Gordon&TheWhale.com has teamed up with Warner Bros. Pictures to give Austin & Dallas fans the chance to win passes (good for you +1 guest) to an advance screening of YOGI BEAR, starring the voice talents of Justin Timberlake and Dan Aykroyd.
The screening will take place on Saturday, December 11th at 10:00AM. Winners will be selected no later than Wednesday, December 6th.
PLEASE ONLY ENTER IF YOU CAN SURELY ATTEND THE SCREENING. ONE ENTRY PER HOUSEHOLD. MUST BE AT LEAST 17 YEARS OF AGE TO ENTER. NO PURCHASE NECESSARY.
@jtimberlake is dead. Justin sacrificed his digital life to help Keep a Child Alive save millions of real lives affected by HIV/AIDS in Africa and India. This is his Last Tweet and Testament, the last message he will send out until $1,000,000 is raised to buy his digital life back. Visit http://buylife.org/involved/ to buy his life back now, and then join the fight against this horrible disease by sacrificing your own digital life.
I always keep on forgetting to do this, so I guess better later than never… Anyway, you may have noticed that the youtube and the twitter links on the left sidebar were dead. That was because those were my old accounts and they no longer exist. So I updated the links with my new accounts @JTfansite and mrTimberlakeJustin. The same was done with the media button located just below the header.
On Wednesday (December 1), Hollywood dies digitally to raise awareness for World AIDS Day. The world’s top tweeters are making the ultimate sacrifice, leaving their 30 million followers in the dark until $1,000,000 is raised to buy their digital lives back.
Watch JustJared.com’s exclusive video explaining The Digital Life Sacrifice event. You can help by visiting BuyLife.org or text a participating celeb’s name to ‘90999’ to buy their digital life back. You can even sacrifice your own and join the fight!
Participating talent (most are featured in the video below): Alicia Keys, Lady Gaga, Justin Timberlake, Usher, Jennifer Hudson, Ryan Seacrest, Kim and Khloe Kardashian, Elijah Wood, Serena Williams, socialite Daphne Guinness, R&B sensation Janelle Monae, Twilight’s Bronson Pelletier, singer Kimberly Cole, Alicia’s husband, Swizz Beatz, and the cast of MTV’s The Buried Life.
Justin Timberlake is the guy who virtually every girl wants and virtually every guy wants to be — he’s smart, he’s sexy, he’s charming, he’s funny, and, most impressively, he’s super-talented at a wide variety of things. Timberlake is a six-time Grammy-winning singer (you first heard him as the lead singer of the immensely popular ’90s boy bond ’N Syncand subsequently as a charts-topping solo artist); a two-time Emmy-winning TV comedian (both for unforgettable guest appearances on “Saturday Night Live”); and, in January, might well add yet another impressive credential to that resume: Academy Award-nominated actor.
Timberlake has given standout performances in a number of films in the past — among them “Alpha Dog” (2006), “Black Snake Moan” (2006), and “Southland Tales” (2006) — but he has earned the best reviews of his career, by far, for his performance in this year’s “The Social Network” as Sean Parker, a young Web entrepreneur who founded Napster and subsequently helped Mark Zuckerberg turn Facebook into a worldwide phenomenon. The David Fincher film has been a critics’ darling (it’s at 97% on Rotten Tomatoes and recently topped the annual Sight & Sound poll); a commerical success (it cost roughly $40 million to make and has grossed over $90 million, thus far); and it is shaping up to be a strong Oscar contender in a large number of categories (based on Academy members’ reactions at its first official screening, as well as substantial anecdotal evidence gathered by this awards site and others). Although three members of its cast — Andrew Garfield,Armie Hammer, and Timberlake — are all vying for slots in the best supporting actor category, I believe that it’s highly possible, if not probable, that two will get in, and that he will be one of them.
I first met Timberlake at the Harvard Club after-party that followed the world premiere of “The Social Network” back on September 24. We chatted only briefly at the time, but subsequently scheduled a telephone interview for November 24 that was supposed to last for 20 minutes, but wound up running for 45 minutes thanks to his insistence providing thorough and carefully-considered answers to my questions about every facet of his life, career(s), and especially the film that has changed the way that he looks at film — and that we look at him.
I hope that you’ll check out the audio of our conversation — in my humble opinion, it only gets more interesting as it goes along — and/or check out a summary of our discussion.
- his early moviegoing experiences/favorites
- his father’s voice (“In a lot of ways I think he’s a way better singer than I was”)
- the things he learned and most enjoyed while working on the Disney Channel’s “The All New Mickey Mouse Club” (1989-1995), his first professional acting job, on which he appeared opposite the likes of Christina Aguilera, Ryan Gosling, Keri Russell, andBritney Spears from the age of 12 to 14 (1993-1995)
- comparing/contrasting the worlds of music (in which one gets “instant-feedback” from an audience) and film (“more of a methodical process”)
- the way in which ‘N Sync came about (“A month before… my mom and I had decided that I was going to go to L.A. for pilot season and try to get on a sitcom”), what that time in his life was like (“I don’t remember a lot of it”), and how it gave way to his solo career (“The music that I responded to wasn’t necessarily for everybody that was a part of that project… and there were some other things that happened with the group”)
- why it has been four years since he has put out a solo album — because something has turned him off about the music industry or because something has turned him on about the film industry?
- how he first heard about “The Social Network” (“It was like, ‘Don’t even tell yourselfthat you have the script!’”), why he had no doubt he wanted to be involved (a longtime admirer of both screenwriter Aaron Sorkin and director Fincher ), and what he had to do to win the part (numerous auditions)
- the true story of how he and Parker met prior to the making of the film
- how he prepared for the part (he got “a glimmer” of what Parker was about from footage of him on YouTube, but emphasizes that “at no time ever did I consider, sort of, impersonating” the way parker actually looks or acts — instead, the script, more than anything else, informed his performance)
- what makes the film so important and powerful (“It’s found a way to [offer] some sort of commentary on who we are as young people right now“)
- the notion of Sean pursuing Mark like an animal pursuing prey (the first time he sees Facebook, on his hookup’s computer, he says, “I’m gonna find you, Mark Zuckerberg”; then, once he does, and they meet for dinner along with Eduardo and Christy, he seems to be wooing him by telling him what he wants to hear; and then he justhappens to show up outside of his house in California following the chimney incident–”I thought I was gonna get away with that” without people noticing, Timberlake laughs, noting that many people have compared his character to the Devil)
- the brilliance of both Mark and Sean (“For [the first] hour straight, Mark Zuckerberg is looked at as the most brilliant person in the room; and for the second hour of the movie, you can’t even keep up with Sean Parker”), their shared fears/insecurities/motivations (“These dudes just want to be cool” — a girl who got away largely drove Mark to create Facebook and Sean to create Napster — so “they’ve created their own world where they are king”), and a notable absence in both of their lives (even during such momentous and challenging times for both young men, their parents and families are never seen, let alone mentioned)
- the carefully-considered posture and movement that he brought to the character of Sean (“I had a very specific movement for the character… the performance in the movie is a character giving a performance… Mark invented Facebook, and Sean invented Sean Parker… and so I felt like every movement should have motive”)
- how he sometimes stayed in part even when the cameras weren’t rolling (“If Jesse would start speaking, I would be so into what Jesse was saying, and if Andrew had something to add to it, I would kind of brush it off”)
- the musicality of the movie’s beat and pacing, and whether he attributes it more to Fincher, a guy who formerly directed music videos (a medium familiar to Timberlake, as well), or Sorkin, who simply writes that way (“A million dollars is cool. You know what’s cooler? A billion dollars.”)
- the eery parallels between the awards candidacy of Timberlake and that of another young singer-actor whom he has long admired, Frank Sinatra, who in 1953 played a major supporting role (dramatic/non-singing) in a movie (“From Here to Eternity“) that was critically acclaimed, made a fortune at the box-office, and was a major Oscar contender, and who personally went on to receive a nomination for — and win — the best supporting actor Oscar (“If you could see my hands right now, they’re literally sweating”) — not to mention numerous similar examples like Bing Crosby, who won the best actor Oscar for “Going My Way” (1944); Barbra Streisand, who co-won the best actress Oscar for “Funny Girl” (1968); Liza Minnelli, who won the best actress Oscar for “Cabaret” (1972); Cher, who won the best actress Oscar for “Moonstruck” (1987); and Jennifer Hudson, who won the best supporting actress Oscar for “Dreamgirls” (2006) — “If you could see my hands, they’re sweating… It’s pretty cool, man… I feel like such a fan of everyone that you mentioned that to be even mentioned in the same sentence seems like such an honor”
Today Justin will be on Access Hollywood Live with Billy and Kit to talk about everything from music to his burgeoning acting career.
It’s been five years since an American film topped the annual poll of venerable British film mag Sight & Sound, and even longer since a major studio picture took the honor. So congratulations are in order to “The Social Network,” which received the most votes across the selection of 85 international critics invited to submit their top five films of 2010, following in the footsteps of “Brokeback Mountain,” “Hidden,” “4 Months, 3 Weeks and 2 Days,” “Hunger” and “A Prophet.” (The latter appears again in this year’s list, thanks to the votes of critics who came to it later.)
That David Fincher’s film should have won out in a poll traditionally dominated by world arthouse cinema suggests it could well be the most-favored title in next month’s avalanche of US critics’ awards, positioning it as the discerning voter’s alternative to more milquetoast bait in the Oscar race. “The King’s Speech,” of course, doesn’t even come near the magazine’s Top 12 (usually a Top 10, extended due to ties); indeed, of all films even remotely in the Oscar conversation, only “Another Year” and “Winter’s Bone” (surfacing in some interesting places, that one) feature.
The list is currently only available in print, the magazine having landed on my doorstep yesterday, but will be online — together with all 85 contributors’ individual lists — from December 7. The panel is a diverse one, ranging from Kenneth Turan to Amy Taubin to Tim Robey to Armond White, so it makes for a fascinating read. White’s list, by the way, is surprising in its lack of perversity: well-received arthouse fare like “Another Year” and “Wild Grass” dominates, with no “Next Day Air” equivalent in sight.
The Sight & Sound Top 12:
1. “The Social Network” (David Fincher)
2. “Uncle Boonmee Who Can Recall His Past Lives” (Apichatpong Weerasethakul)
3. “Another Year” (Mike Leigh)
4. “Carlos” (Olivier Assayas)
5. “The Arbor” (Clio Barnard)
6. “Winter’s Bone” (Debra Granik)
6. (tied) “I Am Love” (Luca Guadagnino)
7. “The Autobiography of Nicolae Ceausescu” (Andrei Ujica)
7. (tied) “Film Socialisme” (Jean-Luc Godard)
7. (tied) “Nostalgia for the Light” (Patricio Guzman)
7. (tied) “Poetry” (Lee Chang-dong)
7. (tied) “A Prophet” (Jacques Audiard)