Wickedfacts

Who Will Be Cast As Christian Grey in the Movie Fifty Shades Of Grey?

The bestselling erotic trilogy Fifty Shades of Grey is the hottest book around, and not just only for its sale figures. Universal Pictures and Focus Features have acquired the rights to the Fifty Shades series and right now everyone is talking about the casting. While the studios are looking for a director and a screenwriter, fans of the books are busying themselves with their picks as to who should play the dominant, multi-billionaire CEO with a sordid secret. Many actors are dying to get the role, so what exactly do we need for the right Christian Grey?

The book is rather specific about his character’s description. We know his is stunningly handsome, so we need an actor who can match the expectations in our heads. He needs to look not only super hot in a suit but also naked (hopefully the movie will treat us to a little eye-candy there). The character is described as being tall, athletic and with a messy mop of auburn hair and striking grey eyes. The actor who’ll portray him needs to manage the charm of Mr. Grey, but also the capture the kinky and debauched side of the character. Last but not least, he must have the confidence and the cool to pull off all those dominant S&M scenes in the red room of pain.

Actors all over Hollywood are tripping over each other to get the part, but who can pull off the kinky CEO? The Internet is a hub of discussion and fans are all pitching their favourite actors for the part. Ian Somerhalder from the Vampire Diaries is high on the list, and he has definitely got the striking grey eyes to go with the part. Ryan Gosling from the Notebook may not have the intense stare, but he’s a good actor who’d definitely capture the character.

Other hunks on the list includes Swedish heartthrob Alexander Skarsgard from HBO’s True Blood, whose character in the series already has his very own S&M dungeon. Gossip Girl’s Chuck Bass has earned his reputation as a rich bad boy, but would he match the fans’ mental image of Christian Grey? We can only have fun speculating, but whoever gets the part is going to have a lot to live up to. Christian Grey is the epitome of the perfect man so any actor who’ll be playing him is going to have a lot of pressure and work to do to keep the fans happy.…

What Goes Behind the Best Movies Ever?

In order to ascertain the list of best movies ever, it is quite a task at hand. Since everyone has his or her opinion on what qualifies and quantifies as the best, movie makers seek various methods to propel their productions to the A list. Other than having well-recognized faces on board to form the cast and crew, a great movie theme song is also an essential ingredient. Even though people may forget the storyline and faces, a great song is there to stay in the mind. By humming a few familiar bars, the viewer is automatically transported to a certain point in his memory bank. This is why movies employ moving songs to tickle the ears and hearts, thus gaining themselves a foothold in the viewer’s list of favorites.

Dissecting further into what makes the best movies ever, certain portions which hold poignant moments are further emphasized. Normally it is the time when the best line or speech is delivered. Other times, the best interaction between the cast which may sport an onscreen kiss, fight scene or some other relevant point. Perhaps focus is placed on the best special, visual or sound effects as the viewers are treated to laser shows and 3D imagery. With the recent introduction of 3D movies, movie goers are given an adrenaline rush as they don the special but odd-looking eyewear to see the movie reach out to them.

To produce a blockbuster of a movie theme, the screenwriters knit the scenery, atmosphere, cast and emotion into a giant blanket. Complemented with musical interludes, it forms the heart of the movie. Marketing campaigns are further boosted by attractive and meaningful posters. Having a supportive and talented crew on board is equally important as the background units make the foreground teams look and sound good. That probably explains why movies roll such long credits at the end.…

The Best Snacks and Treats For Movie Theaters

A real treat for me is to go to the movies. I love the whole experience, and one of my favorite parts is indulging in my favorite movie theater food. It’s not healthy, and is way over priced but I love it and it makes my trip even more enjoyable.

There is so much food for sale in movie theaters these days that the choice can be mind blowing. Here are just a few of my favorites.

One of my all time favorite foods is now a regular fare in movie theaters. These are the deliciously satisfying Nachos. There’s just something g very special about that hot cheese and salty chips. My only problem is trying not to crunch too loudly.

If you want to limit how much fatty food you eat, yet still enjoy a snack at the movies, then pretzel bites. These hot pretzel pieces arrived in our movie theaters during the 1990’s and are still going strong. If you want to spoil yourself a bit, get them dipped in cheese, delicious.

The biggest selling candy in American movie theaters is the addictive and delicious Sour Patch kids. The contrasting flavors of sweet and sour are truly amazing, and very addictive.

If you like your candies you’ll probably also go for Sno-Caps, Goobers and Junior Mints. Do you, however, ever buy them from a store with your other candy? I bet you don’t, as the movie theater success of these candies has never been replicated in the stores.

There is a great variety in the flavors of fountain sodas available, and I admit I like to mix it up a bit rather than stick to the same one all the time. A new favorite is the flavored ice drink called slush; this is exactly what the name says it is, slushy ice with a fruit flavoring.

I’m finishing off this list with the most popular movie theater food ever created, I refer, of course, to popcorn. This became a favorite decades ago and still stands firm as the favorite global movie food.…

Scriptwriter: Make a Movie – Pick Your Idea and Start

Scriptwriters come in all shapes and sizes. Scriptwriters have a depth to their soul like no other beings on Earth. It’s a gift, and a curse.

But, no matter what it is, you are a writer (or want to become one) and you HAVE to write. Writers have to write, dancers have to dance, and singers have to sing and so on and so on.

Writers usually have too many ideas in their head. So many ideas, so little time – and eventually if you want to be a writer you actually have to start writing. So the key is – since you want to make a movie script – to start narrowing down those ideas, pick a genre first. What is a genre, you ask?

A genre is the type of category your screenplay is in.

For example –

Comedy (includes dark comedies & romantic comedies, of course)

Sci-Fi & Fantasy (imaginary worlds)

Family (parents can take kids to see it) Horror (you know – those violently graphic types)

Suspense (unfolding mystery)

Drama (more true-to-life roller coaster ride types)

Action Adventures (big $$$ makers – excitement, danger, suspense)

And I’m going to add –

High Concept – Hollywood’s favorite buzz word at the moment

– and although a High Concept film could be any of the above genres, it’s claim to fame is that it has MASS APPEAL (which means big $$$$ to Hollywood, and you for that matter). It is easily pitched in a catchy logline, which when spoke, they immediately “get it” and your story is fresh, unique and high in concept. (Duh, did I really say that?)

You might find you start in one genre and end up in another. That’s okay. Just go with the flow. Put pen to paper (or in this millennium – fingertips to keyboard) and just start writing. It’s not time to be critical of what is coming through. The key is – JUST START. It does not matter how or with what you start, just start. Thoughts flow through you, ideas flow through you, and if you ignore them they will go find someone else who will give them life. Starting will show the Universe you’re now committed to receiving. Choosing a genre and picking an idea in that genre to run with tells the Universe what it is you need – what thoughts and info you need – your tools. NOW, you can get started.

At this stage there’s no right or wrong, there’s only opportunity, so take this opportunity to get on the scriptwriting bandwagon and ride that train all the way to the bank.…

Movie Review: Welcome to the Riley’s (2010)

A common name doesn’t make a family in the 2010 hit Welcome to the Riley’s. Doug Riley see’s something more that just a 16-year old runaway stripper in Kristen’s Stewart’s character strategically known by many different names (e.g. Mallory, Allison, etc.) After losing his own 15-year old daughter, Emily, to a car accident the atypical, middle class Riley doesn’t turn to drinking or the abuse of his shut-in wife, Lois, who might be said to hold the blame. He continues going to his weekly poker games and tries to fill the void left by his now-distant wife with the love of a waitress named Vivian. When she too dies Riley is forced to deal with the loss of his family. Lois believes they are already dead and buys both her husband and herself tombstones next to Emily’s with nothing but the date of death to be filled in. After all, what is life without the daughter they’ve raised and loved for 15 years?

Things take a strange turn for the better when Riley goes to New Orleans on a business trip and meets “Mallory” (Kristen Stewart), a teenage girl who is most definitely not yet a woman. Mallory ran away from her home in Florida for reasons we are not given but one can only assume if shaking it on stage and performing sexual acts on men twice her age is preferable. At first, Riley is just playing the part of a decent guy who sees a struggling teen and gives her money without taking any sexual interest in her, despite her advances.

He soon befriends her and starts to treat her like a daughter, but on her terms. Oddly, Riley seems to know exactly how to handle the situation. For example, to control her flagrant disregard for the use of the “F”-word in his presence he docks her $1 for every time she says it from the $100 he is paying her a day to live in her run down house. Though Doug seems to be taking her under his wing as a daughter he seems to keep up a wall between them. Conversely, when Lois finally gets up the nerve to leave the house to drive to New Orleans, empowering herself with her own effort to restore her place with Doug, she takes on a motherly role with Mallory almost immediately.

That is, after she learns that her husband is not a pervert who is sleeping with a 16-year old girl. It is stunning how easily the up-tight Lois transforms into a caring, maternal figure for Mallory, despite the young lady’s profession. She is even mistaken for Mallory’s mother in a department store where Doug and Lois are taking a very family-esque shopping trip together.

This perfect family reconstruction is not to last, however. Doug and Lois must deal with the fact that they no longer have a daughter, but they do have each other, and now in a small way, Mallory. At the end of the film Doug receives a phone call from Mallory in which they both agree to keep in touch. Doug finally is able to break through the wall he has had up between the two of them and perhaps find some comfort for the loss of his own daughter as he calls her by her given name as Lois as been able to do from the beginning, Allison.…

Do you want to know the real star of Frozen? It would be Sven, the reindeer.

Sven doesn’t speak. He doesn’t sing. If we are being honest, I could use a haircut. But when you stumble across the stage, thanks to dancer Andrew Pirozzi, it’s pure theater and pure magic. Her scenes are some of the rare moments when Frozen, adapted from the 2013 Disney hit, the highest-grossing animated film of all time, not only seems translated on stage, but transformed by and for her.

Frozen from Broadway is a good show. With its music, its dance, its barrage of pleasant tracks, and one snowball after another snowball by sound and light, news, some of which date from the melodrama of the nineteenth century, offer the essence of the pleasures with which we let’s feature in Broadway musicals. Provide. But even with the addition of a dozen new songs by songwriters Kristen Anderson-Lopez and Robert Lopez, and improved book by Jennifer Lee, and interventions from director Michael Grandage and set designer and costume designer Christopher Oram, you rarely feel more than a movie and sometimes you feel less.

The story is more or less the same. Elsa and Anna, princesses from the fairytale Arendelle, are best friends in bed until Superstorm’s magical powers part them. Elsa hides these powers until her coronation when an emotional explosion accidentally plunges the realm into uninterrupted storm conditions. Courageous Anna, aided by ice-cream seller Kristoff and her four-legged friend Sven, sets out to find Elsa and save Arendelle before the kingdom runs out of glug.

Frozen, like the recent Moana, is not a love story. Or rather it is a love story, but love is sororal, not romantic. These are two women who find their place in the world: Elsa’s culminating outfit is a sparkling white pantsuit, but even recognizing Murin’s immense charm and Levy’s majesty, these Elsa and Anna get together. feel less like real women and more like storyboards with big wigs. Anna is dizzy and impulsive, Elsa approaches the pathology. The musical theater puts more emphasis on character than most animated works, even fancy works like the movie Frozen, so while that sounds a bit wrong, order a show based on cartoons for more insight. , plus dimensionality is what it takes.

Part of the problem is that women don’t have so much to do. The central action is a research narrative, but it is research that is easily accomplished. Anna climbs a mountain in search of Elsa; Elsa goes downstairs to find Anna. They don’t find many obstacles – there are no wolves here, no snow monsters, no friendly bunraku snowman, and when they receive a blessing it’s almost by accident. Without the magnificent distractions of computer animation, the story seems slim.

The new songs are capable and one of them, Monster, sung by Levy, carefully transfers Elsa from one psychological state to another, but none of them stick with the ferocity of Let It Go or Love Is. an Open. Wear or even want to build a snowman. Anna and Kristoff’s trendy duo, You Don’t Know About Love, isn’t as convincing as their previous duet with Hans. The couple’s other issue, Fixer Upper, has been reassigned to Hidden People, based on Scandinavian Huldufolk, and is too fast for them. If you’re going to take all the time to integrate the Broadway version with characters from true Norse mythology, why load them up with such a stupid song?

None of this seemed to shake the legions of little girls in the audience who had dressed as Elsa or the few who had come as Anna. Frozen could be more inventive, more imaginative, more vital, more necessary. But as these girls would surely say, forget it.

Disney On Broadway is pleased to announce The North American Tour of FROZEN is now playing! Get tickets for the FROZEN the Musical from Tickets4Musical.…