The 1972 pornographic film Deep Throat made headway (no pun intended) as the first film of its kind to feature a plot, earned $100 million – or $600 million, depending on whom you believe – and ultimately became an unforgettable piece of pop culture. But what you see in the film, its reception and figures in no way represent what was going on behind the camera, and director Rob Epstein and Jeffrey Friedman’s Lovelace is here to shed some light on just that.
Amanda Seyfried leads as Linda Lovelace. While she may have become a household name for her sexual freedom and talents, growing up, Linda was an innocent young girl who always obeyed her parents’ strict curfew. That is until Chuck Traynor (Peter Sarsgaard) walked into her life. Chuck took Linda under his wing, made her his adoring wife, and, ultimately, turned her into a star. But despite the fact that Linda essentially capitulated the couple to fame, money, and success, Chuck always wanted more, even if more came at Linda’s expense.
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The moment you’re famous enough that your voice becomes recognizable, the animated movie offers must come pouring in, but even after years of being in the spotlight, Epic only marks Amanda Seyfried’s very first foray into the world of voice work. She plays Mary Katherine, the daughter of Professor Bomba (voiced by Jason Sudeikis) who’s essentially given up everything for an obsessive pursuit to prove that there are tiny warriors living in the forest. Like everyone else, MK isn’t buying it, but when Queen Tara (voiced by Beyonce Knowles) has no choice but to shrink MK down to Leaf Man size so she can help save the forest, MK realizes her father’s been right all along.
With Epic on its way to a May 24th release, Seyfried sat down in New York City to talk about making the film and more. We ran through what drew her to the project, her love of the forest, the challenge of tapping into her imagination while in a sound booth, the physicality involved in doing voice work, how voicing an animated character compares to singing live on set, and the awkwardness of non-dialogue voice work. Seyfried also offered an update on her upcoming projects including Lovelace and Z for Zachariah.
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Apparently, constantly being asked, “You do understand that a movie musical is something you could really fall flat on your face doing?,” was all the motivation director Tom Hooper needed, because he pulled it off; he made a film version of the much-beloved Les Misérables and it’ll likely go on to earn a number of award nods, if not wins.
While participating in press conferences in New York City, Hooper admits, “They were right about the risks.” He explains, “When I made The King’s Speech, no one had heard of The King’s Speech.” Hooper was able to make that film in total privacy and, clearly, that wasn’t the case when adapting a piece people all across the globe hold so near and dear. “I felt very aware of the fact that so many millions of people hold this close to their heart and will probably sit in the cinema in complete fear that we would f*** it up.”
However, Eric Fellner of Working Title, is quick to point out, “If we only appeal to the fans, then, with a budget like this, the film wouldn’t work, so it was really critical that we made a film that had the DNA of the show and worked absolutely for the fans – but also had the potential to break out and create a whole new audience for Les Misérables.”
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I never cared much for “Les Misérables” back when every other girl in my class had to sing “Castle on a Cloud” at the school talent show and, it turns out, I don’t care all that much for it in movie form either, even when it’s an immensely impressive production.
In case you’re like me and never bothered to see the musical or read the book, “Les Misérables” focuses on Jean Valjean (Hugh Jackman), a man enslaved for 19 years for stealing a loaf of bread to feed his starving nephew. After finally being released, Valjean violates his parole to start anew. Even though he really does turn over a new leaf, running an honest business and doing good whenever he can, the über by-the-book policeman, Javert (Russell Crowe), is determined to make Valjean pay.
Still, nothing stops Valjean from being a good man. As Fantine’s (Anne Hathaway) life spins out of control, Valjean comes to her aid, agreeing to care for her young daughter, Cosette. Valjean rescues Cosette from her unloving and eccentric caretakers, Thénardier and Madame Thénardier (Sacha Baron Cohen and Helena Bonham Carter), and raises her as his own until she catches the eye of the young Revolutionary, Marius (Eddie Redmayne).
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Once in a while you need a movie that lets you just sit back, relax and enjoy the show. Sure, these films can be rather mindless, but spoon-fed entertainment can make for a fun night out. On the other hand, that’s no excuse to take a notable novel premise and never bring it to its intellectual and emotional potential. With highly entertaining and thoughtful movies like Gattaca and The Truman Show on his resume, you’d expect something rather exceptional from writer-director Andrew Niccol. However, with In Time he’s got that brilliant idea, but never digs deep, leaving us with nothing more than a high concept.
Sometime in the future, people are genetically engineered to stop aging at 25-years-old. At birth, each person’s given one free year and then the moment he or she turns 25, the timer on his or her forearm starts counting down. Time is literally money so the only way the population can avoid timing out and maintain a living is by working for more time or by stealing it.
Will Salas (Justin Timberlake) resides in Dayton, one of the poorest zones in the country, a place where everyone lives day-to-day and hopes to get paid before their hours run out. When a wealthy man stumbles into Will’s part of town, rather than continue to enjoy his near-immortal existence, he opts to take his own life, but not before giving Will his 100+ years. With his newfound time, Will heads to New Greenwich, a place where people have so much time, they hire round-the-clock bodyguards to protect them. However, Will isn’t just there to play and enjoy his fortune, rather spread the wealth and defy the system.
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Twilight fans and haters alike beware; the big bad wolf is coming. It isn’t good-looking like Taylor Lautner and isn’t frightening in the least. Basically, it has no place being in a horror film or in a Catherine Hardwicke movie. Then again, after Red Riding Hood, Hardwicke might have a tough time holding onto whatever clout she has left. Who’d have thought going to grandma’s could be such a nightmare?
Amanda Seyfried is Valerie, Hardwicke’s version of Little Red Riding Hood. She lives in a remote village of the woods plagued with fear courtesy of the local werewolf. When Valerie’s sister becomes the beast’s latest victim, the men arm up and head out to hunt it down. They return triumphant, or so they think. Amidst their celebration, Solomon (Gary Oldman) and his men barge in to inform the townsfolk that that’s no werewolf head they’re dancing around, rather that of a standard wolf and that the real beast is still among them.
Whether the residents like it or not, Solomon is here and now he’s in charge. He takes it upon himself to track down the beast by any means necessary. Further complicating the situation, the town is under a blood moon and should anyone be bitten by the werewolf under that moon, they’re destined to become one themselves.
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Committing to a role like Chloe is no easy decision, particularly for an actress who is well known for being part of comical and family-friendly films. In Chloe, Amanda Seyfried stars as the titular character, a young prostitute hired by an older woman (Julianne Moore) to tempt her husband (Liam Neeson) to reveal whether or not he has extramarital tendencies.
Nothing like Karen from Mean Girls, Sophie from Mamma Mia! , Sarah from Big Love or Needy from Jennifer’s Body, right? Well, that’s kind of the point. Seyfried is well aware of the inclination of young actresses to take on roles that are merely versions of themselves and was thrilled about the opportunity to color outside of the lines–way outside the lines.
But even while taking some risks, Seyfried certainly has her head on straight. She admits to taking her work home with her, Mamma Mia! co-star Dominic Cooper in particular, but she’s determined to follow in the footsteps of some of her iconic co-stars, like Moore and Meryl Streep, in an effort to establish herself as a capable and talented actress. Take a look at what Seyfried had to say about being an up-and-comer in a profession overflowing with expectations, her experience working with director Atom Egoyan, and more.
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