she talks about Banshee from 4:00 mins mark. Her character name is Nola(?) Longshadow - probably related to Benjamin.
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I put on my Columbo raincoat to investigate if 27-years old nudity dodger Odette Annable did her first ever nude scene on Banshee. So far I have no real clues or even her character's name. I contacted few people (one source only saw first few episodes and refused to divulged more than he already has) but it was all dead-end. Why was my interest piqued in first place? Because of an anonymous comment claiming Odette lures the 'sheriff' into deadly complacency by disguising herself as a stripper.
[1] We began first with the cancellation of House MD. It was shock to Odette when the hit-show went under after sudden FOX announcement in mid-Feb of eight and final season. She expected House to be her safe haven for few years but total breakdown in communication between Hugh Laurie and the producers amplified by the former growing lethargy and nonchalance with the character.
[2] Moved to New York in mid-July to be with her hubby Dave who was working on ill-fated 666 Park Avenue TV-series.
[3] Opening for a role in Banshee. Greg Yaitenes actually contacted Odette* back in July if she was interested in playing a kick-ass role on his new show.
[4] Media announcement in early August: Odette landing the part of a beautiful Native American assassin with a murky past in early August in a multi-episode arc.
(She also snagged a recurring role on CBS’ midseason drama Golden Boy around the same time).
[5] Goes on a vacation before starting work on Banshee in early of September.
Odette is pretty anal when it comes to nudity and coupled with her lack of screen presence despite being drop-dead gorgeous, it's no wonder her career stalled despite the success of Cloverfield. Odette first leading role in Unborn was dead-on-arrival which should been the title of the dreary horror. The less we talk about And Soon the Darkness (2010) the better. Amber Heard worked hard in trying to get Odette go topless in that scene by the lake - a homage to Jennifer Connelly The Hot Spot - but the Latina was not having it. She was banking on House to build a viable career on television. To get her name out there. But now it was back to the drawing board. Banshee is Odette first appearance on a premium cable and she will be followed by other nudity dodgers in wake of broadcast network inevitable decline and rise of subscription-based content. We have seen (and mentioned more than few times in the blog) age is a huge factor in forcing some previously nudity-averse actresses to take risks. As I asserted before the sexting generation is finally coming of age and we'll see more newcomers in late teens and early twenties taking their top off with no compunction at all. Lili Simmons is the first batch of many to come. What will happened to the performers over 27? As we witnessed at Sundance 2013 and soon will on upcoming cable shows, dropping the haughty attitude towards on-screen nudity is the way to go.
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| U. S. Grand Jury Prize: Dramatic | Fruitvale | |||
| U. S. Grand Jury Prize: Documentary | Blood Brother | |||
| World Cinema Grand Jury Prize: Dramatic | Jiseul | |||
| World Cinema Grand Jury Prize: Documentary | A River Changes Course | |||
| Audience Award: World Cinema Dramatic | Metro Manila | |||
| Audience Award: World Cinema: Documentary | The Square | |||
| Audience Award: U. S. Dramatic presented by Acura | Fruitvale | |||
| Audience Award: U.S. Documentary presented by Acura | Blood Brother | |||
| Audience Award: Best of NEXT | This is Martin Bonner | |||
| Directing Award: U. S. Dramatic | Afternoon Delight | |||
| Directing Award: U. S. Documentary | Cutie and the Boxer | |||
| Directing Award: World Cinema Dramatic | Crystal Fairy | |||
| Directing Award: World Cinema Documentary | The Machine Which Makes Everything Disappear | |||
| Cinematography Award: World Cinema Dramatic | Lasting | |||
| Cinematography Award: U. S. Documentary | Dirty Wars | |||
| Cinematography Award: U. S. Dramatic | Ain’t Them Bodies Saints | |||
| Cinematography Award: U. S. Dramatic | Mother of George | |||
| Cinematography Award: World Cinema Documentary | Who Is Dayani Cristal? | |||
| U. S. Documentary Special Jury Award for Achievement in Filmmaking | Inequality for All | |||
| U. S. Documentary Special Jury award for Achievement in Filmmaking | American Promise | |||
| U. S. Dramatic Special Jury Award for Acting | Miles Teller and Shailene Woodley, The Spectacular Now | |||
| U. S. Dramatic Special Jury Award for Sound Design | Shane Carruth and Johnny Marshall, Upstream Color | |||
| World Cinema Dramatic Special Jury Award | Circles | |||
| World Cinema Documentary Special Jury Award for Punk Spirit | Pussy Riot – A Punk Prayer | |||
| Editing Award: World Cinema Documentary | The Summit | |||
| Editing Award: U. S. Documentary | Gideon’s Army | |||
| Screenwriting Award: World Cinema Dramatic | Wajma (An Afghan Love Story) | |||
| Waldo Salt Screenwriting Award: U.S. Dramatic | In A World… | |||
| Alfred P. Sloan Feature Film Prize | Computer Chess | |||
| Short Film Grand Jury Prize | The Whistle | |||
| Short Film Jury Award: US Fiction | Whiplash | |||
| Short Film Jury Award: International Fiction | The Date | |||
| Short Film Jury Award: Non-fiction | Skinningrove | |||
| Short Film Jury Award: Animation | Irish Folk Furniture | |||
| Short Film Special Jury Award for Acting | Joel Nagle, Palimpsest | |||
| Short Film Special Jury Award | Kahlil Joseph, Until the Quiet Comes | |||
| Short Film Audience Award, Presented by YouTube | Catnip: Egress to Oblivion |
Sundance Awards: 'Fruitvale,' 'Blood Brother' Among Big Winners At 2013 Sundance Film Festival
 |
| Sundance awards honored "Fruitvale" among other films. |
Both American films won audience awards and grand jury prizes Saturday at the Sundance Awards.
"Fruitvale" is based on the true story of Oscar Grant, who was 22 years old when he was shot and killed in a public transit station in Oakland, Calif. First-time filmmaker Ryan Coogler wrote and directed the dramatic narrative.
"This project was about humanity, about human beings and how we treat each other; how we treat the people that we love the most, and how we treat the people that we don't know," the 26-year-old said as he accepted the final prize of the night. "To get this award means that it had a profound impact on the audience that saw it, on the people that were responsible for picking it up. And this goes back to my home, to the Bay Area, where Oscar Grant lived, breathed, slept, loved, fought, had fun, and survived for 22 years."
Fox Searchlight founder and Sundance juror Tom Rothman said "Fruitvale" was recognized for "its skillful realization, its devastating emotional impact and its moral and social urgency – and for anyone out there who thinks for one second that movies don't matter and can't make a difference in the world.
"This will not be the last time you guys walk to a podium," he added.
Coogler said he felt personally connected to the story because he's from Oakland and was born the same year as the subject of his film.
"So I'm the same age, same demographic. So when I saw the footage, initially I was heartbroken, frustrated, and the biggest thing was that Oscar looked like us, you know what I mean?" he said. "He looked like any one of my friends – could have been me, could have been them, and these situations happen again and again."
The U.S. documentary winner, "Blood Brother" follows a young American, Rocky Braat, who moved to India to work with orphans infected with HIV.
"This means so much to so many kids," director Steve Hoover said as he accepted the award.
Other dramatic winners at the ceremony hosted by actor-director Joseph Gordon-Levitt included Lake Bell, who accepted the Waldo Salt Screenwriting Award for her directorial debut, "In A World," and Jill Soloway, who won the directing award for her feature debut, "Afternoon Delight."
Soloway thanked Bell and the other "lady directors" making their debuts at the festival.
"I feel like we all crossed the street together holding hands," she said. "We're all out there together exposing ourselves and I love being here with you guys."
Cinematographer Bradford Young was recognized for his work in two dramatic films, "Ain't Them Bodies Saints" and "Mother of George."
Documentary winners included Zachary Heinzerling for directing "Cutie and the Boxer" and Matthew Hamachek for editing "Gideon's Army."
The Cambodian film "A River Changes Course" won the grand jury prize for international documentary, and a narrative film from South Korea, "Jiseul," claimed the grand jury prize for dramatic world cinema.
Having a film at Sundance serves as a stamp of approval, Coogler said.
"Audiences trust this film festival more than any other festival in the country," he said, "and they know if a film plays here, it's a film that should be seen."
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I been told 18-years old Aussie teen actress Freya Tingley did her first nude scene in Hemlock Grove and that it was her bubble butt on the recently released trailer.
I'm skeptical and think it's a body double. We just to wait and see. I need a frontal nudity for final confirmation.
TV INTERVIEW: KANDYSE MCCLURE
Speed Date: 'Battlestar Galactica' Alum Takes On Netflix Original Series, Hemlock Grove
By: Rachel Heine
January 24, 2013
What is your name and where do we know you from?
Kandyse McClure. Most people remember me as Dee on Battlestar Galactica.
Where are you right now? Can we get a picture to prove it?
At the GSUS Industries warehouse and office in Toronto. Sure, as soon as I finish eating this beef patty.....
If we were being set up on a blind date, what 3 things would your mom tell my mom about you?
That home cooking wins over fancy restos anytime, small gestures mean the world and that I have a weird thing with balloons so flowers are best.
If you could see any movie at its midnight premiere (costume optional), what would it be and who would you be?
Revenge of the Nerds. Pointdexter. Obviously.
Why are you answering these questions (what are you promoting)?
Thought I was getting a date! Kidding. Working on Hemlock Grove - Netflix new original series.
What drew you to this project?
Loved the novel by Brian McGreevy. My character Chasseur, was a fantastic role. Great people involved - Famke Janssen, Dougray Scott, Bill Skarsgård, Landon Liboiron and of course the unforgettable Aaron Douglas.
What does the world need to know about this film/show?
Besides being the wave of the future in terms of content availability - all 13 episodes will air simultaneously on Netflix on April 19th - there's sensuality, suspense, intrigue and dark humour. What more do you need?
What first made you want to be an actor/writer/director?
I’ve been putting on plays on my grandma's porch since I was 5! I love telling stories....being transported to a completely imagined place.
What actors/directors would you most like to work with?
Robert Rodriguez, Spike Lee, Paul Haggis Rosario Dawson, Tilda Swinton, Maggie Smith, Johnny Depp, Jamie Foxx... I could go on for a while...
Where do you see yourself in 5 years?
Making Indie films, writing my first book, building a house on an island.
What has been your best day on a set so far?
Working a scene with Julianne Moore and Jeff Bridges in the upcoming film The Seventh Son.
What is the best piece of professional advice that you have been given?
Be true to your own artistic contribution and process, confident that striving to be the best at what you have to offer will bring success.
If we were to show the 12-year-old you a highlight reel of your career to date, what off-camera moment would most blow your pre-teen mind?
Eating a chocolate glazed donut with the late songstress, Aaliyah.
What are the best online places for fans to find out more about you?
kandysemcclure.com
Anything more to add?
Better not, don't want to give it all away on the first date ;-)
Kandyse McClure can next been seen on 'Hemlock Grove,' a Netflix original series that will be released in its entirety on April 19th, 2013.
* Kandyse is on scheduled to do her first nude scene. Hopefully we'll get a clear erection-inducing view of her magnificent titties.
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Director: Antoine Wagner
Model: Tali Lennox (brief breasts)
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Actress Analeigh Tipton keeps her cool in Warm BodiesOne winter afternoon, in the lobby of the Thompson Hotel on Manhattan’s Lower East Side, Analeigh Tipton is sitting in a plush armchair with her lithe legs crossed like a pretzel, head hunched intently over a sketchbook, her pen moving swiftly in hand. Wearing a baseball cap, parka, grey skinny jeans tucked into hiking boots, and accompanied by a large backpack, the 24-year-old Sacramento native looks more like a tourist than someone who has starred in films with Steve Carrell and Julianne Moore (Crazy Stupid Love), Greta Gerwig and Adam Brody (Damsels in Distress), and Seth Rogen and Cameron Diaz (The Green Hornet). But any illusion of pedestrianism is quickly erased upon the sight of her face—feline and feminine with a perfect cupid’s bow mouth and tremendous blue-green eyes that flicker with bewilderment when she sees me, as if she just realized she’s in a crowded hotel lobby and not alone in her bedroom in Los Angeles. “Hi,” she says gently, as she hurries to shut her little black sketchbook and gather her things. “I was just doodling….”
There’s a quiet exaggeration about Tipton, like a silent film star. It’s in the way her eyes light up when they catch sight of the multicoloured cookies and cakes that line the display case of the café we go to for coffee; how she’ll sometimes clasp her hands to the side of her head during a particularly enthusiastic statement; or the way she grins widely as she plays me some of the kooky Icelandic rap she discovered on a recent trip. She seems, almost, from another era. It’s this whimsical nature paired with her intensified girl-next-door features that won Tipton a spot on America’s Next Top Model in 2008. And it was Tyra Banks who told her she should pursue acting when she was voted off as second runner up (her charismatic performance in a mock CoverGirl commercial warranted the praise). It would’ve been easy for Tipton’s 15 minutes to end there, left to collect dust amongst the rest of Tyra’s devoted mini-mes, but instead she quickly earned a cameo on The Big Bang Theory. Her audition impressed the right people, and she soon signed on with Abrams Artist Agency and started booking film roles almost immediately.Next up for Tipton is Warm Bodies, an oddball romcom from director Jonathan Levine (The Wackness, 50/50) about a zombie named R (Nicholas Hoult) and the non-zombie girl, Julie (Teresa Palmer), he falls in love with. Tipton plays Nora, Julie’s best friend, who’s just trying to make sense of the strange pairing. “She’s very self-assured, she’s brave, she’s not afraid to state her opinions, she’s not afraid to be completely curious,” says Tipton, sitting in a corner booth at the café. “And that’s kind of cool, because at the same time she’s funny. It was nice to play both.”
Tipton calls Levine’s filmmaking style “a new way of storytelling.” She elaborates: “It’s in his editing, in his use of music, the emotion that no one can describe. He unfolds it all so poetically—going in and out of action from watching the story and then pulling the audience back into the story. That’s what he does with Warm Bodies. It just matches the story.”
Stories have always been important to Tipton. She actually moved to Los Angeles in 2006 to become a writer. “I got really embarrassed about [pursuing acting] around my family because it didn’t really seem like the scientific or the structured thing to do,” she explains, noting that her father is a computer server engineer and her older sister is a lawyer. “My family could relate to writing more.” For her, though, writing and acting go hand-in-hand: they’re both about playing pretend. “That was my favourite thing—give me something to pretend and I’ll make it happen.” Now Tipton is combining both of her loves by writing a screenplay with two colleagues from one of her previous films, but she’s keeping mum on the details.Though she would now be classified as a successful actor, Tipton confesses she often doesn’t feel like one. “I still get uncomfortable,” she says, delicately fiddling with the lid of her coffee cup. “I’ve worked with actresses that just radiate. They’re these glowing sparkly things.” But she’s not? “I feel very strange on set. I have my notebook and I doodle…sometimes I can come off as…” she trails off, struggling to find the right word. “I’m not shy, I’m just reserved. I was home schooled. I was in my head a lot, and that’s where I’m comfortable.” She smiles a sincere smile. “I’m very grateful for any oddities and quirks I have now. The successful people that I’ve met are so their own weird person. I wish teenagers—kids—knew that people work when they’re just themselves. That’s when it works.”
SOURCE
Nobody in Tinseltown back in early 2000's was interested in hiring Anne for indie/R-rated flicks or took her seriously despite proving herself to be talent to watch out for on New Jersey and New York pro-am theater scene even before The Princess Diaries came along.
The script by late Jessica Kaplan (based on a story written when she was just 14 - jotting down accounts by much older white girls in the school who likes to brag about hanging around with thugs and doing all kinds of nasty) was pretty raw and bordered on pornographical. Stephen Gaghan was brought in to smooth over the rough stuff. Many producers had reservation the script could be successfully translated into mainstream production but it moved ahead thanks to Gaghan involvement and Media 8 Entertainment producing. 
It attracted many upcoming talents but the principal casting was for Allison Lang and Emily. Both roles required extensive nudity. They were looking for 'fresh actors' (read: never done nudity before) to play the Allison and Emily to ramp up the shock value.
None more so when 20-years old singer Mandy More expressed interest to play the lead part. You guys probably aware about the study (unverified and floating around on the web for ages now) where they concluded girls in late teens and early twenties are much more impulsive than boys at that age because of some section in their brain still in infantile stage - the part of the grey matter responsible for assessing the long term effects of actions. Well, Mandy was probably going through that stage. It was at the same time she was having 'spiritual' issues. Mandy has previously vowed to only work in PG-flicks but the box-office failures of her teen rom-com movies drastically affected Mandy's confidence in capturing the teen entertainment market. By late 2003, the tall babe informed her agent she was ready for more adult-themed flicks. She was quickly optioned to play Allison in Havoc. Was it only flirtation on Mandy side? Nobody knows because she was either kicked out or dropped out from handful of movies at pre-production stage during that period.
Mandy and Gaghan inevitably clashed over the nude scenes. Producers told Mandy either to take the deal or take a hike. She chose the latter. The role of Emily also became vacant after Gaghan felt Jena Malone wasn't right for the part.
This is where Anne jumped in to take full advantage. She initially wanted to play Emily seeing her The Princess Diaries co-star Mandy was a shoo-in for Allison. When Mandy bowed out, Allison character was there for the taking. Both Gaghan and director Barbara Kopple was supremely surprised by Anne's dedication during audition and call-back. More than anything it was Anne's uncanny ability to 'hold a scene'. To drag in the viewers into her enchanting dark eyes and projecting subtle vulnerabilty, never letting them go until she was ready to. 
Havoc may have been a failure but it was the perfect launching pad for Anne to the big time. Everyone in the showbiz can see now with their own eyes the gift Anne always possessed in abundance. Brokeback Mountain, The Devil Wears Prada, Becoming Jane,
Rachel Getting Married and even Get Smart placed Anne firmly on the top of the heap. Her versatility in handling any genre and characters is amazing to behold. Only for Bride Wars to come along and in process nearly ruining Anne reputation for good. It didn't fazed Anne who struggle for a while to find suitable movies to showcase her vast array of performing skills. The Dark Knight Rises redeems her box-office appeal to a very minor degree but if you want to catch Anne at her best, go watch Les Misérables. The way she makes love to the cam with her histrionics and singing........her version of 'I Dreamed A Dream' is absolutely mesmerizing.
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Californication: Alanna Ubach Makes an Entrance as "The Widow"
"She’s gonna be a frickin’ hot mess."
by Eric Goldman [January 25, 2013]
From The Brady Bunch Movie to Legally Blond to Hung to a memorable guest role on It’s Always Sunny on Philadelphia, Alanna Ubach has created a ton of very distinct roles through the years – while also building an impressive career doing voice work in animated series like The Spectacular Spider-Man (as Liz Allan) and Pound Puppies. Right now, Ubach is particularly busy, appearing in the current release A Haunted House and playing Scott Baio’s wife on the Nick at Nite sitcom See Dad Run. And beginning this weekend, she can be seen in a new recurring role on Californication.
I spoke to Ubach about joining Californication and how her role involves Skid Row’s Sebastian Bach. We also discussed her voiceover work and more.
IGN TV: What can you say about your character on Californication, and what brings her into Hank’s world?
Alanna Ubach: I’m excited about it. She’s a widow who’s lost her rock star husband played by Sebastian Bach. She meets Hank at the actual funeral, and they start something together.
IGN: Let’s backtrack with Sebastian Bach of it all…
Ubach: Yeah, Sebastian Bach is fantastic in it. He’s really freaking good.
IGN: The accent, was that the plan from the start?
Ubach: That was funny, it was just a regular audition. I read the sides, and I said, “Oh, she should be a Brit.” So I called the casting director, and I said, “Listen, I’m not going in unless you guys allow me to give her my own spin. Can I give her a British accent?” They’re like, “Absolutely. Come in, Alanna.” I did, and they all agreed to make her that.
IGN: So what does she make of Hank and vice versa?
Ubach: [British accent] What does she make of Hank? She loves Hank! In fact, she always messes it up because she’s perpetually drunk. She calls him Frank! [Laughs]
IGN: You're appearing on three episodes throughout the season, right?
Ubach: Yes, she’s this magical little alien that flies down from her planet every once in awhile to visit Planet Earth.
IGN: And what’s it like working with Duchovny?
Ubach: He’s fantastic. He’s really cool. He’s just a really sweet, down-to-earth guy. The entire cast, they’re just a bunch of pros. He was a little under the weather when we first started, and I was, too. We were all gargling hydrogen peroxide trying to kick it. He’s just sweet and totally himself. There isn’t any pretension. He’s the real deal.
IGN: This is on Showtime, and they can get away with some pretty funny, outrageous stuff.
Ubach: Fantastic, man. That writer, he can get away with anything. It’s fantastic. He has the best job in the world. He’s able to write anything dirty, dirty as you wanna be.
IGN: Did you have some interesting dialogue thrown at you?
Ubach: [British accent] Oh, I most certainly did! “Put it in me bum! Come on, put it in me bum! Put it in me ear! It doesn’t matter.”
IGN: So once the decision was made that she would have the British accent, the dialogue soon followed accordingly?
Ubach: Totally! It matched! I can’t believe they didn’t decide to make her British in the very beginning. It matched, it really freaking matched.
IGN: You look at your career, and you are -- I’m sure you’ve heard this word a lot -- chameleon-like. If it fun for you to look at something on the page and think about the way you want to go with it? Does it kind of just hit you, how it should be?
Ubach: You try to think of yourself, and you’re just like, “Okay, every actor is going to go in this and give it the ‘sexy, rock star girlfriend’ take on it, and it’s just going to be about that. For someone whose husband just died, she’s gonna be a frickin’ hot mess, and funerals just bring out the weirdest sides of people. But a lot of times it’s laughter to tears, always reminiscing about the good old times. You break it down. If she’s a rock star’s girlfriend, she’s going to be a partyer, and she’s probably going to be doing a crap-load of drugs the day of the funeral. She’s a fun girl. So to add a Brit thing to it -- the voice is the first thing that I concentrate on when I’m creating something. Otherwise, I can’t hear what they sound like, and I can’t go from there. I wanted this to be really fun, because these are 14-hour working days.
IGN: You had a great way of saying “Petey” on that show.
Ubach: “Petey!” [Laughs]
IGN: With animation, is that interesting because you are completely approaching it from that vocal standpoint?
Ubach: Oh, absolutely. It’s so much fun, because every intonation is coming from some kind of emotional place. It’s just so much fun. It’s a lot easier, obviously, because you’re not patting your head and rubbing your belly.
IGN: Wow, so not just a trip up the coast!
Ubach: Yeah, baby! Two days to get there. I’m nuts, but I’m going by myself. It’ll be a 15-day adventure. I’m as excited as punch.
IGN: And when do you go back to work? They’re still airing more of Season 1. When do you go back to do Season 2?
Ubach: Yeah, they wanted to reintroduce it to audiences that hadn’t really seen See Dad Run or didn’t get to see it last year. So they’re starting up again in February to air original shows. Then in March, we start filming Season 2.
IGN: It must be interesting working with a guy like Scott Baio, who’s been recognizable as long as we can remember, basically.
Ubach: Unreal, right? Every once in awhile, I’ll do something like, “Blousey!” He’s like, “Hey, you got that from Bugsy Malone.” [Laughs] I’ll say some of his dialogue. He’s good, he’s such a sport about it. It’s awesome.
Alanna Ubach makes her Californication debut on Sunday, January 27th.
+++++++++++++++++++++++++++++++++++++++++++++I spoke to Ubach about joining Californication and how her role involves Skid Row’s Sebastian Bach. We also discussed her voiceover work and more.
IGN TV: What can you say about your character on Californication, and what brings her into Hank’s world?
Alanna Ubach: I’m excited about it. She’s a widow who’s lost her rock star husband played by Sebastian Bach. She meets Hank at the actual funeral, and they start something together.
IGN: Let’s backtrack with Sebastian Bach of it all…
Ubach: Yeah, Sebastian Bach is fantastic in it. He’s really freaking good.
 |
| Alanna Ubach as The Widow in Californication. |
IGN: Since you are playing his widow, do we get to see you two together, though?
Ubach: Well, you know, he sort of comes out in a little hologram. [Laughs] And my character’s name, I’m just referred to as The Widow, so that’s basically it. She’s got a cockney Brit accent, and I watched a lot of interviews with Adele and Amy Winehouse and tried to put something together.IGN: The accent, was that the plan from the start?
Ubach: That was funny, it was just a regular audition. I read the sides, and I said, “Oh, she should be a Brit.” So I called the casting director, and I said, “Listen, I’m not going in unless you guys allow me to give her my own spin. Can I give her a British accent?” They’re like, “Absolutely. Come in, Alanna.” I did, and they all agreed to make her that.
IGN: So what does she make of Hank and vice versa?
Ubach: [British accent] What does she make of Hank? She loves Hank! In fact, she always messes it up because she’s perpetually drunk. She calls him Frank! [Laughs]
 |
Alanna Ubach as The Widow, Steve Jones as Krull, Maggie Grace as Faith, Tim Minchin as Atticus Fetch and David Duchovny as Hank Moody in Californication |
IGN: I imagine Hank may not be sure what to make of this women then?
Ubach: Not at all. In fact, he passes me on to baldy [Charlie].IGN: You're appearing on three episodes throughout the season, right?
Ubach: Yes, she’s this magical little alien that flies down from her planet every once in awhile to visit Planet Earth.
IGN: And what’s it like working with Duchovny?
Ubach: He’s fantastic. He’s really cool. He’s just a really sweet, down-to-earth guy. The entire cast, they’re just a bunch of pros. He was a little under the weather when we first started, and I was, too. We were all gargling hydrogen peroxide trying to kick it. He’s just sweet and totally himself. There isn’t any pretension. He’s the real deal.
IGN: This is on Showtime, and they can get away with some pretty funny, outrageous stuff.
Ubach: Fantastic, man. That writer, he can get away with anything. It’s fantastic. He has the best job in the world. He’s able to write anything dirty, dirty as you wanna be.
IGN: Did you have some interesting dialogue thrown at you?
Ubach: [British accent] Oh, I most certainly did! “Put it in me bum! Come on, put it in me bum! Put it in me ear! It doesn’t matter.”
IGN: So once the decision was made that she would have the British accent, the dialogue soon followed accordingly?
Ubach: Totally! It matched! I can’t believe they didn’t decide to make her British in the very beginning. It matched, it really freaking matched.
IGN: You look at your career, and you are -- I’m sure you’ve heard this word a lot -- chameleon-like. If it fun for you to look at something on the page and think about the way you want to go with it? Does it kind of just hit you, how it should be?
Ubach: You try to think of yourself, and you’re just like, “Okay, every actor is going to go in this and give it the ‘sexy, rock star girlfriend’ take on it, and it’s just going to be about that. For someone whose husband just died, she’s gonna be a frickin’ hot mess, and funerals just bring out the weirdest sides of people. But a lot of times it’s laughter to tears, always reminiscing about the good old times. You break it down. If she’s a rock star’s girlfriend, she’s going to be a partyer, and she’s probably going to be doing a crap-load of drugs the day of the funeral. She’s a fun girl. So to add a Brit thing to it -- the voice is the first thing that I concentrate on when I’m creating something. Otherwise, I can’t hear what they sound like, and I can’t go from there. I wanted this to be really fun, because these are 14-hour working days.
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| Liz Allan (voiced by Alanna Ubach) in The Spectacular Spider-Man. |
IGN: What you said about finding the voice is a nice segue for me to mention your voiceover work. In particular, I was a huge fan of The Spectacular Spider-Man. I was just curious about that voice, your version of Liz. Where did that take come from?Ubach: It was so funny because I had no idea what I was trying out for. I was like, “Liz? Who’s Liz?” I don’t know anything about the Marvel comics -- shame on me. I don’t know anything about them, so when I walked in on the first day, I was just like, “Oh, this has a lot of dialogue. What’s this?” They started saying, “Alanna, can you make her a little younger? Yeah, now go down. No, now she’s 20.” “Hi, what’s going on?” “No, that’s still too old. Make her 14.” [Higher] “Hey, what’s going on?” “That’s it. Good. Okay, give it a run.” That’s basically what you do.
IGN: You had a great way of saying “Petey” on that show.
Ubach: “Petey!” [Laughs]
IGN: With animation, is that interesting because you are completely approaching it from that vocal standpoint?
Ubach: Oh, absolutely. It’s so much fun, because every intonation is coming from some kind of emotional place. It’s just so much fun. It’s a lot easier, obviously, because you’re not patting your head and rubbing your belly.
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| Alanna Ubach and Scott Baio in See Dad Run. |
IGN: You also have See Dad Run going strong. It must have been nice to have gotten that quick pickup for a second season.
Ubach: It’s very exciting. It’s now given me the courage to travel during pilot season. I’m on my way to Cambodia, Vietnam, Laos and Thailand.IGN: Wow, so not just a trip up the coast!
Ubach: Yeah, baby! Two days to get there. I’m nuts, but I’m going by myself. It’ll be a 15-day adventure. I’m as excited as punch.
IGN: And when do you go back to work? They’re still airing more of Season 1. When do you go back to do Season 2?
Ubach: Yeah, they wanted to reintroduce it to audiences that hadn’t really seen See Dad Run or didn’t get to see it last year. So they’re starting up again in February to air original shows. Then in March, we start filming Season 2.
IGN: It must be interesting working with a guy like Scott Baio, who’s been recognizable as long as we can remember, basically.
Ubach: Unreal, right? Every once in awhile, I’ll do something like, “Blousey!” He’s like, “Hey, you got that from Bugsy Malone.” [Laughs] I’ll say some of his dialogue. He’s good, he’s such a sport about it. It’s awesome.
Alanna Ubach makes her Californication debut on Sunday, January 27th.
The Girls of the Sundance Film Festival
AMBYR CHILDERS
Age: 24
Hometown: Murietta, Calif.
Channeling: Reese Witherspoon. Not only does she bear a more than passing resemblance to the perky Oscar winner, but she also got married (to producer Randall Emmett) and had a baby at a young age; daughter London is nearly three.
Known For: Childers, who landed a job on “All My Children” in high school, had a memorable role as Philip Seymour Hoffman’s daughter Elizabeth Dodd in “The Master” and currently appears in “Gangster Squad.”
Sundance Moment: As eldest daughter Iris in Jim Mickle’s horror remake “We Are What We Are,” a surprisingly entertaining film about a cannibal family, Childers gives new meaning to the term “bringing home the bacon.” “It’s really about the relationship between two sisters who happen to have a very dark family,” she said.
Up Next: The film “2 Guns” starring Denzel Washington and Mark Wahlberg and the Showtime series “Ray Donovan,” starring Liev Schreiber and Jon Voight.
Age: 24
Hometown: Murietta, Calif.
Channeling: Reese Witherspoon. Not only does she bear a more than passing resemblance to the perky Oscar winner, but she also got married (to producer Randall Emmett) and had a baby at a young age; daughter London is nearly three.
Known For: Childers, who landed a job on “All My Children” in high school, had a memorable role as Philip Seymour Hoffman’s daughter Elizabeth Dodd in “The Master” and currently appears in “Gangster Squad.”
Sundance Moment: As eldest daughter Iris in Jim Mickle’s horror remake “We Are What We Are,” a surprisingly entertaining film about a cannibal family, Childers gives new meaning to the term “bringing home the bacon.” “It’s really about the relationship between two sisters who happen to have a very dark family,” she said.
Up Next: The film “2 Guns” starring Denzel Washington and Mark Wahlberg and the Showtime series “Ray Donovan,” starring Liev Schreiber and Jon Voight.
JULIA GARNER
Age: 18
Hometown: Riverdale, N.Y.
Channeling: Ellen Page. With a porcelain doll-like face and wispy frame, Garner has a surprisingly big screen presence that allows her to toe the line between girlish and gritty.
Known For: Her first movie role was in the 2011 Sundance hit “Martha Marcy May Marlene.” Her first lead was in last year’s “Electrick Children,” in which she played a Mormon teen who believes in immaculate conception. She also appeared as one of Emma Watson’s cronies in “The Perks of Being a Wallflower.”
Sundance Moment: Garner plays younger sister Rose in “We Are What We Are,” who attempts to rebel against the family tradition but is bound by loyalty to her sister. “It was easy for us to play sisters,” she said of bonding with Childers, “because it was a small town and a small set, so we spent all our time together.”
Up Next: The horror flick “The Last Exorcism Part II,” the period drama “You Can’t Win” with Michael Pitt and the college comedy “HairBrained.”
Age: 18
Hometown: Riverdale, N.Y.
Channeling: Ellen Page. With a porcelain doll-like face and wispy frame, Garner has a surprisingly big screen presence that allows her to toe the line between girlish and gritty.
Known For: Her first movie role was in the 2011 Sundance hit “Martha Marcy May Marlene.” Her first lead was in last year’s “Electrick Children,” in which she played a Mormon teen who believes in immaculate conception. She also appeared as one of Emma Watson’s cronies in “The Perks of Being a Wallflower.”
Sundance Moment: Garner plays younger sister Rose in “We Are What We Are,” who attempts to rebel against the family tradition but is bound by loyalty to her sister. “It was easy for us to play sisters,” she said of bonding with Childers, “because it was a small town and a small set, so we spent all our time together.”
Up Next: The horror flick “The Last Exorcism Part II,” the period drama “You Can’t Win” with Michael Pitt and the college comedy “HairBrained.”
TAMSIN EGERTON
Age: 24
Hometown: Hampshire, England
Channeling: Charlize Theron. Egerton’s willowy frame and blonde locks pair with an on-screen persona that is both wide-eyed and knowing.
Known For: Egerton appeared in the Royal Shakespeare Company’s musical production of “The Secret Garden” as a child; in the American miniseries “The Mists of Avalon” as a teen, and in the cult favorite “St. Trinian’s” and its sequel.
Sundance Moment: In Michael Winterbottom’s “The Look of Love,” she plays Fiona Richmond, the mistress of Soho strip club owner-turned-tycoon Paul Raymond (played by Steve Coogan). “I dyed my hair red and put on a few pounds because women were curvier in the Sixties and Seventies,” said Egerton, a former model who stands nearly 5 feet, 11 inches.
Up Next: Roland Joffe’s futuristic love story “Singularity,” in which she stars opposite beau Josh Hartnett, and the thriller “Grand Piano” with Elijah Wood and John Cusack.
Age: 24
Hometown: Hampshire, England
Channeling: Charlize Theron. Egerton’s willowy frame and blonde locks pair with an on-screen persona that is both wide-eyed and knowing.
Known For: Egerton appeared in the Royal Shakespeare Company’s musical production of “The Secret Garden” as a child; in the American miniseries “The Mists of Avalon” as a teen, and in the cult favorite “St. Trinian’s” and its sequel.
Sundance Moment: In Michael Winterbottom’s “The Look of Love,” she plays Fiona Richmond, the mistress of Soho strip club owner-turned-tycoon Paul Raymond (played by Steve Coogan). “I dyed my hair red and put on a few pounds because women were curvier in the Sixties and Seventies,” said Egerton, a former model who stands nearly 5 feet, 11 inches.
Up Next: Roland Joffe’s futuristic love story “Singularity,” in which she stars opposite beau Josh Hartnett, and the thriller “Grand Piano” with Elijah Wood and John Cusack.
Age: 28
Hometown: Pasadena, Calif.
Channeling: Liv Tyler. Though she portrays a conflicted young woman struggling to hide a taboo relationship in “A Teacher,” off-screen, Burdge’s giggle and grin recall Tyler in her ingénue days.
Known For: The indie “All the Light in the Sky,” directed by Joe Swanberg.
Sundance Moment: Burdge carries “A Teacher” as Diana, a high school English teacher who falls for one of her male students. “I went to an all-girls school so I had to do some research. I read a lot of anonymous essays by teachers, which were very honest because there was no fear of judgment there.”
Connections: Burdge made student films while she was at Tisch School of the Arts at NYU, but she met “A Teacher” director Hannah Fidell while she was working at Ridley Scott’s film and commercial production company as a producer and Fidell was a receptionist. “Hannah said she cast me because I was the only actress she knew,” said Burdge.
Porn Fans Aren’t What They Used To Be
Reporting from the Adult Entertainment Expo, where the gun-owning, flip-phone-carrying demo reigns and James Deen just wants to talk about pandas.
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| Best Oral Sex Scene Award at the Adult Video News Awards 2013 |
The first time I traveled to Las Vegas for the Adult Entertainment Expo, America’s largest gathering of porn stars and their fans, I found myself sitting on the ground near the elevator bank at the Hard Rock Hotel and Casino with a blue-eyed, gravelly voiced girl who performs under the name Katie St. Ives. She lit a cigarette and sank into the carpet. St. Ives was coming off an eight-hour shift perched on a pair of platform heels and running her mouth dry in repetitive conversation with strange men. I asked her if she was having a good time.
“Uh. Yeahhhh,” she said. “Sorry. That sounded … not convincing.” Hours of posing and autographing had bottomed her out, but what really got to her were the legions of pornography fans who had attempted to pry past her “Katie” exterior to access the regular girl underneath. “Fans will get comfortable with me because I can act very friendly. They start to expect things of me. They seem offended when I don’t get up and give them a hug.” As St. Ives spoke, a pack of twentysomething polo shirts pooled around her, waiting for an elevator to skyrocket them to their room. One of them recognized St. Ives. He plucked a novelty penis drink stirrer from his cocktail and flicked it at her freckled face. “You want this cock?"
She did not want that cock, but the offer illustrated how drastically the relationship between porn stars and fans has changed in the past few years.
When David Foster Wallace chronicled porn’s biggest fan show back in 1998—at the height of VHS and DVD sales—he observed a sweaty, trembling mass of shy guys who appeared both thrilled and ashamed to make first contact with their favorite pornographic actors. But the Internet crumbled all that, and last year I watched a man wait 30 minutes to grope a porn star’s breasts and announce, “That’s going on Facebook later!” Another languished in line to see if his favorite star was nice; act too aloof, and “I’ll never want to see her again,” he told me. “Not even in porn.”
In an age when every conceivable permutation of pornography is immediately accessible for free online, the power dynamic between viewer and star has shifted. Most porn viewers are still quietly accessing the material from the privacy of their own homes, but because it’s so easy to get, the reverence has faded. And when a man actually uses up his vacation days, books a plane ticket to Las Vegas, secures a hotel room off the strip, and drops between $35 (one-day access) and $325 (the VIP treatment) to celebrate porn in person, he is no longer content to gawk at a porn star standing on a pedestal. He expects an intimate affair.
Stoya, 26, is something of an Internet phenomenon. Fans know her for her thoughtful Tumblr that takes on issues like street harassment and sexual health; her wink-nudge public romance with porn it-boy James Deen; and the work she has done having sex on-camera. As we perch in the convention’s pressroom at this year’s expo last weekend, Stoya details the classes of fans she meets at shows. There are the “very socially awkward guys”—Foster Wallace’s quiet, sweaty types. There are the “douchebags”—the grabby guys who get oiled up enough at the bar to ask, “Do you think I could do porn?” And now the “hipsters”—guys drawn to Stoya’s alternative pornographic aesthetic who nonchalantly sidle up to her booth. “Those guys don’t pay for it,” Stoya tells me.
Those guys are the industry’s biggest problem—people who like to watch porn but also situate themselves as above it all. Today, most viewers don’t count themselves as “fans” at all. Clarissa Smith, a researcher at the University of Sunderland in northeastern England, has spent years collecting data on thousands of Internet porn users. When she crunched some preliminary numbers from a voluntary online questionnaire of 5,490 men and women, she noticed a schism between young and old consumers. Both male and female users in their teens and 20s viewed porn frequently but not passionately. They accessed it through downloads and tube sites and amateur portals when they were either horny or bored. And out of all porn viewers, those aged 18-25 rated pornography as least important to their lives. When porn is free, we want it more, and we value it less.
It’s ironic that the omnipresence of porn in our homes is now backfiring on the porn industry. For a while there, figuring out new ways to deliver porn straight into the consumer’s home was the name of the game. The porn industry has managed to successfully leverage the erotic potential of every new technology, from the printing press to the telephone to the VCR to the camcorder, to facilitate that process. Throughout the ’80s and ’90s, America’s foremost porn convention even shared floor space with the Las Vegas outpost of the International Consumer Electronics Show. Back then, the adult show functioned a little bit like CES’s dad’s basement—it was the darkened exhibition hall you and your friends could sneak into after-hours to pop in a racy film. For reluctant porn fans, the tech conference provided the perfect cover for an explicit outing. For tech types, it was a legitimate business opportunity: a place where DVD distributors could shake hands with content producers, and their busty starlets, too. The alliance was a success.
But now, the conference’s techie contingent has all but withered. DVD distributors and pornographers have less to chat about. Technophiles have little incentive to hop over to the porn convention to peruse the newest titles; they can just dial them up on their smartphones. It’s gotten to the point where Dan O’Connell, founder and president of the lesbian-focused porn company Girlfriends Films, can spy a likely customer by the quality of his cellphone. If he’s packing a dinosaur of a flip-phone, perhaps O’Connell can interest the guy in some DVDs. But it’s all over when the iPhone comes out.
Last year, the AEE cut its loose alliance with CES entirely, moving the porn convention to a week after the tech show and to the relatively diminutive Hard Rock Hotel. And this year, AEE picked up a new supplemental population of conventioneers. “The demographic is way different,” says Janet Gibson, COO of AVN Media Network, the company behind the convention. “It’s not the tech geeks anymore. It’s the gun people.”
Yes, this year’s convention intentionally coincided with the four-day Shooting, Hunting, and Outdoor Trade Show at the Sands Expo and Convention Center, which experienced record attendance just months after the Newtown, Conn., school shootings. The demographic shift is one way to dial back the clock on the Internet takeover. Gun people are “the people who are still buying DVDs,” Gibson says. Sativa Verte, a 27-year-old performer known for her hair fetish work, put it another way: “These are the hillbilly, backcountry folk.”
In addition to reaching out to gun owners, the AEE has made strides to corner the young, douchebag market by expanding the convention experience beyond autograph signings and DVD racks. Smaller booths and more intimate activities offer increased access to performers. This year’s VIP offerings included events like “Porn Star Bingo,” the “Blind Date With a Porn Star Contest,” the “Beer Pong Porn Star VIP Party,” and numerous club parties featuring big-name starlets booked to “host” the event (i.e., drink alcohol in a roped-off section of da club). Increasingly, smudging the line between porn star and fan is key, because to fans, that line is already very blurred. The distinction between a “professional” porn star and that hot college girl with a webcam who could turn up at your next frat party is narrowing. Hence, beer pong and bingo with the “stars.”
“When I got into this business, the only people who were open about watching porn were almost like pseudo–serial killers,” Lisa Ann, 40, told me over coffee last year. When she debuted in porn at 22—receiving early attention for her turn as the guardian nympho of 1994’s Tits a Wonderful Life—fans would track her down at live appearances armed with a gold-dipped rose and a three-ring binder containing her every known published photograph, then ask her to touch each page. Now, “young, hot guys are not embarrassed to say they watch porno.” Fifteen-year-old boys request her photograph at Lakers games. College girls email her for relationship advice. Today’s porn viewers are so nonchalant about their porn habits that they don’t even buy it at all. Which means that, “as stars, our brands are more valuable than ever.”
Lisa Ann is dogged in pursuing this new permutation of her fandom, but finding ways to monetize her sunny personality is hard work. She spends nights on her couch tweeting at select fans to cultivate jealousy among their friends. In monthly online webcam chats, she wears clothes and just talks. She has accompanied fans to Yankee Stadium and a high school reunion. She maintains an Amazon wish list of gifts she wishes her fans would buy her; she recently scored a $399.99 Dallas Cowboys helmet autographed by Emmitt Smith and Troy Aikman. She sat for a mold of her vagina to sell to fans as a masturbatory Fleshlight product (the prestigious gig—one of the few that pays royalties for products moved—is a boon to an adult star). At this year’s convention, Lisa Ann partnered with Fleshlight to invite one young customer to accompany her to the awards show that caps the weekend. Any guy who bought a Lisa Ann–brand Fleshlight could qualify: Buy the fake vagina, and you could get the real human for free.
Given the stigmas projected onto members of the adult industry, perhaps it’s a positive development for fans to appreciate that porn stars are people too. After eight years of bumming around the show floor, Deen commandeered a booth for the first time this year. It gives him the chance to promote his new line of sorbet-colored T-shirts emblazoned with cartoon panda bears and hawk an enormous synthetic mold of his penis. Now that he’s more in control of his public narrative, Deen at least gets fewer guys asking “what a girl’s pussy feels like” and more who understand that “I do not want to talk about what a girl’s pussy feels like. I want to talk about baby pandas and stuff.”
Now that porn is a normal, everyday thing, typical viewers are less likely to see porn performers as objects to either venerate or degrade. While this humanization can feel good—Deen loves to talk pandas—the shrinking pool of porn money does not. The question of how to get performers compensated for their work remains.
As the fourth and final day of the AEE convention concludes, the porn stars decamp to their tower hotel rooms to primp for the 30th annual Adult Video News Awards, the industry gala that typically caps the convention weekend. This is the moment when the porn star stops being your friend. She pulls herself up off the convention floor, squeezes into her prom gown, and slinks into the press-only red carpet area, where she’s quizzed by the likes of international shock jocks and Robin Leach—guys who have a professional excuse for staring. Fans are free to attend, to the tune of $300 a ticket.
Outside the awards show, at the spot where the freewheeling casino hallway ends and the locked-down velvet rope begins, two lines of gawkers form a drunk-guy funnel for arriving stars. I’ve found myself squished into a pack of five young fans who are upending Bud Lights, cat-calling Ron Jeremy, and taking turns strutting down the porn gauntlet. I request an interview. “We’re gonna be on TV!” one replies. “I’m just gonna say tits, ass, and fuck a lot,” says another. A third handles the crotch of his stars-and-stripes-festooned jorts, doing his best James Deen. “Do you want to take a picture of this?” he asks me.
I do not. I gravitate to the most coherent member of the group, a 25-year-old with a dazed grin and close-cropped hair who wears neither a tank top nor sunglasses at night. He offers his name, then takes it back—preferring to be identified by the porn name he has just invented.
Sleazy-D never pays for porn. He doesn’t even shell out for porn conventions—he and his buddies snuck in instead of dishing out for the official lanyard. Then he just kind of did whatever—chatted up his porn idol Evan Stone (“he gets to fuck the hottest chicks”), high-fived some porn star, looked at boobs. I asked Sleazy-D what a porn actress would need to do for him to actually pay for it.
“I would pay to have her climb into my bed,” he says.
Prostitution?
“Well, that’s rude.”
Escorting, then?
Sleazy-D laughs in approval and offers me a high-five. Then he cranes his neck back toward the gauntlet to train his eyes on a leggy blonde in a microscopic red dress making her way into the awards. Sleazy-D reconsiders his position. “She’s hot,” he says. “I don’t know who she is, but if she had a webcam? I would pay a marginal amount for her.”
Then she was gone, disappeared behind the awards show doors, and Sleazy-D forgot about her as quickly as he had noticed her. Yielding to the allure of something immediate and free, he turned to me and said, “So, what are you doing later?”
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25 Unintentionally Raunchy Photos (You Perverts)
Jan 27, 2013 by
Do you ever see “faces” in the front of cars; the headlights being the “eyes” and the side mirrors being the “ears”?
The following collection of images, put together by the adolescent minds of Japan’s largest internet message board, 2channel, are kinda like that, but instead of “faces” its “genitals”, and instead of cars it’s “everything”.
Take a look below!
■ First up is “nature”, which is perhaps the most frequent offender because, well, trees.
■ Then we have “food”, another well-known exhibitionist
▼ Hey, it’s that fruit.
▼ And then whatever this is….
■ Next up is stuff; things made by man that just happen to look naughty
■ And finally we have people. Dirty, filthy people.
■ Bonus: Jim Henson’s Goatse
Source: Huyosoku
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The Evolution of Alexa Vega
Little Giants- 1994
Spy Kids-2001
Spy Kids 3- 2003
Repo! The Genetic Opera-2008
Spy Kids 4-2011
Machete Kills-2013
Do remember that we are in constant state of evolution and Ms.Vega rapid progress means she won't be needing clothes in near future.
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A couple of years ago, I was just breaking into the business and I did a slasher film with a couple of topless scenes. Not exactly porn, but let's just say not exactly Oscar material either. Now I'm all over the Internet on "nude celeb" websites, which come up by the hundreds on a Google search of my name. I feel that this may give the wrong impression of my seriousness about the profession. One of my goals is that the Google search will be "cleaned up" when I accumulate more film and theater work. Is this likely to hinder my progress and, if so, can you suggest some ways that I can counter any wrong impressions that the Google search might create?
Bless your heart! I can imagine it is quite stressful to self-Google and see links to XXX sites when you've done nothing meriting such publicity. Let me respond to you in two parts: advice on improving your desired Google results and advice for those considering doing nudity early in their careers.
The best way to improve results in Google (and other search engines, of course) is to have a site of your own. Since these other sites are promoting many, many people's screen captures and videos, your name is one of thousands in the sites' search tags. Your site will be singularly-focused: promoting yourself the way in which you choose. The existence of your own site will help, as will a blog in your name, fansites that may crop up in your honor, etc. The more sites "out there" with the focus you want them to have, the more diluted the current search results will become. Of course, these more accurately-focused sites will never eradicate the existence of the adult image sites showing up in your current searches. Those pay-based sites make a lot of money and their owners spend some of that money to keep the sites at the top of Internet searches. That will always be hard to combat (especially the more name-recognition you get in your career pursuits).
Outside of any legal right you may have to control the way your image is exhibited (which is highly unlikely to apply in this case), you won't be able to prevent such sites from exploiting what, in context, was a scene of partial nudity of key importance to the story in an earlier project. That brings me to the second part of this issue I'd like to address: choosing your projects.
If you could go back in time (I know, I know... you can't. Bear with me), would you NOT do the project knowing that stills from it would end up on the Internet for all time? This is an important question to ask yourself when faced with the opportunity to play a role in which nudity is tasteful and important to the story. Consider that you are signing off on what may, down the line, turn out to appear exploitive and pornographic.
And what happens when you are truly well-known as an actor? What if you become famous?
Can you imagine the price those photos will command at that point? And if you believe that changing your name when you're doing the film in question will have any impact down the line, believe me, it won't. Someone, somewhere can always find the trail between you now and the various projects in your past. Ask any well-known celeb who has attempted to sue a gossip rag to prevent the publisher from leaking early-in-the-career photos. This issue does not get easier for you, the more notoriety you get.
So, for those of you debating doing anything for the sake of your career now without consideration for the state of your career in the future, remember to set your limits before they become tested. That moment is not the one in which to make the tough decision.
Now, as for the answer to the "will this hurt my career" question you're really asking, consider your response to the issue. That's where the damage (if any) could be done. When you are confronted with the, "Hey! Didn't I see your boobs?" question, your response will dictate whether you are considered a professional who made a particular choice at a point in the past or someone who is hiding from a choice you made and embarrassed in front of those who "find you out." Truly, it is the pleasure folks gain from "exposing" you that makes issues like this seem a lot more important than they really are. You steer others' perception of you through the way in which you conduct yourself day to day. A lifetime of serious work is not going to be undone by one screen capture online. Prep yourself with the response you want to provide, when confronted. As for what others may think (but never voice) and how that impacts whether you're called in for work as an actor today, that's Actor Mind Taffy. You can't control the factors that go into whether you're asked to audition and since the work you've done is "out there," you simply have to let go of what others are going to do with that fact. Do your best work and own what you've done along the way, like any professional should do. That's the only way to survive any choice you make.
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Netflix’s House Of Cards Could Be The Best Show You Won’t See On TV
Early on in the Netflix original series House of Cards, you see Kevin Spacey get his hands dirty. As Representative Francis Underwood, he doesn’t suffer fools and he doesn’t tolerate weakness. The opening scene shows Spacey performing a mercy killing of sorts, removing the pain of a beast not fit to continue living. It’s an apt metaphor for Underwood’s upcoming crusade against a presidential administration that has turned its back on him. But the scene could also be read as a metaphor for the show itself: Just as Underwood seeks to show up the incumbent powers that be, so too is Netflix attempting to shake up the TV distribution model. And in both cases, you’re rooting for the underdog.
Spacey’s Underwood is the House Majority Whip and already has a tremendous amount of power. But when spurned for the position of Secretary of State, he puts a plan in motion to not only unseat the person chosen instead of him, but to cause further headaches for the administration that passed him over. The first two episodes are an unraveling series of events that have Underwood stealthily undermining the new president during his first several days in office.
He’s helped in this pursuit by aide Doug Stamper (Michael Kelly), as well as young Washington Herald reporter Zoe Barnes (Kate Mara). Meanwhile, Corey Stoll plays Representative Peter Russo, a hard-partying Congressman who ends up owing his loyalty to Underwood, and Robin Wright plays Underwood’s wife, an equally ruthless businesswoman undergoing her own professional upheaval.
Altogether, the ensemble and script makes for really good TV, even if you’ll never watch the show on any broadcast or cable network. That’s because Netflix cut a reported $100 million check for exclusive rights to stream the program to its subscribers. Like HBO, which has spent the last two decades winning over subscribers with really high-quality original content that can only be seen on its network (or, if you’re willing to wait, packaged for DVD and Blu-ray sale), Netflix is hoping that it too will soon be defined by shows that users can only see by paying $8 a month for its streaming service.
House of Cards wasn’t the first exclusive series Netflix put on its streaming service, and it won’t be the last: There are at least three others in development, including the reboot of Arrested Development, Eli Roth’s horror series Hemlock Grove, and Weeds creator Jenji Kohan’s prison comedy Orange Is The New Black.
But House of Cards is probably the most significant original release that Netflix will see over the next year. Unlike Lillyhammer, the goofy fish-out-of-water comedy that planted a New York mobster in Norway, this series was created exclusively for Netflix and features serious star power in Spacey and Fincher. And while viewers are no doubt waiting for the coming Arrested Development revival, most have some idea of what to expect from that project.
House of Cards, though, bears the burden of being the first real serious piece of original programming that the online streaming company has licensed exclusively. It is, one might say, a defining moment for the company. Ever since it was announced, critics have questioned whether Netflix would be able to pull off an original show with HBO-like quality. While everything looked good on paper, including the involvement producer/director David Fincher and actor Kevin Spacey, there are no shortage of announced series that had viewers salivating, only to be let down once they were actually able to see the end result. Even HBO has had a few blunders of this sort — just check out the network’s horse racing extravaganza Luck, which combined the talents of David Milch and Michael Mann, and starred Dustin Hoffman. It was cancelled after just one season.
At the same time, Netflix famously stepped back during the production of House of Cards, something that few traditional networks are willing to do. The common belief among those in the TV business was that Netflix was making a big, risky bet by paying upfront for two seasons of a show that didn’t even have a pilot, and then letting the production studio do its job with little interference.
But if the first two episodes are any indication, Netflix’s bet on House of Cards should pay off handsomely. The show not only lives up to the production quality that we’ve come to expect from cable TV — in writing, acting, and directing — but it will probably surpass the expectations of many.
That’s not to say that the show is perfect: Kevin Spacey as a Southerner is a tough sell, and his affected drawl can be grating. The fictional Washington Herald isn’t a great representation of the modern news room, and the balance between the print reporters and the online ambitions of newcomer Barnes seems a little off. In the initial few episodes, the motivations driving certain characters are a little over-simplified. But overlooking those issues — which, frankly, are present in most TV pilots seeking to get a viewer up to speed in the fictional world they weave — House of Cards is very good. At least, the first two episodes were.
All 13 episodes of the show will be made available soon enough, as the series premieres February 1. And when it does, viewers will be able to make up their own minds about whether or not House of Cards lives up to the hype.
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27-years old former beauty queen (Miss Africa 2004) and model Georgie Badiel by Randall Slavin
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