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keanuquotes · 3 years ago

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i-D Magazine, "The Sound Issue" (UK), April 1993

KEANU ACHIEVES NIRVANA

Interview and Photography by Stephen Hamel. Additional Research by Matthew Collin, David Eimer and Stephanie Dosunmu

Hollywood Sex Symbol, Righteous Dude, Air Guitar Expert, Buddhist? While Preparing for the Forthcoming Film The Little Buddha Keanu Reeves Fell In Love With Buddhist Philosophy. Here He Talks About That "Audacious" Experience...

Keanu Reeves: without doubt, the sexiest young male actor on screen today. However, from the air-guitar-wielding dude in the two Bill and Ted films to the FBI man undercover as a surfer in Point Break, the impressionable young nobleman in Dangerous Liaisons, and, most recently, the unfortunate Jonathan Harker in Bram Stoker's Dracula, Keanu has asked as many questions as he's answered.

First off, why do people (yes, that's girls and boys) find him so irresistible? He's not a Swayze hunk or a clean-cut Cruise or a Jason Priestley dreamboy. Instead, he has this unaffected gawky charm, a loose-limbed posture, a certain wayward innocence; there's something completely uncalculating about his personality that attracts people to him. He'd have been perfect as a leading man in the Hollywood of the '30s with the goofy glamour of a fantasy boy-next-door.

Secondly, can he act, or is he just the Bill and Ted dude surf-speaking his way through parts that are way too weighty for his flimsy talent? Opinions here differ. He was impressive as the wayward son of a businessman potentate in Gus Van Sant's tale of street misfits in Portland, Oregon, My Own Private Idaho, an update of Shakespeare's Henry IV in which he played the middle class kid alongside River Phoenix's narcoleptic drifter, slumming it with the rent boys and drugheads, all the while anticipating the time when he has to embrace the straight world, reject his lowlife friends, put on a suit and take over his dad's role.

Reactions to Francis Ford Coppola's Bram Stoker's Dracula were less positive. Reeves struggles with an English accent, not to mention a wooden role, causing titters in British cinemas with his unintentionally comic renditions of expletives like "blooming" and "bloody."

Born in Beirut in 1964 and brought up in New York and Toronto, he started acting at 15 and had his first role in the forgettable Rob Lowe ice hockey romance flick Youngblood in 1986. Punk aficionado and bass player in the thrashy mutant rock band Dog Star, Reeves' career has, to some extent, been defined by his face.

However, he seems to have escaped the fate of the 'brat pack' of the early '80s -- Charlie Sheen, Kiefer Sutherland, Rob Lowe and Emilio Estevez -- who had bright starts but ended up in dodgy films and straight-to-video no-hopers. Reeves has already gone further: actors say that the three most desirable directors to work with are Bertolucci, Scorsese and Coppola; Reeves has already done two of them. His career could be seen as evidence of the increasing power that young, hip actors have in Hollywood these days. None of the above directors (nor Gus Van Sant, for that matter) have any real box office pull: their films don't make any real money (although Dracula did alright) and they need people like Keanu even if they don't have the same intense talent as Robert De Niro, Harvey Keitel or Christopher Walken.

You could draw a comparison between Reeves and Mel Gibson, who started out strictly as beefcake but escaped the stereotype by taking on risky roles (appearing in Kenneth Branagh's interpretation of Much Ado About Nothing is a step in the right direction for Reeves, rather like Gibson's Hamlet). He's past the stage of taking on roles just because they're there and will probably end up forming his own production company and picking projects more judiciously.

Historically, those actors who the camera and the public love do alright. And although the jury is still out on Reeves' long-term worth as an actor, he's more than bankable and the parts keep coming. This year he'll be starring in Much Ado About Nothing, but the most exciting project on the horizon (it'll probably come out next year) is his role as Siddhartha in Bernardo Bertolucci's Buddhist epic The Little Buddha. Currently blanketed in secrecy, The Little Buddha is a fairy tale set within a contemporary framework. The story of the search for the reincarnation of a dead lama, it contains within it the ancient myth of Siddhartha, the central tale of Buddhism. Siddhartha, born a prince, was cosseted in luxury by his father, before rejecting his privileged enclave to seek spiritual fulfillment. This eventually came after years of fasting and deprivation, while sitting in meditation under a tree, where, finally enlightened, he reached nirvana....

The film, reportedly, will look spectacular. Filmed in Kathmandu and Seattle, it's being made by the same team that produced Bertolucci's visually amazing Chinese dynasty fable The Last Emperor. This is Buddhism for the mass market. But for Reeves, Siddhartha has been more than just another role. "He was a great spiritual, intellectual, social redeemer, a radical," he says with the respectful awe of a novice. "He became a liberator within his lifetime. People took up his practices, his ways." Soaking up Buddhist teachings through books and then, in Nepal, through direct contact with Buddhist lamas, there's a sense that the experience has struck a chord deep within him. "You're just invigorated by them," he says of the lamas. "Even now when I read books I find myself getting energy from them. I feel it going up my spine, up my back. All of a sudden I'll be bolt upright as I'm reading. I'll stay awake longer, I'll be more active. It's very, very cool!"

Reeves was interviewed in Nepal by film-maker and photographer Stephen Hamel, a friend of eight years' standing, just after completing the filming of his part. The conversation shows a more thoughtful, introspective Keanu Reeves than we're accustomed to. "This was a huge thing for him," says Hamel. "He was overwhelmed by this whirlwind of experience that affected him a great deal, made him start questioning himself."

Reeves certainly seems serious about it. You couldn't imagine the Keanu of Bill and Ted's Excellent Adventure talking about dharma -- but that was five years ago. From dude to Buddhist? Perhaps it's still too early to pin Keanu Reeves down.

i-D: How did you get involved with Bernardo Bertolucci and The Little Buddha?

Keanu Reeves: Bernardo had seen My Own Private Idaho and he saw me. I didn't know anything about Buddhism. When I was a kid my mother had Chinese artifacts, so to me Buddha was this big fat smiling guy. I come from a background that is not Christian. My mother is English and has no interest in the church, no Western religiosity. In my life I have searched for and asked about God. I joined a Bible group for a bit when I was 11 but it was boring. We met in New York City in a hotel and Bernardo told me the story of the script. He spoke about the lamas he had met and how he had come from a non-religious background, a disbelieving aspect, and he felt he had met religious men and they infected him, you know? And as he told the story, I was crying, I was very excited to be there. When I said I was crying, I didn't, like, drench my jeans, but I was fucking moist on it because it was very sweet and moving and I was affected by seeing this man affected. I was thinking, my God, this is audacious!

While you were filming Much Ado About Nothing in Italy, you met the actor Brian Blessed, and he helped you out with preparing for The Little Buddha.

There was something about Brian Blessed which made me think that he meditated. He's an actor, he climbed Everest, and there was just something about him that made me want to ask him about the dharma (truth). So I asked him if he would spend some time with me, teach me about meditation. I had to prove to him that I wanted to learn. He taught me a basic, very simple meditation. It was my first introduction to many other experiences, to a magnetism that draws you. Throughout the three months that I've been involved I've had many examples of running into Buddhists out of thin air. Driving to Florence to meet my sister and picking up a hitch-hiker and me just asking out of the blue 'are you Buddhist?' And yes, he was. It's occurred many times. Sometimes I've had moments when it's been a little maddening -- like, leave me alone! Man, these fucking guys! There's a power about them, things get taken care of for them without them asking for it. Higher energies, I guess.

When did you start to get totally immersed in Buddhism, on your first visit to Nepal?

I started to have books shipped out to me whilst I was doing Much Ado About Nothing, and began reading, practicing posture and sitting. The first things I learnt were the four noble truths: suffering, the cause of suffering, the path that leads to suffering, and the sensation of suffering. The Buddhists believe in no 'self.' The 'I' -- what we call the 'ego' in the West -- does not exist.

When I was in Nepal to do the costume fittings I met a 'master', a Rimpoche (Buddhist adept), who was working with Bernardo. I had some sessions with him doing personal training, he gave me a couple of meditations and he spoke to me about basically working on the notion of 'self'; you have to come to terms with that, then move onto subtler, greater aspects, and basically come to compassion and wisdom and happiness.

When I began working with the Rimpoche and dealing with the sense of self and the practices that he taught me. It's terrifying, it's so painful it's terrifying to give up that idea and the whole notion of the 'I' itself. The Rimpoche said to me do not take what I say on faith! Taste it, bite it, test it like gold. That is Buddhism's strength. It's not proselytising. A Buddhist will not make you fucking say 14 Hail Marys before they give you food. It's not about that the principle that has kept me interested in this is that Buddhists are interested in truth. The bottom line is love and compassion and kindness and happiness.

You were obviously very influenced by the Buddhist teachings. Did you want to become a monk?

No, but there was something inside of me that wanted to. There was a part of me that was searching for a vow to take, you know? There is something in you that can put you over the edge and basically it is only now that I am considering Buddhism. I am going to continue to study it.

How did the influence of Buddhism affect you as an actor?

I've trained as an actor for the past ten years: watching myself, asking why do I feel this, what do I feel now, physically learning expressions, trying to delve into the emotional and intellectual aspects of relationships. And this helped me. It's been therapeutic in a sense -- I've been training my mind.

The first shot you did for the film was the scene of Siddhartha's enlightenment. How did you prepare for that?

I just tried to invoke in myself a calm and a vastness. Bernardo had a picture from a book of the facial expression that he was interested in seeing. I would just try and relate to that and conjure it up.

What about the restricted diet you had to eat while you were doing the scene where Siddhartha is naked and starving himself in the forest?

You and I know, I fucking love feasting! Feasting is one of the great joys of life! But in the past couple of weeks we've been doing the mortification scene, so l fasted; I had an orange and ten litres of water a day, it's crazy, things are revealed to you, that's one of the kicks! Siddhartha was this man who was seeking release from old age, suffering and death. He was conquering his body, he was conquering his desires, his cravings, he was testing himself. He thought, 'if I can conquer my desires, I will be liberated'. You should read some Dalai Lama books, he's very eloquent. There's this one book I've been reading recently called Kindness, Clarity And Insight; if anyone wants to have a little taste of any of these things, they should try to read it.

What's the overall tone of the film?

We're doing a fable-istic, emotive and compassionate representation of Siddhartha. That's my view of it. It's trying to push out and magnify the pain that this man felt.

How are Buddhists going to react to this film?

I don't know. I haven't seen the film yet.

Originally the Indian director Satyajit Ray was against the idea of a film about the story of Buddha. There must be other people who think that too.

The film isn't about the story of Buddha. It's a representation of Siddhartha and his life. Bernardo has been very careful about his responsibility. Tradition, ritual and practice is reflected in the film very accurately, and the teaching of the dharma is subtle, rich and deep, and hopefully that will help.

How do you feel about going back to Los Angeles after the filming?

I've come to believe that there is so much ludicrous about America, I can't even believe it! (laughs raucously) Being here (in Nepal) I realise the sewage is so good in America, how we take care of our shit -- the technology is so great, the industry of America is so beautiful. You can see its wonderful, incredible promise -- the potential of a land to really, really help everyone with its ideas and machines, to really fucking help everyone.

When I arrived in Nepal, I'd never ever seen anything like it before in my life. It was amazing. The shock of seeing the culture, the cows everywhere, people brushing their teeth in the street, the bare feet. How did you deal with that?

I had the really bizarre feeling of being very comfortable and not thinking that it was strange at all. It seemed to make sense. I like cows! One of the most amazing things was an evening I spent at a sacred burial ground where they burn the dead. The sun was going down. On one side was a Hindu temple, some monkeys and dogs; on the other side were people praying and the preparations for a cremation. There were children playing around and selling food and the monkeys were playing with the dogs, the river kept flowing and the sun was going down and the whole of life was there. I didn't grow up on a farm, I grew up in the city. As a bourgeois white boy, sometimes you don't get to see the whole thing -- the morning, the joys, the children, the beginning and the end, the respect and the holiness. The feelings that coursed through me were awe, respect and just being a part of it and looking at all these different people. That was, to me, the most affecting time I spent there.

So you're going back to LA in two days.

Whoo hoo! It's hilarious, man, I've had, like, visions in my bathtub, of going home, lying on my lawn and pouring red wine over my head, soaking myself, going 'forget it, I'm just going to be an ordinary guy, just eat and shit and love and do whatever, man!' I'm looking forward to seeing my friends and family and riding my bike, hanging out and reading, eating some crab and relaxing. I shipped all my books home -- I'm very interested in learning more about the doctrines, maybe becoming Buddhist. In the world that I'm in, you just want to talk to your friends, hang out, kick back; it's hard sometimes to see deeper things. All we want to do is be happy, have a sense of ease, comfort and joy. Most of us aren't looking for anything beyond that. We all want pray to something, we all feel that something more is 'out there' sometimes. I know I do. And all this has helped me come into contact with that -- an actual experience of it. And that is cool!

http://www.whoaisnotme.net/articles/1993_04xx_kea.htm

#keanu reeves #Stephen Hamel #article #WINM

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obsessedwiththebatman · 4 years ago

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Joel T. Schumacher

(August 29, 1939 – June 22, 2020) was an American filmmaker. Schumacher rose to fame after directing three hit films: St. Elmo's Fire (1985), The Lost Boys (1987), and Flatliners (1990). He later went on to direct the John Grisham adaptations The Client (1994) and A Time to Kill (1996). His films Falling Down (1993) and 8mm (1999) competed for Palme d'Or and Golden Bear, respectively.

Director of films, including: The Incredible Shrinking Woman, 1981; D.C. Cab, 1983; St. Elmo's Fire, 1985; The Lost Boys, 1987; Cousins, 1989; Flatliners, 1990; Dying Young, 1991; Falling Down, 1993; The Client, 1994; Batman Forever, 1995; A Time to Kill, 1996; Batman & Robin, 1997; 8 mm, 1999; Flawless, 1999; Mauvaises Frequentations, 1999; Tigerland, 2000; Bad Company, 2002; Phone Booth, 2003; Veronica Guerin, 2003; Phantom of the Opera, 2004. Director of television movies, including: The Virginia Hill Story, 1974; Amateur Night at the Dixie Bar and Grill, 1979.

Awards:

National Association of Theater Owners (NATO) ShoWest Director of the Year Award, 1997; NATO ShowEast Award for Excellence in Filmmaking, 1999.

Sidelights

After more than three decades in the film industry, Joel Schumacher has earned a reputation as one of the most respected and well–liked mainstream

Joel Schumacher

filmmakers around. Schumacher's films are glossy; he delights moviegoers with his staggering sense of style. Movie companies love Schumacher as well because he completes his films on time and on budget. Over the years, the costume designer–turned–director has generated a long list of credits to his name, including the 1985 hit St. Elmo's Fire, which helped launch the careers of the "brat pack" kids, including Rob Lowe, Demi Moore, Andrew McCarthy, Judd Nelson, Ally Sheedy, and Emilio Estevez. His biggest blockbuster was 1995's Batman Forever, starring Val Kilmer in the feature role and Jim Carrey as his nemesis, The Riddler. That movie grossed $184 million at the box office. For Schumacher, it is a dream come true. "I'm very lucky to be here," he told Jim Schembri of the Age. "I have a career beyond my wildest dreams. I've wanted to make movies since I was seven. I have my health, I conquered drugs and alcohol.… I've survived an awful lot."

Schumacher was born on August 29, 1939, in New York, New York, and grew up an only child in the working–class neighborhood of Long Island City in Queens, New York. Speaking to the New York Times 's Bernard Weinraub, Schumacher referred to himself as an "American mongrel." Said Schumacher: "My mother was a Jew from Sweden; my father was a Baptist from Knoxville, Tennessee."

When Schumacher was four, his father died. To make ends meet, his mother went to work selling dresses. She worked six days a week and also some nights. "She was a wonderful woman, but, in a sense, I lost my mother when I lost my father," Schumacher told Newsweek 's Mark Miller. By the time he was eight, the unsupervised Schumacher was on the street taking care of and entertaining himself. He found comfort reading Batman comics and spent long afternoons in darkened movie theaters watching Audrey Hepburn and Cary Grant on the big screen. "Those were my two biggest obsessions before I discovered alcohol, cigarettes, and sex," Schumacher told Miller. "Then my obsessions changed a little bit. I started drinking when I was nine. I started sex when I was eleven. I started drugs in my early teens. And I left home the summer I turned 16. I went right into the beautiful–people fast lane in New York at the speed of sound. I've made every mistake in the book."

As a child, Schumacher also dabbled in entertainment. He built his own puppet theater and performed at parties. To help his mother make money, he also delivered meat for a local butcher. Walking the streets, Schumacher became interested in window displays and volunteered to dress the store windows in his neighborhood.

After he left home at 16, Schumacher lied about his age and landed a job at Macy's selling gloves in the menswear department. From there, he became a window dresser for Macy's, as well as Lord & Taylor and Saks. Later, Schumacher worked as a window dresser at Henri Bendel's and earned a scholarship to the Parsons School of Design in New York City. He also attended that city's Fashion Institute of Technology. Next, he worked as a fashion designer and helped manage a trendy boutique called Paraphernalia, long associated with Andy Warhol and Edie Sedgwick. In time, Schumacher found work with Revlon, designing packaging.

With a keen eye for style, Schumacher became a big star in the fashion world, but sunk lower into drugs. He favored speed, acid, and heroin. Schumacher refered to this period of his life—the 1960s—as his "vampire" years, according to Newsweek 's Miller. He stayed inside all day, covering his windows with blankets. He only went out at night. One day in 1970, something snapped, and Schumacher quit the hard–core drugs. "I guess it was the survivor in me," he told Weinraub in the New York Times. "I just knew I had to stop." He did, however, continue drinking, a problem that plagued him for two more decades.

In 1971, Schumacher relocated to Los Angeles, California, and got his foot in the film industry door when he landed a trial job as a costume designer for Play It As It Lays, which was released in 1972. From there, he picked up jobs as a costume designer for movies like Woody Allen's Sleeper and Blume in Love, both released in 1973. Through these movies, Schumacher made contacts and landed his first directing job for the 1974 NBC–TV drama The Virginia Hill Story. He also began writing screenplays, including 1976's Car Wash, and the 1978 musical, The Wiz. Finally, in 1981, he got his first shot at filmmaking, directing Lily Tomlin in The Incredible Shrinking Woman. Reviewers frequently commented on the atypical color scheme he chose for this film.

One of Schumacher's early successes was a 1983 film about a metropolitan cab company run by a group of misfits. Called D.C. Cab, the film featured Mr. T. Other early hits included 1985's St. Elmo's Fire, and 1987's The Lost Boys. The latter film, a vampire flick, helped launch the careers of Corey Haim, Corey Feldman, and Kiefer Sutherland; it was a hit with the teen audience. He followed up with the 1990 thriller Flatliners, and the psychological drama Falling Down, starring Michael Douglas, in 1993.

By the early 1990s, Schumacher was coming into his own. Legendary author John Grisham asked Schumacher to adapt his best–selling legal thriller, The Client, for the big screen. Schumacher cast Tommy Lee Jones and Susan Sarandon in lead roles in the film that told the story of a street–savvy kid in danger because he had information about a mob killing. The movie, released in 1994, was well–received and Sarandon received an Oscar nomination for best actress.

Next, Schumacher earned directorial rights to Batman Forever, released in 1995. The first two installments of the series were directed by Tim Burton, but were thought to be too dark and serious. Schumacher was charged with brightening the series. Val Kilmer replaced Michael Keaton as Batman, and Jim Carrey joined the cast as The Riddler. Under Schumacher's direction, the movie became the blockbuster of the summer, raking in $184 million. Batman & Robin followed in 1997 but was terribly unsuccessful, putting an end to the Batman series.

Over the years, Schumacher has become known for his perceptive ability to cast unknown actors and turn them into hotshots. His films have given rise to the careers of the "brat packers," as well as Matthew McConaughey, cast in Schumacher's 1996 adaptation of another Grisham novel, A Time to Kill. Schumacher also "discovered" Irish actor Colin Farrell, giving him the lead in the 2000 Vietnam drama Tigerland, which proved to be Farrell's breakthrough performance. Schumacher later cast Farrell in his 2003 suspense thriller Phone Booth, which was shot in an amazing 12 days.

Another actor who gained prominence under Schumacher is comedian Chris Rock, who starred in 2002's Bad Company. Like many actors, Rock enjoyed working with Schumacher and was amazed by Schumacher's ability to handle the whole operation of movie–making. As Rock told Film Journal International 's Harry Haun: "Joel is like a general, like Patton or something. He really knows how to whip up the troops. Doing a big movie is a lot of directing. It's coordinating a whole town. It's like being a mayor, and he's totally up to the task—of being a general and making it artistic."

What makes Schumacher stand apart from other directors is his eye for style. Characters in his films appear polished and classy, yet sexy. According to Haun, a Movieline article by Michael Fleming once proclaimed, "Why Don't People Look in Other Movies Like They Look in Joel Schumacher Movies?" For that, Schumacher credits his childhood spent in movie theaters where he inhaled a steady diet of films with stars like Elizabeth Taylor, Paul Newman, Cary Grant, and Marilyn Monroe. As Schumacher explained to Haun, "You went to the movies and saw—Grace Kelly—these staggering images on the screen, so I think my early film influences are these archetypes—Audrey Hepburn, Gary Cooper. It's very much how I see film."

With about 20 films under his belt, Schumacher has had nearly every kind of review possible but says, for the most part, that he ignores them. Speaking with Film Journal International 's David Noh, Schumacher said he does not read reviews. "Woody Allen taught me a long time ago, 'Don't read them. If you believe the good, you'll believe the bad.' When they think you're a genius it's an exaggeration also, so somewhere between genius and scum is the reality of life."

After his foray into the blockbuster, high–budget world of the Batman series, Schumacher pulled back from big–name titles and returned to making grittier, chancier films. In 2003, he branched out into true crime, directing the film Veronica Guerin, which starred Cate Blanchett as the Irish journalist of the title. Guerin was killed by a heroin kingpin in 1996, who was angered by her investigative reporting. Schumacher made the movie in Ireland on a budget of $14 million—whereas $70 million is the average cost for a studio film. Once again, Schumacher was like a general. He kept everyone focused, shooting at 93 locations in 50 days.

The film won praise for its straightforward approach to the topic. Schumacher refused to glorify Guerin post–mortem, a trap many directors fall into. Speaking to the Age 's Schembri, Schumacher spoke about true stories this way: "You want to be sure that you're approaching the subject matter with integrity and not just trying to glorify the person, but trying to be honest with the facts, even if it upsets some people." Schumacher has also tried his hand at producing a musical. His film version of Andrew Lloyd Webber's musical masterpiece The Phantom of the Opera, was set for release in 2004.

Schumacher is also openly gay but refuses to get into discussions about how his sexuality affects him in the movie business. "It never was an issue," he told Film Journal International 's Noh, noting he does not believe in labels. "I think we're all villains and victims, as long as we live in a culture which keeps defining people as African–American lesbian judge, gay congressman, Jewish vice–presidential candidate, etc. You would never say that Bill Clinton was a Caucasian heterosexual WASP president, you just say he's Bill Clinton. That means the only norm is white WASP male, because everyone else must be defined. I'm totally against that."

Despite his success, Schumacher has no plans to rest on his laurels. Though he is considered a veteran filmmaker by many, Schumacher still sees himself as a student. As he told the Guardian 's Peter Curran: "I hope I haven't made my best one yet, I'm still trying to learn on the job. So I keep stretching and hopefully I keep making better and better films.

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ramajmedia · 5 years ago

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Serendipity TV Show Based On 2001 Romcom In Development At NBC

NBC is developing a new series based on the 2001 film Serendipity. Directed by Peter Chelsom, the romantic comedy starred John Cusack and Kate Beckinsale. Serendipity was distributed by Miramax Films.

In Serendipity, Jonathan Trager (Cusack) and Sara Thomas (Beckinsale) first meet during the holiday season in New York City. The characters discuss life and love at the restaurant Serendipity III, but leave their destiny to fate because they’re both in relationships, and because the universe seems to be guiding them in a certain direction, evidenced by Sara’s phone number literally blowing away in the wind. From there, Serendipity follows the hopeless romantics’ trials and tribulations as genre tropes build towards the film’s climax. Produced for $28 million, Serendipity earned over $77 million at the box office. The film was written by Marc Klein (A Good Year) and co-stars Molly Shannon, Jeremy Piven, and Bridget Moynahan. Serendipity currently holds a 59 percent Tomatometer score at Rotten Tomatoes, along with a 79 percent audience score.

Related: The 13 Best Romantic Comedy Movies Of All Time, According To IMDb

Per THR, NBC is moving forward with a Serendipity television adaption. Jonny Umansky has been enlisted to write and executive produce the series, and stated that "Never has the world needed a show like Serendipity more, and the love stories we have in store are big, bold and filled to the brim with whimsy and wonder.” Umansky wrote the 2016 TV movie Legends of the Hidden Temple starring Isabela Moner (Dora and the Lost City of Gold), and will co-write the upcoming series The Keys. Miramax Television will produce NBC’s Serendipity.

On August 14, NBC announced plans to adapt the 1985 film St. Elmo’s Fire into a TV series. The original film includes numerous Brat Pack members such as Demi Moore, Emilio Estevez, and Robe Lowe, with the storyline following the ups and down of Georgetown classmates post-graduation. Despite poor critical reviews, St. Elmo’s Fire became a box office hit. The film also co-stars Andie McDowell, the mother of Once Upon a Time in Hollywood actress Margaret Qualley. In July, NBC ordered an untitled comedy series starring Ted Danson. Tina Fey will write and produce with long-time collaborator Robert Carlock (30 Rock, Unbreakable Kimmy Schmidt).

The announcement of NBC’s Serendipity adaptation seems to foreshadow another new wave of nostalgia entertainment. Whereas the Netflix series Stranger Things focuses on the adolescent experience, the original Serendipity and even St. Elmo’s Fire are geared towards a 20-something demographic. With streaming services changing the industry via edgy, smart, and progressive series, traditional networks like NBC seem invested in tapping into a universal concept like romantic confusion in order to connect with a specific millennial crowd.

More: Which Romantic Comedy Are You, Based On Your MBTI®

Source: THR

source https://screenrant.com/serendipity-tv-show-nbc/

#screenrant

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mtwy · 7 years ago

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People Magazine

USA September 2nd 1985

Welcome to the remaking of Apocalypse Now. —Sean Penn, addressing his wedding guests

From above the bluffs of Point Dume, Malibu, a half-dozen choppers filled with photographers sent down a windy backwash and a constant din. Below, at the huge wooden gates fronting real-estate developer Dan Unger’s $6.5 million home, blue-blazered guards oversaw an I.D. check of all who entered, while inside others prepared for the evening ahead by arming themselves with infrared binoculars to scan the perimeter for intruders. One interloper—an Italian photographer in camouflage gear and blackened face who had been hiding in the shrubbery since 1:30 in the morning—was ejected and his pictures of the blessed event were destroyed.

That event was the marriage of Madonna Louise Ciccone and Sean Penn, perhaps the oddest couple since Marilyn Monroe was blown away by Arthur Miller’s cerebellum. What did they see in each other, this gifted but reclusive film star who shuns publicity the way bats shun sunlight, and this sexy rocker who crafted her dare-to-tease image in the photographers’ flash? But here was the former at the media event of the summer and the latter dressed in antique tulle and bustle like any other blushing bride.

Except for the airborne intruders, this wedding would be done in private before about 220 friends, family and professional associates. Among the guests were the bride’s seven brothers and sisters, her 73-year-old grandmother, the groom’s family and a coterie of chums, including Rosanna Arquette (Madonna‘s Desperately Seeking Susan co-star), Christopher Walken, Carrie Fisher, Andy Warhol, Diane Keaton and Tom Cruise.

They had been arriving for more than an hour, filing past a legion of reporters at the gates, past the elaborate security checkpoint, and moving out to the poolside setting overlooking the Pacific. Finally, shortly before 6:30 p.m. the principals themselves appeared, Sean in a double-breasted $695 Gianni Versace suit he had bought off the rack one week earlier on Rodeo Drive, Madonna in a strapless Cinderella gown created by her Like a Virgin tour designer and video image-maker, Marlene Stewart. Madonna‘s French-twist hairdo was covered with a black bowler draped in cream-colored tulle, her trademark crucifixes discreetly discarded for a single long earring and an antique pearl bracelet. Draped across her dress like a beauty contestant’s sash was a silver-and-pink silk metallic net, dripping with encrusted jewels, pearls and dried roses. “We wanted a ’50s feeling,” designer Stewart would say later, “something Grace Kelly might have worn.”

With strains of Moments of Love drowned out by the choppers above, the bride walked down the grassy aisle on the arm of her father, then let go of his elbow and cheerily spoke her final words as a single woman: “Bye, Dad.” Flanked only by the best man, director James (At Close Range) Foley, who sported two weeks of whiskers and a dark-green linen suit, and the maid of honor, Madonna‘s sister Paula, the couple exchanged vows in a five-minute ceremony conducted by Judge John Merrick. Penn then lifted his wife’s veil and, to the accompaniment of the theme from Chariots of Fire, planted a kiss on her upturned lips, sparking a standing ovation.

Hey, you’ve done this before. Do you just cut one piece or do you have to slice up the whole thing? —Madonna asking Cher’s advice while cutting the cake

After the vows, waiters rushed out with trays of Cristal champagne and sushi, as Malcolm McLaren’s Madame Butterfly blared from loudspeakers. Moments later the newlyweds appeared on a balcony, just like Romeo and Juliet. Penn toasted “the most beautiful woman in the world,” and struggled playfully to remove her garter for the obligatory toss. The partygoers then adjourned to a white open-air tent and a feast prepared by Spago restaurant: a five-tier hazelnut wedding cake with sugar flowers, lobster ravioli, rack of lamb, swordfish and baked potatoes stuffed with sour cream and caviar. Table wines included an Acacia Pinot Noir from California’s Madonna Vineyard.

In the house an entire room had been set aside for wedding gifts. There was a 1912 antique silver tea service from John Daly, producer of Penn’s last film, The Falcon and the Snowman, and an antique jukebox with 24 of Madonna‘s favorite oldies from Mo Os-tin, chairman of Warner Bros. Records. A 12-place china setting in Madonna‘s registered Tiffany pattern courtesy of Playboy never materialized, despite rumors to the contrary. Just as well. Still peeved over the six-year-old nude pictures of her used by Playboy and Penthouse just last month, she had threatened to return any such peace offering (retail cost: $12,000) in shards.

Mad dog to mad dog one…do you copy? —Ground-to-air walkie-talkie transmission to a helicopter

Many of the guests had carried their presents with them, because the security-conscious invitations hadn’t provided an address. Instead, friends were summoned to a joint birthday party (her 27th, his 25th) and told to leave a number where they could be reached with directions.

As evening fell, guests moved to a parquet dance floor set up over the tennis courts and lit with pink floodlights. Disc jockey Terence Toy opened with a Swing-era tape, then switched to livelier fare—Motown’s greatest dance tunes and Madonna‘s own Into the Groove. The bride boogied with her usual enthusiasm, even lifting her layered skirt during one fast-moving number to reveal a flowered-brocade slip underneath. At about 10 o’clock, the get-together began its slow dissolve. “It was all very intimate, except for those obnoxious helicopters,” proclaimed departing Susan Seidelman, director of Desperately Seeking Susan. “A very classy affair,” said another guest. “Like Tiffany’s with just a dash of flash.”

That probably surprised some observers, especially those more familiar with the groom’s public truculence than his private charms. While establishing himself as one of Hollywood’s rising stars in films like Fast Times at Ridgemont High, Bad Boys and The Falcon and the Snowman, Penn has earned far fewer kudos for his antics offscreen. Notoriously camera-wary (with all but movie cameras), he has menaced most approaching photographers, refused interviews even to promote his films and last year irked Falcon studio execs by spending most of the movie’s premiere party behind a potted palm. Back home he tools about Hollywood with the Brat Pack, the stick-to-themselves—and equally publicity shy—group of actors that includes best-pal Timothy Hutton, Emilio Estevez and Cruise.

When Penn introduced himself to Madonna during the taping of her Material Girl video this year, it might have seemed to some like a meeting of the beauteous and the beastly. “I just remember her saying, ‘Get out! Get out! Get out!’ ” Penn told his wedding guests. He was smitten all the same. “Afterward I was over at a friend’s house, and he had a book of quotations. He picked it up and turned to a random page and read the following: ‘She had the innocence of a child and the wit of a man.’ I looked at my friend, and he just said, ‘Go get her.’ ”

The other relationships weren’t right because they weren’t fifty-fifty. This one is. Neither one of them is in control; she can learn from him, and he can learn from her. —Longtime Madonna friend Martin Burgoyne

The courtship had its rocky moments. She spent much of the time on tour pumping sales of her Like a Virgin LP (8.5 million so far). He was in Tennessee making At Close Range with brother Chris and Christopher Walken. On one of her visits there, the couple was approached by two British photographers and Penn reacted with typical fury, allegedly beating off his pursuers with a rock. He was arrested and faces assault charges in October as well as a $1 million civil suit from the Fleet Street journalists.

Luckily, Southern California seemed to have a soothing effect. Just before the wedding, the young lovers spent a lot of time together in Madonna‘s $1,350-a-month, two-bedroom apartment in the shadow of the famed Hollywood hillside sign. Close friends and those who have seen the couple together scoff at the suggestion that the pairing may be a publicity ploy. For one thing, Penn clearly wants no such attention. And, says a friend of the bride, “I’ve never seen two more passionate people. Forget about the superstar stuff; Madonna is a girl wildly in love.”

As their nuptials approached, the couple prepared like many lovers headed to the altar. In July Madonna attended a wedding shower held in the Upper East Side Manhattan apartment of Nancy Huang, girlfriend of Madonna‘s record producer, Nile Rodgers. On hand were a dozen pals, including singer Alannah Currie of the Thompson Twins and actress Mariel Hemingway, plus a half-dozen menfriends dressed in drag for the occasion. That was the only offbeat touch: The gift boxes contained lingerie, a quilt, a push-button phone (sequined), jewelry and other predictables.

Two days before her wedding the bride-to-be and about 10 pals held an old-fashioned bachelorette party at the Tropicana, a sleazy mudwrestling club in the sleaziest area of Hollywood. Wearing dark glasses, no makeup and her hair in a bun, the star who made her name in music sat and cheered two others who were making their mark in mud.

He’s a very nice guy. He reminds me of a little boy, like he’s 8 years old and he’s got so many cookies he doesn’t know what to do with them. —Stripper Kitten Natividad, describing Sean Penn

The groom, meanwhile, had other, though not entirely dissimilar, plans: an old-fashioned stag party, with entertainment by Kitten (42-24-36). Held in a private room above Hollywood’s Roxy nightclub, the boys’ night out attracted Chris Penn, actors Harry Dean Stanton, David Keith, Cruise and Robert Duvall, and Cameron Crowe, screenwriter of Fast Times at Ridgemont High. Thanks to an open bar, “they were all pretty buzzed,” Kitten says of her audience. Sean “was feeling no pain. But he didn’t fall on his face or anything. When he talked, he made sense.”

Though Sean was slapping his thighs in glee when Kitten peeled all to the soon-to-be Mrs. Penn’s Material Girl, the evening produced few ungentle-manly moments. Harry Dean Stanton did arrive late, and when he entered, recalls Kitten, “Sean picked up my blouse and said, ‘See what you missed?’ ” Then he shoved Stanton’s face straight into Ms. Natividad’s ta-tas. She didn’t mind a bit. “Sometimes I do, but it was Sean’s night, and he could have done whatever he wanted to. That was about as wild as he got.”

Whether the months and years ahead with his hyper-visible mate will be any wilder—whether there will even be months, let alone years—only time will tell. In the afterglow their goal is a picture of togetherness. Madonna, ready to sign a Disney Pictures contract for a kidnap film, has been shopping for a joint movie project with her new husband. In the meantime there is a new midnight-blue $44,000 Mercedes to drive (a gift to herself), a new line of Madonna-wear due this fall and plans for a spacious estate on a secluded spot in Malibu. But visitors had best beware. When asked whether he was going to put up a fence for security, Penn replied: “A fence, nothing. We’re going to have gun towers.”

#1985 #peoplemagazine #wedding

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6 Hilariously Improbable Events That Resulted In Huge Movies

Hey, remember that Final Destination franchise from all the way back in 2011? You know, it’s the one where a clowder of hapless teens get hunted by Death through a series of overly elaborate, Rube Goldberg-style horrors. Well, it turns out that sometimes this same over-the-top domino effect can be applied to how films get made (including Final Destination, which started as an X-Files spec script). A butterfly flaps its wings in Beijing, and Jeff Goldblum ends up shirtless on a table in Hollywood, basically.

Some films end up creating a gigantic ripple of success and artistic inspiration … all from a single unassuming start. Here are such times when the road to the cinematic immortality was paved with random nobodies, stupid coincidences, and just plain dumb luck…

The Alien Franchise Exists Because Of Literal Nightmares

From the creature design to the directing, the first Alien has always been a poster child for the unspeakable horrors you can accomplish through collaborative effort. With that in mind, none of it would have been possible without writers Dan O’Bannon and Ronald Shusett first coming up with the story. They are the face-huggers to Alien‘s uh… alien. This was O’Bannon’s second film as a screenwriter, one that would have never existed without the frustrating failure of his first.

Dark Star was a John Carpenter sci-fi comedy about people exploding planets in space, and O’Bannon hadn’t simply written it, but also designed and supervised the special effects. It was this (not his writing) that got the attention of weirdo director Alejandro Jodorowsky, who at the time was working on an ultimately shelved Dune film. O’Bannon was brought on Dune‘s production where he met a creepy Swiss artist working on the film’s set and character design. His name was H.R. Giger, and you might find his work on Dune a bit familiar.

To put this guy in perspective — upon their initial introduction, H.R. Giger immediately offered O’Bannon opium. And when asked why he himself took it, Giger bleakly responded “I am afraid of my visions.” If Werner Herzog had night terrors, it would be personified in H.R. Giger’s ghastly Scandinavian gaze. His paintings are what Satan uses to get an erection.

Dune was sci-fi failure #2, and after production was closed down O’Bannon found himself running out of work, and consequently money (which is commonly a thing you get in exchange for work). In what was no doubt an act of pre-hooking desperation, he and Shusett dug up yet another old failure — a story about monsters attacking a WWII bomber (which later became a segment in the 1981 animated “film” Heavy Metal — a series of events we’ve previously discussed).

Like some kind of mad scientist, O’Bannon spliced this story with another failed horror script about bug monsters, added a re-written scene from Dark Star, and somehow churned out Alien. Meanwhile, H.R. Giger was developing a terrifying artistic portfolio based on his childhood nightmares — one example being a painting called “Necronom IV.”

That’s one of two nightmares that will come into play, this first fruition appearing in an H.R. Giger art book that O’Bannon gave to Ridley Scott while developing Alien. Nightmare number two came from Shusett who, after a day of writing, woke up in the middle of the night with the idea that the alien could impregnate a crew member through their throat — meaning that nearly every aspect of these creatures was quite literally the stuff of nightmares.

You Can Thank The 2003 California Gubernatorial Recall Election For HBO’s Westworld

In the early 2000s, California underwent an energy crisis, presumably after everyone left their tanning bed on overnight. As bills tripled and the anger grew, a representative named Darrell Issa donated two million dollars to a small group collecting signatures for a gubernatorial recall. It was this money that boosted their efforts in a historic moment for the United States: a new Westworld TV show.

We should probably explain.

HBO “Yes, please. I don’t know what the fuck’s going on in this show.” — Anthony Hopkins

See, after successfully reaching enough signatures, it was the actually historic recall of Governor Gray Davis that sparked one of the weirdest elections ever — eventually boiling down to this veiny cup of whatever Austrians drink instead of water:

Playboy And by “ever” we mean “before 2016,” of course.

Arnold Schwarzenegger threw his hat into the governor ring and came out with a whopping 48.6 percent of the vote. This was in October of 2003, and along with shaping the future of California, it panicked a butt-ton of producers who had previously attached the hulky destroyer to upcoming films. One such producer was Jerry Weintraub, who had cast Arnold as the Yul Brynner role in an upcoming remake of that enduring ’70s sci-fi cowboy classic, Westworld. As we’re sure you can guess, this did not end up happening, and the project was shelved indefinitely — or in producer-speak, “until someone big enough shows interest in it.” That took two years.

Variety “We’ll begin shooting in 2008 with Heath Ledger, Bernie Mac, Anna Nicole Smith, and President Gerald Ford.”

In 2005, Weintraub once again set his sights on this ridiculous film — this time with the director of The Cell attached. This, unsurprisingly, did not make Westworld the exciting filmmaking opportunity that studios were scrambling over, and so Jerry moved on to another project while letting his baby degrade on the back burner. That project was a little TV movie about Liberace starring Michael Douglas, Matt Damon, and Matt Damon’s glittery thong.

In the biggest plot twist yet, the HBO-made Douglas/Damon smooch-fest was a hit… causing Weintraub to turn to the network for a Westworld series. The rest is excessively naked history. And hey, Schwarzenegger is finally available now, so maybe they can throw him a bone and cast him as a background extra or something.

We Wouldn’t Have The Entire Marvel Cinematic Universe If It Wasn’t For Superman: The Movie

It turns out a DC Comics movie is responsible for Marvel’s current cinematic dominance, but not in the way you’re probably thinking. This long goddamn journey starts with a producer named Lauren Shuler Donner, whose husband you might recognize as Richard Donner — director of such insanely diverse hits as The Goonies, The Omen, and of course, 1978’s Superman: The Movie.

Superman was a hit, but this didn’t instantly result in every single over-pantsed defender getting his own movie — remember, it would take over a decade for even Batman to get one. However, the Donner flick did nab the attention of a five-year-old named Kevin who, like five-year-olds tend to do, became enamored with this genre of mighty punchers. His fandom eventually turned into a job at the Donners’ Company as Lauren’s assistant. As she puts it, “one of the main reasons Kevin managed to get himself an intern position at our company was because of Superman: The Movie, [that freaking nerd].”

Lauren went on to make a few disaster films, like Volcano and the harrowing You’ve Got Mail, before becoming inspired by her husband’s action background and buying the rights to the X-Men franchise in 1994. Feeling his intense ray of nerdiness, she gave her then-assistant Kevin a producing role on the first X-film, where he instantly became “a walking encyclopedia of Marvel.” Usually that just makes you very good at internet message board arguments, but in Kevin’s case, it led him to this:

That’s right. It’s Kevin Feige — not Bacon as you were all no doubt guessing. Having been inspired by that first Superman film, Feige beelined directly to the Donners before getting thrown into X-Men and scooped up by Marvel. It was there that he continued to read an endless number of comics and work closely with directors making Spider-Man, X2, and Daredevil until 2005, when Marvel decided to make their own studio. In 2007, Kevin was named the chief of that studio and began to develop what would go on to be this jumbled mess of media:

The Marvel Cinematic Universe gave way to an entirely new method for making movies, now being applied to Star Wars, Lego, and even the goddamn The Mummy. It’s completely changed franchises and made a once-bankrupt Marvel Studios the hottest goddamn game in town… all ironically thanks to a fucking DC Comics movie. Thanks a bunch, you sulky jerks!

A Mailing Error By A Fresno Librarian Kicked Off The “Brat Pack” Era

All you Val-speaking, Atari-playing, AIDS-epidemic-ignoring ’80s kids no doubt perk up at the mention of the “Brat Pack,” but in case you’re scratching your supple 20-something heads, we’re referring to a group of young actors who swarmed Hollywood around the early 1980s. Luminaries like Rob Lowe, Tom Cruise, Demi Moore, and all those The Breakfast Club motherfuckers were birthed from this era. The phrase “Brat Pack” was coined in a New York article, and became the soil in which a lot of pretty careers were cultivated.

Also, it was started by this lady:

Her name is Jo Ellen Misakian, and back in 1972 she was hired as a librarian aide at the Lone Star School in Fresno, California. While there, she noticed that the naturally reading-averse students all loved the same book, so she helped them start a petition to turn it into a movie. After attempting (and failing) to contact the author, Jo Ellen decided to just take a shot in the dark and mail the book to a known director instead. The book, by the way, was The Outsiders — the basis for the very first of the Brat Pack films, which kicked off the stellar careers of actors like Cruise, Lowe, Emilio Estevez, Patrick Swayze, Matt Dillon, Ralph Macchio, that other guy, and that other other guy.

And this never would have existed as a film if it wasn’t for Mrs. Misakian, her plucky kid pals, and the fact that she totally fucked up mailing their petition.

You see, after deciding Francis Ford Coppola should direct the movie, Misakian found his New York address in the reference section of the Fresno library and mailed a copy of the petition there — but Coppola was living in Los Angeles at the time. The New York address was outdated and unused… and, consequently, got very little mail. However, it just so happened that Coppola was in New York that week, and was able to personally see the letter for that reason.

According to a producer there at the time, “It was lucky for the kids that we were in New York when it was sent over.” Eventually, Coppola read the attached book, optioned it, and then began production on the film, all while maintaining a correspondence with the librarian who first sent it to him.

In the end, the film was attributed to Misakian and her class — the closing credits saying, “The film The Outsiders is dedicated to the people who first suggested that it be made — librarian Jo Ellen Misakian and the students of The Lone Star School in Fresno, California.” The Brat Pack was born, and like a thousand careers started… all because a librarian sucked at tracking down someone’s more-current address.

Jurassic World And The New Star Wars Got Their Director From A Silly ’90s Magazine Ad

After culturally blue-balling us with talking raptors, the Jurassic Park franchise re-exploded the box office with Jurassic World‘s $1.6 billion dollars in ticket sales. World will go on to get a sequel (obviously), and the director is now working on Episode IX of Star Wars. And oddly enough, it was back in the decade when the first Jurassic Park became a hit (and we all thought Star Wars prequels would be, like, the raddest shit ever) that an author named John Silveira was inadvertently shaping all these events, like a secret John Hammond.

Back in the ’90s, Silveira would occasionally submit content for Backwoods Home Magazine. His job was to fill in gaps of the magazine’s classified section with whatever joke bullshit that came into his head. It was a fun gig with a specific and sparse readership, by definition.

Then, one day in 1997, Silveira was asked to contribute right before a deadline (what kind of backwoods magazi– oh, right). Without any prepared jokes, he remembered the opening lines to an old unfinished novel he had been working on years back. With the clock ticking, John spun the words into a fake classified ad and submitted the following:

Yes. That ad. Silveira had created what would later become a meme that would inspire Colin Trevorrow to make an indie film called Safety Not Guaranteed, about a dude looking for a time-travel partner. Not long after, director Brad Bird was being approached by Disney and Lucasfilm to direct the next Star Wars film — and in turning it down for Tomorrowland (yikes), Bird recommended they watch Trevorrow’s little movie.

In short, two major sci-fi franchises ended up being completely dependent on an indie comedy director who was inspired by some joke-writing weirdo in Southern California. And speaking of stuff Spielberg once touched…

Like Schindler’s List And The Coen Brothers? You Can Thank The Evil Dead For That

It’s not exactly controversial to say that the Coen Brothers are two of the most influential and iconic directors of this era. We also probably won’t get any hate mail for praising Liam Neeson’s performance in Schindler’s List, or really any of his subsequent roles. What will sound insane, however, is that all of these things are of direct result of the 1981 horror film The Evil Dead. You know, the one where a woman gets fucked by trees before turning into a Kandarian basement demon.

It was on this film that a young Joel Coen was working as an assistant editor while trying to make his debut with a script he co-wrote with his brother. While there, director Sam Raimi convinced the Coens to shoot a fake trailer for their script, which subsequently led to them finding investors for the movie — eventually called Blood Simple. You might recognize this as the pivotal moment leading to decades of amazing films like The Big Lebowski, No Country For Old Men, The Hudsucker Proxy, and certainly not Garfield (common mistake).

Meanwhile, while casting Blood Simple, the brothers went to see a play called Crimes Of The Heart. It featured Holly Hunter, who they immediately wanted to cast… but couldn’t, for scheduling reasons. However, Hunter went home from the audition and mentioned the film to her roommate: Frances McDormand. Frances, of course, would go on to kick ass in the role, marry Joel Coen, and play one of the most badass baby-ovens to ever point a gun at Peter Stormare.

And it gets weirder. Because while Holly didn’t get the role in Blood Simple, she would later move into a Silverlake home with both Coen brothers, McDormand, and Raimi — who at the time was writing Evil Dead II on the porch. Cut to a few years later, and a young actor named Bill Paxton got a phone call from his friend James Cameron asking if he had heard of Evil Dead II. When Paxton said no, Mr. Titanic rushed him to a local showing, as any loyal friend would. After falling in love with Raimi’s slapstick horror style, B-Pax auditioned for the director’s follow-up, Darkman. You with us so far?

According to Paxton (who later worked with Raimi on A Simple Plan), while he got super close to landing the role, he “made the mistake” of informing another friend about the movie as well. It was Liam Neeson.

Neeson got the role and killed it as the titular rubber-faced rage goon in Darkman, which was then seen by a stage actress named Natasha Richardson. At the time, Richardson was putting together a production of Anna Christie, and thanks to Darkman, she pursued Neeson to play a role. Not only would his performance in the show end in a marriage with Richardson, but it would grab the attention of a director in the audience… who at the time was casting an upcoming film called Schindler‘s Fucking List.

YEP. Liam Neeson’s entire career exploded because Bill Paxton was dragged to a screening of Evil Dead II and fell in love. Consider this yet another reason he’s going to be deeply missed. RIP, you ultimate badass.

David is an editor and columnist for Cracked. Please direct all your goddamn “hellos” to his Twitter account.

Also check out 7 Times Being Totally Cheap Resulted In Movie Magic and 6 On-Set Mistakes That Led To The Greatest Movie Scenes Ever.

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