Mouseburgers, get ready. Fox has optioned Brooke Hauser’s upcoming book on legendary Cosmopolitan editor Helen Gurley Brown, Enter Helen: The Rise And Reign Of The Original Cosmo Girl, EW has confirmed.
Tag: Lena Dunham (1-7 of 7)
It may not be revolutionary to note that twentysomethings are different from thirtysomethings, but in director Joe Swanberg’s latest, Happy Christmas, he takes that idea to the next level when Anna Kendrick’s hard-partying Jenny moves in with her brother (Swanberg), his wife (Melanie Lynskey), and their young child.
Though Jenny might neglect responsibility at every turn, her presence actually helps Kelly (Lynskey) confront the state of her own artistic aspirations, allowing Swanberg to explore the very real tensions that emerge when one party in the relationship takes on the lion’s share of domestic responsibilities. “I’m excited about the feminist issues that the movie tackles. I hope especially women come to the movie and see something that they relate to and that it gets husbands and wives talking about what those family roles are and maybe how to make them work for both people,” Swanberg told EW in a conversation about the intensely personal film and his fascination with all different varieties of female characters.
Check out the Q&A after the jump. READ FULL STORY
Drinking Buddies fans, show yourselves! (Everyone’s hand should be raised.)
The trailer for director Joe Swanberg (Drinking Buddies, 24 Exposures) next project is here. Just as in 2013’s Drinking Buddies, Happy Christmas stars Anna Kendrick. This time around, Kendrick is joined by Swanberg, Melanie Lynskey, and Lena Dunham in a dramedy about a hard-partying twenty-something who, after a breakup, moves in with her brother’s family over the holidays. That move prompts her sister-in-law (Lynskey) to rethink how her own life is going and what she wants from the future.
“It was interesting in this because my character doesn’t know when to shut up,” Kendrick told EW about on-set improv. “That’s a lot easier than listening in improv.”
Watch the trailer for the film, which premiered at Sundance earlier this year, below: READ FULL STORY
EW is inside all the Golden Globes parties tonight. Check out our reports from inside all the carousing and celebrating. Check back often for updates and follow us on Twitter at #EWglobes.
READ FULL STORY
If the Sundance Film Festival has always been the place to discover tomorrow’s biggest stars in front of and behind the camera during the past 30 years, it seems to have become even more fruitful in recent years. From young filmmakers like Ryan Coogler (Fruitvale Station), Benh Zeitlin (Beasts of the Southern Wild), and Jeff Nichols (Take Shelter, Mud) to ready-to-launch superstars like Jennifer Lawrence (Winter’s Bone) and Dane DeHaan (Kill Your Darlings), Hollywood has quickly found its future in the snowy peaks of Park City. “One of the biggest changes in the last 30 years is how independent film has become such a vital part of the cultural landscape now,” says Sundance director John Cooper. “It’s no longer an outside-Hollywood thing. It’s its own art form, and we’re feeling the power of that and the surge of that as we move forward.”
Put another way, though, independent film is no longer just for aspiring filmmakers and undiscovered actors. Yes, it’s still the place where unknowns arrive with hopes of becoming the next Felicity Jones or Lee Daniels. But it also represents opportunities for established superstars to play, to flex dormant muscles, and to reinvent themselves. Among today’s announcement of Sundance’s 2014 Dramatic and Documentary competitions, as well as its NEXT section — which highlights digital filmmaking with an eye on tomorrow’s storytelling techniques — were films starring Kristen Stewart, who plays a conflicted Guantanamo Bay prison guard in Camp X-Ray; Oscar-winner Anne Hathaway, who plays the sister of a comatose musician in Song One; and Saturday Night Live alums Kristen Wiig and Bill Hader reuniting to play distant twins in The Skeleton Twins – a drama!
Sundance wouldn’t be Sundance, though, if it were just its rich and famous alums coming back to play. “I was particularly proud watching Catching Fire and sort of remembering Winter’s Bone and remembering Jennifer Lawrence at the festival as a young actress, seeing what she was going to become,” says Cooper. “There’s some great discoveries that I think are going to come out of this festival, too.”
In fact, Cooper and Sundance’s director of programming Trevor Groth think this year’s crop of films — culled from more than 12,000 submissions and including 96 world premieres — is the deepest and most polished slate in history. READ FULL STORY
Of all the things that have addled and irritated the watchers of Lena Dunham’s HBO series Girls (the characters are too white and overprivileged! Lena Dunham spends too much time naked!), of all the things that have made a noisy sliver of them feel that the show is worthy of their “hate,” the late-in-the-game revelation that Dunham’s middle-class lost-girl princess Hannah suffers from OCD seemed all but designed to stoke the hostility of those who dislike Girls but can’t stop watching it. To someone like me, though, who adores the show (I’ll put my passion right out there: In two seasons, I think there has hardly been a false moment on it), when Hannah began to deal with her anxieties by counting, compulsively, to eight, any and every way that she could, even to the point of mutilating her eardrums, I found the twist gripping and scarily authentic — and one of the reasons that I absolutely went with it is that, after the first OCD episode, I began to imagine what a character trait like that one might have looked like in, say, a mediocre Sundance movie devoted to a discombobulated heroine with OCD. And I could just, you know, see those cutely kooky scenes of personal derangement (look, she’s arranging her Tater Tots into a perfect triangle!), the deadpan-disturbed lead performance by Elle Fanning, even the ad campaign (“Love is a compulsion”). And I just thought: What that movie wouldn’t have is what Dunham brought to every twitch and tremor of Hannah’s obsession — an anti-kooky concentration and troubled fever, a sense of how the OCD is literally, physically torturing Hannah, but how it’s also her way of hanging on to an identity, of giving herself one, as her assorted other roles in life (girlfriend of Adam, transgressive e-novelist) fall away, with nothing to replace them. To a desperately exacting degree, she became The Girl Who Counts To Eight. And, more important, she took us with her. READ FULL STORY
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