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Jennifer Lawrence & Lupita Nyong'o Pretended To Fight Over The Best Supporting Actress Oscar

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Jennifer Lawrence lost Best Supporting Actress to Lupita Nyong'o at Sunday's Oscars ceremony, but that didn't produce many hard feelings for the "American Hustle" star. Lawrence seemed filled with genuine excitement when Nyong'o was announced as winner. Later, when the two met backstage, Lawrence pretended to wrestle Nyong'o for the Best Supporting Actress Oscar. That moment of levity produced these perfect photos. Two tickets for the road-trip comedy starring Lawrence and Nyong'o that some Hollywood studio just green lit in our mind.

jennifer lawrence lupita

jennifer lawrence lupita nyongo

jennifer lawrence lupita nyongo

Academy Awards 2014 Winners List: '12 Years A Slave' & More

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List of winners at Sunday's 86th annual Academy Awards presented by the Academy of Motion Picture Arts and Sciences.

Best Picture: "12 Years a Slave." Actor: Matthew McConaughey, "Dallas Buyers Club."

Actress: Cate Blanchett, "Blue Jasmine."

Supporting Actor: Jared Leto, "Dallas Buyers Club."

Supporting Actress: Lupita Nyong'o, "12 Years a Slave."

Directing: Alfonso Cuaron, "Gravity."

Foreign Language Film: "The Great Beauty," Italy.

Adapted Screenplay: John Ridley, "12 Years a Slave."

Original Screenplay: Spike Jonze, "Her."

Animated Feature Film: "Frozen."

Production Design: "The Great Gatsby."

Cinematography: "Gravity."

Sound Mixing: "Gravity."

Sound Editing: "Gravity."

Original Score: "Gravity," Steven Price.

Original Song: "Let It Go" from "Frozen."

Costume: "The Great Gatsby."

Makeup and Hairstyling: "Dallas Buyers Club."

Animated Short Film: "Mr. Hublot."

Documentary Feature: "20 Feet from Stardom."

Documentary (short subject): "The Lady in Number 6: Music Saved My Life."

Film Editing: "Gravity."

Live Action Short Film: "Helium."

Visual Effects: "Gravity."

___

Honorary Oscars:

— Peter W. Anderson.

— Film-processing labs over past century.

— Angelina Jolie.

— Angela Lansbury.

— Steve Martin.

— Piero Tosi.

Janelle Monáe's 'Simply Irresistible' Gives Classic New Life

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Janelle Monáe is so fine, she put a new spin on the classic '80s hit "Simply Irresistible." The 28-year-old singer reworked Robert Palmer's track for the E! Network, for inclusion in the station's Oscars coverage. Monáe's version is lively and fun, taking the old track to a funky new level. Listen to her "Simply Irresistible" below.

Randy Graff's 'Made In Brooklyn' Draws Inspiration From Tony Winner's Early Years In Canarsie

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Randy Graff brought standing-room-only audiences to tears as Broadway’s original Fantine in “Les Misérables” and nabbed a Tony Award for her role in the film noir musical “City of Angels,” but ultimately, the celebrated actress-singer considers herself “just a broad from Brooklyn” who got lucky.

Of course, Graff, 58, is quick to acknowledge that the Brooklyn of her youth is a far cry from the chic, gentrifying borough that has been named the second-most expensive place to live in the country -- the first being Manhattan.

“True, the old coffeehouse is now a Starbucks or a Chase Bank or a Duane Reade,” Graff says matter-of-factly. “But no matter where I go -- from Minneapolis to L.A. to New Jersey -- where I come from has been really tugging at me. Brooklyn is changing, but it still feels like home.”

Graff’s early days of “hanging out on a street corner in Canarsie and singing with my girlfriends” inspired her new cabaret show, “Made in Brooklyn,” which returns to New York’s 54 Below on March 5 after a smash debut last month. Graff says her set, which she developed with her husband and musical director Tim Weil, will feature inspired renditions of songs by the likes of Carole King, Harry Nilsson and George Gershwin, among others -- the common denominator being that each performer or composer also hails from Brooklyn.

Check out exclusive video of Graff performing "Mama, A Rainbow" below:


While her Broadway contemporaries Patti LuPone and Betty Buckley have been performing successful cabaret acts for years, Graff says she never had much desire to make a similar transition until recently, noting that she “wasn’t entirely ready to drop that fourth wall, not play a character and simply be me.” Although she saw cabaret as an opportunity to “create something of my own,” she chafed at the idea of simply pairing songs from her musical theater catalog with commentary: “I really wanted it to be something more personal.”

But Graff didn’t entirely abandon her theatrical roots for the show, as she hints that her standard “You Can Always Count on Me,” penned by Cy Coleman and David Zippel for “City of Angels,” will appear. Interestingly, her connection to the tune can be traced to well before the Broadway opening of “Angels” in 1989.

“My go-to audition song when I was starting out in show business was ‘Nobody Does it Like Me,’ from Cy Coleman’s ‘Seesaw,’ which, in turn, was the prototype for ‘You Can Always Count on Me,’” Graff recalls. “When I had my ‘City of Angels’ audition, Cy asked me to sing ‘Nobody Does it Like Me’ because ‘You Can Always Count on Me’ hadn’t been written yet. So it ended up being the song that helped me land the role in ‘City of Angels’ all those years later. Talk about coming full circle!”

As for “Les Misérables,” Graff says she couldn’t have predicted the musical’s continued relevance more than 25 years after its premiere.

“To see it turn into the international cultural phenomenon that it has, and how it’s changed so many people’s lives and how it was the show that made young actors want to pursue theater…you never know any of this stuff when you’re in it,” she says of the show, a revival of which opens on Broadway this spring. “It blows my mind just how huge it is.”

Graff sings "I Dreamed a Dream" from "Les Misérables" below:


Graff, who was set to star in a 2012 revival of “Funny Girl” alongside “Six Feet Under” actress Lauren Ambrose before producers shelved the project, is hopeful for a return to the Great White Way, naming Mrs. Lovett in “Sweeney Todd” and Dolly Levi in “Hello, Dolly!” as being among her dream roles, having played the latter part in a 2007 St. Louis production. As for stars and audiences who grovel that Broadway has become overrun with Hollywood names as the theater industry has gotten more corporate, she notes, “If you look at something like ‘Once,’ which is my favorite musical on Broadway right now and unlike anything else I’ve ever seen, they’re casting working theater actors who aren’t big stars at all. So good is good and there’s room for everybody.”

These days, however, her main focus is “Made in Brooklyn,” which she’d like to take on the road following its 54 Below reprise. Citing Weil’s support as crucial to the act’s development, she hopes her audience sees her performance as representative not only of her hometown roots but of deeper, more intimate ties to family and loved ones: “That’s what’s in my heart, and I wanted the show to come from my heart.”

Randy Graff's “Made in Brooklyn” plays New York's 54 Below on March 5. Head here for more information and tickets.

This Might Be The Most Awkward On-Air Rap Performance Ever, But Juiceboxxx Still Wins

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Well, that could have gone better.

Milwaukee's own Juiceboxxx got to perform on a local Wisconsin news station recently, and the results were... questionable.

Despite not being able to wrangle in his ear piece, having instrumentals he could hardly hear, creeping out the anchors and dealing with a camera man who wants to take pictures on his smart phone -- Juiceboxxx still gave it his all.

The rapper, who has performed in Japan, Europe and Australia, gave a brief interview before performing his song "Like A Renegade" live on the air. It's not entirely fair to judge an artist by one live performance, and you can check out the recorded version of "Like A Renegade" if you're interested to see how it matches up.

Rio Carnival: Photos Show The Sparkling Beauty Of Rio's Samba Parades

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RIO DE JANEIRO (AP) — Carnival revelers are packing streets across Brazil for raucous open-air parties that begin at daybreak and pulse through the night.

But attention is now turning to the sequin-drenched samba group parades set to begin in Rio de Janeiro. The nightlong parades will see six samba groups showing off both Sunday and Monday nights, with powerful percussion sections, elaborate floats and more than 2,500 participants in each parade, which last about an hour.

Millions of Brazilians watch the parades live on TV and root for their favorite samba groups with a passion rivaled only by the allegiances held to football teams.

Forty judges take part and the groups are judged in 10 categories, from the quality of the drum sections to the beauty of costumes.

New 'Grand Budapest Hotel' Clip Introduces Mr. Moustafa

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Wes Anderson's "The Grand Budapest Hotel" is a decade-spanning chase comedy featuring a star-studded cast of Anderson regulars such as Bill Murray, Owen Wilson and Jason Schwartzman, among others. What it doesn't include is Anderson's signature mix-tape soundtrack, replaced instead with a score from six-time Oscar nominee Alexandre Desplat. One of the signature cues Desplat wrote for Anderson is the backbone of this new clip from the film. Called "Mr. Moustafa," the track introduces Zero, the film's lobby boy, played by Tony Revolori, who grows up to resemble F. Murray Abraham. Check out the video below; "Grand Budapest Hotel" is out on March 7.

Zack Snyder Strikes Back

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It's safe to say that Zack Snyder is a polarizing director. Snyder is often heralded for the visual imagery that he brings to his films -- it almost feels commonplace now, but when the original "300" was released, its visual style was groundbreaking -- yet, most of his features are divided equally on both sides of the critical argument. For instance, "Man of Steel," last summer's Superman movie that grossed just under $700 million worldwide, created a boisterous rift between critics who loved the imagery that Snyder created versus those who were baffled at Superman's nonchalant inadvertent destruction of Metropolis.

Even this past week, producer Joel Silver attacked Snyder's "Watchmen" -- a movie that Snyder admits below is his favorite film -- accusing the director of being a "slave to the material," then touting Terry Gilliam's proposed "Watchmen" movie. When I brought all of this up to Snyder, it was obvious that he was well aware of Silver's comments and he had some thoughts of his own on the Gilliam version.

Snyder and his wife, fellow producer Deborah Snyder -- who has produced all of Snyder's films -- are promoting "300: Rise of an Empire." Snyder didn't direct this sequel (which isn't really a sequel, as the events take place at the same time as the original "300"), and even with the delay until 2016 of Snyder's for-now-titled "Batman vs. Superman," he wouldn't have had the time. The directing duties fell to Noam Murro for "Rise of an Empire," but Snyder's fingerprints are all over this film.

Ahead, Snyder responds to Silver's accusations and discusses his relationship with critics in general. Plus, in a world filled with leak after leak when it comes to big-budget superhero movies, the Snyders discuss the leak of the "Batman vs. Superman" announcement, which happened hours before what was supposed to be a Comic-Con reveal and how that's affected the way they've announced the casting of Ben Affleck as Batman, Gal Gadot as Wonder Woman and Jesse Eisenberg as Lex Luthor.

With "300: Rise of an Empire," this is the first time you've produced a movie and not also directed the movie. Is that odd?

Zack Snyder: Yeah, it's very odd! It's odd, but, you know, it's funny -- I'm getting used to it.

Deborah Snyder: He can appreciate what I do a lot more now, I think.

Zack Snyder: Yeah, right. And also, having written it, you're really deep in it when you're writing it. And then, suddenly, you hand it over and you're like, "Well, that's that, I guess." I was around the whole time, it's just a difficult, but weirdly rewarding, process to see it all come to life. You wrote this thing and it's how, I guess, writers must feel when they show up to the premiere and go, "Oh my gosh, the movie is alive now."

Now that "Batman vs. Superman" was pushed back until 2016, could you now have had time to direct this?

Zack Snyder: No, no. That's why I couldn't do it. We would had to have been shooting now and, even then, we probably wouldn't have been able to because we're about to go shoot the new movie.

The original "300" was so important to you, career-wise. I feel you're still connected to this story.

Deborah Snyder: Yeah, we absolutely are. That's why when we made the decision and knew basically that Zack couldn't do it, to find someone who would share the same vision that we had. And it's a tricky thing, right? Because when you have the "300" name, there's an expectation from the audience of what this is going to be. Not just visually, but there's also just an attitude with what we did in the first film.

Visually, the first "300" was very unique. Since then, others have ... maybe "ripped off" is a harsh term...

Deborah Snyder: You can say "ripped off," I think that's fair.

Zack Snyder: An homage! [Laughs]

But now, because of that, seeing this style again isn't as unique of an experience. Is that a concern?

Deborah Snyder: No. Because I feel like what this one is -- it is "300." It's not an imitation. And it lives in the same world as the original, but it also builds upon it I think in a way that is unique. You know, the fact that it is on the water. And I'm not a huge fan of 3D and I prefer to see movies in 2D. But this really lends itself to 3D and I think our fan-base will appreciate that it ups the ante.

Was "Watchmen" the most "damned if you do, damned if you don't" project you've ever been a part of? Now Joel Silver is criticizing you for being a "slave" to the source material while touting a very different from the source material script that Terry Gilliam was going to film.

Zack Snyder: It's funny, because the biggest knock against the movie is that we finally changed the ending, right?

Right, you used Dr. Manhattan as the threat to bring the world together as opposed to the alien squid.

Zack Snyder: Right, and if you read the Gilliam ending, it's completely insane.

Deborah Snyder: The fans would have been thinking that they were smoking crack.

Zack Snyder: Yeah, the fans would have stormed the castle on that one. So, honestly, I made "Watchmen" for myself. It's probably my favorite movie that I've made. And I love the graphic novel and I really love everything about the movie. I love the style. I just love the movie and it was a labor of love. And I made it because I knew that the studio would have made the movie anyway and they would have made it crazy. So, finally I made it to save it from the Terry Gilliams of this world.

In Gilliam's version, Dr. Manhattan is convinced to go back in time and prevent Dr. Manhattan from existing. But the specter of his existence is the threat to the world, which is kind of what you did at the end of the movie anyway.

Zack Snyder: Right, of course. It's just using elements that are in the comic book already, that's the only thing I did. I would not have grabbed something from out of the air and said, "Oh, here's a cool ending" just because it's cool.

Deborah Snyder: But it's interesting because, you're right, it's damned if you do, damned if you don't. You have people who are mad that the ending was changed and you have other people saying, "Oh, it was a slave to the graphic novel." You can't please everybody.

Zack Snyder: And that's the problem with genre. That's the problem with comic book movies and genre. And I believe that we've evolved -- I believe that the audiences have evolved. I feel like "Watchmen" came out at sort of the height of the snarky Internet fanboy -- like, when he had his biggest strength. And I think if that movie came out now -- and this is just my opinion -- because now that we've had "Avengers" and comic book culture is well established, I think people would realize that the movie is a satire. You know, the whole movie is a satire. It's a genre-busting movie. The graphic novel was written to analyze the graphic novel -- and comic books and the Cold War and politics and the place that comic books play in the mythology of pop culture. I guess that's what I'm getting at with the end of "Watchmen" -- in the end, the most important thing with the end was that it tells the story of the graphic novel. The morality tale of the graphic novel is still told exactly as it was told in the graphic novel -- I used slightly different devices. The Gilliam version, if you look at it, it has nothing to do with the idea that is the end of the graphic novel. And that's the thing that I would go, "Well, then don't do it." It doesn't make any sense.

I can't imagine people being happy with that version.

Zack Snyder: Yeah! If you love the graphic novel, there's just no way. It would be like if you were doing "Romeo and Juliet" and instead of them waking up in the grave area, they would have time-traveled back in time and none of it would have happened.

Over your career, do you feel critics have been fair to you?

Zack Snyder: I don't know. You know, it's a funny thing that you should bring it up. I always feel like -- and I always believe the movies I've made are smarter than the way they are perceived by sort of mass culture and by the critics. We set out to make smarter movies than what they're perceived to be, do you know what I mean?

Deborah Snyder: I think it has to do, in a way, because I've thought about it, and I think some of it maybe is that if they have a visual style -- if they're from a graphic novel, if they happen to be genre -- I think people sometimes don't want to look to see if there's a deeper meaning. To see if there's symbolism, to see if there's other things going on. It's easier to dismiss it and say, "Oh, it looks like a video game."

Zack Snyder: And, also, "It looks like a video game." Well, maybe it's supposed to look like a video game.

That's interesting, because people can have the debate over what Superman did or didn't do at the end of "Man of Steel," but, visually, it looks a lot different than your prior work.

Zack Snyder: From the beginning, I had a philosophical approach to what I would do with Superman. And I always sum it up by saying that the most realistic movie I've made is a movie about Superman --because that's what I felt like the movie needed.

Did you ever consider making it with a different visual style?

Zack Snyder: No. I mean, I had a knee-jerk reaction to that script that was "this movie needs to feel like it's stone-cold real." And that was, to me, ironic and I'm always looking for some ironic element within the storytelling -- like some bit of meta. For me to get excited about it, it needs to infiltrate the movie. And for me, that was that a Superman movie would be real.

I was in Hall H at Comic Con this past July when you announced "Batman vs. Superman." The news of that movie had leaked a few hours prior to your announcement. Are leaks disappointing to you?

Zack Snyder: Yes and no. [The leak] was definitely not a planned thing.

Deborah Snyder: Things get leaked so often these days, it's a shame because even casing announcements, or whatever, you're in the middle of a process and sometimes they're so off base -- and then it gets picked up by multiple places and it's all over the place.

Like Adam Driver being Nightwing, which wasn't true.

Deborah Snyder: Or some of it, you're just having conversations, but that doesn't mean they are a contender, but you're just exploring and it gets made public. It's kind of a shame that you can't go through the process in a pure way and then be able to announce it in a way that's exciting. With the [Comic-Con] announcement, there was rumblings and we were like, "Aw." Because we wanted to bring it to the fans. We wanted to bring them something special. We went to Comic-Con for "Watchmen" and we were bringing the cast to announce it and it got leaked a couple of days before. We wanted to give that to them and we got cheated out of it.

Zack Snyder: I think it does another thing. The leak becomes the audience involvement. They are now part of it, the process. Do you know what I mean? And you have to take that as the world we live in, as opposed to "Oh, that's too bad."

I am under the impression that the three big casting announcements that weren't wrong -- Ben Affleck, Gal Gadot and Jesse Eisenberg -- were done on your timetable. Is that accurate?

Zack Snyder: That is accurate.

And nobody saw those coming.

Zack Snyder: Right! And that was fun. That's fun for us when we're able to announce Jesse Eisenberg to the audience.

Deborah Snyder: Everyone was like, "What?! Ah!"

Zack Snyder: Yeah, that's fun.

Mike Ryan is senior writer for Huffington Post Entertainment. You can contact him directly on Twitter.

But When Is It Not Okay To 'Let It Go'? (VIDEO)

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"Let it Go" from "Frozen" won best original song at the Oscars, and inspired countless covers. But when is it not okay to "Let it Go"? Watch the video above to find out.

This Lamp Looks Like A Butt, And It Wants You To Slap It

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If you're into the concept of touch lamps but are looking to get a bit more risqué with your lighting devices, we have the lantern of your dreams, and perhaps your fantasies. May we present "Slap It," an unusual lamp by London-based artist Joseph Begley that combines the utility of a lamp with the sensuous appeal of a curvaceous rump.

The butt-shaped mechanism, made of silicone for maximum accuracy, just begs to be touched and responds to human contact with the gift of light. Touch it, squeeze it, caress it or give it a slap and watch a glorious light emerge from the gluteus maximus simulacrum. We highly recommend hollering "Let there be light!" mid-spank.

h/t Complex

Convicts Pose With Heartbreaking Letters To Their Younger Selves

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How does spending time in prison affect how you look back on your life choices? Photographer Trent Bell braves the poignant question in a photo series called "Reflect," which superimposes prisoners' portraits on top of handwritten letters they've written to their younger selves.

convict

Bell was inspired to embark on the series after a close friend of his was sentenced to 36 years in jail, changing Bell's view of just who was inhabiting these prisons and the stories of how they got there. Realizing just how much one's life could change with a single bad decision, Bell embarked on a photographic journey helping other prisoners make peace with their life choices, or at least share their stories.

Each of Bell's images combines a somber portrait of a convict in uniform with a handwritten note giving warning, advice, guidance and inspirational words to their younger selves. One subject named Wes begins his letter: "Dear Wes, I'm reaching out to you today and I pray that the words of my heart are encouraging enough to keep you from making bad choices that could change your life forever." Another note from an anonymous subject reads, "I want to reach out to you and hopefully help save you from becoming me."

Filled with regret yet punctuated with hope, the works depict a complex portrait of convicts' most personal thoughts and feelings. The unusual photo project depicts prisoners in an emotional and vulnerable state, casting light on a time in their lives before their identities were defined by their captive state. See the emotional project below and let us know your thoughts in the comments.



The REFLECT Project: Convicts' letters to their younger selves from trentbellphotography on Vimeo.

18 Things Highly Creative People Do Differently

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Creativity works in mysterious and often paradoxical ways. Creative thinking is a stable, defining characteristic in some personalities, but it may also change based on situation and context. Inspiration and ideas often arise seemingly out of nowhere and then fail to show up when we most need them, and creative thinking requires complex cognition yet is completely distinct from the thinking process.

Neuroscience paints a complicated picture of creativity. As scientists now understand it, creativity is far more complex than the right-left brain distinction would have us think (the theory being that left brain = rational and analytical, right brain = creative and emotional). In fact, creativity is thought to involve a number of cognitive processes, neural pathways and emotions, and we still don't have the full picture of how the imaginative mind works.

And psychologically speaking, creative personality types are difficult to pin down, largely because they're complex, paradoxical and tend to avoid habit or routine. And it's not just a stereotype of the "tortured artist" -- artists really may be more complicated people. Research has suggested that creativity involves the coming together of a multitude of traits, behaviors and social influences

"It's actually hard for creative people to know themselves because the creative self is more complex than the non-creative self," Scott Barry Kaufman, a psychologist at New York University who has spent years researching creativity, told The Huffington Post. "The things that stand out the most are the paradoxes of the creative self ... Imaginative people have messier minds."

While there's no "typical" creative type, there are some tell-tale characteristics and behaviors of highly creative people. Here are 18 things they do differently.

They daydream.

daydreaming child

Creative types know, despite what their third-grade teachers may have said, that daydreaming is anything but a waste of time.

According to Kaufman and psychologist Rebecca L. McMillan, who co-authored a paper titled "Ode To Positive Constructive Daydreaming," mind-wandering can aid in the process of "creative incubation." And of course, many of us know from experience that our best ideas come seemingly out of the blue when our minds are elsewhere.

Although daydreaming may seem mindless, a 2012 study suggested it could actually involve a highly engaged brain state -- daydreaming can lead to sudden connections and insights because it's related to our ability to recall information in the face of distractions. Neuroscientists have also found that daydreaming involves the same brain processes associated with imagination and creativity.

They observe everything.

The world is a creative person's oyster -- they see possibilities everywhere and are constantly taking in information that becomes fodder for creative expression. As Henry James is widely quoted, a writer is someone on whom "nothing is lost."

The writer Joan Didion kept a notebook with her at all times, and said that she wrote down observations about people and events as, ultimately, a way to better understand the complexities and contradictions of her own mind:

"However dutifully we record what we see around us, the common denominator of all we see is always, transparently, shamelessly, the implacable 'I,'" Didion wrote in her essay On Keeping A Notebook. "We are talking about something private, about bits of the mind’s string too short to use, an indiscriminate and erratic assemblage with meaning only for its marker."

They work the hours that work for them.

Many great artists have said that they do their best work either very early in the morning or late at night. Vladimir Nabokov started writing immediately after he work up at 6 or 7 a.m., and Frank Lloyd Wright made a practice of waking up at 3 or 4 a.m. and working for several hours before heading back to bed. No matter when it is, individuals with high creative output will often figure out what time it is that their minds start firing up, and structure their days accordingly.

They take time for solitude.

solitude

"In order to be open to creativity, one must have the capacity for constructive use of solitude. One must overcome the fear of being alone," wrote the American existential psychologist Rollo May.

Artists and creatives are often stereotyped as being loners, and while this may not actually be the case, solitude can be the key to producing their best work. For Kaufman, this links back to daydreaming -- we need to give ourselves the time alone to simply allow our minds to wander.

"You need to get in touch with that inner monologue to be able to express it," he says. "It's hard to find that inner creative voice if you're ... not getting in touch with yourself and reflecting on yourself."

They turn life's obstacles around.

Many of the most iconic stories and songs of all time have been inspired by gut-wrenching pain and heartbreak -- and the silver lining of these challenges is that they may have been the catalyst to create great art. An emerging field of psychology called post-traumatic growth is suggesting that many people are able to use their hardships and early-life trauma for substantial creative growth. Specifically, researchers have found that trauma can help people to grow in the areas of interpersonal relationships, spirituality, appreciation of life, personal strength, and -- most importantly for creativity -- seeing new possibilities in life.

"A lot of people are able to use that as the fuel they need to come up with a different perspective on reality," says Kaufman. "What's happened is that their view of the world as a safe place, or as a certain type of place, has been shattered at some point in their life, causing them to go on the periphery and see things in a new, fresh light, and that's very conducive to creativity."

They seek out new experiences.

solo traveler

Creative people love to expose themselves to new experiences, sensations and states of mind -- and this openness is a significant predictor of creative output.

"Openness to experience is consistently the strongest predictor of creative achievement," says Kaufman. "This consists of lots of different facets, but they're all related to each other: Intellectual curiosity, thrill seeking, openness to your emotions, openness to fantasy. The thing that brings them all together is a drive for cognitive and behavioral exploration of the world, your inner world and your outer world."

They "fail up."

resilience

Resilience is practically a prerequisite for creative success, says Kaufman. Doing creative work is often described as a process of failing repeatedly until you find something that sticks, and creatives -- at least the successful ones -- learn not to take failure so personally.

"Creatives fail and the really good ones fail often," Forbes contributor Steven Kotler wrote in a piece on Einstein's creative genius.

They ask the big questions.

Creative people are insatiably curious -- they generally opt to live the examined life, and even as they get older, maintain a sense of curiosity about life. Whether through intense conversation or solitary mind-wandering, creatives look at the world around them and want to know why, and how, it is the way it is.

They people-watch.

people watching

Observant by nature and curious about the lives of others, creative types often love to people-watch -- and they may generate some of their best ideas from it.

"[Marcel] Proust spent almost his whole life people-watching, and he wrote down his observations, and it eventually came out in his books," says Kaufman. "For a lot of writers, people-watching is very important ... They're keen observers of human nature."

They take risks.

Part of doing creative work is taking risks, and many creative types thrive off of taking risks in various aspects of their lives.

"There is a deep and meaningful connection between risk taking and creativity and it's one that's often overlooked," contributor Steven Kotler wrote in Forbes. "Creativity is the act of making something from nothing. It requires making public those bets first placed by imagination. This is not a job for the timid. Time wasted, reputation tarnished, money not well spent -- these are all by-products of creativity gone awry."

They view all of life as an opportunity for self-expression.

self expression

Nietzsche believed that one's life and the world should be viewed as a work of art. Creative types may be more likely to see the world this way, and to constantly seek opportunities for self-expression in everyday life.

"Creative expression is self-expression," says Kaufman. "Creativity is nothing more than an individual expression of your needs, desires and uniqueness."

They follow their true passions.

Creative people tend to be intrinsically motivated -- meaning that they're motivated to act from some internal desire, rather than a desire for external reward or recognition. Psychologists have shown that creative people are energized by challenging activities, a sign of intrinsic motivation, and the research suggests that simply thinking of intrinsic reasons to perform an activity may be enough to boost creativity.

"Eminent creators choose and become passionately involved in challenging, risky problems that provide a powerful sense of power from the ability to use their talents," write M.A. Collins and T.M. Amabile in The Handbook of Creativity.

They get out of their own heads.

creative writing

Kaufman argues that another purpose of daydreaming is to help us to get out of our own limited perspective and explore other ways of thinking, which can be an important asset to creative work.

"Daydreaming has evolved to allow us to let go of the present," says Kaufman. "The same brain network associated with daydreaming is the brain network associated with theory of mind -- I like calling it the 'imagination brain network' -- it allows you to imagine your future self, but it also allows you to imagine what someone else is thinking."

Research has also suggested that inducing "psychological distance" -- that is, taking another person's perspective or thinking about a question as if it was unreal or unfamiliar -- can boost creative thinking.

They lose track of the time.

Creative types may find that when they're writing, dancing, painting or expressing themselves in another way, they get "in the zone," or what's known as a flow state, which can help them to create at their highest level. Flow is a mental state when an individual transcends conscious thought to reach a heightened state of effortless concentration and calmness. When someone is in this state, they're practically immune to any internal or external pressures and distractions that could hinder their performance.

You get into the flow state when you're performing an activity you enjoy that you're good at, but that also challenges you -- as any good creative project does.

"[Creative people] have found the thing they love, but they've also built up the skill in it to be able to get into the flow state," says Kaufman. "The flow state requires a match between your skill set and the task or activity you're engaging in."

They surround themselves with beauty.

Creatives tend to have excellent taste, and as a result, they enjoy being surrounded by beauty.

A study recently published in the journal Psychology of Aesthetics, Creativity, and the Arts showed that musicians -- including orchestra musicians, music teachers, and soloists -- exhibit a high sensitivity and responsiveness to artistic beauty.

They connect the dots.

doodle

If there's one thing that distinguishes highly creative people from others, it's the ability to see possibilities where other don't -- or, in other words, vision. Many great artists and writers have said that creativity is simply the ability to connect the dots that others might never think to connect.

In the words of Steve Jobs:

"Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn't really do it, they just saw something. It seemed obvious to them after a while. That's because they were able to connect experiences they've had and synthesize new things."


They constantly shake things up.

Diversity of experience, more than anything else, is critical to creativity, says Kaufman. Creatives like to shake things up, experience new things, and avoid anything that makes life more monotonous or mundane.

"Creative people have more diversity of experiences, and habit is the killer of diversity of experience," says Kaufman.

They make time for mindfulness.

Creative types understand the value of a clear and focused mind -- because their work depends on it. Many artists, entrepreneurs, writers and other creative workers, such as David Lynch, have turned to meditation as a tool for tapping into their most creative state of mind.

And science backs up the idea that mindfulness really can boost your brain power in a number of ways. A 2012 Dutch study suggested that certain meditation techniques can promote creative thinking. And mindfulness practices have been linked with improved memory and focus, better emotional well-being, reduced stress and anxiety, and improved mental clarity -- all of which can lead to better creative thought.

George Condo Creates Seductive Nightmares From Ink And Paper

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George Condo's paintings belong in the nightmarish Baroque section of a classical museum, if that museum were situated in a Cartoon Network universe. The iconic artist and master of melded forms jumbles moods, influences, styles and eras for an effect that's immediately recognizable but impossible to describe. It's the one place where Francisco de Goya meets Bugs Bunny, Picasso's "Demoiselles" meet Yeezus.

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George Condo, Three Nudes, 2013, ink and gesso on paper, 82 x 85 inches. Copyright George Condo, courtesy of Skarstedt




Condo's newest exhibition is a gnarled romp through the possibilities of ink and paper. The series, made of ink, paper and gesso -- a white paint made of chalk, gypsum, and pigment -- explore the murky spaces between black and white. Contorted nudes writhe on the floor, their porcelain bodies giving way to beastly animal heads. In other drawings, distorted heads with bulging eyes greet the viewer; whether said heads are bashed in or are mutating into another species is hard to decipher.

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George Condo, Ahmed the Tailor, 2013. Ink on paper, 60 x 82 inches. Copyright George Condo, courtesy of Skarstedt




"My intention with this body of work was to explore the extreme possibilities of ink on paper," Condo explains in a gallery statement. "I used the medium to create transparent layers of colors. I thought of Rothko at times and his overlapping veils of transcendental space. I placed the figure into this kind of space and used lines to define their ambiguous presence in the void."

You might find Condo's drawings intriguing, or straight-up grotesque. Either way, we predict you'll have trouble looking away from his contorted Cubist cartoons. See Condo's twisted visions below and let us know your thoughts in the comments.

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George Condo, Female Portrait, 2013, Ink & gesso on paper, 60 x 40 inches, Copyright George Condo, Courtesy of Skarstedt


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George Condo, Mother and Child, 2013, ink and gesso on paper, 82 x 58 inches. Copyright George Condo, courtesy of Skarstedt


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George Condo, Standing Bather, 2013, Ink, gesso & charcoal on paper, 82 x 60 inches, Copyright George Condo, Courtesy of Skarstedt


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George Condo, The Discarded Human, 2013, Ink on paper, 60 x 80 inches, Copyright George Condo, Courtesy of Skarstedt


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George Condo, The Prisoner, 2013, Ink and gesso on paper, 60 14 x 60 18 in. (153 x 152.7 cm), Copyright George Condo, Courtesy of Skarstedt


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The Architect, 2013, Ink and gesso on paper, 60 34 x 82 12 in. (154.3 x 209.6 cm.), Copyright George Condo, courtesy of Skarstedt


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The Architect, 2013, Ink and gesso on paper, 60 34 x 82 12 in. (154.3 x 209.6 cm.), Copyright George Condo, courtesy of Skarstedt


George Condo's "Ink Drawings" runs until April 5, 2014 at Skarstedt in London.

Brazil Carnival 2014: Rio Keeps Up The Pace With Parties And Parades

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RIO DE JANEIRO (AP) — Extraterrestrial toucan birds, neon green spacemen waving Brazilian flags and legions of scantily clad women and men dancing a furious samba opened the final round of Rio de Janeiro's extravagant Carnival parades that ran to dawn Tuesday.

The annual spectacle pits the city's 12 best samba schools against one another in ornate parades that include over 2,500 participants each and cost more than $3 million to produce. The efforts are judged in 10 categories, with a winner announced later in the week, laying claim to nothing more than a year's worth of bragging rights. The enormous effort is largely made by Rio's poorest citizens — the samba schools are mostly located in impoverished neighborhoods, and armies of volunteers from nearby slums spend nine months or more sewing, sweating practicing the samba songs and dance moves, all for an 80-minute presentation before well-imbibed spectators.

"Samba is the root that binds Brazilian culture," said Nanny Kammura, a 35-year-old kindergarten teacher and mother who transforms into a "passista" samba dance specialist for the Mocidade school when the big party rolls around each year.

"We're here honoring that culture, our roots. It's ours, it's Brazilian," she said just before her school began its parade, during which she wore an enormous green feather headdress and minuscule sequined silver top and bikini bottom. "Yes, it's a party. But it's also us honoring our history and ensuring that samba will never die."

Zelma Freitas, a 48-year-old office secretary, sat in the front row of the cheap seats section at the Sambadrome, the 700-meter-long (nearly half mile) avenue lined with grandstands. She didn't hesitate to say how she would explain to outsiders why Brazilians go through such effort and cost for the spectacle.

"It's pure joy, mostly for those of us from humble backgrounds, who take pride in and root for our favorite (samba) schools," she said as the municipal band struck up Rio's beloved anthem song, "Cidade Maravilhosa," or Marvelous City, to open the parading. "Perhaps it's inexplicable to outsiders, but this means so much to the poor, who for the rest of the year have to face our daily reality. Today, I leave that behind and embrace this fantasy."

Carnival wraps up Tuesday as Rio collapses in exhaustion ahead of Ash Wednesday and the beginning of Lent. Aside from the parades, since Friday nearly 500 street parties have taken over the city, with tourism officials forecasting an influx of more than 900,000 tourists. It's the last big event that Brazil hosts before the World Cup, international football's showcase tournament that opens in 12 cities across the nation in June.

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Bradley Brooks on Twitter: www.twitter.com/bradleybrooks

John Ridley Says He Didn't Snub Steve McQueen During Oscars

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"12 Years a Slave" writer John Ridley, who won an Oscar on Sunday night for his work in adapting Solomon Northup's title memoir, says he did not leave director Steve McQueen out of his acceptance speech on purpose.

"Listen, without Steve McQueen I wouldn’t have this Oscar tonight," Ridley said to a reporter from the New York Post at Vanity Fair's annual Oscar party on Sunday night following the Academy Awards. "I owe a lot to the genius of Steve McQueen, and I am forever grateful to have had the chance to work with him." According to Ridley, he neglected to mention McQueen because of time constraints and "emotion" in the moment.

Which isn't to say that Ridley and McQueen are best friends, at least according to multiple sources. After Ridley won Best Adapted Screenplay on Sunday, McQueen responded with what appeared to be cursory applause:

McQueen Clap

McQueen also left Ridley out of his acknowledgments when the director accepted Best Picture at Sunday's awards. (McQueen was a producer on "12 Years a Slave" as well.) According to Nikki Finke, McQueen and Ridley battled over screenwriting credit on "12 Years a Slave." That story was confirmed by TheWrap's Jeff Sneider, who noted the two men were engaged in a "bitter feud."

McQueen tapped Ridley to work on a separate slavery-themed project that eventually led to “12 Years a Slave” after McQueen’s wife discovered the book, which Ridley subsequently agreed to adapt on spec. McQueen had a hand in shaping the script that Ridley turned in, but when he asked the writer for shared credit — not uncommon in Hollywood — Ridley politely declined, an individual with knowledge of the situation told TheWrap.


According to TheWrap, McQueen went to "12 Years a Slave" studio Fox Searchlight to appeal for credit, but was denied. (TheWrap story also makes reference to McQueen reportedly yelling at Ridley's wife during the BAFTA Awards and making her cry. While some incident did happen at BAFTA, Page Six reports that it was a "misunderstanding" and McQueen later apologized.)

McQueen has not made public comment on his snub of Ridley at the Oscars -- whom he also failed to thank at the BAFTA Awards -- but the director did express gratitude to the screenwriter at the Golden Globes. McQueen's representatives told HuffPost Entertainment that they had no comment on this report.

For more on McQueen and Ridley, head to Page Six and TheWrap.

Chris Evans Plans Break From Acting After Marvel Roles

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Chris Evans is ready to hang up his superhero cape. The 32-year-old actor recently revealed in an interview with Glamour that he has plans to take a break from the business.

"I think when I'm done with this Marvel contract, I'll take a little break from acting," Evans, who stars as Captain America in Marvel's films, told the publication. "With acting, you're one piece in a very big puzzle. It's like you helped buy a gift but you don't know what the gift is, so you come back and see the movie. Sometimes it's nice, sometimes it's tragic."

It's no surprise Evans is ready for some time off after his contract with Marvel had him playing Captain America year after year. He first picked up the role for 2011's "Captain America: The First Avenger," going on to appear as the patriotic hero in "The Avengers" and "Thor: The Dark World." Evan's latest effort as the character, in "Captain America: The Winter Soldier," will hit theaters on April 4.

The award-winning actor has voiced his concerns about the lifestyle changes that come with the Marvel films in the past. "When the movie comes out, there’s going to be a surge. And there’s going to be some changes, but then it’s going to go away. It’s going to die back down," Evans told Slashfilm earlier this year. "It’s not like once these movies are out, your life is forfeit, and you can’t have any more control. So you’ve just got to take those periods of time in stride, and it will pass."

R. Kelly's 'White Panties' Album Planned With More 'Trapped' Chapters

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The following article is provided by Rolling Stone.

By Jason Newman

R. Kelly's 2013 album Black Panties debuted at No. 4 on the Billboard 200 and has gone on to sell more than 300,000 copies. In light of the album's success, the singer told V Magazine that he is planning a sequel entitled White Panties.

LINK: R. Kelly Details His 'Black Panties' Creative Process

Kelly was coy on details — his only admission being the vague quote, "You can expect a whole other level" — and did not divulge any album info or if White Panties would be his next album.

LINK: Watch: R. Kelly Freestyle Ridiculous Sex Songs

When asked more generally if he was compromising himself to placate to his fans, Kelly replied, "No. I always follow what my spirit tells me to do. When I get into the studio I write from my heart. I try to write life and not songs. People live life and when you write life, you’re going to mess around and touch somebody’s heart, and they’ll relate to you and what you’re singing about."

LINK: Watch: R. Kelly Heat Up SNL With Lady Gaga

The singer also divulged that he was recording a song with Mary J. Blige as part of the duo's upcoming King and Queen tour and that he is hoping to do a full album with Blige. Neither Kelly nor Blige have announced specific tour dates.

LINK: Rolling Stone’s 2005 Interview: R. Kelly Speaks: No Apologies

And since no R. Kelly interview is complete without the inevitable "Trapped in the Closet" question, Kelly revealed that he has 57 unreleased chapters of the ongoing soap opera. "This thing is forever," said the singer. If he can improvise songs called "Sex Dolphin" and "Italian Hero Sandwich of Love," we probably should believe that whole "forever" thing.

LINK: See Where ‘R. Kelly’ Ranks on RS’ List of Best ‘90s Albums

Last year, the singer detailed his thoughts behind recording Panties to Rolling Stone. "I love that I can play around with all types of music," he said. "I did Love Letter and Write Me Back and those were fun albums for me to do, because they took me back to music I love. But I wanted to change lanes with this new album and remind people of the TP-2.com and 12 Play style of music I can do — 'Kellz music!' I like that I can change lanes and do all different kinds of music. Fans can never accuse R. Kelly of doing the same thing, I keep mixing it up."

Miley Cyrus Makes Out With Female Fan At Las Vegas Concert (VIDEO)

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Miley Cyrus kissed another girl, and she took to Twitter to let us know she liked it.

During a Las Vegas stop on her "Bangerz" Tour on Saturday, March 1, Cyrus used a moment during her performance of "Adore You" to lock lips with a female fan in the audience. The song usually features a kiss cam that spotlights same-sex couples, except this time Cyrus herself was part of the action -- just as she was when she made out with Katy Perry less than two weeks ago at a Los Angeles concert.




Clad in a glittery onesie when the smooch went down, the 21-year-old singer retweeted a fan-run Twitter account after the show that included a photo of the kiss.




Watch a clip of the moment above.

Jeff Goldblum Talks 'The Grand Budapest Hotel,' Then Dodges A Falling Table With Cat-Like Reflexes

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There are quite a few things that can make an interview memorable. Sometimes these are subtle moments: Perhaps it's a wry smile during an answer that completely changes the subtext of the conversation. Other times, it's a gesture -- perhaps out of kindness, perhaps out of spite -- that reveals more about the interview subject than any verbal answer could ever provide. Or, you could just accidentally dump a table onto the lap of Jeff Goldblum, watching him dodge a cup of hot coffee and a bottle of water with the reflexes of a cheetah. So, yeah, that's pretty memorable, too.

Goldblum is in this weekend's new Wes Anderson film, "The Grand Budapest Hotel." Goldblum plays Deputy Kovacs, a man responsible for dividing up the vast fortune that was left behind after the death of an eccentric widow who frequented the aforementioned Grand Budapest Hotel.

It's almost impossible to present here a "preview," if you will, of what to expect below with an interview with a man as purposefully discombobulated as Jeff Goldblum. (Well, except for that whole table incident.) In person, Goldblum -- who is without a doubt a sharp-looking man -- will drift in and out of topics, giving the whole proceeding the feeling of whimsical frenzy. Anyway, the good news is that even though my clumsiness could have killed Jeff Goldblum, Jeff Goldblum escaped this interview unscathed.

Jeff Goldblum: What's your last name?

Ryan.
Mike Ryan -- movie star name. You could play a sheriff in a movie. The action hero, Mike Ryan -- all fighting, all loving, once again.

I believe that's you in "Silverado."
Oh, yes, really? All fighting, all loving? Yeah, that's me. That's me. Jeff Goldblum is sheriff Mike Ryan. Yeah, that would be good.

I like this interview so far.
Yeah.

Let's talk about "The Grand Budapest Hotel."
I bet a guy like you liked this movie.

I did.
It's great, isn't it?

You're a whimsical guy, I'm surprised you're not in more Wes Anderson movies. Why haven't you done more since "Life Aquatic"?
Maybe nothing was right for me. I don't know why. Who knows why? Or, if I never do another one, I'll be satisfied with what I've done. But, I would work with him any time and every time -- as I think every actor would. And, a final product! That's what you want to do: to do something that contributes to a movie that works.

So when you see it for the first time, you're thinking hot damn, we have something here?
Yeah, who knows what will happen to it, but, yeah, he's trying to make something beautiful and it's all subjective. I dig what he's doing.

I can guess what will happen: It will be a modest success at the box office, then it will be a beloved film forever. Wes Anderson movies seem to have that pattern.
Well, who knows? Who knows? This may be special in any way.

There is more action in it than what we're used to seeing.
There is more action. I love it.

I see the trend now. You're in his "violent" movies.
[Laughs] "Life Aquatic" was violent. Yeah, I swatted the dog in that.

It's always weird when I'm flipping through channels and see you in an old episode of "Laverne & Shirley" or "Starsky and Hutch," or something. Do you see those when you're flipping around?
I do!

What do you think?
How lucky I am to have stayed active. Sometimes I see things and not only is it a reminder that I've been at it, but, jeez, I got another chance after that.

"Annie Hall" is the famous one, but there you are as "Freak" in "Death Wish."
I know.

You don't just blend in. It's so obviously you.
I stick out like a sore thumb.

I'd say a recently manicured thumb.
Thank you so much -- with a sweet, sweet thumb ring on it.

Was there a particular movie you did when you realized those kind of television appearances were over? Was it "The Big Chill"?
I still make guest appearances! "Glee" and "Portlandia" and "The League."

That's different. You're doing those as "Jeff Goldblum," because you want to, not "actor who needs work."
Well, you know, I've progressed. I was never particularly careerist or, "Gee, how am I doing?" I've got good representatives and I check in with my market continuum. But, thank goodness, I mostly got in it for the wild, passionate adventure of doing something I loved. Luckily, those seeds have sort of germinated into even more clear activities everyday of putting my head down and just kind of enjoying making stuff. I do love it, more than ever, for the sheer sake of its own pleasure.

Is that a conscious decision? You've been showing up in stuff like "Portandia" and "Tim and Eric's Billion Dollar Movie" ...
I love them.

Off the wall stuff. But there was a part of your career where you did a television show like "Raines," which was very mainstream. Are you now embracing wackier material, compared to just a few years ago?
Hmm. That's interesting. Like I say, I've never been particularly strategic or careerist -- and I don't separate one period from the next. But, I think I've gotten more and more clear that I just want to do things that excite me for the sheer pleasure of it and work with people who interest me and delight me. And this would certainly fall into that category. There's nothing to get out of this -- that I'm looking for, at least -- except the sheer pleasure of doing it.

You mention being delighted, one of the scenes that delights me to no end is the closing credits of "The Adventures of Buckaroo Banzai Across the 8th Dimension."



Thank you so much! I love that movie. And Peter Weller and I started a band that I'm still playing with.

Is he still playing in it?
He hasn't been in it for awhile. He's off and doing spectacular things, but I have a core group that is a later version of that thing that started and I do it every week -- at Rockwell in Los Feliz, whenever I'm not working. How did we start talking about that? We were talking about? We went from music with Peter Weller to ... "Buckaroo Banzai"! The last scene of "Buckaroo Banzai"!

A lot of those characters die in the movie, but they all come back to do that fun walk.
Well, you know, Wes Anderson, when we did "Life Aquatic" said -- well, I don't know who said it first, maybe I said, "Hey, you know, this little bow that you do at the end, that sort of reminds me ..." And he said, "Well, I'm a big fan of that movie and that's kind of it. That's kind of what I'm doing." So, there you go.



[The publicist comes in to tell us our time is up.]

Oh, we're done? We're coming to the end? [As we stand up, my knee hits the underside of the table we are at, sending the table and the contents of the table, which include a bottle of water and half of a cup of coffee, toward Goldblum, who somehow dodges both.] Jesus! Almost a disaster. That should never happen. You saw me, did I lean on it? [A waiter comes in to ask if we are okay.] Yeah [laughs], everybody is okay. Mike says he's suing for everything.

How did that happen? I think I might have done that.
I don't know. That was a magical occurrence.

I almost killed you. I'm sorry.
It was almost tragic.

I would have had a good title for this story, though. But I would have felt terrible.
"Jeff Goldblum Dies, But We Had A Nice Chat."

Mike Ryan is senior writer for Huffington Post Entertainment. You can contact him directly on Twitter.

Lena Dunham To Write Archie Comics Story

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If that image looks familiar, it's because it's a mash-up of the classic girls from Archie Comics, and the promotional poster for Lena Dunham's HBO series, "Girls."

And the reason it exists is because this mash-up is really happening ... in a way. After talking about her love for Archie Comics in an interview, Lena Dunham has been tapped to pen a four-issue arc for the iconic teenagers of Riverdale.

"I was an avid Archie collector as a child -- conventions, first editions that I kept in plastic sleeves, the whole shebang," said Dunham in a press statement. "It has so much cultural significance but also so much personal significance, and to get to play with these beloved characters is a wild creative opportunity."

While the accompanying image may be a nod to "Girls," we can't imagine Dunham taking things that far with America's favorite teenager. The publisher has already expanded with more sophisticated work like their zombie series "Afterlife with Archie," and another series exploring married "Life with Archie," but we doubt they're ready for an R-rated Riverdale.

Lena Dunham's Archie Comics story is scheduled to appear in 2015. "Girls" is currently airing on HBO, Sundays at 10 p.m. EST.
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