AVC: We see quite a bit of female nudity, but very little in the way of male nudity. Is that a thing that’s forced on you by the network or studio, or is that a conscious choice?
MA: No, not at all. The great thing about where we are in terms of on the dial, we never get notes like that. We can do pretty much anything we want. It’s interesting. I think it has a lot to do with just gut reaction on my part to things that make me uncomfortable, or don’t make me uncomfortable, like that’s the only barometer I can go on. I think I have to say it’s just a gut thing when I see something, and I go, “I don’t want to look at that.” I mean, I know it does seem like we have a lot of female nudity, and we do, but so much of it got left on the floor, if you can believe that. In terms of male nudity, I don’t know. Maybe I’m just a victim of the same kind of conditioning of “Why do we never really see male nudity in movies or television?” I can’t explain it. But you know what? Here’s what I don’t want to do: I don’t want someone to say to me, “Well, when are you going to full-frontal male nudity?” It’s really not a box I’m inclined to check off just to be able to check off a box. [Laughs.] But I actually appreciate being reminded of it, because it makes me think, “Well, when we do come around to those kinds of things, let’s look at it, and see why are we portraying it that way.” Although, to be honest with you, I’m not sure if Showtime would be okay with full male frontal nudity. I’ve never really asked that.
AVC: You’ve talked about the Scullys quite a bit, but is there a chance that they’ll be back in season two, even though those actors have moved on to other things?
MA: It’s funny, we had Betty the hooker for three episodes last year, and then she had to go do Kinky Boots, and we were bemoaning the loss of Betty because we found her to have a really fun energy. She was a character that we had no intention of bringing back after the pilot, and then once we cast it we thought, “Oh, she’s so much fun.” Then she had to leave. But she’s back now for the entire second season. She’ll be in every episode, and with Allison and Beau. Here’s another thing I discovered only after the end of the first season, which is anybody that’s leaving, I’m really compelled to bring them back in some way. We’ll answer the questions like, “What happened to the Scullys?” but I think there’s a little bit of a pause in that story. Both of them will come back, but they’ll come back in a way that I think will be surprising. Because the thing is, we have to move through time. So even in this second season, we’re going to move through more time than we did in the first. That actually, in an odd way, allows for characters to come back having reinvented themselves in ways that will be, I hope, really interesting. AVC: What are you looking at for season two?
MA: Well, the hospital, which was true to life—Masters did make his presentation at Washington University, and it did go very, very badly. It took longer than it did in our show, but he did eventually have to leave, and he went and had to open his own practice. The weird thing about our show is every year is going to change pretty radically. Their lives and their careers really went through major transitions, and so the show is going to have this weird quality of feeling different every season. It won’t be like with Mad Men where you’re always coming back to the ad agency. This takes these very odd turns, so the hospital is done, and what you need to see is that they went out on their own. So that is what season two is about. How they get there and what form it takes, hopefully, will be interesting. They’re just embarking now on the second phase of their career. And, of course, their lives together. But there will be a very different cast of characters. A few characters will stay the same and come along, but there’s going to be a whole different world that opens up as a result of their moving. The world has a little bit more to do with the outside world coming in. Very slowly, the outside world is more and more going to seep in because, in fact, they ended up on the cover of Time magazine. They became very public figures and very much a part of what was going on culturally, and so one of our huge challenges is, “How do we tell that story and not feel like it’s some kind of commentary on the bigger world? How do we make it intimate and personal to them?” But it is true that the real world started to intrude in a big way. CLICK HERE FOR REST OF THE INTERVIEW
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Exclusive Interview: Teddy Sears on MASTERS OF SEX Season 1
The actor talks playing a complex character - and working with wires
By ABBIE BERNSTEIN
Teddy Sears and Lizzy Caplan in MASTERS OF SEX
Life has gotten very complicated for everyone in Showtime’s MASTERS OF SEX, Sundays at 10 PM. The drama, which has its first-season finale December 15 and has already been renewed for a second season, chronicles both the research and personal lives of Dr. William Masters (Michael Sheen) and Virginia Johnson (Lizzy Caplan) as they investigate human sexuality in the 1950s, when their quest was truly revolutionary.
Teddy Sears plays Dr. Austin Langham, who as part of the Masters and Johnson study allows himself to be wired up to a graph and observed while having sex, although outside the study, he’s had an affair with Margaret Scully (Allison Janney), wife of powerful Dr. Barton Scully (Beau Bridges).
Sears has portrayed a range of professionals in his television work, playing lawyers in RAISING THE BAR, LAW and ORDER: SVU and THE DEFENDERS and a detective in 666 PARK AVENUE, as well as a sexually active ghost in the first season of AMERICAN HORROR STORY. The Washington, D.C.-born, Maryland-raised actor also appeared in the feature film A SINGLE MAN opposite Colin Firth.
At an event sponsored by Showtime for the Television Critics Association, Sears talks about the idiosyncratic demands of his work on MASTERS OF SEX.
ASSIGNMENT X: When you got the script for MASTERS OF SEX and read what would be required of you, did you have a moment of thinking, “Do I want to do this?”
TEDDY SEARS: I was shooting AMERICAN HORROR STORY at the time. That was Season 1 on that one, October 2011, and I had no hesitation. Maybe partly because I was playing a dead gay sex addict, for lack of a better description, on that show, and I loved it immediately. I wasn’t familiar with [MASTERS OF SEX show runner] Michelle Ashford’s work, but I know she wrote for THE PACIFIC and I know she wrote for JOHN ADAMS, and I thought, “Well, this is great.” And then the writing of the pilot itself showed incredible promise, and I liked the character. He was this guy that was a Harvard-educated guy with a sense of fun, who clearly enjoyed being a doctor and he enjoyed everything that came with it. And I read this and I thought, “Oh, well, this is lining up for me very nicely.” So I was very enthusiastic – I couldn’t wait to get in there.
AX: Is your character Dr. Austin Langham a real person?
SEARS: My character in the pilot was named after a real person, and they decided to take elements of that actual human being’s life and fictionalize it a little bit just for the sake of protecting his anonymity, as well as make it a little bit more dramatically fun. But most of what I’m doing is actually based on another human being. They had to change the name, though.
AX: How would you describe Austin?
SEARS: I’ll simply say I have a feeling that every decision he’s made in his life has been to show everyone out in the world to convince them, including himself, that he is as awesome as he wants to believe he is, that he is a successful and in charge and cock of the walk type of guy. Really, I think that all of that masks some very, very large insecurities which we begin to see in Season 1. I don’t yet know who this guy is, but it’s really fun to get a script and to say, “Oh, wow, I do that this time. Okay. Well, that’s something else I didn’t know about myself,” and to just go from there and see it all ricochet out into the distance. So I’m excited to see where it goes, if we can keep doing it.
AX: Did you have any flash of meta when you were filming the sex scene where your character is wired up for sex of, “I’m playing somebody who on some level knows he’s being watched, and I’m actually being watched by people who are being watched by a camera, and it’s kind of infinite regression”?
SEARS: Yes. It’s impossible to do that scene and not know that we’re being observed. The wires, for one, the fluorescent lights, the hospital bedding, the whole sterile environment – it’s sort of an interesting balance between being as present as possible in the act of sex itself, and also knowing that I’m on display somehow. All of my vitals, et cetera, are being monitored here, and I didn’t have to perform for them, but I could see how that could be something that could cause a problem down the line. There was a moment, I will say, where I was very concerned with how hot it was getting in the room and the wires falling off. That was sort of in the forefront of my mind. And [director] John Madden [was saying], “Come on, we’re on Hour Number Four of this scene, let’s wrap it up, man.”
John Madden would say shooting the pilot, “I want to protect your modesty,” which was very great, having someone like him, sort of the nice grandfather as he’s like, “Grab her bum and put your hand on her nipple.” That was a little bit strange. But I have to say, I was embarrassed. I worked on AMERICAN HORROR STORY with Ryan Murphy – that was my first sort of getting naked on camera. And so even though the seal was broken, I had never had to have sex on camera.
The environment that was provided [on the MASTERS OF SEX] set was very caring. It was a scalable crew, and we just got down to the task of getting it done. That said, though, in the pilot, I’m having sex in the experiment with Helena Yorke, who plays Jane. We had to do that scene a few different times because John had to shoot it from a number of different angles. And we’re all wired up, and the wires after every take looked like a bird’s nest. The wires were all over the place. And so we had to unspool the wires and do the whole thing over again. It gets decidedly unsexy after a while, but it was a lot of fun. It was a very safe environment.
AX: Even with the discomfort, you have kind of a playful interaction with Helena York in many of your scenes together. Did the two of you approach the scenes with that sense of playfulness?
SEARS: Yes. I think because it’s such an awkward environment to begin with – we’re two virtual strangers in life, we’d simply met the day before, and we’re complete strangers the day our characters are meeting to take part in the experiment – that we had to have sort of a sense of fun, I think probably to eliminate the tension, more than anything. There was a moment when we’re beginning to have sex where she says something like, “Oh, I think we did meet before at a cocktail party,” and I say, “Oh, yes, you were the one with the clothes on.” You can’t help but sort of lighten the mood because it is so strange and it’s such a strange environment we’ve signed ourselves up to play in.
AX:Your character has sex both within the study, wired up, and outside the study, for social/sexual reasons. Is there a difference as an actor in playing sex scenes where it’s sex for the sake of whatever is going on between the two people, versus sex that is done for the purposes of the study?
SEARS: You know, this is a man who gets to have sort of sanctioned sex away from his wife. He has a family and he’s able to compartmentalize. What happens at the hospital [where the study takes place] happens at the hospital, and whatever happens at home happens at home. I think he’s given the green light, in the pilot especially, to take part in this study and even say something like, “This feels like it’s Christmas morning or something.” So I think for this character specifically, he’s just extraordinarily happy to be having sex with someone other than his wife. And so, as an actor, I have to take all of that into consideration. This is not something I’m doing because I know that little machine is ticking out the little [readout] and we need to make sure we hit all of our four stages [as defined by the study]. This is just good, old-fashioned sweaty fun.
AX: How much interaction do you have with the writers?
SEARS: They’re very available. I knew that I could get Michelle or [executive producer] Sara [Timberman] in an email, which would have come back to me right away, but I could actually go to their office and talk to them in person.
AX: Is there anything else you’d like to say about MASTERS OF SEX right now?
SEARS: I’m crossing every finger that it draws a big audience. I’m extraordinarily proud to be a part of this show. I’m just really happy to be handed an armload of material to play with, and I hope that I did it justice. That’s it.
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Today, we caught up with Rose McIver, one of the newest and beloved additions (Tinkerbell!) to one of our favorite shows – “Once Upon a Time.” She welcomed us into her home and it was indeed, a very lovely afternoon with this sweetheart.
You are one of many rising stars here in Hollywood who originated from New Zealand. What can you tell us about your hometown?
I grew up just outside of Auckland – at the beach. It is beautiful and communal and the air is fresh. I love our sense of humor as kiwis and its so nice to head home to some peace and quiet.
What attracted you to Hollywood? It’s so far away from home!
Work! It’s very much the hub for film making and television and was much easier to get regular employment as an actor for me here.
Now you’re living out a fantasy many kids have had – playing the role of Tinker Bell! What’s it been like playing this Disney classic on Once Upon a Time?
It’s such an honor to play a fairy tale icon. I’m always taken aback when I think about how fortunate I am to be able to inhabit such a delightful character on this show. We have such a great cast and crew and I have been having a lot of fun.
Did you grow up watching Disney films? If so, who are some of your favorite Disney characters (besides Tinker Bell, of course)?
Yes! I was always mad on Simba and Nala, and the genie from “Aladdin.” There are so many eclectic and three dimensional characters in Disney’s classics. Definitely a big influence on me.
Zooey is really big on the vintage fashion look. How would you describe your own personal style? Do you share our same love?
I love vintage dresses. I like classic feminine garments and then occasionally I will break it up with something structural like a chunky coat or cute shorts. I often work with a brilliant stylist, Devon Nuszer.
Do you have a favorite piece you love to wear/can’t give up?
My Rachel Comey black ankle boots. They are beautiful and incredibly easy to pair with anything.
Tell us about your hobbies! What do you enjoy doing on your downtime?
I play guitar and sing. I also write in various forms, stories, poems, and more recently screenplays. I am a good baker – much better at baking than at cooking dinners – I like diligently following a recipe.
Where’s the sleek white guitar from?
It belongs to my gorgeous friend Gin Wigmore who’s an awesome rockstar. She has several beautiful guitars.
How do you decorate your home? Do you seek certain pieces or are you more eclectic?
I have lived in so many homes in the last few years with traveling so I have learned to adapt. My mum Annie McIver is a brilliant sculptor and potter so I like to have some of her work around no matter where I am.
What’s your favorite room?
The sun room at my parents’ house. It overlooks the water and there is a family of doves that live in the window frame.
What’s your daily routine like? Like is there anything you have to do otherwise the day is thrown off?
I love to start the day with exercise. Running is normally my go-to, or I will hike or do yoga or an exercise class. It clears my head and wakes me up for the day.
Hollywood has lots to offer. Are there any particular kinds of roles you really want to try out for? Like action or comedy or drama?
I have really enjoyed dipping my toe into comedy in the last couple of years – only really in a small capacity though so that’s something I would like to pursue. My tendency though has always been towards drama, I like stories rife with conflict and tension and suspense. Stories and characters that are put in all manner of psychologically challenging situations. I like to generate ethical questions in an audience.
Interview by Amanda Evans
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Masters of Sex
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from an anonymous source: I watched Marfa Girl a week or so ago on the website - I can't really remember everything exactly but there was no nudity from the young girlfriend of the young male lead, she was only briefly in the film and the sex scene was quite tame and under the sheets. The Marfa Girl girl showed full frontal nudity a few times, both in sexual and non-sexual situations. There is a sex scene near the start which is quite rough (against the wall) but nothing to suggest anything more than acting. Sorry if this is disappointing.
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Showtime's 'Masters of Sex' Adds 'Lovely Bones' Actress
Rose McIver will recur as Vivian Scully, the daughter to Beau Bridges' character on the Michael Sheen-Lizzy Caplan drama.
Ahead of its September bow, Showtime's Michael Sheen drama Masters of Sex has added to its cast.
Lovely Bones alum Rose McIver has been tapped to recur on the drama, The Hollywood Reporter has learned. Period drama Masters of Sex, which starsSheen and Lizzy Caplan, revolves around William Masters and Virginia Johnson, the real-life pioneers who explored the science of human sexuality. Their research helped touch off the sexual revolution. McIver will play Vivian Scully, the daughter to Beau Bridges' university chancellor Barton Scully. The drama, based on Thomas Maier's Masters of Sex: The Life and Times of William Masters and Virginia Johnson, the Couple Who Taught America How to Love, is being directed by Oscar nominee John Madden (Shakespeare in Love) and begins production in March in New York. Repped by WME and Magnolia, McIver has credits including the features Light Years and Predicament and a recent episode of CBS' CSI: Crime Scene Investigation. Masters of Sex will premiere Sunday, Sept. 29 at 10 p.m. following Homeland's third-season bow.
* this sounds like a gimmicky casting just to get a hot girl naked. 24-years old former Power Rangers Rose is a New Zealander and like their Aussie neighbors, pretty cool about the nudity and all. My guess is she plays mischievous daughter who volunteers for the Masters sexuality study just to infuriate her dad. Either that or her character is replacement for Peggy - daughter in law of Chancellor Barton. Chancellor Barton Scully in real life had a daughter by the name of Sophia but she was never involved with the studies. If someone have the details on Rose casting namely if it calls for nudity, please contact me.
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Quintet Cast In HBO Pilot ‘Silicon Valley’
EXCLUSIVE: Christopher Evan Welch, Amanda Crew, Angela Trimbur, Zach Woods and Kumail Nanjiani are set to co-star in Silicon Valley, HBO’s single-camera dark comedy pilot from the King Of The Hill trio of Mike Judge, John Altschuler and Dave Krinsky and producer Scott Rudin.
The five join previously cast T.J. Miller, Thomas Middleditch, Josh Brener and Lindsey Broad. Silicon Valley is set in the high tech gold rush of modern Silicon Valley, where the people most qualified to succeed are the least capable of handling success. Welch will play Peter Gregory, an eccentric tech billionaire who is the most successful entrepreneur in Silicon Valley. Crew will play Monica, head of operations for Gregory who is his human touch. Smart and highly competent, by Silicon Valley standards she is downright beautiful. Trimbur will play Langdon, an unemployed publicist with a mountain of debt who has given up any hope of finding a nice rich man of her dreams in LA. Woods will play Jared, a hard-working and enthusiastic young business executive. Nanjiani will play Dinesh, a tech geek resident of Erlich’s (Miller) incubator, Hacker House.
Crew, repped by UTA, Play Management in Canada and attorney Neil Meyer, recently wrapped Michael Dowse’s The F-Word and will next be seen in jOBS opposite Ashton Kutcher. Trimbur, repped by Abrams Artists, Principato Young and Lev Ginsburg, recurs on Californication this season.
* all eyes on 26-years old Amanda Crew. Amazingly still yet to show her tits on-cam. A certified nudity dodger.
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James Deen on Surviving Lindsay, Jewish Guilt and Hollywood's 'Weird Games' (Q-and-A)
Erin Carlson
"I have more IMDb credits than you do, Schrader! I’ve been in more movies than f--king Al Pacino!" declares the porn superstar.
James Deen, the porn superstar with 900-plus adult films to his credit, makes his mainstream movie debut in The Canyons, a $160,000-budget, Kickstarter-funded erotic thriller co-starring Lindsay Lohan.
The project, written by Bret Easton Ellis and directed by Paul Schrader, features graphic nudity with Deen portraying a chilly, controlling character named Christian and Lohan his love interest, Tara. Although The Canyons was rejected by Sundance and the South by Southwest film festival over quality issues, it has drawn major buzz for behind-the-scenes drama: Schrader's rant against SXSW, in which he lashed out at the fest for leaking news of the rejection to The Hollywood Reporter, resulting in an apology and alleged punishment for the person who blabbed.
Then there was the deliciously gossipy New York Times Magazine article by journalist Stephen Rodrick about the making of the picture. The piece presented a bleak backstage glimpse with Schrader desperate and unhinged and Lohan unreliable and diva-like.
In a candid conversation with THR, Deen disputes Rodrick's depiction of some events including a scene where Lohan locks herself in a closet. The 27-year-old, who is producing a steampunk western called Cowboys and Engines and has no plans to leave the adult film industry anytime soon, talks about his Canyons experience, how he dealt with Schrader's "weird Hollywood games" and why he hasn't seen the film yet.
THR: How did you get cast in The Canyons? Were you even thinking about moving into mainstream movies at that point? Deen: That’s my first foray into that. I was not thinking about it. It was nothing I ever aspired to do or ever was like, “When I grow up, I want to be in real movies!” When I grew up, I wanted to do adult films. So that was my goal and I’m very happy to achieve my goal. Bret Easton Ellis, I’m a fan of his and enjoy his work more than anything. He was talking about me on Twitter. ... We emailed back and forth, and went out to dinner and talked. I read the treatment, it was amazing, I didn’t really think anything would come of it. I didn’t care. I just kind of wanted to [meet] the guy who wrote American Psycho.
THR: Describe your audition process: did they see you and think you were perfect? Kind of. Schrader was very nervous because Schrader was worried that I couldn’t act. So he wanted me to do this, like, standard thing. ... He’s an old man. He plays all these weird Hollywood games and tries to do all that crap. It’s not like it doesn’t work on me. Hollywood, I guess – Hollywood is really gross and the mainstream [film] world is really, really disgusting. It is, or from what I can tell from it. Most people are really -- they’re complete scumbags and they’re really insecure and they’re really pathetic. It seems that the way they, like, overcompensate or whatever [is] they have this whole "we don’t need you, you need me" power struggle. … It really makes no sense to me. But there’s all these, like, weird things where Paul Schrader’s from this old world -- and he’s not "that guy" by any means.
THR: How did you win Schrader over? I sent my little head and shoulders [audition tape] of me reading for a different character, which is the character everyone had to read … Schrader was very impressed and said, "When I come to LA I want to meet with him." ... So when he came to LA, we met and ... we went through a scene for the Christian character that they did want me to play. So we went through a scene, we tried it different ways – I think that was just making sure we could work together and making sure I can act. After that, I guess the final straw was he was still worried about the stigma of putting [an adult] performer in his movie. And then his wife is really anti-porn, anti-sex and all that stuff. She watched my audition or whatever – my piece versus somebody else’s piece – and she came out and she’s like … "Give it to him. He’s better." She was like the thing that actually got me the role.
THR: It sounds like you dealt with a lot of big personalities. For the most part, everyone was really cool and everyone was really nice. … Imagine going on a class trip in junior high and you all have to live in the same like hostel in Europe. By the end of the trip, you’re all gonna be really, really good friends or you’re gonna hate each other. And that’s pretty much what it was. It was a bunch of people working really hard, in close quarters, and all the stuff like that. [Producer] Braxton [Pope] held it down. Braxton was the one to make sure that people didn’t kill each other … It wasn’t like anybody was bad or anything was wrong. It wasn’t negative, I can really say. Everyone was stressed and working really hard and worrying about things.
THR: What's your verdict on Schrader? I have absolute respect for Paul Schrader, I think he’s amazing. He’s an old dude and he has this classic version of Hollywood where [impersonates Schrader's voice] "I'm gonna put you in a movie!" It’s like, who cares? … I have more IMDb credits than you do, Schrader! I’ve been in more movies than f--king Al Pacino! Just because they’re not the movies that you categorize as big Hollywood movies.
THR: You said he freaked out when you couldn't shoot one day because you were booked in advance to work on an adult film. I have a voicemail saved, it’s hilarious. He’s like, "James, you said that you were going to [honor] your commitments and responsibilities. Maybe we just need to re-evaluate who our lead’s gonna be!" And I just called Braxton and [asked], "Is he serious?" [Braxton said], "If you can’t come in, we understand, don’t worry, we’ll take care of it, we’ll deal with Schrader. It does f--k us over a little bit but we understand the situation." ... I already have a career, I have a life. [Schrader's] not giving me a career. They found me because I was doing the thing that I was doing and getting offers to speak at colleges and stuff like that. That’s how they find me. … It’s just one of these weird, old Hollywood power plays that doesn’t make sense in today’s world. … I think it’s comedic and Schrader’s actually a really good guy and he’s really talented and I really respect him and I think he’s really awesome.
THR: What do you think of that New York Times Magazine story? It’s pretty accurate! But there’s so many things in there that are just like, that’s not true, that’s not true, that’s not true, or that didn’t exactly happen like that, or … I can see [how he may have written it that way], but no. THR: What things weren't true? He said something about "James being lonely" because I’m the only person who didn’t have friends come by the set. Now my reason for not having friends come by the set: I’m not trying to defend myself -- "I’m not lonely, I have friends"! I do have friends and I love my friends – but I personally find it very unprofessional to bring your friends to your workplace. I correlate everything to like working at McDonald’s or working at a bank. If I’m working at McDonald’s, I’m not gonna invite my friends over to watch me flip burgers.
THR: What about the part in the article where Lohan gets upset and hides in a closet before a group sex scene? She didn’t leave the room! She went around the corner and was standing there with her assistant .... . It wasn’t like went and barricaded herself in the closet, was scared, wouldn’t come out. THR: Paul became very upset when South by Southwest rejected The Canyons from its film fest. Did that bother you too? As far as I know, I thought South by Southwest was a music festival, so I was just like, of course we got rejected. ... When they told me it didn’t get into Sundance, I was laughing because … the movie wasn't finished until after New Year’s. So there’s no way it could have gotten into Sundance. .... I think that they thought that they would just kind of be like a shoo-in and they wouldn’t have to like even show it. Because hey, Paul Schrader and Bret Easton Ellis! Oh yeah, we’ll take it!
THR: Have you seen the film? I haven’t seen the movie. I had the opportunity to and I declined. It wasn’t finished. … Really, it wasn’t finished. It wasn’t color-corrected, it wasn’t scored yet … . I know I’m going to be a really hard critic for myself. That one scene [in a teaser for the film] where I’m like beating Lindsay up, I saw it and was like, "Oh my god I suck. I’m terrible. This is like the most horrible f--king thing in the world, blah blah blah. I thought I did a terrible, terrible job. But I’m always gonna be harsher on myself than anybody else. … I don’t want to see it when it’s not done. I want to be able to watch it one time when it’s completely finished and get my Jewish guilt and self-deprecation out of the way and that’s that. Just be done.
This article has been edited and condensed from a longer interview.
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* if you guys are into smelly naked hippiesspreading message (and herpes) of peace and conservation.....the Indian chick is pretty though.
F*CK FOR FOREST
Twitch It's a documentary about f*cking hippies... No, I'm not being reactionary! They're really hippies and they're really f*cking! Director Michal Marczak took a camera and followed several members of the charity for a few months. Through his edited recordings we get to know some of the founding figures, and also a very extroverted newcomer. Of course the subject matter itself guarantees that you get to see a fair bit of nudity, both of the pleasing and the gross variety, but Marczak never veers into exploitation and keeps most of the sexual proceedings off-camera. If you want to have a good laugh at the expense of some vague weirdos, F*ck For Forest will allow you to do so. If you want to see hippies get nude, there is some of that as well.
Screen Daily The four key members of group, Leona Johansson, Tommy Hol Ellingsen, Natty Mandeau and Danny Devero (along with enthusiastic supporter Kaajal Shetty), may well seem to live in a fantasy world (enhanced by plant-based psychedelic drugs), but they have actually also made some money…and the film follows them from Berlin through to a trip to the Amazon. It is amusing and entertaining to see them trying to convince people to take part in the porn, but when the FFF gang reach the villages and strip-off and become one with nature that their good intentions are placed into stark contrast with the very real needs of the villagers. Their naïve determination to try and find a way to do the right thing using non-exploitative porn (and in no way is this a porn film, despite a goodly amount of skin being on seen on screen) is oddly engaging, and the film an intriguing delve into one of the most obscure of charity subcultures. Variety Sex sells, but what can it buy? That's the intriguing question behind the fittingly explicit documentary "Fuck for Forest," which portrays members of the eponymous, Berlin-based activist coterie that sells homemade pornography online in order to raise money to save the planet -- or at least its rainforests. The docu starts in Bergen, Norway, the hometown of 23-year-old former horse-riding champ Danny, who's a new recruit of FFF. One look at the site's owners, caught naturally and spontaneously by Marczak (who does his own filming), and it's clear each member is a grandchild of the hippie or hipster movement. There interests include radically changing the world, using mind-expanding narcotics, and wearing oft-extravagant, secondhand attire (when they're actually wearing something, that is). Their libidos are as unbridled as their hair is abundant, on their heads and elsewhere. Founders Tommy Hol Ellingsen and Leona Johansson are still going strong, starring in the website's erotic-to-hardcore photos and videos and, like the handful of other members, recruiting random passersby for guest-starring roles. FFFers claim that 10% of the people they approach are interested in appearing in pornographic material for a good cause, and the business model has clearly paid off, with the website earning well into the six digits (according to one comment in the film).
* incredibly gorgeous 24-years old Tamsin Egerton in drabby guy garment at Sundance. She also needs to lay off the cancer stick. The English sweet-heart looked totally different from the rosy cheeks teenie in Keeping Mum. More pics here
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Les Mentettes - "Suzanne": SXSW 2013 Showcasing Artist
Saoirse Ronan Also Joins Ryan Gosling's How to Catch a Monster
Los Angeles, CA � February 9, 2013 � Academy Award� nominee Saoirse Ronan has come aboard Ryan Gosling�s directorial debut, HOW TO CATCH A MONSTER. She joins additional new cast members Matt Smith, Eva Mendes, and Ben Mendelsohn. Christina Hendricks will star in this modern fantasy-drama, based on a script by Gosling that will begin principal photography this May in Detroit.
Marc Platt and Adam Siegel are producing the film on behalf of Marc Platt Productions, along with Gosling via his Phantasma Films banner, and Michel Litvak and David Lancaster via the Bold Films banner. Sierra/Affinity is overseeing international sales for the film which is available to buyers at this year�s European Film Market.
HOW TO CATCH A MONSTER weaves elements of fantasy noir, and suspense into a modern day fairytale. Set against the surreal dreamscape of a vanishing city, Billy, a single mother of two, is swept into a macabre and dark fantasy underworld while her teenage son, Bones, discovers a secret road leading to an underwater town. Both Billy and Bones must dive deep into the mystery, if their family is to survive.
HOW TO CATCH A MONSTER marks Gosling�s first time writing and directing a feature film. Gosling is an Oscar� nominated actor having starred in films including THE PLACE BEYOND THE PINES, DRIVE, LARS AND THE REAL GIRL and HALF NELSON for which he received his Academy Award� nomination.
Best known for her roles in ATONEMENT and HANNA, Ronan will next be seen starring in THE HOST and HOW I LIVE NOW. She is currently in production on Wes Anderson's THE GRAND BUDAPEST HOTEL and next stars in Working Title's MARY QUEEN OF SCOTS.
Smith most recently starred in the BBC One series Doctor Who.
Mendes most recently starred alongside Gosling and Bradley Cooper in the upcoming crime drama A PLACE BEYOND THE PINES.
Mendelsohn�s recent work includes a role in Christopher Nolan�s 2012�s summer blockbuster, THE DARK KNIGHT RISES.
Ronan is represented by CAA and Macfarlane Chard. Mendes and Mendelsohn are represented by CAA. Smith is represented by UTA.
* almost certain she'll be enacting the role of 'RAT'.
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Edelstein Goes From 'House' To 'House'
Lisa Edelstein became one of the most adored actors on television after spending seven years playing Dr. Cuddy on House. But for her latest small screen endeavor, Edelstein is trading one "House" for another as she guest stars on Showtime's sensational House of Lies, beginning February 17 -- and ETonline has your exclusive first look at her in action!
On Lies, Edelstein plays Brynn, a smart and sexy political consultant whom comes up against The Pod. And as you can see from our first look video, Marty instantly takes a shine to the bold and brash brunette.
But how brave will Marty be with his heart? Watch House of Lies every Sunday at 10 p.m. to find out!
* Edelstein has sworn off any roles that requires nudity so far in her career. Maybe she had a change of mind?
Recorded at Temescal Art Center, Oakland, California.
This was a stripped down performance because Erika, Corey and Alexi were at home sick! The Boyz just dropped the bare bones off before the performance. No color lights, slides, art on the walls, etc etc etc. But it was one of the deepest, most erotic of the series, and the longest! It has everything you want... A great eager audience, great music, a woman who went into a very juicy erotic ritual with Linda and me eager to rock, rub aroused friction in my lap, bouncing high in freedom! They didn't want to leave!
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The Short Film Based On Chuck Palahniuk's 'Romance,' To Screen At Cinequest
You may have heard the news this week that the financing for Haunted finally came through, and that we'll soon be getting our third Chuck Palahniuk film adaptation. But if you were being technical, Haunted could really be considered "three and a half." Last year, director Andy Mingo premiered his adaptation of Chuck's hysterical short story 'Romance.'
'Romance' was read during one of Chuck's recent tours (I got to hear it at the Invisible Monsters Remix LA event). And it appeared in the August 2011 issue of Playboy.
You can even download it for free at Downpour.com here. But if you live in or near California, you can do better: you can go see it in a theater!
On March 2nd at the Cinequest film festival in San Jose, there will be a special event that will start off with the California premiere of the short film at 130pm.
Here's what the 'Films and Moving Pictures' blog had to say about 'Romance's' sold out Raindance screening in England last year:
‘Romance’ has laughs and genuine “Palahniuk” moments that make you squeal and shock you out of your seat... The film is like nothing seen before... Cinema experiences were made for moments like these.
* model-actress Amber Arrigotti takes your breath away with a glance.......
An Oregon native, Amber Arrigotti has worked as a fashion model for the past five years representing such brands as Microsoft Bing, Nike, NAU, Sorel Columbia Sportswear, and many other Portland based companies. Amber has also worked with noted photographers Paul Hernandez, Eric Rose, and Eduardo Acorda. 'Romance' is Amber's first principal acting role.
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Adelaide Clemens joins The Laureate
EXCLUSIVE: Adelaide Clemens [pictured] is newly attached to UK love story The Laureate alongside previously announced cast Sam Claflin and Imogen Poots.
Clemens recently starred in Parade’s End and will soon be seen in The Great Gatsby. Writer-director William Nunez’s script is about writer and poet Robert Graves and the women he loved. Steve Norris is producing alongside Nunez and co-producer, Phil Moran. Intandem sells world rights. Nunez said: “I am delighted that Adelaide has joined the production. She is a fantastic talent and the perfect completion of the love triangle in The Laureate.”
* Imogen is expected to do her first nude scene in the movie. It was shelved for a while and Orlando Bloom withdrew from the project. Imogen passionately believes in the romantic drama and she stuck around despite some niggling issues with funding.
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A Close Examination of the First Sex Scene in Bound
Prior to watching Bound, I had never seen any movies that depicted a sexual relationship between two women. Bound is known for its graphic sex scenes, all of which happen early on in the movie. In the first sex scene, Violet has lured Corky into her apartment after dropping an earring down her kitchen sink and has offered her a beer.While sharing the stories behind their tattoos with each other, Violet places Corky’s hand on her breast and initiates their first sexual encounter. Upon closer inspection of this scene, I was immediately struck by the way that the cinematographic aspects all worked together to clearly develop and explore the sexual tension between Violet and Corky.Darkness is a symbol that reappears throughout the film and is very present in this scene. The lighting is dim (even though it is daytime), and Violet is wearing black and has dark colored fingernails. The dim lighting not only creates a sensual and mysterious mood, but also puts shadows on the women’s bodies and faces and casts a glow upon exposed skin. The darkness in the scene also symbolizes the darkness in Violet and Corky’s relationship and foreshadows the violence to come. Violet and Corky are committing a dangerous act in going behind Violet’s violent and powerful boyfriend, and will eventually carry out a complicated scheme to steal over two million dollars of mob money. The scene also utilizes strategic close ups and dialogue to quickly develop the sexual charge between Corky and Violet. In an essay about Bound, Kelly Kessler discusses the ways that the film utilizes heterosexual pornography techniques to create relatable and passionate sex scenes that could appear to any viewer. Kessler touches on the techniques used, such as close ups on specific body parts and the sound of panting (15) and in this scene three close up shots in succession (first of Corky’s finger in violets mouth, then Corky’s hand under Violet’s skirt, then a look of passion on Violet’s face) highlight the attraction and desire the women have.
In addition, the way that femme Violet speaks to Corky also gives the viewer an understanding of their relationship while building sexual tension. The lighting is dim, the women are sitting close together and Violet says (in her raspy, girlish voice), “Isn’t it obvious? I’m trying to seduce you.” And after their first sexual contact, Violet whispers that she’s been thinking about Corky all day. Violet’s obvious lust for Corky and her determination to be alone with her immediately send the message to the viewers that Violet is serious in her pursuit of Corky and that although she is a “femme” and dating a man, she is very much sexually attracted to Corky—an attraction that is responsible for the rest of the action in the film.
While it is impossible to explore all of the elements in this scene that work to develop Violet and Corky’s relationship, the lighting, darkness, close-ups and dialogue are several cinematographic aspects utilized.
New York-based photographer Hannah Khymych brings us this sultry, seductive Treats! exclusive starring Shaughnessy Brown, who you may remember from the Modern Artisans pictorial from issue 4. This time, she’s all alone and takes center stage in this sexy story shot on location at The Lafayette House. Stunning makeup by Miriam R. and cascading curls by Tamas Tuzes combine with Connie Berg’s spot on styling to highlight a beautiful effort from Hannah for Treats!
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Dicks, Tits and Clits: What Would Equal-Opportunity On-Screen Nudity Look Like?
If you've seen a movie, you've seen tits. You've seen asses like crazy, too, and, obviously, loads and loads of torsos. But overwhelmingly, you've seen tits. You've seen them so much you probably hardly even think about them anymore, and who needs to? They've been exhaustively documented and considered.
But you've probably also noticed that, increasingly, there are more dicks than ever out there in movie land these days, PG or otherwise. And perhaps you've rushed out, girlfriends in tow, for a stiff drink to celebrate that we're finally, at long last, moving toward some utopian equal-opportunity exploitation of all types of naughty bits on screen. But not so fast. Tits and dicks do not a democracy of nakedness make. What about more vag? How do we feel about assholes? See, this thing is way more complicated than we realized.
First off, we all know there's more female nudity than male nudity in movies. I'd dig up a link to try to bear that out but seriously, why bother, when the point is as obvious as another pair of tits in an Entourage episode. You don't need a PhD in film theory to notice that men are behind more cameras, men are making the most movies, and that whenever you see a movie with a sex scene where the majority of that sex scene is from the vantage point of a dude, which is usually, that it's a safe bet that dude likes fucking women. (If you don't know that, go here to start but also, please, spend time here to blow that all apart while still honoring its central premise.)
When movies purport to be for everyone, they betray that when the second it's time to get sexy, suddenly we are all supposed to turn into heterosexual men for the sake of how the camera takes us through the doin' it. That's not to say no one does female nudity or sex scenes well, or that women can't enjoy films from male perspectives with female nudity, or that women aren't making their own films with their own points of view on this stuff. They do! We have! We do! We like! They are! It's all useful. We should all have such intimate knowledge of other sexual orientations' preferences and desires.
There's also no point wishing it would stop when yet another pair of gratuitous tits are trotted out in the service of a cheap thrill, because the best we can hope for in this world of two turntables (tits) and a microphone (dick) is that every willing adult is exploited equally in this game of take-it-off. So then, what would that look like? Here are a few suggestions. To be sure, I have not seen every film ever made and many films that exist today surely contain some of the below. Feel free to mention in the comments. I'm merely advocating for more of the following:
More dicks, more dicks, more dicks. First off, a coupla dicks is not equality. The dicks need to show up a lot. No, I'm not saying a dick for a tit is fair, for one, because there are two tits to every dick, so, you guys have a LOT of catching up to do, k? Obviously, I know hard dick is an issue, but more boners would be nice, seeing as how they are, in fact, so common. Democracy now! If you don't like seeing dicks, let's talk about that, OK? I have a theory that the whole "Eww, dicks aren't pleasing to look at thing" is a weird socialized lesbian problem that we have, where we have been watching the female body objectified for so long that everyone has internalized a heterosexual criteria for viewing and appraising female bodies. I realize this will never stop, but find it insane to suggest that the vagina has some kind of beauty that a penis can't compete with. It's obviously different, but the dick needs a better PR campaign. Dicks are hot, ya'll.
More "unconventional" bodies in sexual scenarios. Sorry folks, Lena Dunham showing it off a coupla times in GIRLS doesn't mean we can shut it down and call it an equally naked day (although this great essay does discuss her contribution to "democratic nudity".) If we're going to fetishize like crazed horndogs, we should fetishize all kinds of body types to show that everybody knocks boots and a lot more people are attractive than just the slim demo of gals who might qualify to appear on a Miller Lite poster. This includes older people! Not just Diane Keaton! Just that we allow for a wider variety of depictions of the sexy sex we are all so apparently desperate to watch other people do on film.
More "unconventional" sexual positions We know people like anal sex and it doesn't have to be a violent power play. We know that people like assholes. We know people like a lot of things. We could show that and normalize that without making it seem like the most taboo, outsider way to get it on around, when it isn't. Obviously, that would be something like formicophilia. You can leave that one out, Hollywood, unless you think it could really serve the character?
More vag, or I guess, any vag at all: Ok. Look, I know this'll get an argument right off the bat. A vag is something that's more inside and a peen is outside and looking at a vag is more delicate or private or invasive than looking at an outside thing, so I'm told. Ok, if we say so. But also not if we don't say so. Here's a pretty funny show-more-labia plea that's worth a look. Highlight:
From Michael Fassbender in Shame to Jason Biggs in American Reunion, these are mainstream actors in mainstream films from mainstream Hollywood, so what is going on? You MAY see a famous actress's breasts in a film, or maybe a bare ass, but let's be real here, they show man-ass on prime time TV. We have been somewhat desensitized to breasts and ass, and that is a direct result of mainstream media and the influx of what we see daily. But the thing about female nudity that no one ever says is: they never show labia.
More orgasms: It's not just that we should see orgasms, but rather, more realistic ones, or rather, a more realistic lack of orgasm, and also more realistic masturbation from women, whether it leads to orgasm or not. This was cool in The Kids Are Alright — it showed oral sex taking forever because someone was distracted. Only lady masturbation scene I can think of otherwise off the top right now is Sharon Stone diddling it in Sliver, which was kinda cheesy. (And the infamous scene from GIRLS.)
More LGBT sex but not for the sheer purpose of titillating heteros: Yes, I get that you really have no control over what titillates whom — you could turn someone on by featuring crisp white sheets in a movie for all I know. But it's nice when gay and lesbian couples have sex in realistic ways on screen that feel realistic to a scene and a world, and not so much that thing where we have two hetero chicks suddenly making in yet another grab for teenage bones everywhere.
More realistic sex in general: Sex is still hot without having to turn it into some ridiculous performance art — we know that, right? I recall thinking that the sex in The Strangers seemed a lot like how you would actually do it on a table in a cabin in the woods before you were going to be stalked and tormented for two hours. More of that, please. (Not the stalking/tormenting.) Elsewhere, sex scenes seem to need to announce their very important arrival and ground all the action to a halt, dim the lights, cue the cheesy sexy music so we can all watch the performance. Too funny to be a turn-on.
More male objectification without having to make a whole movie about male objectification: Just put it right in there with the female objectification, OK? Magic Mike is great — let's just not quarantine this. Men should be watching their own get the treatment right in there with the action films and the tits. One gets the feeling that Ryan Gosling movies are shot the way are because there is an assumed female viewer to please (and thank God for that), while hot lady stars are fetishized in movies that are, again, purported to be for everyone.
More kinky sex but not for shock value: I don't know, if the news that Harvard is getting its own BDSM club and the success of FSOG is any indication, everyone you know is sitting right beside you watching CNN with some Ben Wa balls up in it and some genitals encased in leather. So show it! Show it good!
More male nudity in general, and just not for a (sad/funny) punchline: I often find that another guy scampering off with a saggy ass set up for a laugh is more than a mockery of just his ass. It's a mockery of us: Women, flesh and blood, looking for as good a time as men have been having since, well, the dawn of time. Missed opportunities, indeed.
More transnormative bodies or sexual scenarios shown realistically: The beauty of showing a full range of human sexuality, orientation and desire in film is not just that more representation is a good thing, it's that it's also educational — it can give a public that grapples with how to consider something it may simply not know much about, or that is feared and marginalized (or worse) a kind of roadmap toward embracing it. In conclusion, move over, tits. There is a whole world down there we've been dying to check out for some time now.
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TV dramas are nothing without writers
Share and share alike: TV writers flesh out the characters on their shows by sharing intimate personal experiences and details, sometimes things they don’t even tell their husbands and wives, says Lim.
By S. Indramalar The Star/Asia News Network
Our favourite TV characters owe more to the unsung behind-the-scenes heroes - the writers - than we realise.
Often, we identify a television show with its cast and the characters they play. Claire Danes and Damian Lewis (and their characters, Carrie Mathison and Nicholas Brody), for example, are what comes to mind when we think of spy-thriller Homeland and James Gandolfini (Tony Soprano), as contemptible as his character may be, is THE face of The Sopranos.
But the truth is, TV dramas would be nothing without their writers. There would be no Carrie or Nicholas without show creators Alex Gansa, Howard Gordon and their team, nor would the Soprano clan exist if not for David Chase, Terence Winter and their team of about a dozen scribes.
For the most part, these writers remain nameless and faceless. There are the exceptional few like JJ Abrams (creator/writer of series like Alias, Lost and Fringe) and Shonda Rhimes (Grey's Anatomy, Private Practice and Scandal) whose successful shows made them well known in turn.
But we often don't see the talented writers who back them up - those who actually provide the dialogue, sustain the story and shape the characters we know and love.
As much as they seem real and relatable, TV characters aren't real. They are the result of random events, emotions and impulses that are thrown together by this group of men and women who huddle together in a room, exchanging thoughts, ideas, life stories, secrets and gossip. The sum of this exchange - which takes place in what is dubbed "the writers room" - results in some of the best shows on TV. Well, and also some of the not-so-successful ones.
"Every show you have seen on TV gets its start in the writers room," says Adele Lim, a Malaysian writer who has written for popular American dramas like Private Practice, Life On Mars and One Tree Hill.
"The writers room is where an idea is developed into a complete story. It's where the writers pitch their ideas ... where writers spend 90 per cent of their time. It's partly brainstorming, partly story collaboration and also partly a group therapy session because, really, the best stories have their roots in personal experience.
"There is a lot of sharing intimate details of what we've each been through. I know a lot of personal stories and intimate details about most (of the) writers I work with ... things even their wives and husbands don't know. We're talking about experiments with drugs, fantasies, affairs, brushes with the law … things we don't usually share with anyone, we end up talking about in the writers room.
"Sure, you go in thinking that you are not going to share details of your own stories. But let me tell you this: after being in a room with the same people every day, for hours and hours, for many months … you're going to be telling them everything!" says Lim, with a laugh.
The 35-year-old was recently in Malaysia to visit her family. A former columnist with The Star, she readily agreed to speak on the subject of screenwriting for television dramas to an audience comprising writers and budding writers while she was back on holiday.
During the session, which was open to the public, Lim shared her story of how she broke into TV writing. She also spoke about the role of writers in television, offering insight into the industry which is not common knowledge.
The pecking order
"In America, TV writers run the show," she says. The writers room typically has between four and 12 writers, each at different levels - you have the executive producer, co-executive producer, producer, co-producer, executive story editor, story editor, staff writer and writers' assistant. The titles are misleading … essentially, everyone is a writer.
"A writer is always involved in some level of production. The titles are based on the level of experience and pay grade. The main person running the show is the show runner (who) is responsible for (its) creative direction," she explains.
Lim got her start in TV writing in the late 1990s when she applied for the position of writers' assistant for the fantasy adventure series Xena: Warrior Princess.
"You can get in (the industry) through all kinds of ways. You may come out of college with an amazing (writing) sample and get work immediately but generally in TV, you move up the ranks by first being a writers' assistant. I got very lucky. I got my 'in' pretty early, as a writers' assistant for Xena, which, though a rather ridiculous show, was very well written.
"I applied for the position after seeing an ad in a trade magazine. It was a miracle that I got the job because my resume was nonexistent. I later found out that the executive producer who interviewed me had a 'thing' for Asian girls and that's how I landed the position! No, no ... he was really very nice and didn't try anything with me although there was a string of Asian-sounding girls calling the office asking for him! "I didn't become a writer for that show but it's gave me my 'in'. The writers on the show were all very helpful … they helped me with my writing samples and also helped me get representation which then landed me my first writing job. (On John Doe, starring Prison Break's Dominic Purcell, which ran from 2002-2003.)
"Newbies don't generally send their material out to shows; they have to have an agent. And it isn't easy getting an agent… you generally have to be recommended by others and the way you do this is by first becoming a writers' assistant," she shared. Paying your dues
A writers' assistant's duties are wide-ranging: from note-taking (writing down detailed notes for the writers as they discuss and break down story ideas) to acting as a personal assistant, fixing appointments, answering phone calls and doing coffee runs.
"An assistant's job is really good training. Sure, you will have to run around and perhaps organise your boss' cat's acupuncture session and pick up his dry cleaning but, more importantly, you get to learn all about the craft and how the process works. You are in the room where all stories get discussed, taking notes as the ideas are broken down.
"You basically learn everything ... so that when you do get your first job as a writer, you're not an idiot. You already know how everything works," says Lim.
While getting a foot in the door is tough enough, staying in the industry is equally hard.
"Many writers don't stay because they don't do well in the writers room. 90 per cent of the game is survival and being able to make it from year to year. I've been very lucky and I have been able to get on shows every year. The key is building good relationships. When a show runner is putting a writers room together, he (or she) will tend to hire writers they are sure of to work on the show … people they have worked with before. Which is why it is important to have a good reputation and to be easy to work with," she says.
A writer's longevity also depends on their ability to write seamlessly to someone else's vision and work the rigours of production where a new script is required to be written and ready to be shot every five to seven days (this is including the many re-writes).
"People don't think about the production schedule when they are watching a show. The schedule is relentless! You have to shoot a new episode every seven or eight days and this schedule keeps on going regardless of whether the script is ready.
"Sometimes, the writers get stuck on a story and can't figure their way out … and this is why you find that even in the best series, you have a few episodes in a season that are just so-so … that don't completely make sense.
"It's not because the writers don't care but it's because we literally run out of time and have to put something together because the episode has to run. Sometimes, the script isn't all ready when shooting begins and the writers give the cast a few pages of the script while completing the rest! Often, this occurs when something unforeseen happens. It's not ideal but a few episodes will be sub-par," Lim explains.
Her advice for aspiring writers who hope to break into TV writing is to "keep at it".
"If you are a writer who really loves what you do, keep writing. If you stick with it, have good material and build a good reputation, you will continue to work. Writing is a creative endeavour and you have to trust your instincts and write from your heart in order to make a good show.
"Having said that, TV shows are about what people want and sometimes, people don't always know what they want. You've got to give them something new and see if it works. But you must have faith in yourself."
from Gabriel RemesThis swimwear runway walk was sponsored by Vulcano swimwear a local Cancun, Mexico designer boutique. The event was successfully performed outside chef Christian Morales' own house / restaurant.
Another workshop with me in Switzerland , same leading photographer Dan
Light test before Girl\girl photo workshop with Saju90, Dan-artofdan and Dominika C
Preshoot, or better say light test before girl-girl photo workshop done by Dan Fehr -aka "artofdan"( leading photographer) and us i am Saju90( Alexandra) and Dominika C ( Dominika from Czech) It just first of many videos i will upload soon for your enjoyment and likes :)
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You have read this article Adelaide Clemens /
Imogen Poots /
Kate Upton /
Kristen Bell /
Masters of Sex /
The Canyons
with the title Masters of Sex. You can bookmark this page URL https://duk78.blogspot.com/2013/02/stars-sex-and-nudity-buzz-02092013.html. Thanks!
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