Phecda Suicide (seen here with Casanova Suicide) in Tete-a-Tete
Get to know Phecda better over at SuicideGirls.com!
“You’ve got to keep ducking and weaving.”
– Billy Duffy
Interviews are not exactly something The Cult’s Billy Duffy enjoys doing. This is something the iconic guitarist reiterates several times in different ways during the course of our 40-minute conversation. However, after remaining mostly silent during his band’s recent Love Live Tour – celebrating the 25th anniversary of the Love album which carried the seminal single “She Sells Sanctuary” – Duffy is biting the proverbial bullet to promote new material.
In this weeks video blog, Missy and Rambo sit down to play some catch up: get some time with Rambo while you can because next week she’ll be in London shooting some new sets!
by Brett Warner
This Friday, auteur filmmaker Darren Aronofsky’s latest psychological and emotional rollercoaster Black Swan will be dancing across a handful of movie theater screens for a limited release. The film stars Natalie Portman as a hard working young ingénue who lands the lead in a new production of Swan Lake only to find herself haunted by her more sensual competition (played by Mila Kunis) and — in true Aronofsky fashion — lots of other creepy shit. The two stars were coached and choreographed by Mary Helen Bowers and New York City Ballet principal Benjamin Millepied respectively and underwent months of rigorous training necessary to replicate an art form that — for professionals — requires years of intense, borderline obsessive dedication. (I’ve dated two former ballerinas – trust me, they don’t fuck around.) Black Swan should have Aronofsky fans geeking out to the nth degree, though it’s not exactly the first film about a ballet company to deal with themes of obsession, jealousy, sexuality, and, well… other creepy shit.
by Damon Martin
Imagine the terror of hearing the news that your baby has been kidnapped by an Irish Republican Army operative, and you’re left to deal with the emotional implosion while trying to grasp how exactly you’ll fight, scratch, claw or kill to get your son back.
by Ryan Stewart
“Movies don’t matter anymore.”
-Steven Soderbergh
“If I’m such a commodity, how come nobody went to see The Good German,” Steven Soderbergh asks at one point during our conversation. He’s being half-facetious and half-serious when posing the question. At 46, Soderbergh has already earned every professional accolade a film director can, including the Palme D’Or for his debut, Sex, Lies and Videotape, and the Oscar for his drug war opus Traffic. His frequent collaborators now include George Clooney, Julia Roberts, and Brad Pitt (who is starring in his forthcoming adaptation of the controversial state-of-baseball tome Moneyball). Yet Soderbergh remains a stubbornly anonymous filmmaker, difficult to nail down in terms of style or subject, removed from the public eye, and without a cult following that can be roused to seek out his smaller, more experimental films.