"Jake Gyllenhaal has quietly moved into Reese Witherspoon’s $5 million L.A. home, reports Us Weekly.
“Jake keeps his things at Reese’s house and uses it at his home base most of the time,” an insider reveals. “They literally don’t want to spend any time away from each other.”
But with Reese’s daughter Ava, 8, and son Deacon, 3, the couple has to be careful.
“Reese is very content with where things are right now,” a Witherspoon pal says. “She has her career, her kids and a fantastic relationship. [And] she has been careful to work in Jake into her childrens’ lives slowly. She knows her kids already have a daddy.”
Source: Justjared.buzznet.comSource URL: https://americanendeavor.blogspot.com/2008/06/Visit american endeavor for Daily Updated Hairstyles Collection
"Unfortunately, most of the folks trying to make indie movies these days, as was revealed at my film financing panel Saturday (including producer Cathy Schulman, ICM's Hal Sadoff and New Bridge Capital's Danny Mandel), seem to be trying to make genre thrillers with someone on the list of not-too-costly actors between the age of 20 and 30 who foreign sales agents want to sell in territories around the world (where interest in American product seems to be drying up). Quality dramas are a no-go, said Schulman, although that's what she's trying to make at Mandalay Indie. And the surviving specialty distribs are strictly cherry-picking. You might get your movie made. But it might go straight-to-video. And it wouldn't be worth as much as it might have been a few years ago. [...] I know I don’t have to repeat all the ways that the independent film business is in trouble. But I’m going to do it anyway—because the accumulation of bad news is kind of awe-inspiring:
1: Picturehouse and Warner Independent have been shut down.
2: New Line’s staff was cut by 90 percent, and the survivors were sent to hell...I mean...Burbank.
3: Paramount Vantage was folded into the mother ship (this one may not be all bad news, by the way, but it still scares the hell out of independent film people).
4: Sidney Kimmel shrunk his company in half.
5: ThinkFilm is being sued for not paying its advertising bills, even as the unions repeatedly close down their David O. Russell 
production with the prophetic title “Nailed” for failure to meet weekly payroll.
6: Another five companies are in serious financial peril. And those are only the ones I’m sure of.
7: The $18 billion that Wall Street poured into Hollywood over the past four years has slowed to a trickle, and shows no signs of being replaced at even remotely the same levels from any new source.
8: There’s a glut of films: 5000 movies got made last year. Of those, 603 got released theatrically here. And there’s not room in the market—as there used to be—for even 400 of those.
Maybe there’s room for 300. So everything else just dies. Most of these pictures are pre-ordained flops from independent distributors who forgot that their odds would have been better if they’d converted their money into quarters and taken the all-night party bus to Vegas.
9: Advertising costs have radically outpaced inflation even as media delivery of audiences falls through the floor. So movie companies now enjoy the privilege of paying way more to be far less effective marketers.
10: Movies now routinely fight with really compelling leisure alternatives that nobody in the last great era of cinema—the 1970s—even imagined: from ipods to Xboxes to tivos to you tubes to the radically improved behemoth that is cable television.
11: The international marketplace may be growing dramatically, but all of that growth is eaten up by studio movies, a couple dozen top independent films, and burgeoning local language productions. Everything else we make in this country doesn’t sell for less—as it has for the past 20-plus years. Now, most American independent films don’t sell at all overseas. I’ve never seen more depressed people in my life than I did in Cannes last month. The phrase “worst market ever” could be heard from every corner. A lot of film market veterans were musing about never coming back. It’s that bad out there.
12: One entertainment industry banker I know believes another 10 independent film financiers will exit the business in the next year. I think he’s low.
And finally, just for bad luck:
13: The average cost of an independent film released theatrically in North America shot up dramatically last year (not as much perhaps as the 60% the MPAA reported for its member companies, but a lot nonetheless). And this of course makes it a hell of a lot harder to break even or squeak out a small return and stay in business".
Read the whole article in weblogs.variety.comSource URL: https://americanendeavor.blogspot.com/2008/06/Visit american endeavor for Daily Updated Hairstyles Collection
-Joe Nast: I think you have some mail here.
-Bertie: You think?
-I mean that I'm that I'm looking for.
-Any thing special you had in mind?
-Wedding invitations.
-You want'em back?
-I do.
-What did you forget to lick the stamps? All right.
Joe Nast: [voiceover] Dear Bertie, You asked me before where I went. And I want to tell you. I went to a place where nothing's right, where every moment's backwards, every sky's without colour, without hope. I tried to come back, Bertie. But I got lost. And while I was gone, I met you. And I didn't even have the courage to realize I was home. A wise friend of mine told me "we all have our homes", and now I know it's true. I hope you get this letter, Bertie. I figure I got 75 chances. Cause if you do you'll know that in the end, that's where I was. I found home, Bertie. I found you. I hope you can find your's soon. Get there - as fast as you can. And write me when you do. Love, Joe".
"This is just Beck, deadpanning, crooning, and growling against stately arrangements and insinuating melodies. The strings are straight out of Madman Across the Water (a nod to Paul Buckmaster, who also put his stamp on The Stones' "Moonlight Mile"), the pedal steel is pre-alt-country country, and the vocals channel John Martyn and Nick Drake". Source: www.hachettebookgroupusa.comSource URL: https://americanendeavor.blogspot.com/2008/06/Visit american endeavor for Daily Updated Hairstyles Collection
"Although rodeos, horses, and cattle percolate through the film, Brokeback does not fit the classic American Western movie storyline. From the films of William S. Hart and Tom Mix down through Gary Cooper in The Virginian and High Noon, John Wayne in Stagecoach, Alan Ladd in Shane, and Clint Eastwood in The Unforgiven, the Western hero wears a cowboy hat, rides a horse, and carries a gun. His ultimate goal is to save the good folks from the bad guys, and he always succeeds. Brokeback, of course, is not like these films at all. Jack Twist and Ennis Del Mar are not engaged in the Westerner’s project of vanquishing evil. In fact, Ang Lee’s film more closely resembles the stories of such star-crossed lovers as Abelard and Heloise, Tristan and Isolde, and Romeo and Juliet. More interestingly, it fits a narrative pattern common in the nineteenth-century operas of Bellini, Donizetti, Verdi, and Wagner.
Ennis learns through a returned postcard that Jack is dead.
Jack’s wife tells him what we’re meant to regard as a false explanation of Jack’s death; for we’re shown a scene lasting only a few seconds of screen time in which a man is brutally attacked by men wielding tire irons. Later Jack’s father denies Ennis’s request to bury Jack’s ashes on Brokeback mountain. All Ennis has left is the jacket and shirt Jack’s mother kindly has given him. And he lives out his live in his small trailer, alone, as if entombed. Thus Brokeback closes, not with a triumphant love duet, but with an enormously sad aloneness. Still, if the film does not end with the standard triumph of love, it ends with love sustained, as Ennis, caressing Jack’s shirt and jacket, tears up and speaks his name aloud: “Jack, I swear …” This is all the Liebestod these star-crossed lovers are allowed". Source: homepage.mac.com
"The conversations that Seth and Evan have are so genuine and so quirky, you can't help but respond to what their characters are doing. Everyone has a weird friend like McLovin, though probably not the level of weirdness to which the character goes. Everybody has done something stupid to impress a girl. It's what high school is all about, and "Superbad" is about two guys who have spent their entire high school years doing nothing but 'hanging out', who are finally afford the opportunity to do something that might make them popular, even for a couple of hours. There is an underlying sweetness to the film, especially involving Evan's moving to college and leaving Seth behind. You get the feeling that things are probably going to seriously change after the credits roll in this film. It was just so refreshing to see a film that went non-stop for the laughs, but still managed to provide convincing and likable characters in a storyline that had a little touch of sweetness to it. That's what Judd Apatow does so well with his films, and it evidently rubs off on the films he produces too.
The performances here are rock solid. Jonah Hill and Michael Cera are dead-on as Seth and Evan. I was especially impressed with Cera's performance, who has really developed his own quirky acting style that accounts for a large percentage of the laughs in the film". Source: www.moviesmademe.comSource URL: https://americanendeavor.blogspot.com/2008/06/Visit american endeavor for Daily Updated Hairstyles Collection
