Marvel’s team of superheroes banded together to keep the top spot at the box office, beating out Tim Burton’s spin on a vampire soap opera. See what other movies made it big this weekend: 1. Marvel’s The Avengers $103.2 M
2. Dark Shadows $28.8 M
3. Think Like a Man $6.3 M
4. The Hunger Games $4.4 M
5. The Lucky One $4.1 M
6. The Pirates! Band of Misfits $3.2 M
7. The Five-Year Engagement $3.1 M
8. The Best Exotic Marigold Hotel $2.7 M
9. Chimpanzee $1.6 M
10. Girl in Progress $1.4 M
When Jay-Z — one of the best lyricists-turned-business-moguls of all time — enjoys a certain drink, it’s safe to say it’s as good as gold. Add the maven’s exclusive inner circle, a stellar New York City venue, and the proclamation of D’USSE, “a bold new expression of cognac,” and you’ve got the perfect blend for a night among Gotham’s who’s who. Can’t knock that hustle!
This week the stars aligned to celebrate the New York debut of Bacardi’s cognac venture, D’USSE, a smooth VSOP produced at the celebrated Chateau de Cognac in France. The exclusive launch, at the equally-exclusive Top of the Standard space in the city’s Meatpacking district, featured three D’USSE cognac signatures: a neat Perfect Pour, the Benedictine and Grenadine spritzed Lorraine 75, and an apricot brandy-blended Crusaders Cross, all concocted by famed mixologist Justin Noel.Also in attendance to endorse the Hennessy rival were Solange and Tina Knowles (sans Beyoncé and baby Blue); producers and N.E.R.D. dream team Pharrell Williams and Chad Hugo; society fixture Genevieve Jones; “The Tanning of America” author Steve Stoute; Hot 97 personality Angie Martinez; former Cheetah Girl Adrienne Bailon; a scruffy, incognito Jake Gyllenhaal; and Roc Nation DJ Jus Ske, who set the tone with a Jay-Z-laden soundtrack.
And to think, all it took was a sultry little cognac bearing a gold Cross of Lorraine to pad that type of guest list. Perhaps, D’USSE, can bring us some A-list company for our next swanky nightcap.Available in June at fine wine and liquor retailers nationwide for $44.99.
Last week Havianas got the jump on the Mother’s Day celebrations at the launch of its Mommy & Me Collection. The flip-flop authority partnered with Baby Buggy as well as celeb moms like Courtney Cox, Nina Garcia, Rebecca Romijn, and Tori Spelling to customize prints for moms to match with their little ones. Brooke Burke, Busy Philipps, Garcelle Beauvais, Elisabeth Rohm, Marissa Jaret Winokur, and Ana Ortiz were among the many who brought their families to check out the matching shoe styles and try out some arts and crafts. Ten percent of the proceeds from each pair benefit the non-profit to help provide baby equipment, products, clothing, and educational services to at-risk families in major cities throughout the U.S. The Baby Buggy flip-flops are available at Havaianas.com for $26.
Captain America, Iron Man, Thor, the Black Widow, Hawkeye, and the Hulk smashed box office records this weekend! The comic book blockbuster blew away last year’s record-breaking opening of Harry Potter and the Deathly Hallows Part II of $169 million. Check out what other movies made big bucks this weekend: 1. Marvel’s The Avenger’s $200.3 M
2. Think Like a Man $8 M
3. The Hunger Games $5.7 M
4. The Lucky One $5.5 M
5. The Pirates! Band of Misfits $5.4 M
6. The Five-Year Engagement $5.1 M
7. The Raven $2.5 M
8. Safe $2.5 M
9. Chimpanzee $2.4 M
10. The Three Stooges $1.8 M
January Jones, Oceana ambassador joined Susan & David Rockefeller and Christie’s CEO Steve Murphy last night at the Paris Theatre to host the exclusive screening of “La Revolution Bleu,” a documentary that followed the life and work of nouveau realism artist Yves Klein, which was sponsored by La Mer. His most important painting, FC1, is set to break the world record for the artist at auction when it is featured in Christie’s upcoming Post War & Contemporary sale for more than $30 million. A portion of the painting’s sale will benefit Oceana, an international organization devoted to protecting the ocean and its creatures. Jones recently became a huge fan of the legendary artist whose monochromatic work shook up the post war art world.
“I thought both of the films were great,” she said. “I’ve recently become a huge fan of Yves Klein, and I think his work was fascinating. I also hadn’t seen that footage from Oceana, and it was really beautiful. I got goose bumps. I’ve gotten to be part of that, and it’s been really rewarding.”
Guests like Georgina Bloomberg, Adam Lindeman, Ahn Duong, Bettina Alonso, Lauren Remington Fenet, Victoria Silverstedt, La Mer’s Sandra Main, and Stavros Niarchos were treated to cinema soiree complete with champagne, gourmet popcorn, and boxes of candy handed out by attendants donned in Zara dresses. After the screening of the documentary and a short film created by Oceana, Jones spoke about her passion for her work with the organization to protect sharks and other sea creatures.
“I’ve always been passionate about sharks since I was a little girl,” she explained. “And when I learned that they were endangered through the finning process, it became something very emotional to me. So when I got to a point in my career that I was able to give back and have a voice, I wanted to make that a priority. I contacted Oceana and found they didn’t have a shark spokesperson, and it seemed like a great fit. We’ve been able to, in a few short year, accomplish a lot of great things.”
The audience headed of to the Casa Lever for the after party where gusts sipped Blue Cosmo cocktails and danced late into the night to the sounds of DJ Luka Tacon before leaving with gift bags from La Mer.
Are you an enthusiastic film lover who dreams of having your unique indie movie pitch go from paper to the silver screen? American Express, founding sponsor for the Tribeca Film Festival, answered that call last year with its first “My Movie Pitch” contest. Cinephiles submitted 60-second pitches of their best flick ideas to be voted upon and brought to life during a coveted premier slot at the annual film fete. This year, a Brooklyn full-time legal secretary, part-time poet’s pitch about dating and “Doggy Bags” took the top prize.
Cardmember Susan Brennan was the lucky winner whose pitch was picked up by actor, writer, and director Edward Burns. He turned her 60-second idea in a 14-minute short with a little bit of romance, a dash of drama, and a whole lot of laughs. Following the funny short, Brennan and Burns answered audience questions and gave a mini course in filmmaking 101.
For young filmmakers, the hardest part may be turning an idea into an actual script with dialogue, action, and other elements. Do you have any advice for screenwriters?
Edward Burns: [It’s not] the big chunk of marble that the sculptor needs… the problem with the screenwriter is you can’t start with the chunk of marble. You almost need to dig out the first draft, in a way, so that you then have something to shape, if you’re someone who suffers from the things we’re talking about — when you don’t believe in yourself enough and you keeping stopping short of the finish line.
Susan Brennan: Right, because confidence is definitely something that helps you go forward… And, you say you have actors in mind. I think having people in mind helps. Even if it’s someone from your life that you want to write about, that definitely helps.
EB: My brother is a screenwriter as well, and he’ll sometimes write with a specific actor in mind. Like, say, Owen Wilson. He’ll kind of zero in on that voice, even if it’ll never go to Owen Wilson, that’ll just help him get through the first draft.Do you think it’s easier to produce a film now than it was earlier in your careers?
SB: Technology is making it so much easier for people. I don’t know if that’s implied, but I think that’s really exciting.
EB: As far as making the film? Yeah!
SB: Yes. Like how you made “Newlyweds.” How people can just pick up a camera and not have a studio say yes or no. You can just do it.
EB: For young filmmakers, there’s no excuse now not to go buy one of those inexpensive cameras and go out there and shoot. [To Brennan] You plan on directing?
SB: There’s a short I wrote, actually, about one year I had to wrap presents in a mall for Christmas, and I’m thinking, ‘that I can handle,’ because it’s like the same scene — like a vignette. I think I’m going to do it.How different is the process of writing and directing for a full-length feature than it is from the short form?
EB: It was, quite honestly, a little difficult to try figure to out how, in 15 minutes, do you have a beginning, middle, and end. How are you going to introduce these characters to actually get the audience invested in what they’re going through? And then, introducing enough of a conflict and knowing that you have to pay it off — that was hard. The first draft was probably 35 pages long. How do you whittle it down and make the think make sense? So that was the challenge. Definitely, I don’t have any interest in doing another short any time soon. Not that I didn’t enjoy the process, but, it was hard work.
SB: You have though, in the script, all these builds—
EB: Well, the fact that it wasn’t my own idea — I knew there were certain things, based on your pitch, that I had to do — sort of helped me know where it was going to end… I had to remind myself of what the pitch was in order to bring it back down to 15 pages.
Those 15 pages worked out like a charm. You can catch a look at “The Making of ‘Doggy Bags’” below, or screen the short in its entirety here, along with these other offerings from the Tribeca (Online) Film Festival.
Meet Ashley: a desperate single mother in south Texas, who’s lost custody of her son and looks to human trafficking as a means to get him back. Meet Rosa: a young Mexican girl on a journey to find her mother, and her way back home after a failed attempt at illegally entering the United States. “The Girl” is an emotional tale of what happens when these two lives intersect. Directed by David Riker and a Tribeca Film Festival contender for the World Narrative Competition, “The Girl” adds a personal tone to the political context of immigration and tells a story of loss, accountability, and redemption along the border.
Following the American Express-sponsored screening of the 90-minute feature, we heard from the award-winning Riker on his experience filming “The Girl.”
Why were you compelled to tell this story?
The first time I went to the border at night at the Rio Grande, I couldn’t believe what I saw. I went with a group of migrants that invited me from a migrant shelter, and I expected to see an action scene. We arrived at the border, and nobody spoke. And they all started to take their clothes off. It was very painful, very frightening, and very kind of humiliating. But as they started to go into the river — it’s more or less of what I tried to recreate here — I felt that this border crossing is much deeper than just the way we normally think of it. That is was almost like a baptismal thing; that in fact crossing the border changes you. And so, I began to question could I have a character who crosses the border south, not because she wants to, but could it change her in some way?
Ashley and Rosa obviously come from two very different backgrounds. How did you connect them beyond the issue of immigration?
I realized that the historical achievement of the border is to divide families. It had nothing to [do with] keeping people out of the U.S., quote, unquote. And everyone who has had an experience or relationship with new migrants, whether in school, or because they’re taking care of your children, or cleaning our homes, most of them are mothers and fathers whose children are not with them… and I felt that that was a weak spot. It was like an acupressure point to talk about immigration, the idea of this separation of families. And that led me to begin thinking about, is there an Anglo character who might feel some of that pain of this forced separation?
The young girl cast as Rosa, is not an actress, but a native of Oaxaca, where you shot most of the film. How did you find her?
For those of you that know Oaxaca, it’s an extraordinary place with tremendous dignity and cultural traditions. Trying to build bridges into the communities, to invite the families to bring their daughters to auditions, was a long process. In all, we saw about 3,000 girls… Maritza [Santiago Hernandez] was one of the girls who immediately had an attitude with me and I just found out right away that she wasn’t at all nervous… We began a process of working with her: a whole series of sort of dramatic improvisations and developing a strong relationship with the family, because when you’re casting a child, you’re really casting the whole family.
You originally wanted to film the movie in the city of Nuevo Laredo, which directly borders Texas to the south. Instead, you ended up filming in Oaxaca, in southern Mexico. How did this affect shooting?
We were hoping to make this film several years back there, and we were not able to… We lost the financing, and we had to start from scratch. During the time that we were sort of picking ourselves up again, the violence of the borderlands moved to Nuevo Laredo, and really made it impossible to film there. So the biggest challenge for me, at least creatively, was losing the one thing that I knew I could count on in terms of an authentic place, and having to recreate a border 2,000 kilometers away in southern Mexico, which meant questions of geography, flat landscapes, finding a river that could feel like the Rio Grande, [and finding] faces that would be true to the experience of migrants. Every aspect of the production design became much, much more complicated.
In the movie, we see Rosa talking about how much she wanted to go back to her home in Oaxaca and not leave for the United States. What did you want to convey with that?
The very fact that right now, people are trying to risk their lives to cross the Mediterranean to get into Italy, or are drowning right now in the Rio Grande, means that it must be very bad where they’ve come from, and here, it must be pretty good… The mythology of the border is if you can just get across the border, if you can just get to the Promised Land, you have a possibility of a new future. And I started thinking it’s not enough.
By tackling a universally complex issue with humanity and compassion, Riker accomplished the task of telling an often-ignored tale, coupled with Abbie Cornish’s honest portrayal of Ashley, beautiful cinematography, and a drive to stay as authentic as possible, we give “The Girl” a GlamBuzz thumbs up.
“Think Like a Man” has staked out it spot at the top of the box office for the second week in a row. Check out what other movies made big money this weekend:
1. Think Like a Man $18 M
2. The Pirates! Band of Misfits $11.4 M
3. The Lucky One $11.3 M
4. The Hunger Games $11.3 M
5. The Five-Year Engagement $11.2 M
6. Safe (2012) $7.7 M
7. The Raven $7.2 M
8. Chimpanzee $5.5 M
9. The Three Stooges $5.4 M
10. The Cabin in the Woods $4.5 M
At 85 years old, Tony Bennett’s standard of life on and off stage is simple. “I grew up in an era where everything was made with quality,” the sage quips in the opening scene of the aptly-titled film, “The Zen of Bennett.” He continues, “You should do every move that you make with quality. And the public rewards you for that.”
The public has lauded Bennett and his velvety vocals for over 70 albums since his 1952 debut. “The Zen of Bennett,” the brainchild of his own son, Danny Bennett, offers an intimate look at the making of Tony’s 2011 chart-topper, “Duets II.” The documentary debuted at this year’s Tribeca Film Festival, sponsored by American Express. In it, the accomplished singer and painter sprinkles out his life philosophy amid world travels, family affairs, and collaborations with stars like Natalie Cole, Michael Bublé, Aretha Franklin, John Mayer, Lady Gaga, and the late Amy Winehouse.Winehouse’s father, Gaga’s parents, Harry Belafonte, and Michael Moore were among the audience members who packed the Tribeca Performing Arts Center for the 84-minute premiere and panel with the doc’s filmmakers. Deb Curtis, VP of Events, Sponsorships, and Marketing for American Express told us how this extended access to the film is key to the Tribeca Film Festival experience.“We’ve been partnered with the Tribeca team for 10 years, so it’s really been a very long and amazing partnership,” Curtis explained. “Our role is to really put our cardmembers closer to great films and great independent film, and the diverse genres that are really represented here at the film festival. Another element that we do is have them hear directly from filmmakers on the stories behind the films. Our cardmembers are yearning for more and more insight behind the films that they love, so that’s really what we’re here to do.”We took full advantage of the AmEx treatment and heard from producers Danny Bennett and Jennifer Lebeau, director of photography Dion Beebe, and director Unjoo Moon on their experience capturing “The Zen of Bennett.”
Moon on capturing Tony in his element.
We really wanted to let the process unfold and for the material to be as organic as possible, while at the same time maintaining a visual style and a quality that we knew would best represent Tony and his work.
Beebe on balancing his film crew with Tony’s team of artists and musicians.
Certainly, the biggest challenge was always “How do we get a film crew into a recording studio where, first and foremost, Tony is recording an album?” It’s not just all about us. It was a matter of devising a plan that we could sort of photograph what we needed to get, maintain a style that told the story, and didn’t interfere with what Tony was doing, or what the other artists were doing.”
Tony on seeing the film for the first time during its Tribeca Film Festival premiere.
I’m thrilled about the fact that my family made this film, and it’s amazing to me how natural and creative and wonderful it is… These two great photographers [Moon and Beebe] here are the most comfortable people that I’ve ever performed with in my life. Not once did I say, “Why are they telling me to move again when we just did it.” It wasn’t like that. They just were effortless.
Danny, Tony’s son and manager, on framing the film around Tony’s credo.
That’s something that I’ve observed throughout my entire career. The world could be coming down, and Tony’s focused, and he’s in the zone. Thus, “The Zen of Bennett.”
Tony on working with Amy Winehouse during her last recording and her untimely death.
Either you got it or you haven’t got it, and if it doesn’t swing, you’re out of here… Amy had that gift. And I just think it’s so tragic. And more and more in my life, some of the greatest people I’ve ever met, tragically, were destroyed by drugs. I just wish that we would all, as American citizens, insist on legalizing drugs, so that it would be controlled, and get the underworld out of here.
Tony on one of his favorite contemporary artists.
“I’ve been in the business a long time, I don’t know anyone who’s more talented than Lady Gaga. She has the most beautiful voice. She sings — it’s [as] complete as Ella Fitzgerald. She can sing, she has that talent of knowing what to do, and she invents herself, practically everyday. I really feel that we’re never going to stop watching Lady Gaga because she’s one of the greatest artists I’ve ever met.”
The one duet Tony wish he would have done.
“The only one I regret not doing a duet with was Louis Armstrong… we did performances in Britain together. He taught all the jazz artists, right up to Miles Davis; he taught them how to play the right way. He invented swing, and hip hop, and whatever you want to call it next. You find out that Louis was the first one to do it.”
Check out the film’s trailer below, and make sure to purchase Bennett’s Duets II, available now.
The Steve Harvey-written rom-com has everyone thinking like a man as it beat out The Hunger Games to top the box office. See what other movies made big money this weekend:
1. Think Like a Man $33 M
2. The Lucky One $22.8 M
3. The Hunger Games $14.5 M
4. Chimpanzee $10.2 M
5. The Three Stooges $9.2 M
6. The Cabin in the Woods $7.8 M
7. American Reunion $5.2 M
8. Titanic 3D $5 M
9. 21 Jump Street $4.6 M
10. Mirror Mirror $4.1 M