Emile Hirsch in "Hamlet"

"The Liberty Media studio has signed up for a modern take on "Hamlet" and attached a slew of big names to pull off the task."Twilight" and "Thirteen" director Catherine Hardwicke is attached to direct, with Emile Hirsch, who helped conceive the idea, attached to star as the title character.
"Milk" producers Dan Jinks and Bruce Cohen will produce via their Jinks/Cohen banner.

The company said it is awaiting a finished script in the coming months and hopes to go into production not long after.

The new "Hamlet" will center on similar themes as the original play but will be set in contemporary America. In the new version, a young man must decide whether to kill his uncle to avenge the death of his father.

Jinks and Cohen said their "goal is to present the story as a suspense thriller. We want to make it exciting and accessible for an audience today."

Overture CEO and COO Chris McGurk and Danny Rosett noted that "with its universal themes of death, revenge, love and even teenangst -- the story of Hamlet is perhaps as timely and influential today as it was when it was written over 400 years ago."

Shakespeare has undergone a series of retellings in the past decade, with teen pic "10 Things I Hate About You," which was a retelling of "Taming of the Shrew",and Ethan Hawke starring in a Hamlet update that focused on corporate politics". Source: www.hollywoodreporter.com

"According to Entertainment Weekly, the idea was initially proposed by Hirsch, Nikki Reed and Emile Hirsch in "Lords of Dogtown" (2005)

who worked with Hardwicke on Lords of Dogtown.
I have more faith in Emile Hirsch, who is an underrated young actor choosing excellent roles in his rise to stardom. He’s a few steps behind Leonardo DiCaprio’s great career and at this pace he could be a formidable fixture in Hollywood for some time. I imagine his work with Sean Penn and the equally great James Franco in Milk will be even more historic in hindsight. I’m looking forward to his Hamlet, even if it has been done so many times before". Source: newsinfilm.com

"New Moon" stills

Source: tracking-board.com



Source: www.twilightsweden.se

Marilyn Monroe and Megan Fox

"In one photo, the young Monroe lies in bliss, reading on a park bench, which editors at Life.com believe was shot at Griffith Park in Los Angeles, California. In another, her face is serene as she is perched over a bridge barefoot. The shoot, which dates to 1950, was conducted by Life photographer Ed Clark.

It's a side of Monroe that the American public has rarely seen.

"She hasn't really exploded as a star, yet she was on the brink of something big," says Dawnie Walton, deputy editor at Life.com, a Web site harboring more than 7 million Life magazine photographs. The site was launched in March.
"I was amazed looking at her face. Although she looks very innocent, there is something very ... sexy."
Upon investigating the photos, Walton says, she found there were few notes left on the negatives. She says the photos were probably taken for a cover shoot that was never used. Monroe appeared on her first Life magazine cover in 1952.

"It just got lost and stowed away," Walton said. "It was just ... somewhere in a warehouse in New Jersey." Source: edition.cnn.com

"SCIENTISTS have identified the Marilyn Monroe hormone that is linked to an hour-glass body shape in women, and also an increased desire to trade-up to new men.Women who have high levels of oestradoil also show elevated confidence and a greater inclination to have sex outside of their current relationship, according to the US-based research.

The ovarian steroid hormone is also associated with having a symmetrical face, large breasts and a low waist-to-hip ratio.
"Marilyn Monroe is actually a really good example of a woman who was almost certainly high in oestradoil," Australian sexologist Dr Frances Quirk said in response to the research."She was a classic hour-glass figure and because of her relationship pattern - she was a serial monogamist.

"Her relationships last three or four years or slightly longer, and if you look at the men she had relationships with, they increased in status."
"High-oestradiol women were considered significantly more physically attractive by themselves and others," the study, published in the journal Biology Letters, concluded.Dr Quirk, Associate Professor at James Cook University, said because of these traits, high-oestradoil women "may also be the sort of women that other women don't like too much". Source: www.news.com.au

"Megan recently took some time out from her hectic schedule of swimming in flesh-toned nipple patches and toggling David Silver's balls to sit down with GQ magazine and give her take on her profession.“When you think about it, we actors are kind of prostitutes. We get paid to feign attraction and love. Other people are paying to watch us kissing someone, touching someone, doing things people in a normal monogamous relationship would never do with anyone who’s not their partner. It’s really kind of gross."
Source: www.celebnewswire.com

"I`m a whore, all actors are whores. We sell our bodies to the highest bidder". -William Holden

"Every government is a parliament of whores. The trouble is, in a democracy, the whores are us". -P.J. O`Rourke

Untitled Moon Project script

Genre: Sci-Fi Thriller
Premise: A renegade group of former space employees travels the world, stealing space equipment in an attempt to go back to the moon.

About: A relatively unknown project that's being directed by Doug Liman which will star Jake Gyllenhaal. The script was originally penned by Liman with the help of 'Along Came Polly' director John Hamburg, but has been rewritten by 'Black Hawk Down' scribe Mark Bowden. It's unclear which draft this is but I'm fairly certain it's the Bowden draft. Dan Mazeau and Ken Nolan are also credited with working on the screenplay. Writer: Mark Bowden.

Doug Liman is one of the more underrated directors out there. No one gives him any credit for Swingers but the guy figured out a way to balance Vaughn and Favreau's love for improvisation with a production schedule that couldn't afford second takes. Katie Holmes in "Go" (1999).

He went on to do "Go", a cool kinetic flick that played with time and still managed to differentiate itself from all the Pulp Fiction clones going out at the time. Then he started a franchise in the Bourne movies that had no business being as big as they were - since Matt Damon's career was basically in the cellar when the first film premiered.

His only misstep was the Hayden Christensen starrer "Jumper", which felt like the projectionist had accidentally fallen on the fast-forward button for the entirety of the movie. So when I heard that Mr. Liman would be directing a big-budget semi-sci-fi flick about going to the moon, I wanted to check out the script.

"A mysterious group of misfits is stealing rockets and boosters and, yes, even lunar landers from all over the world - even going so far as to leave "I.O.U.'s" in their wake. They appear to be a rogue collection of former space pilots and engineers led by a hot Eastern European woman named Anya. She's one of those "save the earth" type women... but on like a case of red bull. FBI and NASA officials find out that the group is following an outdated thesis project from an ex-NASA employee which proposes how to get to the moon at 1/10 the cost of any known mission. The author of this project is an Observation Center employee named Cole - a man who has no idea that any of this is going on.

Well he's about to. Because Cole is the last item on the list. One second he's staring at the moon, the next he's thrown into the back of a van, drugged, and when he wakes up, he's on a mission to the moon. Yes, Cole is sitting in the cockpit of an old rusted Kazakhstan rocket three seconds before liftoff! Cole is equal parts surprised, terrified, and sincerely pissed off.

Apparently Anya's group has dual motives: to mine Helium-3, a high performance energy source which can only be found on the moon and (I'm not kidding about this) to leave a Monk on the moon to establish a Lunar Lighthouse. Apparently nobody told Anya that the purpose of a Lighthouse is to guide incoming ships to safety. Since the only thing that's going to be heading towards the moon in the next 20 years is a meteor or two and the occasional Chinese satellite, I'd say Marco the Monk is going to have a a lot of free time on his hands.

What I learned: One thing I will give Luna is that it's well-researched".
Source: scriptshadow.blogspot.com

Pattinson & Stewart dined together

"After the awards show, Rob and Kristen headed to Cecconi's for a bite to eat, and the duo left the trendy eatery around 11pm, and they were followed by a police escort to The Charlie Hotel in West Hollywood (Charlie Chaplin's old house). The lovebirds booked themselves a private chateau, and we didn't see them again until noon, when they emerged from their bungalow, looking like they'd both just rolled out of bed!

Our X17 photographer on the scene tells us exclusively:

"Rob was preoccupied with getting all of his stuff in the car and Kristen was hiding behind her sunglasses, looking a little tired, but waiting to say goodbye. Right before Rob got in the SUV, the couple stood together behind the car door and I'm pretty sure there was a brief kiss!" Source: x17online.com

"Away we go" by Sam Mendes

Maggie Gyllenhaal in a scene from Sam Mendes' "Away We Go" (2009). "His fifth film, “Away We Go,” continues the Brit stage director’s track record of tackling different eras in the American experience (earlier: the Thirties in “Road to Perdition,” the Fifties in the god-awful “Revolutionary Road,” and the two diametrically opposed halves of the Nineties in “Jarhead” and “American Beauty”), only to refract them back to us as collections of inanities. Kate Winslet’s halting student theater workshop delivery in “Revolutionary Road,” Annette Bening’s hysterical fits of self-flagellation in “American Beauty,” Jake Gyllenhaal trying out masculinity in “Jarhead”. I imagine actors love working with Mendes—it’s obvious he lets them do whatever they like. “Away We Go”‘s protagonists, Burt (John Krasinski) and Verona (Maya Rudolph), are two disheveled postmillennial (in a stroke of foresight, seemingly post Dubya as well) Grups who just haven’t quite figured out this crazy thing called life. The horror show that follows takes Burt and Verona from Allison Janney’s crassly negligent vision of motherhood in Phoenix to Maggie Gyllenhaal and Josh Hamilton’s creepy Madison New Agers, to Chris Messina and Melanie Lynskey’s stable (but with a tragic secret) brood of adoptees in Montreal. “Away We Go” was cowritten by husband-and-wife literary duo Dave Eggers and Vendela Vida, and their preciousness intermarries all-too-well with Mendes’s cool perfectionism. Knock McSweeney’s all you like (there’s ample room), but Dave Eggers isn’t to be taken too lightly. He can turn a phrase, credibly inhabit a voice (see his Sudanese Lost Boy memoir “What Is the What”), and he even approaches real empathy when he’s not too busy burying it in layers of extraneous writing. There are good ideas in “Away We Go,” some sensitive stuff about parenthood and family that feel lived-in (and mesh well with Eggers’s biography as sketched out in “A Heartbreaking Work of Staggering Genius”).
Source: www.indiewire.com