Guess ‘Zoo’ Made an Appearance on the Valentino Runway?

Photo: @Maisonvalentino on Instagram

Two really, really ridiculously good-looking models (like move over Kylie, Cara, Karlie…) made an appearance on the runway over at Valentino today. Excellent on the runway. Even better when Zoolander 2 finally hits a movie theater near us. Ben Stiller and Owen Wilson–bravo, you win #PFW!

DOES THIS VALENTINO FINALE MEAN ZOOLANDER 2 IS COMING!?!?!?!?!?!?

A video posted by Man Repeller (@manrepeller) on

Suddenly the #PFW #FOMO is real.

A must-have pic for anyone in fashion.

Zoolander just appeared on the Maison Valentino runway show! Ben stiller and Owen Wilson! #Giachetti

A photo posted by Dominick Giachetti (@dominickgiachetti) on

Derek takes the runway.

Drop the mic….. @Maisonvalentino @carlossouza1311

Hansel’s coat drop.

The men who stole fashion week.

Brie Larson Set to Star in Bollywood Musical ‘Basmati Blues’

We first fell in love with Brie Larson when she starred as Kate, Toni Colette’s angsty and savvy teenage daughter on The United States of Tara. Since then, she’s gone on to guest star on comedies such as The League, but it’s her roles in Scott Pilgrim Vs. the World and 21 Jump Street that have turned audiences onto the charismatic young talent. Although blessed with an aptitude for comedic timing, there’s something about Larson that makes us hungry to see how she fares in something meatier or more in dramatic world.

This month’s Sundance Film Festival will debut two of her new projects: the ensemble film The Spectacular Now from Smashed director James Ponsoldt, as well as Joseph Gordon-Levitt’s directorial debut Don Jon’s Addiction. In pre-production is her role opposite Owen Wilson in iconic director Peter Bogdonovich’s next anticipated feature, Squirrel to Nuts. And now, it looks that Larson is set to take on a role she’s won over many a Hollywood darling—including the likes of Kate Hudson—in the Bollywood musical, Basmati Blues. Directed by Dan Baron, not much is known about the film other than that it will be shot entirely in India and as the log line provides, is a "musical comedy about love, adventure, and a grain of rice that could change the world." 

We’re interested to know more about Larson’s role in Blues and just how she’ll take on what could prove a challenging new turn for her. In the meantime, check out her great Criterion Collection Top 10 picks that prove the girl has got taste.

Django Django’s Art Rock Fantasies

It’s been quite a year for London band Django Django. After releasing their self-titled debut album at home to great acclaim in January, they crossed the pond and made their American live debut at Brooklyn’s Glasslands Gallery before the whirlwind of SXSW. Over the course of 2012, the psych-rock quartet racked up over a million YouTube views for the addictive single “Default,” accolades from around the world, and a Mercury prize nomination. They’ve won the approval of everyone from NPR to Ryan Gosling, and it’s well deserved. Django Django is a richly textured sonic journey, the band’s art school background showing through in their willingness to experiment and their trippy videos. They make songs that are genuinely weird and genuinely catchy, influenced by everything from diss rap to visions of Egypt and the wild west.

I talked to singer/guitarist Vincent Neff and keyboardist Tommy Grace during their trip to the U.S. last month about touring, Fox News, and developing a sense of style.

Things have definitely changed for you since the last time you were in Brooklyn. How would you sum it up?
TG:
It’s been just a surreal, fragile rise. It’s been pretty amazing. We released the album in January and then just the audience numbers have gone up and up and up. To be playing at Bowery with a packed out house, I just couldn’t believe it. It’s been really nice.

How does it feel now that the album’s properly out in the US?
VN:
Brilliant. Even just the tour over here is one thing, but getting it released here, it’s brilliant to go into a store and see it, the vinyl sitting there.
TG: It was a real protracted process, wasn’t it? Took a long time just to get a distributor in the US. People can buy it legally now instead.
VN: Loads of people were coming up to me at the Bowery and saying "I got it illegally back in February, but I bought it officially when it came out over here." It’s quite nice to hear people do that and be open about it.

Well, we all knew the songs back at Glasslands.
VN:
Glasslands was one of the highlights of our year.
TG: Someone’s asked us in an interview, pick out a highlight of being in the band, and I just remember that show was totally brilliant. It was the first time we had played in the US.
VN: We didn’t know what to expect. There was no release here, so we thought we’d run the risk where no one would really know who we are. But it was just totally great. It felt like a little partisan kind of crowd. It was very good fun.
TG: We saw a lot of recognizable faces as well.
VN: At the Bowery we saw loads of faces [that we’d seen before]. It was about 1:30 in the morning as well, that always helps.

So things have definitely changed now that the album’s out here?
VN:
The only thing we could really go on was the New York thing, and then we went on to SXSW after. I kind of followed on Twitter that we were getting some radio play over here and some write-ups and stuff coming through, but that was only really recently. We went to LA and had a sold out venue, Chicago was the same. So it’s totally been amazing, playing these quite small little places but getting a good atmosphere going. The fans have been really good as well.

Now that you’ve been in the US for longer, has there been any sort of culture shock that you didn’t experience before?
VN:
I just get really addicted to television when I come here.
TG: I just dive straight into the burgers. Then I have this sort of relapse, and about a week in, you’re searching for all the salads you can find. You’ve got so much great food in New York, you’re so fortunate.
VN: I think the snack food here is so much better than in London. That corner shop over there doesn’t really look like much, but apparently it does amazing sandwiches. Dave, our drummer got one and he told us about it. We had these sound engineers talking about the sandwiches and saying, "Don’t get the cucumber in that, that Birdman sandwich, because it wrecks the sandwich, don’t mess around with it."
TG: Everyone’s an expert on food in New York. Even if you don’t have a lot of money, you can be really picky.
VN: [People have lists of] the best chicken shacks, or the best pork ribs, the best Mexican, salads and stuff. And then there’s the TV, I’ve been watching so much TV. It’s like a drug. There’s endless adverts about blenders and workout videos and Fox News, it’s just the funniest…We don’t really have that level of wearing-its-heart-on-its-sleeve news channels. It’s more regulated, more subtle. It’s kind of intoxifying, you just want to watch more of it. We watched a bunch of Yankees games last night. When you don’t really see baseball and football and basketball, you don’t tend to watch it, but when you come over here and it’s everywhere, you get kind of hooked and you start to learn very quickly about who’s doing well. From the last time we were here, for example baseball, they used to wear the tight socks around the bottom. Now, they wear these baggy trousers. We kind of notice these little subtleties.
TG: Just the TV in general, we’re doing this interview and my eyes are going to the screen over there. They’re everywhere. They’re so difficult to avoid, it’s just like omnipotent, as well as all the advertising and billboards. It all seems new to us, because we’re not used to it.

What are some other staples of your touring life?
VN:
In LA, we find a lot of really good diners, we’ve been to the Museum of Modern Art there. Once we get to a venue, we try to take a look around the shops and such. It’s been quite a fast tour and we’ve flown everywhere, so we haven’t seen as much landscape. We’ve felt very much dropped-down, turn around.
TG: We really enjoy Williamsburg, this is a nice neighborhood.
VN: Canada was amazing, I really enjoyed Montreal, we had a really good gig up there. It felt really foreign, even though it’s only a couple hours from Boston, it’s completely French-speaking. All the road signs are in French.
TG: And there’s such enthusiasm for music. Loads of buskers, loads of people just playing guitar out on their balconies. There’s a real appetite for music, and the crowd in Montreal was great.

What’s the most memorable thing that’s happened on this tour?
VN:
Celebrity spottings. We had Owen Wilson sitting at the next table over from us in San Francisco. In LA, the lead actor from Drive was at our gig. I texted my sister back in Ireland, and she was going absolutely mental. She was like, "I’m going to fucking come the next time, for fuck’s sake!", missing out on it. And then we saw Martin Sheen at the airport. We were like, "That guy looks remarkably like Martin Sheen. It is Martin Sheen!"
TG: It’s all terribly glamorous.
VN: And then you’ve got us, four pasty white Scottish/Irish/English [guys].

Back in the spring, you played Chanel’s party for Paris Fashion Week. Have you gotten any more love from the fashion world lately?
TG:
It’s funny, we’ve got two rails of garish clothes back there to try on, we’re shooting a video tomorrow. It’s not exactly a fashion parade.
VN: It’s for the video for "Life’s A Beach." We’re shooting it in Williamsburg. We’ve got it all set up, it should be fun.

Any hints as to what we’re going to see in that?
TG:
It’s going to be watery.
VN: That’s all we can say.
TG: There are going to be big volumes of water in the studio. Pool party.

Your videos are always so memorable.
VN:
The more busy we get, the less time we have to input in them in some ways, but we always try to [get] similar concepts. Dave and Tommy kind of bring through the concepts, but we’ve had to hand them over because we haven’t got time. Like "Default," Dave and Tommy worked pretty much full time on that with this other guy.

How did you come up with the distinctive t-shirts that you wear onstage?
TG:
Dave came up with them, I think he’d just been to Barcelona and was inspired. It’s great fun throwing bleach around on a t-shirt, trying to make something that looks good that seems sort of full of life. We’ve been using them for quite a while, I think we need to change them up.

Do you have any tips for new bands trying to come up with their own looks?
VN: One earring is always good. One earring and one shiny glove, that’s a good start. Tommy used to wear little seahorse medallions when he was a kid. That should come back, and waistcoats. There’s always a fine line to walk between looking like a complete idiot and looking [good].
TG: You should be afraid to look like an idiot.
VN: No, you shouldn’t be afraid to look like an idiot. If you’ve got conviction, just say, "I’m going to wear it, I don’t care what everybody thinks." That always seems quite good, when someone just walks down the street and they’re not too self-conscious. Just have conviction over it, and ignore the people who snigger at you.

Yeah, because what you have going on is a distinctive look, but you don’t have to ask if it’s working or not.
VN:
Yeah, and the more intricate you get, the more likely you’re going to hit a snag. We used to have this white gaffer tape in different shapes, but invariably I sweat a lot and the gaffer tape would fall off onto my guitar and I would be stuck to my guitar. So make it user-friendly, able to put on easily, able to take off, and make sure it goes with what you’re playing. If it’s just a tambourine, then you’re okay, but if you’re playing intricate solos on a keyboard or a guitar or drum solos…
TG: Don’t wear tassels.

Johnny Depp is the Newest Addition to The Wes Anderson Players

Upon seeing the news this morning about a new Wes Anderson film titled The Grand Budapest Hotel and starring Johnny Depp, I immediately assumed someone was making a joke about Anderson and Depp’s recent work seeming tired or repetitive, wrapped in an allusion to the early-bird-special comedy, The Best Exotic Marigold Hotel. But it seems I was wrong! After Moonrise Kingdom brought in $40 million at the box office with its whimsical meditation on love and youth, the sartorially minded auteur is already gearing up for his next project—and everyone seems to be abuzz with anticipation.

There has yet to be much revealed about the film, save the fact that it will be set in Europe and stray from the “family-friendly,” nature of his recent work. Scott Rudin, who has worked with Anderson since the Tenenbaum days, will come onboard as a producer as the list of possible actors grows from his usual favorites like Bill Murray and Owen Wilson to Willem Dafoe and Angela Lansbury.

And as for Johnny Depp, it will be a relief to see him take on something new, even if it means hopping in the arms of a new auteur. Not to say his work hasn’t been good over the past few years, but it will be nice to see him take on something challenging (not like, say, The Tourist). Wes Anderson’s films speak their own cinematic language, and it’ll be interesting is to see how Depp, someone so honed in his own personal style, adapts to that world. 

Zach Galifianakis, Owen Wilson Join ‘Mad Men’ Creator Matthew Weiner’s Film Debut

Mad Men creator Matthew Weiner has been waiting for more than a decade to direct his first feature film, but this may help: Owen Wilson and Zach Galifianakis will join the cast of You Are Here, based off a script Weiner wrote in the early part of the millennium. "It’s a dramedy that centers on a weatherman who is dependent on a best friend for his good times," the Hollywood Reporter writes. "When the friend inherits a business and some land from his father, the weatherman is forced to get his own life in order." Maybe the reason this couldn’t get off the ground is because of how conceptually similar it sounds to Nic Cage’s The Weather Man

Weiner’s been cock of the block for a while, but especially so after signing a $30 million deal for Mad Men’s final three seasons and watching the season five premiere debut to record ratings. So what’s a little cash towards a vanity project? THR notes that actors like Matt Dillon and Renee Zellweger have been attached in the past, but with little progress. Wilson and Galifianakis are pretty marketable (Amy Poehler is rumored to be joining the cast to), so hopefully this still stick. If not, well: More time to brainstorm how Pete and Peggy can get back together.

Listen to Woody Allen Plot Out ‘Midnight in Paris’ Almost 50 Years Ago

Midnight in Paris was a batch of fresh cookies for Woody Allen fans waiting for the jittery heeb to get back in winning mode after a few decades of on-again, off-again success. But did you know the idea for the movie may have come before anyone even knew who he was, way back in the swinging ’60s? The Nerdist’s Jake Kroeger calls attention to a track called "Lost Generation" from a compilation of Allen’s stand-up material, recorded almost 50 years ago. In it, Allen describes getting critiqued by Gertrude Stein, getting punched in the face by Hemingway, meeting Dali, looking over Picasso’s paintings and running into F. Scott and Zelda Fitzgerald on the back end of a bender — a rough handful of plot details included in Midnight in Paris, but without the formal structure. Listen to it after the click, via Vulture.

They’re not really "jokes" so much as "a smart guy talking about how much he’s read," but it’s interesting to consider how long the idea may have taken to turn over in Allen’s febrile mind before it became a movie that would sweep every screenplay award a lifetime later. Almost all of the jokes are contextual, as Kroeger points out, which means that Allen’s had the benefit of playing to English majors for almost his entire life. It also makes you realize that Owen Wilson’s character in the movie was certainly a role Allen himself would’ve played were he a younger man.

‘Wedding Crashers’ Stars Vaughn & Wilson Reunite for ‘Interns’

If you hold a lot of warm dorm room viewing memories regarding 2005’s Wedding Crashers, you’re in luck: Vulture reports that Crashers stars Vince Vaughn and Owen Wilson will reunite for Interns, a Twentieth Century Fox production. They’ll play "forty-ish company guys who both get laid off in a downsizing," Vulture writes. "Convinced they’ve gone about managing their careers entirely wrong, they resolve to become interns at a Google-like dotcom and start anew. Suddenly, the two old chums are competing against wily, fresh-faced 22 year olds for advancement." It’s going to be an tour through the middle-aged male psyche, one that pulls no emotional punches at looking how hard it is to grow up when your future has been tossed to the side. Either that, or Vaughn is going to get too drunk at a company party and sleep with his boss, played by an immensely aggressive Jennifer Coolidge. It’s going to rule.

Mainstream dude humor is slightly less gauche these days following a mid-millennium peak of testosterone dominatrixes like Dane Cook and Tucker Max, enough to venture that you can’t really make a movie that’s entirely about confirming most of the worst male stereotypes. As entertaining as Wedding Crashers was, it’s still a movie about how it’s okay to lie your way into sleeping with a lot of women — but hey, it’s alright if everyone’s drunk! So yes, it would be nice if Vaughn and Wilson update their worldview for a comedy landscape that’s far more fragmented and open to less blatantly chauvinist humor. On the other hand, montages of half-naked women hitting the bed are guaranteed to boost a movie’s box office take by $50 million per scene, so we’ll see.

Hollywood’s Final Advertising Frontier: Porn Sites

Not even the blind can avoid the media onslaught that typically attends Hollywood releases these days. From traditional billboards and tv spots to the latest in e-ads and street tagging, there’s nary a gimmick at which movie hucksters haven’t already had a go. Except one: advertising on porn sites. Until now, such sites have been the only salient media outlets to remain largely uncontaminated by Hollywood hype. But the new Paramount Vantage release Middle Men might change all that. You see, it’s a film about the online porn industry, so it seemed like as good an occasion as any to see if the spankers of the world would take the bait.

If you’ve gone back to revisit Two Girls, One Cup lately, or whatever ever else rings your bell, you might have found yourself obliged to sit through the trailer for this only vaguely amusing-looking Luke Wilson vehicle. According to the LA Times, it’s part of the film’s unprecedented campaign to reach America’s forty-million regular porn users. “We have more traffic than God,” says Kevin Blatt, who handles advertising sales for Pornhub and Youporn parent Manwin. “The only people to get more traffic than us are Google and Yahoo. And here, we pretty much have a captive audience.”

Given such an enormous number of visitors, it’s a wonder Hollywood hasn’t gone this route before, but if this weekend’s box office finds Middle Men doing well, expect to see a lot more of it. Christopher Mallick, on whom the film is loosely based, is confident we’re looking at the new norm. “The studios say, ‘Oh God, we can’t market there’. Do they think [the users] are all sitting in a basement and are all pedophiles? They are average Americans. Adult entertainment is becoming much more mainstream.”

Already some six million users have clicked from through from Debbie Does Whomever to the Middle Men website. I wonder how many clicked back afterward?

Here’s the green ban version of Middle Men the trailer:

Unproduced John Hughes Script Making the Rounds

Oscar’s tribute to John Hughes last night was one of the show’s highlights, if for nothing else than its aggregation of grown-up child actors. Macaulay Culkin talked about the director’s gift for working with young talent, Matthew Broderick confirmed that he’s still known chiefly for Ferris, and Judd Nelson, as ever, looked like a douche. The Hughes legacy has proven an especially enduring one, so it shouldn’t come as a surprise that there’s interest in his unproduced screenplays.

According to The Hollywood Reporter, a draft of “Grisby’s Go Broke” has been circulating Hollywood of late. The script follows the downward spiral of a wealthy Chicago family who loses everything and moves to the sticks. Rumor was that Paramount, with whom Hughes made Ferris Bueller’s Day Off and Pretty in Pink, was already looking to buy the property, but that proved false. I’m wondering if the failure of Hughes last produced script might not be one reason. Although he went uncredited, and the script was re-written by Seth Rogen, Hughes was the man behind the odious Owen Wilson vehicle Drillbit Taylor. No one needs more of this: