Burn Later Productions isn’t releasing Results in theaters until 2015, however they’re providing a taste of what to expect with the first photo from the film along with a synopsis. The romantic movie set in the world of personal trainers was written and directed by Andrew Bujalski and stars Cobie Smulders, Guy Pearce, Kevin Corrigan, Giovanni Ribisi, Anthony Michael Hall, Brooklyn Decker, and Constance Zimmer.
Paul Bernon, Sam Slater, and Houston King produced the film with Sev Ohanian, Greg Stewart, and David Bernon executive producing.
The Plot: Set in the fitness industry, the film follows two mismatched personal trainers, Trevor (Pearce) and Kat (Smulders), who surrender to love propelled by the actions of a newly wealthy client, Danny (Corrigan).
Smulders recently finished up shooting Avengers: Age of Ultron and Pearce is working on Holding the Man and Equals.
Aubrey Plaza (Photo by Richard Chavez/ShowbizJunkies)
In what seems to be an inspired casting choice, Aubrey Plaza (Parks and Recreation) has landed the job of voicing Grumpy Cat in the Lifetime Original Movie Grumpy Cat’s Worst Christmas Ever. The live-action movie will air on Saturday, November 29, 2014 at 8pm ET/PT and will feature Plaza’s voice as the famous kitty with the permanently sour face. Alvin and the Chipmunks‘ director Tim Hill co-wrote and directs the family-friendly, feline-friendly tale.
Grumpy Cat (real name: Tardar Sauce) is an internet sensation with over 6.6 million Facebook friends and counting. Grumpy Cat also made both Buzzfeed and Mashable’s lists of the most important cats, and she even has two books in print: A Grumpy Book and The Grumpy Guide to Life: Observations by Grumpy Cat.
The Plot:
In Grumpy Cat’s Worst Christmas Ever, Grumpy Cat is a lonely feline living in a mall pet shop. Because she never gets chosen by customers, she develops a sour outlook on life…until one day during the holidays, a very special 12-year-old girl named Chyrstal enters the pet store and falls in love with her after realizing she is the only person who can hear this unique cat talk. As the two develop a close friendship during the holiday rush, Grumpy reluctantly thwarts the kidnapping of an exotic dog she dislikes and, on Christmas Eve, rescues Chyrstal after the mall closes. Through her adventures, will Grumpy learn the true meaning of Christmas? Or will it be, in her words, the “Worst. Christmas. Ever?”
Darrell Hammond as Donald Trump during “A Message from Donald Trump” skit on ‘SNL’ (Photo by Mary Ellen Matthews/NBC)
Darrell Hammond is returning to NBC’s Saturday Night Live for the show’s 40th season. The former SNL player will be taking on a new role as the announcer following the death of the show’s long-time announcer Don Pardo.
Hammond’s first episode as announcer will be on the 40th season premiere on September 27, 2014. Chris Pratt’s scheduled to host that show with Ariana Grande signed up as the musical guest.
Hammond was a member of the SNL cast for 14 seasons and holds the record for the longest stint as a cast member in the show’s history.
In addition to SNL, Hammond’s credits include Scary Movie 5 and the TV series Are We There Yet? and Damages.
Focus Features has just released the poster for the third film of the Insidious horror franchise, Insidious Chapter 3. Insidious Chapter 3 will arrive in theaters on May 29, 2015 with the writer and supporting actor from the first two films, Leigh Whannell, making his feature film directorial debut.
Whannell will also be reprising his role, starring alongside Dermot Mulroney, Stefanie Scott, Lin Shaye, and Angus Sampson.
The Plot:
A twisted new tale of terror begins for a teenage girl and her family, predating the haunting of the Lambert family in the earlier movies and revealing more mysteries of the otherworldly realm The Further.
Singer Gwen Stefani and singer Blake Shelton during a lip sync battle on ‘The Tonight Show’ (Photo by Douglas Gorenstein/NBC)
The Voice coaches Blake Shelton and Gwen Stefani put their lip-sync talent (and Blake’s tap-dancing skills) to the test along with The Tonight Show host Jimmy Fallon in a competition to see who could lip-sync the best. Among the songs lip-synched were “Call Me Maybe,” “Burn,” “Puttin on the Ritz,” “Cocktails for Two,” and “Nothing’s Going to Stop Us Now.” The competition finished up with Stefani and Shelton dueting on “Endless Love,” with Stefani tackling the Lionel Richie part and Shelton lip-synching the Diana Ross vocals.
MTV’s hosting the new trailer for the dramatic film Men, Women & Children, directed by Jason Reitman and based on the novel by Chad Kultgen. Reitman and Erin Cressida Wilson adapted Kultgen’s book for the screen, and Paramount Pictures is aiming for some awards attention with an October 17, 2014 theatrical release.
Ansel Elgort, Kaitlyn Dever, Adam Sandler, Rosemarie DeWitt, Jennifer Garner, Judy Greer, and Dean Norris star in the R-rated film.
The Plot:
Men, Women & Children follows the story of a group of high school teenagers and their parents as they attempt to navigate the many ways the internet has changed their relationships, their communication, their self-image, and their love lives. The film attempts to stare down social issues such as video game culture, anorexia, infidelity, fame hunting, and the proliferation of illicit material on the internet. As each character and each relationship is tested, we are shown the variety of roads people choose – some tragic, some hopeful – as it becomes clear that no one is immune to this enormous social change that has come through our phones, our tablets, and our computers.
James Dashner’s bestselling novel The Maze Runner comes to life on the screen in a feature film starring Teen Wolf‘s Dylan O’Brien, Game of Thrones‘ Thomas Brodie-Sangster, Ki Hong Lee, Will Poulter, and Kaya Scodelario. The sci-fi action film from director Wes Ball tells the story of a group of teenage boys who’ve had their memories erased and who’ve been sent to live in the center of a gigantic maze. Strangers forced into working together to survive, the group’s dynamics change dramatically when Thomas (O’Brien) breaks the rules after discovering there is possibly a way to defeat the creatures who inhabit the maze and escape from the massive maze.
Together for a press conference in Los Angeles supporting the 20th Century Fox release, the cast discussed the physical challenges of starring in The Maze Runner and what it was like to be a part of this much-anticipated adaptation of Dashner’s novel.
Dylan O’Brien, Will Poulter, Kaya Scodelario, Thomas Brodie-Sangster and Ki Hong Lee Press Conference
Can you talk about working with a young cast and few older adults?
Will Poulter: “It’s weird. I mean, the age range in our cast was kind of crazy. I guess the youngest guy on set would have been Blake [Cooper]. He was playing Chuck. And he was…”
Dylan O’Brien: “12.”
Will Poulter: “13 or 14. Was he? Yes.”
Kaya Scodelario: “He was 12.”
Dylan O’Brien: “He’s 13 now.”
Will Poulter: “He’s 12 and very kind of mature for his age and gives an amazing performance as you can see, quite confident. And then right up to, I guess Aml [Ameen] who was the oldest, so we had this age range that was lovely. We’ve said it a lot, and maybe it’s getting sick, we legitimately became like a real kind of family, you know, very, very close indeed and kind of looked after each other.
And there were varying levels of experience in terms of life and also acting, and so we all really looked out for each other. Don’t get me wrong, some adults helped us make this. We had a lot of help in that respect. But it was an amazing kind of experience. We all got very close.”
Dylan O’Brien: “Sort of our own little side project.”
Will Poulter: “Yes, that’s right. I think we’ve managed okay in the cast in terms of not having too many adults, I think. We had fun anyway.”
If you could choose a movie and take that movie’s ensemble of characters, put them in the maze along with your characters, which movie would it be?
Dylan O’Brien: “Goonies.”
Thomas Brodie-Sangster: “Cool. Very cool.”
Dylan O’Brien: “How about E.T.?”
Will Poulter:E.T.?
Dylan O’Brien: “Yes. I don’t know. It would just be like, ‘Come on, come on.'”
Will Poulter: “I thought those Stand By Me fellows would be fun.”
Dylan O’Brien: “Yes.”
Kaya Scodelario: “Can I have some girls, please?”
Thomas Brodie-Sangster: “Sorry.”
Kaya Scodelario: “Bring It On! The cast of Bring It On.”
Will Poulter: “The Spice Girls, real girl power. The Spice Girls and E.T., Scary Spice going at the Grievers – I think that’ll be good.”
Kaya, what was it like to be on set with just a bunch of dudes?
Kaya Scodelario: “They are dudes, to be fair. I grew up in London with quite a mixed group of friends, and as human beings we just all got on. I never felt like the only girl. They never changed the way they acted around me, which I really respected. I didn’t feel like when I walked in the room suddenly they were really polite. They were still dirty and rude and fun.”
Dylan O’Brien: “But still polite.”
Kaya Scodelario: “They were still polite, yeah. But we just had so much fun as a group. I never felt like the only girl. A lot of the boys’ girlfriends came on set, and sisters and stuff like that. So, there were females to interact with. But in the words of Aml, I am quite laddish anyway.”
Dylan O’Brien: “‘Laddish’ you must have been.”
Ki Hong Lee: “He called you laddish?”
Kaya Scodelario: “Yes, he called me laddish. Can you believe that?”
Not every scene from the book could make it into the film. What were some scenes that each of you missed getting to film?
Dylan O’Brien: “I mean, the beetle blades is something that I always thought was cool in the book and we even shot for the movie, but just didn’t make the final cut for whatever reason, just because I guess it derailed the story a little bit where we had the scenes that included those. But that was something that I always thought was cool in the book. You know how Thomas sees these things like scurrying through the woods and they’re cameras? I always thought that was wicked.”
Kaya Scodelario: “I liked the big introduction in the book, how it goes onto each individual character and introduces them and introduces their job. And, obviously, we didn’t have time to do that.”
Dylan O’Brien: “Yes, it’s much more.”
Kaya Scodelario: “But I love that about the book. You get to see each part of the world of the Glade and how everyone is a part of it and brings something to it. But there wouldn’t have been enough time to do that.”
Dylan O’Brien: “Yes.”
Kaya Scodelario: “‘This is Bill. This is Sam.'”
Dylan O’Brien: “Wes [Ball] actually told me that the full introduction to The Glade would be on the DVD.”
Kaya Scodelario: “Oh, cool.”
Dylan O’Brien: “Because apparently that had to just get chopped down a lot, and he really loves it.”
Will Poulter: “Apparently, along with a 20-minute gag reel, which I don’t know if that speaks a lot to our professionalism. It’s 20 minutes of us cracking up and not doing our jobs properly.”
Thomas Brodie-Sangster: “20 is a lot, yes.”
Dylan O’Brien: “I’ll be on the DVD too.”
Which was the most challenging stunt and which did you have the most fun doing?
Will Poulter: “We had fun doing the wrestling thing. That was kind of fun.” Dylan O’Brien: “Yes, that was great. That’s one of my favorite scenes in the movie.”
Will Poulter: “And Dyl’s awesome. He loves the physical stuff. He’s really good at it. We were joking around about how kind of apologetic we were through the entire rehearsal, worried about hurting each other, and I would push Dyl and he’d be like, ‘Dude, you can push me harder than that.’ I’d push him a little bit hard. He’d be like, ‘Properly push me, man. Come on!’ He really got it out of me. But, yes, that was fun. The wrestling was fun, and the push.”
Dylan O’Brien: “Yes. Climbing on the vines and stuff on the wire, that was literally like a whole 12-hour day where I was just hung up on a wire. They would just bring me food. They didn’t want to lower me because it would just take a lot more time. Wes would literally come over because it was real ivy and stuff that they used on those walls and so we’d be doing a thing where The Griever’s jumping on me, and it’s that part where I’m running away from The Griever and it jumps on the wall over me, and so they shake the wall. All this debris was shaking down.
We just had to do a shot where I’m looking up, and it kept just getting in my eyes. I’d be like, ‘Oh, there’s something in my eye.’ And Wes would just be like, ‘I got it, baby. Don’t need a medic.’ He’d come over and he’d literally just take it out of my eye.
Before that I was never someone who was comfortable having someone touch their eyeball. But now I am. Seriously, seriously, is that funny?”
How many of you had actually read the book? And if you had read it, what did you want to bring to the screen as your character?
Dylan O’Brien: “I didn’t know about the book or start reading it until like I was aware of the project and that I was doing the movie. Was there anyone who knew about the series before?”
Kaya Scodelario: “My little cousins did.”
Dylan O’Brien: “Really?”
Kaya Scodelario: “My family did in Brazil and stuff. They knew about it, but I didn’t know.”
Dylan O’Brien: “I found out later that a bunch of my little cousins too had read it. I wasn’t aware of it though. And then, I don’t know, you just want to bring everything you can to the character from the book. You know for me, I’ve been saying it’s like I feel like it was a lot to do with just coming from a really honest perspective.
I always look at Thomas as very honest and heroic and just a truthful character, especially one being so sort of rebirthed from the time we meet him in the film and the book. He’s the fresh Greenie. He’s like the one who just has his memory wiped and is just redeveloping it almost in a way as a person.”
Will Poulter: “I also think questions that we’ve got in relation to the research that you might do as an actor, this is generally one of the easier sort of roles for a lot of us in some ways because obviously, our characters don’t have a lot of memory from the past. So, there isn’t really a background.
I mean, what we’re experiencing in terms of living in The Glade is our background. That’s kind of always been our environment in a way, seeing as we were all rebirthed at some point. And so, yes, the other thing being that obviously, you know you’ve got the book to rely on. That’s like an amazing resource. Your research is right there in the hundreds of pages that James Dashner wrote. So, you know a lot of the job is kind of done for you, which is really nice – I have to be honest.”
What do you think young people are going to take away from this movie?
Ki Hong Lee: “I think we’ve said this before in other interviews, and Dylan’s mentioned it a bunch of times. I think what’s different from our movie is that we’re a group of guys, or girls too, that help each other get out of the maze together. We are stuck in this Dystopian society where we could just easily kill each other and eat each other and things like that, eat the pig or whatever, but I think it’s a story about a group of people who are stuck in a predicament, and just like we are in this world, and hopefully they take away the fact that we’ve worked together and we united. And we have our differences.
Obviously, we have our strengths and weaknesses, and we have runners. We have builders and things like that. So, I think if we just unite and work together, it’ll work out. Hopefully, we can. The maze is a crazy place.”
Dylan O’Brien: “I don’t even want to jump on the heels of that. That was awesome. You got it, baby.”
Do any of you love to run and how much did Wes Ball require you to run?
Dylan O’Brien: “Well, Wes’ whole thing, he’ll say this like a thousand times over. ‘Pain is temporary, man. Film is forever.’ So, literally he drives us into the ground, you know? But it’s fun. It’s awesome. You’re so spent and you’re just going. None of us are marathon runners, you know? I myself have particularly always hated long-distance running. I love sprinting, though, like for a short amount of time. I think if anything I’m way more of a sprinter. And so this was perfect but also exhausting, and again Wes’ philosophy always came into play.”
Ki Hong Lee: “Yes. There’s a scene in there… I don’t know if you guys remember, but there’s a scene in there where I actually pulled my hamstring as I was running.”
Dylan O’Brien: “Oh, dude, in that parking lot?”
Kaya Scodelario: “Did you?”
Ki Hong Lee: “We would literally run all day, 12, 14 hours, in an abandoned parking lot and there was like rocks and things and everything. And even inside the maze, I fell like three times.”
Dylan O’Brien: “Dude, the maze was super slippery. They’d hose it down and it was you know real mud and stuff in there.”
Ki Hong Lee: “I’m like, ‘It doesn’t look really hard. Let’s throw some rocks on it.'”
Dylan O’Brien: “You’d just like eat it. We’d have to be full sprint around a turn. Anytime we had to slightly angle, we’d eat it. And it wasn’t until like maybe the last week that they got that special stuff to put on the ground.”
Ki Hong Lee: “They’d spray that cool thing on there.”
Dylan O’Brien: “We were like, ‘This is perfect. We needed this the whole shoot.'”
There isn’t any romance in this movie, which is kind of different than most teen movies. Was that a relief or a disappointment?
Kaya Scodelario: “There’s hormones everywhere else.”
Ki Hong Lee: “In the movie that’s a lot of bromance.”
Dylan O’Brien: “Funny enough, we were all in little relationships on the side with each other. And in the film, it’s so unromantic. Me and Kaya have always loved that about our storyline. It’s so realistic and we just think it’s so appropriate for the circumstances. It’s so cinematic to just kind of add a relationship to something where let’s stop and think for a second. These kids would not just be like smooching and flirting in this situation. They do have a connection, and they have maybe feeling like for one another, if so.”
Kaya Scodelario: “There’s no time. I think what I liked was the honesty of it. And as a woman, it was so nice to be able to go into a project and know that I wasn’t going to have to play that side. I mean it is a huge part of being a teenager, falling in love for the first time and everything. But I feel like we haven’t explored that so much.
And for me, it was interesting to explore a young woman who’s put into a situation. She doesn’t need to make friends. She’s not trying to make friends with anyone. She doesn’t need them all to like her; she’s purely about survival. And that’s so brave and so kind of against the grain nowadays with female characters in films. So, I really liked that. It’s like Dylan said, there would be no time for them to be like, ‘Oh, let’s go for a little walk in the forest together.'”
Dylan O’Brien: “There was little stuff in the original script that we shot where we had little flirty scenes.”
Kaya Scodelario: “I don’t remember.”
Dylan O’Brien: But as Wes did with every part in the film, I mean he made the best part of the film come out. He made such appropriate cuts and made the movie just never stop moving and just 90 minutes of just focus on exactly what it should be about, and sort of things like that didn’t make it. Maybe you’ll see it on the DVD or something like that. I hope not, though.”
Kaya Scodelario: “No, I hope not. I think it works without it.”
Thomas Brodie-Sangster: “It’s not needed, really.”
Dylan O’Brien: “It’s really not.”
Thomas Brodie-Sangster: “There’s enough love and emotions going around just within The Gladers themselves. I mean, not every teenager is in and out of love all the time. I certainly never fell in love as a teenager. I don’t think I even had a girlfriend as a teenager. So, I don’t think you have to put that into every teen film.
I personally loved the fact that that was never present.”
What was the moment in your life, your own personal life, where you felt like you were taking that bold, new step into the unknown?
Dylan O’Brien: “I don’t know even know if this counts at all, but I’ve always been super protective of my friends and my family, just people I love in general. When I was younger and more impulsive and less of a fully developed human, I’m very impulsive. Me and Ki Hong talked a lot about this.
I was very impulsive and would react physically to situations. But I remember this time when I was eight years old, and my sister was getting bullied right in front of me and I just attacked this kid. Not attacked him, but I chased him around the playground and tackled him and we had a fight. I was crying because he was just beating up on my sister basically. And so, I don’t know.
That’s something in me that I have always sort of related just to that scene. That’s sort of just how I thought about it. We’re all standing there, and the rules say that we can’t go in after dark. But Alby and Chuck for Thomas were really like the only two people in his life, really, at this point and he feels no other way than to go in and save one of his friends. There’s just no other instinct.”
Was it a lot of fun playing the badass in this film?
Will Poulter: “Yeah, dude. You know I’m so grateful that Wes kind of took a punt on me in that kind of respect. I guess it’s not the most expected casting choice, and hopefully it goes down okay. But I really appreciated the chance to play a role different from what I just kind of just played. I love doing drama and comedy. Like, Dyl is somebody who does drama and comedy.
I mean all these guys, like the entire cast, I feel so blessed to work with them because it’s most versatile group of actors I’ve ever worked with in a kind of ensemble sense. Everyone is so dramatically awesome, and then they’re also sort of able to be so funny when we were all hanging out, you know? So, everyone kind of has that in their locker. So, just for me to kind of just unlock that part was great.
And Gally’s not like the out-and-out villain, you know?
We’d tried to kind of make him, I guess, more of kind of a conflicted character, and try and kind of make sure he was a bit more justified in what he was doing and the way he went about his business, a bit more rational than perhaps he was in the book. That’s something that James [Dashner] was totally cool with. And you know [screenwriter T.S. Nowlin] who did the latest passes was keen to do it in the script. So, yes, that was fun. I really enjoyed it.”
Dylan, you’ve had a lot of comedic roles up to this point. What was it like getting into your first dramatic lead and how are you taking that back to the role of Stiles on Teen Wolf?
Dylan O’Brien: “It’s just nice to get a chance to do something else, you know? I was really nervous about it at first. But I did feel right as Thomas, and I felt comfortable in that role. But, I was nervous. I had such an amazing cast around me, and all guys who I’ve seen like do really good work in the past, both comedic and dramatic. My first favorite things about the project too, were that these guys were attached already and so I was just wanting to basically do them justice and do the movie justice.
I knew Wes was like going to kill it, and I was kind of nervous about it but it felt good.
It’s always good to get to do something different. That’s one of the things that I love or want to explore as an actor, and I think I need to practice drama the most for sure. So, it was amazing to get to do this. And then it’s great to then just be able to go back to Stiles and see that I’ve taken things and just keep switching it up.”
Most filmgoers don’t notice makeup on the stars unless it’s in an unusual special effects design that features the actors in bizarre or weird proportions. Startling makeup goes way back to silent screen star Lon Chaney in his famous Phantom of the Opera horror faces or Boris Karloff’s scary Frankenstein visage in all the 1930s Universal horror pictures. Chaney is said to have devised all his own makeup, and Karloff was the beneficiary of makeup artist Jack Pierce’s (1889-1968) wizardry.
There was another man in Hollywood who was more or less the exact opposite of Jack Pierce. That was William Tuttle, who was attached to Metro Goldwyn Mayer’s makeup department for 35 years. Mogul Louis B. Mayer, who ran MGM with an iron hand, wanted all the studio’s product to be “beautiful pictures with beautiful people.” Mayer’s slick films were a far cry from the low-budget Universal horror thrillers, and Tuttle was just the man to give Mayer what he wanted.
Growing up in Jacksonville, Florida where he was born on April 13, 1912, Tuttle gravitated more toward music than anything else. He got work as a violinist in vaudeville and occasionally appeared as a comic on stage. When his father abandoned the family, William at age 15 went to work to help support his mother and his younger brother Thomas. He worked in burlesque theatres and for a time fronted his own small band.
Seeing there was more creative opportunity out West in 1930, Tuttle moved to Los Angeles at age 18. He enrolled at USC and took some art classes with friend Charles Schram (1911 – 2008). Later, he and Schram became long-time makeup effects collaborators. Needing work in Hollywood, Tuttle became a makeup apprentice by accident. Jack Dawn, one of the best makeup artists in the business during that era, asked the college dean to recommend some students who could learn the art of makeup.
Dawn became their mentor. Dawn was in charge of the makeup department at 20th Century Pictures and gave Tuttle a big chance. When Dawn left 20th Century Pictures for the job as head of MGM’s Makeup Department in 1934, Tuttle and Schram tagged along and worked on the 1937 production The Good Earth starring Luise Rainer. Schram is best known for his development of the makeup for The Cowardly Lion on actor Bert Lahr for the iconic The Wizard of Oz in 1939. Tuttle worked for 15 years under Dawn’s guidance. It was the heyday of the studio system.
Because Tuttle was working at MGM during its Golden Era, he was able to trowel on makeup for those stars who didn’t look so good and enhance those stars who were naturally gorgeous. Some of the stars who sat in his chair in the MGM makeup department were Katharine Hepburn (Pat and Mike), Greer Garson, Clark Gable, Judy Garland (Summer Stock), Gene Kelly (Singin’ In The Rain), June Allyson, Peter Lawford, Esther Williams (Million Dollar Mermaid), Fred Astaire, Ginger Rogers, Hedy Lamarr, Elizabeth Taylor (Father of the Bride), Lana Turner, and Ava Gardner. MGM was always touted as “having more stars than there are in the heavens” and Tuttle had access to all of them, creating the Hollywood illusion that stars were of another world.
When studio chief Louis B. Mayer said he wanted all women to appear beautiful and all the men should be handsome, Tuttle took him at his word. He even created the makeup for leggy dancing star Cyd Charisse in the musicals The Band Wagon and Brigadoon. Ms. Charisse was just one of the stars he made look better during his 35 year-tenure. After Jack Dawn’s retirement, Tuttle was head of MGM’s makeup department from 1950 to 1969.
When Tuttle created all the elaborate makeup for Tony Randall in The 7 Faces of Dr. Lao in 1965, he became the first recipient recognized with a special Oscar for his makeup work. This was 17 years before there was an official competitive category began in 1981.
Other significant pictures for which Tuttle created imaginative makeup were The Time Machine, Cat on a Hot Tin Roof with Elizabeth Taylor and Paul Newman, Lust For Life (transforming Kirk Douglas into artist Vincent Van Gogh), Gigi, and The Bad and The Beautiful. He transformed white Southern beauty Ava Gardner into a sepia-toned Mulatto for the musical Show Boat.
When Tuttle first went to MGM he was assigned to do the makeup for unknown starlet Donna Reed. It was love at first sight and they were married from 1943 to 1945. Reed later won a Best Supporting Actress Oscar® for From Here To Eternity (1953). Tuttle had a total of five marriages, producing two children.
Tuttle stayed with MGM until gambler/businessman Kirk Kirkorian bought the studio and began destroying it bit by bit. Backlots filled with iconic sets were unceremoniously sold off for development housing tracts, costumes gotten rid of, all sorts of MGM memorabilia was dumped into landfills. This was too heart-breaking for Mr. Tuttle, and so he left MGM around 1970.
His film career was far from over. He created the outstanding makeup for Mel Brook’s comedy-horror film Young Frankenstein (1974) and for the comedy Same Time, Next Year (1978). He had also developed his own line of makeup products called Custom Color Cosmetics in 1975 which became the most popular makeup used by professionals for the next 20 years.
With Hollywood studios changing drastically with the advent of television, Tuttle stayed up with the times and worked professionally in the new medium. He created many of the effects for the sci-fi series The Twilight Zone (remember the pig faces?). He worked for CBS on some TV movies and kept busy. His last film work was with George Hamilton on Zorro, The Gay Blade in 1981.
William Tuttle died July 27, 2007 at age 95. He will always be remembered for his astonishing career at MGM doing makeup for such stars as Marlon Brando in Mutiny on the Bounty (1962), Hurd Hatfield in The Picture of Dorian Gray (1945), and on 10 Elvis Presley pictures. Those and others were included in Tuttle’s more than 300 films.
USA Network says filming is now underway on Complications, the dramatic series starring Jason O’Mara, Jessica Szohr, Beth Riesgraf, and Lauren Stamile. The series was created by Matt Nix (Burn Notice) and will have a 10 episode season one run in 2015.
The pilot for Complications, which is shooting in Atlanta, is being directed by Nix who’s also executive producing the series along with Michael Horowitz.
“Complications is a story about the making of a hero – how an ordinary doctor’s split-second decision changes the course of his life and the lives of everyone around him,” explained Nix. “It’s tremendous to be working with USA again and with such a talented cast. The writers’ room is going strong and I cannot wait for audiences to see this new series.”
The Plot:
The gritty drama centers around John Ellison (O’Mara), a disillusioned suburban ER doctor who finds his existence transformed when he intervenes in a drive-by shooting, saving a young boy’s life and killing one of his attackers. When Ellison learns the boy is the son of an influential gang leader and is still a target, he is compelled to save him at any cost. Ellison soon discovers that his own life – and his outlook on medicine – may never be the same.
I’m not a comic book geek so I can’t speak as to whether the official synopsis for the upcoming action film Avengers: Age of Ultron, which was just unveiled by Disney and Marvel, makes sense in the overall scope of The Avengers universe. Coming to theaters on May 1, 2015, the second Avengers movie reunites Robert Downey Jr, Chris Hemsworth, Chris Evans, Scarlett Johansson, Mark Ruffalo, and Jeremy Renner for what sounds like a more intense mission than they undertook in the first film.
Marvel’s Avengers: Age of Ultron, written and directed by Joss Whedon, opens in theaters May 1, 2015.
Marvel Studios presents Avengers: Age of Ultron, the epic follow-up to the biggest Super Hero movie of all time. When Tony Stark tries to jumpstart a dormant peacekeeping program, things go awry and Earth’s Mightiest Heroes, including Iron Man, Captain America, Thor, The Incredible Hulk, Black Widow and Hawkeye, are put to the ultimate test as the fate of the planet hangs in the balance. As the villainous Ultron emerges, it is up to the Avengers to stop him from enacting his terrible plans, and soon uneasy alliances and unexpected action pave the way for an epic and unique global adventure.
Marvel’s Avengers: Age of Ultron stars Robert Downey Jr., who returns as Iron Man, along with Chris Evans as Captain America, Chris Hemsworth as Thor and Mark Ruffalo as The Hulk. Together with Scarlett Johansson as Black Widow and Jeremy Renner as Hawkeye, and with the additional support of Samuel L. Jackson as Nick Fury and Cobie Smulders as Agent Maria Hill, the team must reassemble to defeat James Spader as Ultron, a terrifying technological villain hell-bent on human extinction. Along the way, they confront two mysterious and powerful newcomers, Wanda Maximoff, played by Elizabeth Olsen, and Pietro Maximoff, played by Aaron Taylor-Johnson, and meet an old friend in a new form when Paul Bettany becomes Vision.
