John Travolta had the honor of introducing Tony Award-winning singer/actress Idina Menzel at the 2014 Oscars held on March 2, 2014 in Hollywood, CA. The job was simple: say the lines on the teleprompter and then introduce Idina Menzel – by name – as she took to the stage to sing “Let It Go.” Instead, what actually happened was one of the most bizarre introductions in recent memory.
Granted, Idina isn’t a common first name, but Oscar presenters are supposed to practice before the actual live broadcast, so Travolta should have had the opportunity to say her name out loud a few times without the cameras rolling and without millions of people watching around the globe. But something went dramatically wrong, and what it sounds like he said is Adella Dazeem.
Judy Garland’s adult children were recognized in the Oscar audience before Pink took to the stage to sing the iconic song “Over the Rainbow” from the beloved classic The Wizard of Oz. Dressed in a gorgeous, flowing red gown, Pink performed the song while the big screen showed scenes from the film. It was a classy musical number and the perfect way to pay tribute to the lasting appeal of The Wizard of Oz.
Angelina Jolie, Brad Pitt, and Lupita Nyong'o at the 12 Years a Slave cast dinner hosted by Grey Goose. (Photo by Jamie McCarthy/Getty Images for GREY GOOSE)
Grey Goose played host to a private dinner for the cast members of the critically acclaimed, award-winning dramatic film 12 Years a Slave after the Spirit Awards and the day before the Oscars. The cast was celebrating their five wins at the annual Film Independent Spirit Awards, taking home awards in Best Director, Best Cinematographer, Best Supporting Actress, and Best Screenplay categories, as well as being named the Best Feature of 2013.
The Grey Goose party was held at the Sunset Tower in Los Angeles with Michael Fassbender, Lupita Nyong’o, Chiwetel Ejifor, actor/producer Brad Pitt, director Steve McQueen, and Angelina Jolie showing up to celebrate the film’s awards run.
Check out photos from the event, courtesy of Grey Goose:
What was the audition process like for those actors hired to play slave owners in 12 Years a Slave? This video from the March 1, 2014 Saturday Night Live episode hosted by Jim Parsons (The Big Bang Theory) imagines it was an incredibly awkward casting session for actors who didn’t want to use certain words…
Lupita Nyong'o accepts the Best Supporting Actress award at the 2014 Film Independent Spirit Awards. (Photo by Randall Michelson/WireImage)
Neither wind nor rain could stop the Film Independent Spirit Awards, nor could the bad weather dampen the spirits of the actors, filmmakers, and assorted celebs gathered in a tent on Santa Monica beach to celebrate the best of independent films released in 2013. 12 Years a Slave continued its award-winning ways, snagging Best Feature, Best Director, Best Screenplay, Best Supporting Female and Best Cinematography awards.
Patton Oswalt hosted the 20th annual event, which featured the first-ever award delivered via drone.
2014 Spirit Awards Winners
Best Feature: 12 Years a Slave (Fox Searchlight Pictures)
Producers: Dede Gardner, Anthony Katagas, Jeremy Kleiner, Steve McQueen, Arnon Milchan, Brad Pitt, Bill Pohlad
Best Director: Steve McQueen, 12 Years a Slave (Fox Searchlight Pictures)
Best Screenplay: John Ridley, 12 Years a Slave (Fox Searchlight Pictures)
Best First Feature: Fruitvale Station (The Weinstein Company)
Director: Ryan Coogler, Producers: Nina Yang Bongiovi, Forest Whitaker
Best First Screenplay: Bob Nelson, Nebraska (Paramount Pictures)
John Cassavetes Award (For best feature made under $500,000): This is Martin Bonner (Monterey Media inc)
Writer/Director: Chad Hartigan, Producer: Cherie Saulter
Best Supporting Female: Lupita Nyong’o, 12 Years a Slave (Fox Searchlight Pictures)
Best Supporting Male: Jared Leto, Dallas Buyers Club (Focus Features)
Best Female Lead: Cate Blanchett, Blue Jasmine (Sony Pictures Classics)
Best Male Lead: Matthew McConaughey, Dallas Buyers Club (Focus Features)
Robert Altman Award: Mud (Roadside Attractions / Lionsgate)
Director: Jeff Nichols, Casting Director: Francine Maisler, Ensemble Cast: Joe Don Baker, Jacob Lofland, Matthew McConaughey, Ray McKinnon, Sarah Paulson, Michael Shannon, Sam Shepard, Tye Sheridan, Paul Sparks, Bonnie Sturdivant, Reese Witherspoon
Best Cinematography: Sean Bobbitt, 12 Years a Slave (Fox Searchlight Pictures)
Horror films love a holiday setting. The appeal of Halloween is obvious and anyone who’s ever hosted a holiday party may feel a sense of dread as Christmas or Thanksgiving approaches. But EVERY major holiday has figured prominently in a horror movie. The holiday theme proves a smart business move making these genre films rentable every year as the particular holiday comes around and people want something fun to watch. So here’s a way to celebrate all the major holidays with horror. To qualify for this list the holiday had to figure significantly in both the title and plot.
President’s Day (2010)
You’ve had Abraham Lincoln, Vampire Hunter so how about Abe Lincoln, Serial Killer? President’s Day approaches at Lincoln High and a psycho dressed up as Abraham Lincoln goes on a killing spree. It’s class election time, and the serial killer casts his vote by killing off all the candidates. An ultra-low budget homage to 80s slasher films.
Tagline: Hail to the Chief… or he’ll hack you to PIECES.
My Bloody Valentine (1981)
So there’s an urban legend about a deranged murderer killing anyone who celebrates Valentine’s Day. But the legend proves true as each local who celebrates Valentine’s Day turns up dead. There was a 2009 remake that boasted: “Nothing says ‘date movie’ like a 3D ride to hell!” The 3D — with a nice mining pick poking out an eyeball — was the only innovation to the remake.
Taglines: Harry’s out to steal your heart; Cross your heart…and hope to die; and This Valentine’s Day, romance is DEAD.
Valentine (2001)
A killer in a Cupid’s mask sends threatening love letters to a group of girls. Turns out the killer is just proving hell hath no fury like a young boy scorned. All the victims are girls who had turned him down when he was a boy. And the way each girl rejected him foreshadows how they die. Just desserts.
Tagline: Remember that kid everyone ignored on Valentine’s Day? He remembers you. Love Hurts.
April Fool’s Day (1986/2008)
A hostess with a bent for practical jokes invites a group of college students to her island mansion on April Fool’s weekend. After they reveal some secrets, the kids start dropping like flies. But are they all dead or is the whole thing an elaborate practical joke?
Taglines: Childish pranks turn into a bloody battle for survival! and Don’t let the joke be on you!
Easter Bunny Kill! Kill! (2006) Donnie Darko gave us an ominous Frank the Bunny, but here we get a killer in a cute Easter Bunny mask coming to the rescue of a developmentally disabled teen. Nicholas is the teenage boy who loves Easter and his pet rabbit. But his mom’s boyfriend verbally abuses him and threatens to kill his rabbit if the boy tells on him. When the good-for-nothing BF sells the kid to his pedophile friend, a killer in a bunny mask steps in to save the boy and show off his skill with power tools. Sometimes it pays to believe in the Easter Bunny. (The title also pays homage to Russ Meyers’ Faster Pussycat, Kill! Kill!)
Tagline: This Year There Will Be No Resurrection
Mother’s Day (1980)
Ah Troma! What would we do without this prolific, ultra-indie, and delightfully tasteless production company? Lloyd Kaufman has headed the company for almost four decades, and he has consistently turned out no-budget cult favorites. Troma gives us not just Mother’s Day but also the perfect companion piece, Father’s Day. The mommy of Mother’s Day is a nasty piece of work who likes to see her boys commit rape and murder. As Troma puts it: “the independent horror classic which redefines the term ‘family values.'” You gotta love Troma.
Tagline: I’m so proud of my boys. They never forget their momma.
Memorial Day (a.k.a. Memorial Day Killer) (1999)
Wow, a group of young adults isolated in a cabin by a lake and stalked by a masked killer! Now if that’s not a formula for horror, I don’t know what is. Seems the group has gathered on the Memorial Day weekend to try and lay some things to rest about the mysterious death of a young girl’s brother. But while everyone insists it was just an accident, someone lurking around the cabin suggests otherwise. Surely a weekend to remember.
Taglines: Beers, Burgers, Bloodshed … Gonna be a long weekend, and Pray for the weekend to be over.
Father’s Day (2011)
Ahab (yes shades of Moby Dick) is a man obsessed with seeking revenge on the person who killed his dad. But the murderer — known as Chris Fuchman, The Father’s Day Killer — proves as elusive as that great white whale. Troma boasts: “But fathers are still being violated in the behind, dismembered with hacksaws, and set on fire.”
Tagline: Sons, lock up your fathers… vengeance arrives on… Father’s Day!
Independence Day (1996)
Okay, this is more sci-fi than horror but how could I leave the 4th of July off the list of holidays? Aliens invade earth, destroy cities, and kill off massive numbers of people, but July 4th becomes the day humanity will fight for its freedom.
Taglines: We’ve always believed we weren’t alone. On July 4th, we’ll wish we were. And: On July 2nd, they arrive. On July 3rd, they strike. On July 4th, we fight back.
Uncle Sam (1997)
Also set on the 4th of July but with a much smaller budget and more overtly horror storyline, Uncle Sam gives us a soldier who’s killed during Desert Storm. But the soldier — named Sam — rises from the dead to haunt unpatriotic citizens who don’t show enough respect for the good ole U.S. of A. And on the 4th of July Sam dresses as Uncle Sam to wreak havoc on the town’s Independence Day celebration. Cameos by singer Isaac Hayes and Robert Forster.
Tagline: I Want You…DEAD.
Halloween (1978)
John Carpenter’s seminal film took the serial killer of Alfred Hitchcock’s Psycho and gave him a boogeyman spin. Carpenter acknowledges Psycho as the “father of modern horror” but adds that “I don’t think audiences had seen a movie quite like Halloween, that really didn’t address the backstory of the killer, but the killer was a force of nature, and he was part human and part supernatural.” And all terrifying. The film spawned 7 sequels and a remake, but none were as good as the original.
Taglines: The night HE came home.
Trick ‘r’ Treat (2007)
Halloween night provides the backdrop for four interwoven tales of horror involving a reclusive serial killer, a virgin, a woman with a phobia, and some teens with a nasty streak.
Taglines: Poison, Drowning, Claw, Or Knife. So Many Ways To Take A Life.
Thankskilling (2009)
A film to rival Troma’s for lack of budget and pure crass filmmaking bravado. It announces its tone with an opening close-up of naked breasts and an axe-wielding turkey that looks at the buxom pilgrim and exclaims: “Nice tits, bitch!” Later (centuries later in fact) a college student tells her slutty friend (who’s just flashed the boys): “Pull your shirt down, honey! It’s Thanksgiving, not Titsgiving!” In 2012, Jordan Downey skipped right over Thankskilling 2 to make Thankskilling 3 (but there was, according to the film, a Thankskilling 2 but is was so awful all but one copy of it was destroyed). I’ll give this one props for the best tagline.
Tagline: Gobble, Gobble, Motherf-cker!
Grindhouse (2007)
This is the holiday movie that needs to be made: Eli Roth’s Thanksgiving. The film only exists as a faux trailer in the film Grindhouse. But like Robert Rodriguez’s fake trailer for Machete, Roth’s teaser is so good that a full-length feature just has to be set in motion. But till then, enjoy these brilliant few minutes of Thanksgiving horror.
Tagline: You’ll come home for the holidays in a body bag.
You’d Better Watch Out (a.k.a. Christmas Evil) (1980)
This may be the best and most twisted of the Yuletide horror fare. A young boy sees his mom having sex with Santa Claus (an understandable cause for youthful trauma), and he becomes obsessed with Christmas. When he grows up, he makes his own “Naughty and Nice List” with those who are naughty (mostly adults who dis Santa) getting treated to something much worse than coal in their stockings. The odd but great thing about Lewis Jackson’s film is that you feel sorry for the killer who’s played with real pathos by Brandon Maggart. The troubled killer paints his van like Santa’s sleigh, dresses up like Father Christmas, and brings toys to kids in the hospital… but he also kills people.
Taglines: Have yourself a deadly little Christmas, and This Christmas you better believe in Santa or he’ll slay you.
Black Christmas (1974)
A classy and creepy Canadian thriller set in a sorority during the Christmas break. Olivia Hussey and Margot Kidder star as two of the sorority sisters whose holiday festivities begin with an obscene phone caller harassing the girls. It’s soon clear that the man making the calls is also stalking the girls and killing them off one by one. This film pre-dates Halloween as an influential slasher film. It’s also directed by Bob Clark who made the much happier holiday classic A Christmas Story. The best thing about the awful 2006 remake was its tagline: “This holiday season, the slay ride begins.”
Tagline: If this movie doesn’t make your skin crawl… It’s On Too Tight!
To All A Good Night (1980)
It’s more girls at school during Christmas break. This time the Calvin Finishing School for Girls and a big party in which the teenagers start getting picked off by a psycho killer in a Santa suit.>
Tagline: You’ll scream till dawn!
Don’t Open ‘Till Christmas (1984)
We cross the Atlantic for this tale set in London and instead of the killer being dressed as Santa, all his victims are. Bah humbug!
Tagline: T’was the night before Christmas, and all through the house, not a creature was stirring…they were all dead!
Jack Frost (1997)
A serial killer on the way to his execution is involved in a car crash, gets doused with chemicals, and ends up as a genetically mutated snowman hell-bent on revenge for the sheriff who arrested him. Decidedly low-budget but with some hilarious one-liners and clever, festive kills.
Tagline: He’s chillin’…and killin’.
Santa Claws (1996)
Once again sex and Santa lead to the unhinging of a young mind. A young man sees his divorced mom making out with a man in a Santa hat, and he kills them both. Things get worse from there as the man begins to think he’s Santa Claus and starts killing people with Santa’s claw. Get it?
Taglines: His Slay Bells are Ringing, and Have yourself a very Scary Christmas!
Silent Night, Deadly Night (1984)
This film probably spawned the most spin offs of all the Christmas horror films with 4 sequels and a 2012 remake. Once again it’s a painful childhood experience that leads to an eventual psychotic outburst. This time a wee lad sees his parents killed by a thief in a Santa suit. Years later he gets a job dressing as a store Santa, and this prompts a killing spree.
Taglines: You’ve made it through Halloween, now try and survive Christmas.
Santa’s Slay (2005)
This yuletide tale opens with a holiday feast in which stars like James Caan, Fran Drescher, and Chris Kattan have their cameo appearances brutally cut short. Wrestler Bill Goldberg plays the muscled devil’s son who loses a bet with an angel and is forced to spend 1000 years as Santa. But when his time’s up, he shows just how naughty Santa can be.
Taglines: He’s making a list… pray you’re not on it, and Spreading holiday fear this Christmas.
New Year’s Evil (1980)
It’s New Year’s Eve and during a live television show, a punky TV show host gets a phone call from a crazed killer announcing that as New Year’s strikes in each time zone, a “naughty” girl will be punished and the TV host will be the last to go. The notion of naughty makes this a nice segue from Christmas to New Year’s Eve.
Tagline: Don’t dare make New Year’s resolutions… unless you plan to live.
In this interview courtesy of 20th Century Fox, Diogo Morgado discusses starring in Son of God, what it was like playing Jesus, and how important it was to have the support of his fellow cast members. Morgado also talks about the hair and makeup as well as working with producers Mark Burnett and Roma Downey.
Son of God Synopsis:
This major motion picture event — an experience created to be shared among families and communities across the U.S. — brings the story of Jesus’ life to audiences through compelling cinematic storytelling that is both powerful and inspirational. Told with the scope and scale of an action epic, the film features powerful performances, exotic locales, dazzling visual effects and a rich orchestral score from Oscar®-winner Hans Zimmer. Portuguese actor Diogo Morgado portrays the role of Jesus as the film spans from his humble birth through his teachings, crucifixion and ultimate resurrection.
Jimmy Kimmel returns with his annual ‘After the Oscars’ special and he’s released this sneak peek clip titled “Let It Go” as a tease of what viewers can expect. In 2012 he unleashed Movie: The Movie and last year’s Movie: The Movie 2V upped the bar, but who knows what he really has in store for this year’s post-Oscars show.
This teaser clip opens with Meryl Streep in a British accent telling Chris Hemsworth (playing her son) to “Let it go. It’s been 30 years.” Whatever ‘it’ is, Hemsworth isn’t ready to get over just yet as he threatens to find ‘him’ and destroy him. The clip also features Tom Hanks dressed as a monk and Chris’ little bro, Liam (of The Hunger Games).
The ‘After the Oscars’ special will air on ABC after the 86th Academy Awards on March 2nd.
When Amelia Rose Blaire was originally cast in HBO’s sexy vampire/werewolf/fairy series True Blood, she had no idea she’d eventually be playing a vampire. Cast as the daughter of Louisiana Governor Truman Burrell (played by Arliss Howard), a politician who was set on eradicating all vampires, Blaire didn’t expect to be donning fangs to portray Willa Burrell.
However, it was something she was hoping for so when her character was ‘turned’ by Eric Northman (played by Alexander Skarsgard), Blaire embraced the opportunity to sink her teeth into her character’s transformation.
Exclusive Interview with Amelia Rose Blaire:
Congratulations on being promoted to series regular this season. Is it a little sad that this upcoming season of True Blood will be its last?
Amelia Rose Blaire: “It is, but then again I think that this is the perfect way for True Blood to end is on a high note. Last season brought it back to its roots, so I think it’s a perfect way to go out. It’s an honor to get to be a part of the last season.”
Does it seem like that was the vibe on the set while shooting this season, that everybody’s just honored to be part of this as it goes out on a high note?
Amelia Rose Blaire: “Yes. I remember our very first table read, it was so electric, everybody was so excited to be there and really excited for what was going to go down because nobody knows what’s going to go down yet. I’m excited to find out.”
The seasons have really varied in tone. Some have a lot more humor than others while some are just really dark. I know you can’t give away any spoilers, but how would you describe the tone of this next season?
Amelia Rose Blaire:“I only know what’s happening halfway through the season, so I don’t really know that much. I think that fans are going to be really happy with this final season. I think the writers are doing a beautiful job with every episode that I’ve read. I don’t really know what kind of a tone it’ll have. It’s going to be brutal because that’s what True Blood is, but it’s going to also, I think, make fans really, really happy.”
You didn’t know she would become a vampire, so what did you think when that happened?
Amelia Rose Blaire: “I knew what I had done in my audition, but True Blood gives everybody fake audition sides because they don’t want anything to leak out. In the audition, I had a scene where I was being turned by Bill and I didn’t want to be turned at all, so I didn’t know if that was something that was actually going to happen or if that was just a psych-out.
I had no idea. When I did read the episode where I got turned, I was like, ‘Yes! Thank goodness I get to do this. How often does someone get to do this?’ It was very exciting. It was an honor.”
Amelia Rose Blaire (Photo Credit: Bobby Quillard)
Was turning into a vampire everything you thought it would be?
Amelia Rose Blaire:
[Laughing] “It was so much fun. It was also so trippy to film that turning scene because we shot it on two separate days in two separate locations. Then the part where we were in the grave was very fragmented because we had to keep cutting and keep breaking to be hooked up to blood tubes because there was literally a little guy that was pumping blood through these tubes that were tucked underneath my dress.
It was very trippy. It was a very strange sensation because all of a sudden I was feeling this warm liquid pouring down and I just looked down and there was blood and my body had this reaction of like, ‘Oh my God, you’re dying! Oh my God, you’re dying!’ It was very strange.”
What did you think about that specific scene after it was finished and you were able to sit back and watch it play out?
Amelia Rose Blaire: “I thought it turned out really, really well. I had no idea what it was going to look like. I didn’t really remember what it was actually like to shoot it, I just remember segments and sensations so it was very cool to see it all together. I thought they did a beautiful job with that.”
Did they provide you with much of a backstory for Willa?
Amelia Rose Blaire: “No. Basically I knew that she didn’t agree with her father. I kind of just took it from there and based on the scripts I was getting, I would form different ideas of her history and her relationship with her mother, and her relationship with her father. But I didn’t really know much about her at all. I just kind of ran with it.”
In this upcoming season is she much the same person/vampire as last season or does she go through another major transformation?
Amelia Rose Blaire: “The cool thing about how last season ended is that it skipped six months further down the road. I would think that in six months of being a vampire, one has to change. How she changes, I’m not going to say. I’m still discovering that on my own. But I think that on True Blood everybody changes, everybody’s put through the wringer, and everybody goes through some shit. [Laughing] I’m confident that Willa will go through her own shit as well.”
Were you a fan of the series before you joined the cast?
Amelia Rose Blaire: “Oh, yes. I had watched the show from season one. When I first got the audition I was very excited and of course, I didn’t think that I would actually book it though. But when I did, I didn’t believe it. I thought that I was dreaming or something and it wasn’t until I actually went to my first table read that it sunk in, like, ‘Oh my God, I’m going to be on this show!’ Seeing all these actors and all the characters that I’ve watched through all these seasons, and I’m sitting with them, ‘It’s happening, it’s actually happening.’ Really trippy.”
Were you originally a member of Team Eric or Team Bill before booking the show?
Amelia Rose Blaire: “I always liked Eric. That was another very cool thing was that I got to work with some of my favorite actors on the show.”
And how was working with Alexander Skarsgard?
Amelia Rose Blaire: “So much fun. He’s so goofy and really easy to work with. He and Kristin [Bauer van Straten] are such a team. To get to work with the both of them was very special.”
Amelia Rose Blaire and Alexander Skarsgard in 'True Blood' season 6, episode 4 (Photo by John P Johnson/HBO)
Was the set as you imagined from watching it as a fan of the series?
Amelia Rose Blaire: “All the sets looked like they actually do, but then you get to see everything that goes into it, that goes into making the vampire show a vampire show because there’s so many special effects and so many little details that you don’t necessarily think about or pick up when you’re watching it. Getting to see all the behind-the-scenes of how they make True Blood come to life and how they make Bon Temps come to life was really spectacular.”
Stephen Moyer directed a few episodes last season. Did he direct any of the episodes you were involved with?
Amelia Rose Blaire: “I didn’t get to work with him last season but he directed the very first episode this season so I did have the opportunity to work with him. He’s a very good director. It’s very cool to get to work with an actor who’s a director because they come at it from a different point of view than someone who’s just a director. It was very special to get to work with him being an actor and him being an actor as well.
I would say that the notes that he gave me were very actor-based. They were notes that only an actor would give you because they’re thinking about character on a different level because they played a character. It was also very cool to get to see him flip back and forth from being Bill to being Stephen the director. I don’t know how he did it, I really didn’t. I admire him so much for taking that challenge and for taking it so many times because he’s apparently directed many episodes before. I tip my hat to him because I don’t know if I could do it.”
Without, of course, giving anything away, is there anything you can’t wait for fans to see in this upcoming season that you’ve already filmed?
Amelia Rose Blaire: “There’s stuff in every episode that we’ve filmed so far that I’m like, ‘Oh my gosh, people are going to freak out. People are going to love this.’ It’s the last season so anything can happen. Anything!”
We went through a period where everything was vampires. Vampire TV shows, vampire movies, and vampires are still popular although it’s kind of trending towards zombies now. Why do you think vampires and zombies and these type of creatures have such a lasting appeal?
Amelia Rose Blaire: “For me, because I’ve always been a fan of vampires, I remember when I first watched Interview with the Vampire when I was younger, I was just totally taken by them and by the idea of these immortal seductors and seductresses. I think that there’s something very dangerous and something very alluring and exciting about people who are walking death.
It’s also very unobtainable because we have no idea what it would be like to live forever, staying at the same age, sucking someone’s blood for life. We have no idea what that would feel like. Our imagination runs wild. They’re very seductive. I think that that for me is what excites me about vampires.
Zombies, I don’t really know. Zombies always terrified me so I can’t watch those shows. I’m so scared of zombies. Walking Dead scares me so much. I’ve never gotten into that. I assume it’s something like that same kind of unobtainable thing. We don’t really know what they are and what is going on with them, so it’s just like mystery.”
You’re also busy in films. How do you balance work in both mediums?
Amelia Rose Blaire: “Right now I’m just doing True Blood so that’s lucky for me because it requires so much of your energy. It’s fun to able to flip back and forth from film to television because they’re different but also very similar. The cool thing that I like about television is that you don’t know where you’re going. Like life, you’re getting scripts one after the other and you don’t know what’s going to be happening in episode five when you’re shooting episode one, so you can just be there in the moment with episode one. If you’re doing a film, you know where your character’s going. It’s a cool shift between the two of them.”
When you’re doing episodic TV and you head into the second season, do you ever wish that now that you know what’s happening you could go back and play things a bit differently?
Amelia Rose Blaire: “Of course. But I think that that happens, at least for me, no matter what. Afterward I’m always thinking of other things I could possibly have done. But that’s just something you have to learn to let go because you did it in the moment and you did whatever was inspiring you in the moment, so you have to trust that you made the right choice.”
Oscar-winning costume designer Colleen Atwood (Chicago, Alice in Wonderland, Memoirs of a Geisha) designed the costume for The Flash. Atwood’s also the costume designer for Arrow.
The Plot: “Through a freak accident, scientist Barry Allen is given the power of super speed that transforms him into the Fastest Man Alive, in The Flash.”
Stumble It! 
