"Despite this news being confirmed at the Disney expo, we just got an email from Disney claiming that PRINCE OF PERSIA will NOT be in 3D. We're working to get to the bottom of this so consider this story developing.... While wandering the floor of Disney's D23 Expo with some reporter buddies of mine, we came across a poster showing Disney Digital 3D's roster. And on that roster? PRINCE OF PERSIA: THE SANDS OF TIME. On-site representatives confirmed that the film will indeed be released in 3D, though it was not shot that way. Jake Gyllenhaal and Gemma Arterton in all three dimensions. Fancy. Also on the poster was RAPUNZEL, BEAUTY AND THE BEAST, ALICE IN WONDERLAND, CARS 2, NEWT, KING OF THE ELVES, TOY STORY 3 and BEAR AND THE BOW. So, I'm dying to know...are you sick to death of 3D? Did you play the game? And, most importantly, do you wonder why the hell they cast Jake Gyllenhaal? Meanwhile in other 3D news, DreamWorks Animation's Jeffrey Katzenberg told a group of reporters that he has a deal going with Luxotica eyewear to create a line of personal 3D glasses". Source: www.joblo.com
"Maggie Gyllenhaal, a dyed-in-the-wool New Yorker, has immersed herself in London life over the past four months while filming her latest movie here. She’s expanded her circle of British friends, enrolled her daughter in a local playgroup, trooped around Tate Modern and various other art galleries and explored London’s bustling street markets so comprehensively she could probably write her own guidebook. Perhaps that’s the mothering instinct, which Maggie, 31, admits has overwhelmed her since the birth of her daughter, Ramona, who will be three in October and is at home with her father, Maggie’s husband, the actor Peter Sarsgaard, in the ‘big, beautiful house’ they’re renting.‘Oh, motherhood is all-consuming,’ she says. ‘I remember people saying, “Believe me, everything in your life is going to change…” And I thought, “Why? That’s such a bourgeois way of thinking.” And then you have a child and yes, everything changes. It affects the way we live, what we do and where we go – everything. And I wouldn’t have it any other way.’ Her first film on her return, The Dark Knight, was a huge multi-million-dollar blockbuster with Christian Bale as Batman and the late Heath Ledger as the Joker, and Maggie was able to pop in and out on a shoot that lasted some seven months. By the end of the shoot, her daughter had reached the toddler stage, and she decided it was time to return to work properly. Maggie virtually steals the show from a big ensemble cast. Away We Go is a romantic, funny road movie about a young couple, Burt (John Krasinski) and Verona (Maya Rudolph), who are expecting their first child when they discover that his parents are leaving Colorado to move abroad. In the past, she’s clearly grown tired of being asked if there is a competitive edge to her relationship with Jake, her younger brother (by three years) and star of films such as Brokeback Mountain, Zodiac and The Day After Tomorrow. During our conversation she refers to him affectionately several times. ‘He’s my brother. I love him. He’s taking a rest right now and starts working in the autumn near where we are, so we’ll see each other a lot.’She worked with Kirsten Dunst on Mona Lisa Smile and Dunst ended up dating Jake for a while, although he’s now with Reese Witherspoon.
Her mother has, she says, been the single biggest influence on her life. ‘I think that my mother made me believe – in a way that wasn’t totally helpful in retrospect – that I could do anything. Mostly that’s an incredible gift to give, but later you kind of think, well, I can’t actually do anything. As much as you say I could have been a great ballerina, that’s not true. But it comes from a lovely place, and it really got through to me that she believed in me and that I was capable, and could really soar.
And Sarsgaard, whom she met in 2002 through her brother, has been on dad duty. ‘He’s been great. He’s been happy to be here with us and he loves spending his days with Ramona.’‘I love being married,’ she says. ‘It definitely has shifted things. I took very seriously the vows we made that we will stand by each other, and we will.’ He has been writing too,’ she explains, ‘but I think he really wants to go and do some acting work so he’s got first priority. Then again, if Martin Scorsese calls and says, “Maggie, I need you in October”, I’m sure he’d understand… But I do definitely need a rest and, much as we love it here in London, I want to go home and just be mum.’Home is a sprawling brownstone in Brooklyn, but they are considering moving out of the city she loves. ‘We’re starting to feel it would be wonderful to get out into the countryside. My husband would be happy to be in Nova Scotia and never see anybody – he is really outdoorsy. A couple more movies, play some superheroes, and maybe we’ll get another house.’For now, it’s time to go back to her temporary home via an impromptu bit of mothering. ‘Have you got enough – was that OK?’ she asks me, before heading off to console the young waitress, hankie at the ready". Source: www.dailymail.co.uk
Amanda Seyfried in the premiere of "Chloe" premiere at TIFF, on 13th September 2009.
"Chloe" (2009) scene with Amanda Seyfried and Julianne Moore. "It’s a twisty meditation on desire, repression, sexuality, infidelity and commitment in a cold climate – but the look, pacing and tone owe more to Brian De Palma and Adrian Lyne than Bergman, say, or Antonioni. Julianne Moore is fine (and courageous) as the big-buck Yorkville gynecologist who, convinced that her husband (Liam Neeson), a charismatic, much-travelled university music professor, is fiddling about, hires a gorgeous escort (Amanda Seyfried, of Mamma Mia! fame) to test his loyalty. A sleek film of alluring – and dangerous – surfaces (check out all the glass and mirrors), Chloe should restore Egoyan’s lustre at the box-office. (The Globe & Mail)
Continuing his career-long examination of sexual taboos and miscommunication, [Atom Egoyan] has made a movie that is part sexual Scheherazade, part Single White Female, but is also his most straightforward movie in years. Starring Amanda Seyfried as an escort hired by Catherine (Julianne Moore) to test her husband’s (Liam Neeson) fidelity, it’s a steamy thriller the director calls “an extreme examination of how to re-eroticize a marriage.” (Edmonton metronews)
The film has that lush, romantic, other-worldly feel of most of Egoyan’s work. And he stays true to his habit of taking us to places where life becomes uncomfortably complicated. There are twists and turns everywhere, and the sex, because with a young prostitute at the center of the story you know there will be sex, is like the streets of the town, and the wistful loss of a marriage, as beautiful as it is chilling to watch. (Betsy Sharkey, LA Times blog)
Chloe (**** four stars) Three pitch-perfect performances make it remarkable to watch how messy three lives can become. And Toronto never looked so good. (The National Post)
Exploring the city landscape in the same erotic manner that the characters explore one another’s bodies, Egoyan turns Chloe into an unsettling yet courageous homage to Toronto. At the same time, this is a universal story of secrets, lies and impossible love". (Toronto Sun) Source: www.awardsdaily.com
Johnny Simmons, Amanda Seyfried, Karyn Kusama and Megan Fox at "Jennifer's Body" premiere at TIFF.
"Cody and Kusama gleefully harvest and collapse horror tropes by the fistful. They have perfect partners in Fox and Seyfried, whose searing chemistry is exploited via everything from a lesbian kiss (from which the suspicious Needy tears herself away, screaming, “What the fuck is happening?”) to the requisite, aforementioned girl-home-alone sequence. Yet the principals sell both acts because they submit wholly to Fox. Her Jennifer is is magnetic enough to command irrationality, especially after her demonic conversion, when her physical survival — not just her social survival — depends on the sexual compulsions of others.Kusama in particular knows the commodity she has in Fox — not just gourmet eye-candy that male audiences have binged on through two Transformers films, but a hypermodern symbol of American femininity in all its wily, oppressed and devastating glory. But not all teenage girls are hell, as Needy’s selflessness reveals. But even that doesn’t get her very far (Chip will pay the price for that one), soon Seyfried, too, is lost in the darker, abandoned edges of her role, those of a predator without shame or compunction. “Who made who?” Cody asks; Kusama lets the audience draw its own conclusions, even while both overplay their hands with J.K. Simmons and Amy Sedaris as the film’s two clueless adults and inconsistent riffs on the cult of celebrity (which, to be fair, already coronated its quintessential demoness in To Die For). But thanks to the shrewd, creative wherewithal of everyone involved — and even their imperfections, perhaps — Jennifer’s Body bears the mark of an even more fearsome beast: Timelessness". Source: www.movieline.com
Jason Reitman, Amanda Seyfried, Adam Brody, Karyn Kusama, Megan Fox, Johnny Simmons and Diablo Cody.Amanda Seyfried and Megan Fox at the Toronto International Film Festival, Midnight Madness screening of "Jennifer’s Body", on 10th September 2009.
“Jennifer’s Body” was designed with both feminists and 15-year-old boys in mind, a seemingly eccentric blueprint that, as Ms. Kusama points out, is in line with the best movies of the slasher tradition. “It may be one of the best ways for a young male audience to experience a female story without feeling like they have been limited by a female perspective,” she said.
Here that perspective is doubled, with Jennifer and her innocuous shadow, Needy (Amanda Seyfried). The story of the girls’ tormented, toxic relationship is set off by various depictions of Ms. Fox — a combination of brain-locking beauty and recombinant evil — rummaging through some poor guy’s torso. Between Needy’s cautious yearning and Jennifer’s pure, trampling id, the film presents a portrait of female identity in flux". Source: www.nytimes.com
"Despite this news being confirmed at the Disney expo, we just got an email from Disney claiming that PRINCE OF PERSIA will NOT be in 3D. We're working to get to the bottom of this so consider this story developing.... While wandering the floor of Disney's D23 Expo with some reporter buddies of mine, we came across a poster showing Disney Digital 3D's roster. And on that roster? PRINCE OF PERSIA: THE SANDS OF TIME. On-site representatives confirmed that the film will indeed be released in 3D, though it was not shot that way. Jake Gyllenhaal and Gemma Arterton in all three dimensions. Fancy. Also on the poster was RAPUNZEL, BEAUTY AND THE BEAST, ALICE IN WONDERLAND, CARS 2, NEWT, KING OF THE ELVES, TOY STORY 3 and BEAR AND THE BOW. So, I'm dying to know...are you sick to death of 3D? Did you play the game? And, most importantly, do you wonder why the hell they cast Jake Gyllenhaal? 
Meanwhile in other 3D news, DreamWorks Animation's Jeffrey Katzenberg told a group of reporters that he has a deal going with Luxotica eyewear to create a line of personal 3D glasses". Source: www.joblo.com
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