Paul Greengrass To Direct Angelina Jolie In 'Cleopatra'?

It may be a long while before Paul Greengrass makes another movie about a formerly amnesiac spy named Jason Bourne, but that doesn't mean that the acclaimed director is sitting on his keister. Producer Scott Rudin has revealed to Deadline that "we're pretty close" to locking down a director for Sony's high-profile 3-D historical epic "Cleopatra," [...]

Source: http://moviesblog.mtv.com/2011/01/05/paul-greengrass-angelina-jolie-cleopatra/

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New Year, Old Friends

Yesterday was another rainy, cold day here in SoCal so for the most part David and I stayed in doors and under the warm covers. We did venture out last night to hang out with our dear friend Angie and her beautiful daughter Kendall who we hadn’t seen in a few weeks. Angie and I [...]

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EXCLUSIVE: Olivia Wilde Cast in 'Welcome to People'

Jay A. Fernandez, Borys Kit
Olivia Wilde, who stars in DreamWorks' forthcoming summer tentpole "Cowboys & Aliens," has just been cast in the studio's "Welcome to People." She joins Chris Pine and Elizabeth Banks in the family drama about a businessman (Pine) who returns home after his estranged father?s death and discovers that he has an alcoholic sister (Banks) with a 12-year-old son.

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Adam Lambert's 'Whole Lotta Love': The Story Behind The Cover

Glam rocker tackled the legendary 1970 Led Zeppelin song for 'American Idol' rock night.
By Gil Kaufman


Adam Lambert performs "Whole Lotta Love" on "American Idol" on Tuesday
Photo: R. Mickshaw/Getty Images/ Fox

Imagine a freight train speeding toward you at midnight. Or a rockslide barreling down a hill as you try to outrace it. That's the feeling of the ominous, chugging Jimmy Page riff that kicks off Led Zeppelin's 1970 Stonehenge of rock, "Whole Lotta Love." And that's before singer Robert Plant leans into one of the nastiest, ecstatic rock screams this side of the Who's "Won't Get Fooled Again."

That's the song Adam Lambert chose to sing on "American Idol" rock night Tuesday (May 5), and, needless to say, it was a challenge that the eyeliner-loving Los Angeles stage veteran was more than up for, hitting a series of high notes and rock screams that would have made Plant proud. It was a risky maneuver that paid off for Lambert, who chose a tune that came in at #75 on Rolling Stone magazine's list of the "500 Greatest Songs of All Time" in 2004.

The legendary British rock act recorded the tribute to Chicago blues icon Willie Dixon during their second U.S. tour after working it out in their live show, including it on their 1969 classic album Led Zeppelin II. Like many of the songs Zeppelin performed early in their career, "Love" was a blues standard turned on its head with a heavy dose of crunching psychedelic guitar and thundering drums, courtesy of late drummer John Bonham. The song was based on a 1962 tune by another blues forefather, Muddy Waters, called "You Need Love," which was penned by Dixon.

For Zeppelin's version, Plant customized the lyrics by adding some lyrical quotes from a few other songs Dixon wrote for Howlin' Wolf, "Back Door Man" and "Shake For Me," nailing the tricky vocal in a single take. It was also inspired by 1966's "You Need Loving" from the British rock group the Small Faces, for whom Zeppelin had great affection, but they also did not credit Dixon for his part in writing the original lyrics. The song became Zeppelin's first U.S. single and their only U.S. top 10 hit. Though their manager would not let them release singles in the U.K. because he thought it cannibalized album sales, the song was finally released as the band's only British single in 1997.

Dixon sued Zeppelin over the song in 1985, claiming it borrowed too heavily from his "You Need Love," and Zeppelin reached an agreement with him, with Dixon using the money he received to set up a program that provided musical instruments for schools. A cornerstone of heavy rock, the tune -- which was the theme song for the long-running British countdown show "Top of the Pops" in the 1970s and '80s -- has been covered by dozens of artists over the years, from Tina Turner and Ben Harper to Prince, Slash, Leona Lewis, Train's Pat Monahan, the London Symphony Orchestra and Jane's Addiction.

Get your "Idol" fix on MTV News' "American Idol" page, where you'll find all the latest news, interviews and opinions.

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Source: http://www.mtv.com/news/articles/1610709/20090505/led_zeppelin.jhtml

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Beyonce's Mom Says Daughter's Style Has Always Been 'Edgy'

'It's just a result of her constantly evolving,' Tina Knowles says of the fashion in Beyonce's "I Am ... World Tour" DVD concert special.
By Jocelyn Vena


Beyoncé
Photo: Paul Warner/ WireImage

Beyoncé has never been shy about hitting the stage in stunning costumes. Her appearance has always been a mixture of showgirl sparkle and pop star razzle-dazzle. And her style is on full display in her new DVD concert special, "I Am ... World Tour."

Her mom and stylist, Tina Knowles, said that while the looks may seem a bit edgier than what fans have seen from the singer in the past, she thinks that her superstar daughter has always been ahead of the style curve.

"Well, the wonderful Thierry Mugler designed the costumes, and I actually worked on some of the dancers and the band, and it was just amazing to work with him because he is so creative," Knowles told MTV News at a New York screening of the special. "So it's just a result of her constantly evolving, but she's been edgy. It's funny for people to say she went more edgy, but she's been wearing body suits and that type of thing."

And while Knowles may act as her daughter's stylist and costume designer, she says that Bey's style decisions are all her own. "Well, we discussed her working with Thierry Mugler, and I'm the biggest fan. And so she had seen some of the fashions and she loved it," she said. "So we always discuss things, but it's her decision, it's her career."

Beyoncé, who also directed the concert special , said it gave her a better understanding of the filmmaking process. "It was hard work," she said. "I learned so much. I have a new respect for directors and I think I would like to do more of it. ... Well, I've done some co-directing for music videos [but] this was definitely a big step for me, and I'm so thrilled."

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Source: http://www.mtv.com/news/articles/1653216/20101130/knowles_beyonce.jhtml

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Michael Jackson Asked Album-Cover Artist To Paint Him Before He Died

Kadir Nelson only spoke to Jackson once before the singer's death.
By Gil Kaufman


Kadir Nelson
Photo: MTV News

When it came to putting together Michael, the first posthumous album of material from late King of Pop Michael Jackson, everyone was working with half a playbook. The producers of the singer's first studio album since 2001 had to figure out what the notoriously detail-oriented Jackson would want them to do with the grab bag of songs he was working on at the time of his death.

Even the artist behind the album's iconic cover, a Renaissance-painting-like mash-up of iconic images from throughout Jackson's career, was forced to go on his understanding of what Michael would have approved of.

That artist, Kadir Nelson, sat down with MTV News last week to walk us through the thicket of images on the cover and explain how he came to create the visual summary of the pop icon's solo career.

Nelson said the ball started rolling in 2003, when Michael was working on songs for his Number Ones collection at Marvin's Room, the legendary Los Angeles recording studio founded by R&B great Marvin Gaye in 1975. Jackson saw a pair of paintings Nelson had made chronicling Gaye's life and fell in love with the images.

"As a result of seeing it, he called me one afternoon and he said, 'I really like your Marvin Gaye painting ... I want one, about me ... but I want it bigger.' Because Michael liked things to be big," Nelson said. But, as with so many projects begun by Jackson, after Nelson followed the singer's advice and read the autobiography "Moonwalker" and did some research on the painting that was to hang in Michael's home, other things came up and the project fell through the cracks.

Then, following Jackson's death in June 2009, his longtime friend and now estate co-executor John McClain rang Nelson up and said the gig was back on. "[He said], 'It's time for you to do that painting that Michael wanted you to do,' " Nelson recalled. " 'Don't ask any questions, just do the painting and we'll figure out what to do with it later.' "

The resulting image plays into Jackson's lifelong belief that bigger is better, with a regal Michael staring out in the central image while wearing a prince's Victorian blouse with a high, ruffled collar, a silver-gloved hand placed over his heart and a jewel-encrusted crown hovering over his head. Around that central image are painted nods to everything from such classic videos as "Beat It" and "Thriller" and a spaceship from one of his favorite movies, "E.T." and MTV's Moonman, a reference to the fact that Jackson's videos helped make the channel the force it is today.

The sadness of Jackson's death made Nelson a bit hesitant at first, but he said he realized he was getting a rare second chance to follow through on the abandoned project, so he was quick to say yes. "I did it because I felt that it would be a very important document ... and a tribute to Michael's life," he said of the finished work, titled "The King of Pop."

He described it as a "panoramic celebration of Michael's life, music and career" and said he strode to make it as perfect as possible to match the level of perfection Jackson insisted on in his music and art. "I felt that I owed it to him, to his family, to his fans, to do the best job possible."

Though Nelson only spoke to Jackson that one time in 2003 over the phone, he worked with the singer's brother, Jackie Jackson, on the image over a five month period at the studio where the Michael album was being completed and said that Jackie gave some insight into his sibling's thoughts. When the final image was produced, MJ's brothers Jackie and Marlon Jackson and McClain gave it a thumbs-up and said he did a good job.

Like the video for the first single, the Mark Pellington-directed "Hold My Hand," it's an artistic leap that attempts to tap into Jackson's elusive magic, but Nelson feels like he succeeded.

He considers the final product — his biggest-ever canvas at more than 9 feet wide by 4.5 feet tall — his Sistine Chapel. And like Michelangelo's signature work, Nelson labored long and hard on the painting, putting hours in from August 2009 until January 2010 and then again on and off until October.

What do you think of the finished product? Share your reviews in the comments!

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Source: http://www.mtv.com/news/articles/1654180/20101213/jackson_michael.jhtml

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