excited to show Luai? LL: He loves to be outside and watch the cars drive by. He is into playing with his toy cars, so I think "Herbie: Fully Loaded" will be fun and fitting to show him. PS: Do you have any favorite mommy bloggers or parent influencers you enjoy following? LL: I don't follow anyone. I think everyone has their own parenting style, but it's always interesting to see and hear other perspectives. At the end of the day, it's comforting to know that as parents we want to do the best we can to provide a happy and safe environment for our children. Related: Jesse Sullivan and Francesca Farago Talk "Surreal" Pregnancy Journey - Additional reporting by Kelsey Garcia --- Taylor Andrews is a lifestyle editor at PS who specializes in topics relating to sex, relationships, dating, sexual health, mental health, and more. In her six years working in editorial, she's written about how semen is digested, why sex aftercare is the move, and how the overturn of Roe killed situationships. --- https://www.popsugar.com/family/lindsay-lohan-motherhood-interview-49361249?utm_source=dlvr.it&utm_medium=tumblr

[thefashionvibesofficial]

'There's already a plot': Lindsay Lohan wants to star in 'Freaky Friday' sequel

‘There’s already a plot’: Lindsay Lohan wants to star in ‘Freaky Friday’ sequel

After a big comeback to the cinema with the actress’s new movie, A Christmas to Remember, which features many references to her cult movie Mean Girls, Lindsay Lohan has apparently decided to jump in and revive the culture of the 2000s to its fullest. This time, the actress remembered another important picture in her filmography – “Freaky Friday”. A still from the movie “Freaky Friday” A source…

[hoochy-coo]

Talking about Kristen, i love actors who have diverse filmography like this, idk if this make sense. I feel the same way about Anne hathaway, having the devil wears prada and princess diaries in your catalog is exceptional. Having iconic movies in your filmography is good rather than have a bunch of Oscar bait movies = this is my opinion of course. Lets me add lindsay lohan too!!

It’s called having BOTH range and clout. The casting directors know you can act and they know you can pull an audience so they’re gonna cast you no matter the genre

[uomo-accattivante]

This is a great article about how The Card Counter managed to finish principal photography after getting shut down mid-March due to COVID-19.

Also, it includes this interesting description from Paul Schrader about Oscar Isaac’s character, William Tell -- “So now I have a character and he’s in his room, he’s alone. And he has a mask on. And the mask he wears is a professional poker player. And the problem that runs alongside him is that he is a former torturer for the U.S. government. So it’s a mix of the World Series of Poker and Abu Ghraib.”

Having somehow weathered his way from enfant terrible to wizened survivor, Paul Schrader is a filmmaker who is simply not finished yet. Every time it might seem his career is on the wane, he resets, revitalizes and comes back again.

Just a few years after his 2014 film “Dying of the Light” starring Nicolas Cage was taken away from him by financiers — leading Schrader to disavow the movie — he received his first Oscar nomination (for original screenplay) after directing “First Reformed,” which was released in 2018 and starred Ethan Hawke as a troubled small-town minister.

Schrader’s work is marked by emotional intensity, intellectual vitality and an aesthete’s appreciation of style. His filmography is full of unusual corners that are still being discovered. The 1979 film “Old Boyfriends,” directed by Joan Tewkesbury with a screenplay by Schrader and his brother Leonard, was recently rereleased on home video. As was the 1990 film “The Comfort of Strangers,” directed by Schrader from a screenplay by Harold Pinter.

He’s been directing films from his own scripts since 1978’s “Blue Collar” starring Richard Pryor, Harvey Keitel and Yaphet Kotto. He went on to write and direct such films as “Hardcore,” “American Gigolo,” “Mishima: A Life in Four Chapters,” “Light Sleeper” and “Affliction.” His celebrated work as a screenwriter for director Martin Scorsese includes “Taxi Driver,” “Raging Bull,” “The Last Temptation of Christ” and “Bringing Out the Dead.”

Never one to shy from controversy onscreen or off, he directed Lindsay Lohan in the 2013 Hollywood-set thriller “The Canyons,” written by Bret Easton Ellis.

In March, Schrader was about three-quarters through the shoot for his next film, “The Card Counter,” in Mississippi — with a cast that includes Oscar Isaac, Tiffany Haddish, Tye Sheridan and Willem Dafoe — when the production was shut down due to the growing pandemic. In July, Schrader was able to shoot for an additional five days to complete production.

During the break in shooting, “The Card Counter” was picked up for distribution by Focus Features.

Schrader recently got on the phone to talk about the unusual circumstances of the film’s production and completion. A film critic before he became a filmmaker, Schrader not only had startling insights into his work, but also thoughts about what filmmaking and exhibition might be like in a post-COVID world.

Before we start talking about the production on the movie, could you just describe the story? What is “The Card Counter” about?

Well, I don’t want to get too deeply involved in the plot, but what I will say is over the years I’ve kind of developed my own little genre of films. And they usually involve a man alone in a room, wearing a mask, and the mask is his occupation. So it could be a taxi driver, a drug dealer, a gigolo, a reverend, whatever. And I take that character and run it alongside a larger problem, personal or social. It could be debilitating loneliness like in “Taxi Driver.” It could be a midlife crisis like in “Light Sleeper.” It could be an environmental crisis like in “First Reformed.”

So now I have a character and he’s in his room, he’s alone. And he has a mask on. And the mask he wears is a professional poker player. And the problem that runs alongside him is that he is a former torturer for the U.S. government. So it’s a mix of the World Series of Poker and Abu Ghraib.

How did you come to put those two things together?

I’m always looking for that. I’m looking for deep-seated problems, either personal or societal, and some kind of oddball metaphor. The more you get closer, you run these two wires next to each other, the more sparks you see flying across. And it’s in the sparks that the viewer comes alive. If the wires ever touch, there’s nothing left for the viewer to do. But if you keep these two wires really close to each other, the viewer will start to spark from one wire to the other. And that’s the greatest thing you can give a viewer or a reader, an opportunity to be part of the creation.

Let’s talk about the production and everything you’ve been through. Take me back to March. What was it like for you when the production had to shut down?

I have learned in my dotage how to make a quality film on a low budget. So the film I used to make in 40 days I now make in 20. And so “First Reformed” was 20. I had shot in Biloxi 15 days. Now I knew coronavirus was going to be rising, because when I heard that Macau shut down, I said, you know, it’s just a matter of time. Macau is the wealthiest gambling center in the world and I’m here in the gambling center of the Gulf. If Macau shuts down, it’ll reach Vegas, it’ll reach here. And we were doing a scene, a poker tournament with 500 extras. And I remember I said to the A.D., “We can’t put 500 people in a room without one of them being positive.” And sure enough, one of them was. Two days later, we not only closed down, all of the Gulf was closed down.

Fortunately, when I went back, I had shot my big crowd scenes. And also I had shot my sex scenes, which I would have hated to try to do under these restrictions. So all I had left when I went back was a number of scenes in the prisons, and four more scenes in the casinos, some driving scenes. So I was in pretty good shape. But I really wanted to finish the film.

And Oscar Isaac, he was on his way to Hungary to do reshoots for “Dune.” And he wanted to put off this reshoot till after “Dune” — to do it in September because he has a big beard and he didn’t want to shave off his beard. I said to him, “Oscar, there’s a window open right now in Mississippi.” I said, “If we don’t jump into this window while it’s open, this will become one of those famous films that never got finished, and we’ve got to exploit this moment.”

So I talked him off the ledge and he agreed to do it. And we were able to put everybody back together and do our week of prep and five days of shooting. It was very strange, and in a way it was kind of fun, in a summer camp sort of way. But I would hate, hate to make a whole film this way. It was an adventure for five days, it’s a nightmare for five weeks.

In the break from March to July, were you on high alert that you could come back at any moment? Were you editing the footage you already had?

Here’s what happened. I was editing. My editor is in New Jersey and my assistant editor is in Tennessee, so we’re all editing virtually. And I had four major dialogue scenes between my principal characters that I had not shot. Then I was able to screen virtually the film for a number of people I respect, like Scorsese, who is the executive producer, like [filmmaker and programmer] Kent Jones and other people. And what I asked them all is, “I have four more scenes to shoot. I can rewrite them. What am I missing? What do I need to add? How should I write these four scenes?”

And I started getting feedback about what they felt was missing. So I was able to rewrite these scenes and make these relationships much better. And not all productions get to do that. It’s a very expensive reshoot, but it was built-in that three-quarters of the way through, I have an opportunity to rewrite one-quarter of the meaningful character scenes. So I did, I rewrote it. And I realized what was missing. And I wouldn’t have realized that if I was shooting at the top. I would have only realized that in post. And I would have walked around the room kicking myself in the ass, saying, “I wish I had the opportunity to reshoot some scenes.”

How was getting everything back together?

As soon as Mississippi allowed us to come back, we came back. And of course nobody’s working, so everybody’s eager to come back. They are hyper-conscientious because they know they are only being allowed to work by the grace of God. And so the masks and the PPE and the hands and the distancing, you don’t need to tell any of the people this. They’re so happy to be at work. They have no problem with any of that.

You can only have one person within six feet of your actor at a time. That person could be hair, it could be makeup, it could be props, it can be the director, it could be another actor. And you kind of queue up. And a thing that I realized, we had a warehouse. So we did rehearsals for every scene in this warehouse. And I told the actors that when we get to the location, to the casino, the prop people will be in there, the lighting people will be there and then you will walk there with your mask on, and you will take the positions that you took in rehearsal. Then I will roll camera and you will take your masks off and we’ll play the scenes. So that’s how we did it.

Given everything that it takes to get to shooting, once you were back on set with the actors, did you still feel like they could give you the performances that you needed? Was it difficult to get to a place of artistic creation given all the other concerns that everyone has?

Because they had done the rehearsals, they had gone through the permutations of their performances before. So the only thing different for them was that they were in a real space rather than a fake space. As I explained to them, there would be no time for exploration on set. All the exploration you are going to do, we’re going to do here in the warehouse. I don’t want to hear one peep from you about changing anything once we get into this hothouse environment. So however many hours we have to spend in the warehouse, let’s spend it.

How close to finished are you with the movie now, considering you had a lot of it already cut together?

Basically, I’m finished, down to an hour and 49 minutes, which is where I think it should be. Obviously, I have to do the score, there’s the post-prod and the special effects, but the thing is that there’s no pressure to finish the film anymore at this time. I was talking to Focus, and I could give them the film in a month. They don’t want the film in a month because they don’t know what to do with it in a month. They said, you just take whatever time you need, which is the opposite of the way studios usually talk. I also have final cut, so it doesn’t really matter. What I deliver, I deliver.

When you made “The Canyons” you talked a lot about your feelings regarding the theatrical experience, VOD and streaming and contemporary filmmaking. What impact do you think the COVID shutdowns will have on movie theaters?

There’s a certain kind of film like “The Canyons,” which should be made for VOD, which is a kind of exploitation film. And there’s another kind of film like “First Reformed” that has to be mounted by film festivals and art-house cinemas, so that it has an identity prior to VOD. So if you’re on VOD and you see an Ethan Hawke film about a minister, you’re not going to say, “Oh, let’s watch that.” No, what you’re going to say is, “Oh, I heard about that film. I heard it was good.” Well, how did they hear it was good? They heard that from film festival reportage and they heard from their friends who have seen it at theaters. So that sets up VOD.

The opposite case is a film like “First Cow,” a film that was crushed by not having a theatrical window. And everybody is, “Should I watch ‘First Cow’?” They have no context. So what’s important for a film like “The Card Counter” is we have to give it context. We have to go to the festivals and we have to go to the art cinemas to tell people what we have in our hands. Then we can go to VOD, where the real money is. So “First Reformed” went to Telluride, Toronto, Venice and New York. That set the table. I would love to set the table for this one. I can go to all those festivals. That’s not a problem for me anymore. The problem is: Are festivals going to happen?

Do you think theaters are going to come back?

Not in the way they did. There are only four reasons for theaters to exist anymore. And this situation has accelerated these trends. Like symphonies and operas and live theater, concerts, they need a reason to exist. One reason is family cinema, because parents love to see their kids interacting with other kids. Animation films will always have an audience. Another is extraordinary spectacle. IMAX, virtual, whatever they come up with. Something you can’t see at home. The third is date movies for high schoolers, which is horror and rom-coms. Or rather, dirty rom-coms.

And then the fourth is club cinema. Which used to be called art cinema. But with these new institutions that are a combination of social institutions and cinematic institutions. So the Metrograph in New York has one restaurants and two bars. There’s more square footage devoted to eating and drinking than there is to watching movies. And yet it’s always full because people want to be in that environment. So then alcohol’s become the new popcorn. And those club cinemas, which were pioneered by Alamo, they will continue to exist because people want to be part of the club, people want to buy a membership. They want to eat and hang out, and they want to know which films have been approved by the club. Which is something you cannot get from VOD.

When “First Reformed” was coming out, you spoke about how you had made it thinking it could be your last film. And yet you seem so reenergized over the last few years. Do you feel that way? Have you been able to hit the reset button in some way?

Oddly, yes. I’m in the middle of a new script, which is about a horticulturalist. And what has happened in my case, following the disastrous situation I went through with “Dying of the Light,” I said, I would no longer work unless I had final cut. And once I got final cut, I was free. When I began, you didn’t really need final cut. When I was working in the studio system, all those other films, you were working with people who knew movies, who liked movies. Who you can talk to, you could disagree with — things would get changed, sometimes they’d get better, sometimes for worse in your mind, but you were working with people who liked movies, who watched movies. In the last 15 years, I’m dealing mainly with financiers, who not only don’t watch movies, don’t even particularly like them. And how can you have discussions with these people? And that’s what final cut freed me from, because I realized I couldn’t talk to these people. I wasn’t talking to [studio executives like] Barry Diller and Thom Mount and Ned Tanen anymore. I was talking to Joe Schmo from some hedge fund and I couldn’t talk to Joe Schmo. The only way I could talk to him was to have final cut.

I’m certainly excited to see what becomes of “The Card Counter.”

The new one is quite good. Focus told me not to hump it too much because that’s their job down the line. But you can take my word for it, it’s quite good.

###

[bitter69uk]

Recently watched: Inconceivable (2017). Tagline: “The perfect family. Perfect friends. A perfect surrogate”. 

This low-budget hysterically bad infertility exploitation melodrama stars Nicolas Cage, Gina Showgirls Gershon and scary diva Faye Dunaway as Cage's mother. I know what you’re thinking: what a cast – except it could have been even better! One of the lead roles (the scheming villainess) was originally conceived for Lindsay Lohan! (They went with a nondescript Australian soap opera actress instead). Had the producers stuck with Lohan, Inconceivable would probably be embraced as a modern camp extravaganza with a cult following rather than completely forgotten today. Anyway, Inconceivable cleaves very much to the tradition of eighties and nineties hagsploitation / “psychological thrillers” like The Hand that Rocks the Cradle (or in fact, The Temp which starred Dunaway herself!) but with the generic made-for-TV appearance of a Hallmark or Lifetime production. 

Points of interest: watch for Nicolas Cage's ink-y jet black dye job, which gives him that that aging male Goth look redolent of late-period Nick Cave or Marilyn Manson. And his indifferent performance couldn’t be more “phoned-in!” Poor  Gershon does most of the heavy lifting in terms of acting and at least tries to muster some recognizable human emotions. Regarding the imperious La Dunaway: she apparently broke her leg just before production - so the filmmakers worked around it by only filming her always sitting down. You never see her standing or walking at any point. I won't comment on Dunaway’s wonky plastic surgery but the huge equine veneers on her teeth make her slur and lisp her lines. 

Fun facts: Inconceivable was filmed at the breakneck speed of just 15 days and was scripted by Zoe King – the daughter of trash auteur Zalmon King, responsible for 1980s softcore faux-erotica like Wild Orchid (1989) starring Mickey Rourke. Inconceivable represented filmmaker Jonathan Baker’s directorial debut – and he’s never been entrusted with making a follow-up since! His grandiose IMDb profile makes for fun reading (it begins “Jonathan Baker has always been enthralled by smart storytelling and larger-than-life figures, taking inspiration from greats like Ernest Hemingway to guide his own sensibilities as a writer, producer, director and adventurer.” One of his personal quotes claims “I can wave my hand and make the impossible happen.”). And in an act of vanity, Baker made the executive decision to cast himself in a supporting role! As the damning Hollywood Reporter review concludes: “the aptly titled Inconceivable is something that both Nicolas Cage and Faye Dunaway will want to leave off their filmographies, and at this point that’s saying something.” Inconceivable is FREE to view on Amazon Prime – as it should be!

[1995lahaine]

cowards will say the 80s were the peak of high school movies as if the final destination franchise and lindsay lohan’s entire filmography don’t exist...

[jlertle]

SASHA GREY from V Magazine on Vimeo.

“For my film portrait of Sasha Grey, I wanted to focus on her expressive and psychological transformation into a cinematic actor, separate from the cues that have associated Sasha with her previous career as a performance artist working within the adult film world.” –Richard Phillips

Shot on location at the John Lautner Chemosphere House off Mulholland Drive, the film showcases Sasha as a perpetually evolving figure. Costume designer Ellen Mirojnick (“Basic Instinct,” “Fatal Attraction,” “Wall Street,” “Wall Street: Money Never Sleeps”) dressed Sasha for the part in an array of lingerie and military inspired garments to highlight the dual nature of her masculine / feminine persona. Looking over the roadside from the vantage point of one the most legendary residences in modern and cinematic history, Sasha reflects on her relationship to the San Fernando Valley landscape- the location of some of her most noted adult performances. Back inside the circular vortex of the Chemosphere, Sasha's inner dialogue projects an equally diaristic and imaginary self-portrait that pushes beyond the extremes of her past filmography and into her new future.

“Sasha Grey,” along with Phillip’s first short film, “Lindsay Lohan,” will be included in "Commercial Break," presented by the Garage Center for Contemporary Culture, Venice, Italy, June 1 - 5, 2011, concurrent with the 54th international exhibition of the Venice Biennale.

SASHA GREY A Richard Phillips Film

Directed by: Richard Phillips and Taylor Steele Director of Photography: Todd Heater Costume Designer: Ellen Mirojnick Creative Director: Dominic Sidhu Art Director: Kyra Griffin Editor: Haines Hall Color mastering: Pascal Dangin for Boxmotion Music: Chelsea Wolfe

About Richard Phillips

Phillips’ strikingly distinctive paintings are drawn from found imagery that deal with the marketability of man, his wishes, ideas, actions, identity, sexuality, politics, and desires. Images he translates into drawings and then paintings executed through a traditional process. In doing so, he makes use of the iconic quality of pictures, which the media and art use daily – each according to its own agenda. Perhaps more so than any other contemporary painter of his kind, Phillips’ imagery has achieved a level of pop recognition outside of the artworld with fashion, media and film collaborations, including Gossip Girl, MAC Cosmetics, The Art Production Fund, Visionaire, and a recent guest judge appearance on Bravo’s new TV series “Work of Art: The Next Great Artist”. Phillips’ most recent exhibition, Most Wanted at White Cube in London, features ten larger than life celebrity portraits set against red carpet step and repeat backdrops.

Born in Massachusetts in 1962, Richard Phillips lives and works in New York City. He has exhibited extensively throughout the U.S. and Europe including Gagosian Gallery, New York; the Kunsthalle Zürich; Le Consortium in Dijon; Max Hetzler, Berlin; and White Cube in London.