Kourtney Kardashian Pregnant With Baby No. 2

Scott Dissick, Kourtney Kardashian Kourtney Kardashian is contributing to the clan - she's pregnant with baby No. 2.Kardashian as well as on-again-off-again boyfriend Scott Disick introduced this news early Wednesday, first reported by Us Weekly."Now I am nine days along," she stated. "You are designed to wait 12 days to inform people, however i feel confident."Kourtney and Kim Take NY: 7 Signs Kim and Kris were condemned in the startThis would be the couple's second child together. Their boy, Mason Disick, was created in December 2009."It had not been like we were not trying," stated Disick, 28. "We type of just stated, 'If it's intended to be, it will be.AInchKardashian, 32, and Disick happen to be together (off and on) for 5 years. On Sunday's premiere of Kourtney and Kim Take NY, the E! reality star managed to get obvious that they are not inside a relationship - and also the two even rested in separate sleeping rooms.

Basketball Lockout Finishes: Tentative Deal Sees a Christmas Day Start

E! Entertainment The backlash in the Kardashian suite of reality shows may have acquired plenty of steam within the last day or two, but sorry Kardashian experts, looks at the growing debate aided to kill a recommended Christmas special aren't true in line with the network.our editor recommendsKim Kardashian Wedding Artist Dork Koz Expresses Doubt Over Event's 'Authenticity'Kim Kardashian versus. 'Jersey Shore': The Frivolous Suit Face-OffKim Kardashian's Fur Use Specific With PETA Billboard (Photo) PHOTOS: 19 of Hollywood's All-Time Least Close ties An E! representative notifies The Hollywood Reporter this news is "completely false." Really, you will never put the kibosh on a thing that apparently never existed since the representative adds, "This special was not ever round the schedule." On Friday, the NY Post's reportedthat its sources condition the household reaches talks while using entertainment cable funnel for just about any public special while using reality clan ringing inside the holidays having its audiences. PHOTOS: Inside Kardashian Corporation. In line with the newspaper, plans for your special fell apart because the family people had "lots of obligations," which handled to obtain difficult to schedule the program's shooting. Though, the fallout from Kim Kardashian's quickie divorce from Kris Humphries was allegedly the nail inside the coffin. A Kardashian repetition had also told the newspaper, "I have not heard anything about [it]." A distinctive such as this would definitely internet plenty of audiences among all the divorce debate. The Two part Kardashian/Humphries wedding special attracted greater than eight million audiences over its two nights. VIDEO:Kim Kardashian Offers Picture of Happy Marriage in Marie Claire Interview Nevertheless, fans will get a dose of Kardashian soon. Kourtney & Kim Take NY returns on Sunday at 10 p.m. Email: Jethro.Nededog@thr.com Twitter:@TheRealJethro PHOTO GALLERY: View Gallery 8 Possible Hollywood Targets for Ough Gervais within the Golden Globes E! Entertainment Khloe Kardashian Kim Kardashian Kourtney Kardashian Kris Jenner

'Arthur Christmas': Just what the Experts Say

Hulton Archive/Getty Images Each time a household reaches risk, which dog will it use for help?Who is the owner of the famous imaginary collie dog known to as "Lassie" posseses an knowledge of that. Classic Media has filed a $millions of copyright suit against financial services firm J.G. Wentworth which is advertising agency to create a TV commercial getting your dog that allegedly is just too similar to its legendary character. Lassieran on tv between 1954 and 1973 in addition to produced 11 movies. Now you now request , whether Lassie's owner can sink its teeth into unfriendly folks who would like to take advantage from the picture of the heroic collie on television. With different complaint filed in NY federal court, throughout Lassie's long-term on television, the show stood a memorable recurring story where Lassie is written by his imaginary entrepreneurs, including Timmy Martin, to go to seek help. "Throughout her search, Lassie is proven running using a area, forest, or other rural areas until she finds humans who is able to save her pals," states the suit. In J.G. Wentworth's commercial, entitled "Get Help Girl," a parent or gaurdian and boy sit in the 19 fifties farmhouse-styled kitchen and so are fitted to clearly indicate they are from that period. Mother is distressed. "Mother, what's wrong?" questions the boy. Mother responds by saying, "Oh, Eddie, we've arrived at develop some money or we'll lose the ranch." The boy is confused. "But mother, don't you obtain structured settlement obligations each month?In . Mother solutions, "I really do, boy, nevertheless the amount I buy just isn't enough. We would like a lump sum payment payment of cash to pay back it...Inch Enter in the dog, who races through fields, forests, together with other rural areas to access J.G. Wentworth for help. Here's the commercial with further info and analysis below: Inside the complaint, Classic provides some evidence that Lassie was priority in the internet marketer when designing the area. In December, 2009, Steve Pimsler, a v . p . within the co-defendant advertising agency, Karlin + Pimsler, contacted an worker in Classic's certification department to talk about certification the Lassie character for just about any client. The Two exchanged e-mails, including one where Pimsler noted that "[o]ur idea would be to setup a predicament such as the Lassie Tv program...In . Nevertheless the discussions didn't go anywhere, and Classic states it never heard anything following the month of the month of january 6, 2010. The commercial place first demonstrated on television two several days later. Classic thinks the ad infringes its copyright which is a spinoff work of the property. The complaintant is demanding no less than $millions of in damages and many types of gains, profits and advantages derived with the alleged usage of its property. Formerly, courts have ruled that imaginary figures can receive protection. For example, Jason Bourne and Godzilla were copyrightable because of an identifiable number of traits. Nevertheless the complaintant also needs to demonstrate that the allegedly infringing tasks are substantially such as the original work. Would an regular observer recognize the above mentioned pointed out commercial just like a copy of Lassie? It's very difficult question. For example, at the begining of eighties, ABC stood a show entitled The Best American Hero of a character named Take advantage of Hinkleywith superhuman speed and strength, an opportunity to fly, imperviousness to bullets, and holographic vision. Warner Bros. punished, alleging it absolutely was a copyright rip-from the Superman character. Here's just what the second Circuit Court of Appeals required to say: "Ultimately, care must instantly reach draw the elusive distinction from the substantially similar character that infringes a copyrighted character despite slight versions to check out, behavior, or traits, together with a somewhat similar though non-infringing character whose appearance, behavior, or traits, especially their combination, substantially change from people from the copyrighted character, even though the second character is comparable to the very first. Stirring one's memory from the copyrighted character is completely not the same as turning up being substantially similar to that character, and merely the second reason is breach." (boldface ours) Ultimately, the appeals court confirmed a federal judge's summary judgment for your defendant, finding the "overall perception" in the Hinkley character was totally different from the Superman character. The Two figures shared some traits but looked and socialized in different ways. Inside the opinion, the appeals court imagined the court examining the question of having a Superman-like facsimile in to a new context like "inside the service in the underworld" is a much closer problem, with factual determination having a jury. One might suppose Classic will argue in trying to defeat a summary judgment motion that placing Lassie-type dog to the service from the financial services customers are so on. However, maybe in this lower economy, a heroic dog that saves a family group from financial the problem this is a reasonable use parody. We'll wait for judge to bark relating to this. E-mail: eriqgardner@yahoo.com Twitter: @eriqgardner

Dwts Episode Recap: Tuesday, November. 22, 2011

Dancing while using Stars' top three couples face off for your final time before a completely new champion is crowned. Plus: The cast returns and someone vogues!Round the menu tonight: two more dances (favorite dance of the year as well as the Instant samba), the whole cast, and numerous of performances and fluff pieces. Oh, and someone will win. It must be J.R., right? Right. I will not believe Rob's late surge will derail this.Round 1All three couples works a typical dance of the year. They're not going to get individual scores, but instead will probably be ranked, getting 30 points for to start with, 28 points for second and 26 points for third. After this, the next place finisher will probably be named.Ricki Lake and Derek Hough: tangoAh, the famous Psycho routine. These were given a 29 the first time. It sucks if you redo a dance and acquire a smaller score next time around, which under this scoring system features a 66 percent chance of happening. I'd score this lower. It's competent, dramatic and technically proficient, but it's less engaging than the first time. Len loves it. Ricki states it's memorable. Ricki calls her a fighter. "It absolutely was perfect the first time which is perfect [the second time]," she crows. Um, whether or not this was perfect the first time, she'd have grown to be a 30.Score: 30 points (to begin with)Total: 84Rob Kardashian and Cheryl Burke: foxtrotRob picks the foxtrot because it was dedicated to his jumps. Whenever a daddy's boy, always a daddy's boy. These were given a 24 before. That is less psychologically wrought than before and Make the most of has more pep within the step. He messes up a move in the beginning which is totally apparent relating to this, but overall it's a smooth, breezy number. Kim (covered in zebra print) and Kris (covered in fake tears) can barely contain their pride! Bruno states Make the most of made the hiccup look charming. Barbara Ann states everything seems enjoy it comes lower easy to him now. Len doesn't be worried about the slip because Make the most of gets the best product connected having a guy he's seen around the program. Uh, say what? A lot better than J.R.? Emmitt? Came? Donny? Apolo? Simply how much is Kris needing to spend the money for idol idol judges to blow smoke up his ass?Score: 26 (3rd place)Total: 83J.R. Martinez and Karina Smirnoff: jiveThey got a 22 for using this method in Week 2 when Len accused these to do a lot of a lindy hop. To make sure that sequence as well as the lift are out. Much less it matters as it is still pretty great. It's high-energy, stimulating and is fantastic for J.R.'s pleased personality. Barbara Ann calls him a catalyst for pleasure and misses the lift. Can't have it for, lady! Len states he just fires up the region. Bruno gives him three "funs."Score: 28 (second place)Total: 82A one-point spread between everyone! Oh, show. Who didn't look at this coming? By doing this they could place the "blame" on fans due to not voting if there's a backlash. Everybody haven't attracted this stunt shortly.Now time to crush someone's ballroom dreams. Third place visits... Ricki and Derek. So Derek kisses his perfect finals record goodbye. He's now 3-1. To my best recollection (which dates back to how extended I've checked out this), this really is really the first time the finest-scoring couple that wasn't tied in to start with is certainly going in third. But it's not just a shocking positioning. Ricki's been consistent (she's assigned the best option board most likely probably the most occasions with six), but she's no match for J.R.'s charisma or perhaps the Kardashian number of fans. "I've loved every minute from the,In . she states, saying because of Derek. "I am hoping I've made the children proud, my fiancé, my family members.InchT.Ur. and Karina, and Make the most of and Cheryl will face offered through the minute samba to Ough Martin's "Shake Your Bon Bon" (how suitable for Make the most of!) They draw Mirrorballs, and J.R. goes first and Make the most of, second. Yes it's true. Make the most of Kardashian will dance the best dance of the year. Who had money on that in August? That could just be assigned if he wins, which honestly is not unthinkable whatsoever.Parade of Fallen StarsWhile they prepare, the season's casualties entertain us. We endure Metta, Elisabetta, Kristin (cute skirt, girl!) and Chynna, who redeems herself by doing the dance that froze her up the first time, before Carson vogues! Yes! Similar to the world intended. And it is similar to fabulous since it sounds. Plus, Carson reaches check one factor off his bucket list: dancing getting a Chmerkovskiy brother (Val). Seriously, males, hire him. This starts the most effective a few minutes since Tristan (and Nancy) follow within the Monty Python dark evening gear (swoon!). Lacey's father, Buddy, joins her and Chaz for number which is basically living proof that large males can move and move well. David and Kym positioned on a lovely little remix from the Grease routine, the painful indication that David must have made it longer around the program. Additionally painful? No Coco in your home. Boo! Hope and Maks close it getting a reprise of her "breakthrough" quickstep. Company, Maks remains dragging her butt across the floor.Instant SambaThey dance back-to-back (what's the matter, males? Drained of your energy in the two-hour show?), and I'll supply the edge to J.R. and Karina. He's looser, faster and does some harder moves, whereas Make the most of is principally shaking his bon bon. Also, can it be just me or did Make the most of and Cheryl's segment appear shorter? The idol idol judges shower these with praise. Yawn. Make the 10s.Scores:J.R. and Karina: 30 Total: 112Rob and Cheryl: 30Total: 113 I realize, It's surprising it either. Make the most of retains charge ultimately that. Nevertheless the judges' tongue-bathing and scores notwithstanding, J.R. did go on themselves for shanking his cha-cha badly last evening. Single-point difference is not much and straightforward to conquer with fan votes, but this really is really the Kardashian posse we're talking about here.The years have finally come. The individuals who win are... J.R. and Karina!And many types of is suitable while using world. J.R.Is really a perfectly-deserved champion which i do not believe there's one person outdoors the Kardashian Klan who'd argue this. Good job, America! "Thanks, America, for thinking in us," J.R. states before saying because of Karina. "I'm so pleased to get familiar with the very first Mirrorball trophy."Make the most of and Cheryl, meanwhile, vow to find out each other each day! You mean Kris won't hold a grudge against you due to not receiving her boy the win? Seriously, though, let's to research the advantages for Make the most of: He's really the only Kardashian getting an obvious skill now. Yes, he most likely won't still dance, but they can, which counts for something.Any idea what? Are J.R. and Karina deserving champs? Had you been concerned about Rob's high scores? Does Make the most of hold the best product connected having a male celebrity inside the show's history? (The best fact is no.) Do you want to style with Carson? Could he finally get his at work Maks? Who do you want to see around the program next season?Appear off below where you can great holiday! show less

J.R. Martinez Wins Dancing With The Stars Season 13

First Published: November 23, 2011 2:00 AM EST Credit: ABC Caption Karina Smirnoff and J.R. Martinez celebrate winning Dancing with the Stars Season 13, Nov. 22, 2011LOS ANGELES, Calif. -- Stand up America, theres a new Dancing with the Stars champ to salute. (SPOILER this story contains the final results of DWTS Season 13.) After an emotional and at times controversial season, army veteran and former All My Children actor J.R. Martinez bested 11 celebrities to become the newest ballroom champion, alongside his partner and first-time mirrorball champ, professional dancer Karina Smirnoff. First and foremost, I want to thank everybody who voted for us for 10 weeks. Thank you America for believing in us, J.R. said. Turning to Karina, J.R. praised the woman who took him to the big win. You are amazing, and Im so grateful that I was able to be part of your first mirrorball trophy, he said as she gave him a kiss on the cheek. AH Nation Poll: Did the right celebrity win Dancing with the Stars? Click HERE to vote! Rob Kardashian and Cheryl Burke landed in second place, while Ricki Lake and Derek Hough were shockingly eliminated in the first round on Tuesday nights show, even after they won 30 additional judges points and the leaderboard top spot in the programs first hour. Ive loved basically every minute of this. Ive done something that I really didnt think I could do and for someone who is a middle-aged mom, I hope I made my children proud, my fiance and my family, Ricki, who lost more than 20 pounds while competing on the show, told show co-host Brooke Burke-Charvet. With Ricki out, it was J.R. and Rob who were the two remaining celebs who danced an instant number with their partners for the final judges points. Each actually earned perfect scores, but when combined with the viewers votes (which accounted for half of their final tally), J.R. landed on top. It was an emotional win for the military veteran who, throughout the course of the season, shared his dramatic life story and his unbreakable spirit as he competed for the leaderboard top spot week after week, often battling it out with Ricki and Derek. Going into the competition, the 28-year-old thought he was the least known of a pack of celebrities that included Lakers star Metta World Peace (formerly Ron Artest), former The Hills beauty Kristin Cavallari, style guru Carson Kressley, transgender activist Chaz Bono and returning talk show host Ricki. But, as J.R.s dancing skills improved, his support network grew as fans tuned in to see his impressive ballroom feats. And they also learned about his journey before Dancing, including how, at the tender age of 19, J.R. joined the military. His life changed in 2003, when as a United States Army infantryman deployed in Iraq, the truck he was driving hit a land mine and the subsequent explosion resulted in burns over 40 percent of his body. One place untouched by the explosion was where his watch covered his left wrist and he told Access Hollywood earlier in the season, as he rehearsed with Karina, that he got a tattoo of that watch to remind him of how he changed his life after the incident. It was April 5, 2003 at 2:30 in the afternoon that my life changed forever and it didnt change in a tragic way, it changed in a beautiful way because I made a choice to change it and go down that road that was open to me, and here I am today, he said. Now, today means a mirrorball win for J.R., adding to an incredible year that also includes being named one of Peoples Sexiest Men of The Year. And he couldnt be happier. Hoisting the mirrorball up at the conclusion of Tuesdays show, J.R. was grinning from ear to ear. DWTS returns to ABC for Season 14 on March 19, 2012. Copyright 2011 by NBC Universal, Inc. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Box Office Report: 'Twilight-Breaking Dawn' Rakes in $8.9 Mil in Its First Foreign Foray

Summit Entertainment's The Twilight Saga: Breaking Dawn--Part 1 grossed at least $8.9 million from a handful of foreign markets on Wednesday and Thursday, including scoring the third best opening of the year in France with $3.8 million.our editor recommends'Breaking Dawn - Part I': What the Critics Are Saying'Twilight: Breaking Dawn' Wedding Invitation Designer Revealed (Exclusive)Box Office Preview: 'Twilight: Breaking Dawn' Could Open to $140 Million PHOTOS: 'The Twilight Saga: Breaking Dawn - Part I' Black Carpet Premiere The only movies to post bigger first-day bows in France were Steven Spielberg's The Adventures of Tintin: The Secret of the Unicorn and Harry Potter and the Dealthy Hallows: Part 2. The first screenings at the Le Grand Rex theater in Paris were sold out, with screaming fans drowning out the dialogue throughout the movie. Across the board, however, Breaking Dawn did less business than The Twilight Saga: Eclipse did in its first day in the same territories, although that film opened in summer, when kids were out of school. PHOTOS: New Images of 'Twilight Saga: Breaking Dawn' Breaking Dawn also came in No. 1 in Italy, where it grossed at least $2.3 million (Summit reports that numbers are stilll coming in from distributors). In Belgium, Breaking Dawn dethroned Tintin, grossing $786K, or nearly 64% of all business. Breaking Dawn grossed an impressive $1.3 million in midnight grosses in Australia. In Sweden, the penultimate pic in the blockbuster franchise grossed $757K. The movie begins its North American assault at midnight Friday, as well as continuing to rollout overseas. Related Topics Twilight Saga Box Office

OWN Picks Up More Episodes From 2 Series

OWN: Oprah Winfrey Network has picked up 8 additional episodes of docu-series Our America with Lisa Ling, bringing the second-season order for the show to 16 episodes, and 10 additional episodes of the freshman family docu-series Welcome to Sweetie Pie, bringing the order to 18 episodes. Our America with Lisa Ling was the strongest series to premiere in the first couple of months after OWN’s launch and the first to receive a renewal. It is averaging 405,000 total viewers and a .36 rating in Women 25-54. Welcome to Sweetie Pies averages 388,000 total viewers and a .38 W25-54 and does especially well with African Americans.

The brand new the new sony Finishes Longtime Overall Deal With James L. Brooks (Exclusive)

Carrying out a 20-year relationship, The brand new the new sony Pictures has declined to resume its production deal with James L. Brooks, the legendary filmmaker behind such hits as Much Like It'll get, together with the pricey 2010 flop How's It Going Aware.our editor recommendsEmmys: How James L. Brooks won 20 Emmys'Tron: Legacy' Wins Soft Box Office James L. Brooks' 'How Can You Know' DisappointsTodd McCarthy's Summary of 'How Can You Know': James L. Brooks' Film Weak Despite Star Energy Brooks and also the Gracie Films have observed a wealthy overall pact using the new the new sony dating back to 1990. Sources say Brooks' deal expired in September, and also the new the new sony and Brooks made without attempting to negotiate. The filmmaker could keep a development fund within the studio, where he recently setup two projects, which he's one remaining film commitment within the studio. Nevertheless the Oscar-winning author-producer-director (Regards to Endearment, Broadcast News) has recently moved in the The brand new the new sony lot which is now performing business from the place of work at Fox, where he remains an expert producer round the Simpsons. STORY:The Painful Dying of Hollywood's Producers: No Top Quality, No Calls Back Throughout his tenure in the new the new sony, Brooks produced such classic films as Cameron Crowe's Jerry Maguire and Wes Anderson's Bottle Rocket, which he directed 1994's I'll Do Just About Anything, the Oscar-nominated Much Like It'll get (1997) and Spanglish (2004). But Brooks' How's It Going Aware will be a particularly embarassing flop for that new the new sony as well as the filmmaker. Costing an impressive $120 million, the Reese Witherspoon romantic comedy made just $48 million worldwide, one of the studio's finest tanks lately. EXCLUSIVE: 'Simpsons' Producer James L. Brooks Demands He'll meet up With Rupert Murdoch Brooks is essentially the newest large title producer to achieve the pinch from art galleries, which are making less movies and looking to curtail pricey overall handles producers. Email: Kim.Masters@thr.com, Matthew.Belloni@thr.com Related Subjects Wes Anderson The Simpsons The brand new the new sony Pictures Entertainment Reese Witherspoon How's It Going Aware Cameron Crowe

Disney's Newsies Musical Heading to Broadway in 2012

Open the gates and seize the day! Following a successful run at New Jersey’s Paper Mill Playhouse, the Harvey Fierstein-adapted stage musical Newsies — based on the best period musical of all time about turn of the century paperboys fighting Big Business (that also starred Christian Bale) — will open on honest-to-goodness Broadway in March. This gives you bandwagon-jumpers plenty of time to catch up to the rest of us Newsies diehards who’ve known all along that one day, the family-friendly stylings of legions of dancing street urchins just trying to sell some ‘papes would catch on like gangbusters. The world will know …that we’re not crazy! (Right?) [Wall Street Journal]

2011 AFM Collection: 10 Most Ridiculous Posters

The American Film Market is an annual industry event where Hollywood execs come to buy and sell movies. But not every film being hawked there is an Oscar contender. In fact, there are plenty of awesome B movies on sale, too. Thanks to the Hollywood Reporter, we have 11 of the most outrageous movie posters from this year's AFM. A few of our favorites are 'Sweaty Beards,' 'Pool Boy' and 'Strippers vs. Werewolves,' all of which you can see in the gallery below. For the entire collection, head over to THR. 11 Outrageous AFM Movie Posters See All Moviefone Galleries » [via THR] Follow Moviefone on Twitter Like Moviefone on Facebook

Leonardo DiCaprio Helps LACMA Raise $3 Million at first Art + Film Gala

Is Leonardo DiCaprio the art world's finest new fan? The answer - as evidenced by La County Museum of Art's very effective first annual Art + Film Gala - is certainly an unqualified yes.our editor recommendsBryan Lourd Joins LACMA Board of TrusteesGucci's Spring 2012 Jazz-Age Dresses Make Red-colored-colored Carpet Debut on Evan Rachel Wood, Zoe SaldanaLACMA's New Film Curator Unveils a Star-Studded Request Stimulating the program On Saturday evening, November. 5, the actor co-chaired the inaugural black-tie benefit, which elevated $3 million for LACMA. The party, inside a temporary structure round the museum campus, honored artist John Baldessari and DiCaprio's J. Edgar director Clint Eastwood. STORY: 'J. Edgar' Screens at LACMA, Clint Eastwood and Co. readily available for Festivities DiCaprio travelled back from Australia (where he's started filming The Fantastic Gatsby) for your evening, which came a crowd that was most likely probably the most A-list occasions ever thrown by craft creativeness institution. Kate Hudson, Jane Fonda, Evan Rachel Wood and Olivia Wilde were among the stars who switched out wearing gowns by event sponsor Gucci. Company company directors available incorporated Jason Reitman, Eli Roth, Ron Howard, Julian Schnabel and Gus Van Sant. The art galleries were represented by Disney's Wealthy Ross, Sean Bailey and Bob Iger (who stopped looking for cocktails - he and wife Willow Bay, a LACMA board member, required to achieve a bar mitzvah) Warners'Barry Meyer and Rob Robinov (the studio bought two tables, which started at $50,000-a-pop, to assist their J. Edgar director) The brand new the new sony's Michael Lynton, a LACMA trustee as well as the Weinstein Co.'s Harvey Weinstein. The large event elevated money for LACMA's large push to produce film a bigger part of its focus. This fall, the museum launched the Film Independent at LACMA Film Series, curated by film critic Elvis Mitchell. Furthermore, it recently introduced it's in discussions while using Academy of motion Picture Arts and Sciences to start an Oscars film museum inside the historic May Company building round the LACMA grounds. On Saturday evening, a LACMA board member told THR that there are even talk of beginning a festival centered on film within the museum. We're not speaking a fest like Sundance or AFI. Think more an Aspen Ideas Festival or NY Festival type event dedicated to movies. "It had been always an urban area about film now its an urban area that's also about art. So the fact we are praising both in the same position and evening is rather special," mentioned AMPAS CEODawn Hudson in the evening. PHOTOS: 'J. Edgar' Premiere Red-colored-colored Carpet Arrivals The evening began with cocktails round the museum's plaza a sit-lower dinner for roughly 500. Baldessari, one of the art world's most critical conceptual artists, was produced by remarks from LACMA director Michael Govan together with a relevant video clip by Paranormal Activity 3 and Catfish company company directors Ariel Schulman and Henry Joost and browse by Tom Waits. The clip came laughs when the 6ƍ" artist, asked for about being on one bill with Eastwood, responded: "How tall is he?" After, DiCaprio - a budding art collector, who, an origin notifies THR, is recommended within the purchases by NY City's Tony Shafrazi Gallery - found transpires with recognition Eastwood. "As John, the artist, would say, 'I'm tall enough,' " mentioned Eastwood, who congratulated the museum's efforts. "L.A. warrants to offer the best film museum on earth. Certainly Paris has Cinematheque, NY has MOMA but there's more good status for film in this particular town plus it really warrants an excellent museum." To cap the evening, Stevie Question (CAA's Bryan Lourd, a completely new LACMA board member, aided get him for your evening) sang for your crowd. DiCaprio's mother, Irmelin DiCaprio, your brain of his foundation, got a pic of herself clicked on while using singer. COVER STORY: Your building of 'J. Edgar' Available too for your festivities were such LACMA board people as Elaine Wynn (her ex-husband, casino mogul husband Steve Wynn, also attended), John Grazer, Steve Tisch, Carole Bayer Sager, philanthropist Wallis Annenberg, auctioneer Viveca Paulin-Ferrell (with husband Will Ferrell) and DiCaprio's gala co-chair, designer Avoi Chow. Near evening time -an hour or so approximately after Question had wrapped his set and a lot of the site visitors had left - DiCaprio used to be there investing time together with his fellow planners Govan and Chow. According to Govan, the actor, who the LACMA director calls a pal, can be a frequent customer for the museum. We've undoubtedly that Govan want to nab DiCaprio as his next large get for your LACMA board. But possibly he doesn't need to due to the actor's already enormous show of support. "Just like a native of los angeles, If only to personally thank everyone associated with LACMA," mentioned DiCaprio within the remarks. "Your persistence for serve everyone through conservation, shows along with your interpretation of great works of art maintains an excellent impact on our community within La.Inch Related Subjects Leonardo DiCaprio LACMA J. Edgar

Moon River Singer Andy Williams Says he has Bladder Cancer

Andy Williams, famous for his rendition of "Moon River," announced Saturday that he is battling bladder cancer. "I do have cancer of the bladder," Williams, 83, told the crowd attending a concert Saturday night at his Moon River Theatre in Branson, Missouri. "But that is no longer a death sentence. People with cancer are getting through this thing." The optimistic singer surprised the crowd with the news during his 2011 Andy Williams Christmas Show, but continued that he plans to return to the theatre next year to celebrate his 75th year in show business. "I'm going to do the shows I've planned to do," he said. He then sang "Chestnuts Roasting on an Open Fire," and the audience stood and cheered to show their support, according to the theatre's Facebook page. Williams grew up singing in a quartet with his three older brothers, then later went on to a successful solo career. In the 1960s he was signed to what was at that time the biggest recording contract in history. He hosted his own variety program, The Andy Williams Show, from 1962 to 1971, and the program won three Emmy awards. In 1992 he opened his Moon River Theatre in Branson, Missouri, and has been appearing there on a regular basis, typically performing two shows a day, six days a week for nine months a year. The theatre had previously announced that Williams had cancelled his performances due to an illness, but didn't provide details. Below, watch Williams perform his classic hit, "Moon River," with Henry Mancini. Related Topics Andy Williams

Kirsten Dunst Relies on Intuition and Years of Experience to Serve the Role

Kirsten Dunst Relies on Intuition and Years of Experience to Serve the Role By Jessica Gardner November 2, 2011 Photo by Genaro Molina/Los Angeles Times/Contour by Getty Images Kirsten Dunst At this year's Cannes Film Festival, the paparazzi couldn't get enough of Lars von Trier's meltdown after he made a joke about Nazis and Hitler to the press. For those there for the films, however, the big story was Kirsten Dunst's performance in von Trier's "Melancholia," which garnered her a well-deserved best actress win. Having starred in "Interview with the Vampire: The Vampire Chronicles," "Little Women," and "Jumanji" as a child, Dunst is one of the few successful young actors who seamlessly transitioned into a successful adult actor. She has worked steadily for years in comedies such as "Bring It On," "Dick," and "Drop Dead Gorgeous" the big-budget "Spider-Man" trilogy; and dramas such as "The Virgin Suicides," "Crazy/Beautiful," "Eternal Sunshine of the Spotless Mind," "Elizabethtown," and "Marie Antoinette." Dunst has no plans to stop, either. "I'd like to continue working, always," she says. "This is what I love to do." Back Stage: You started acting at a really young age. What originally got you into it? Kirsten Dunst: My mother and I would be in our grocery store in New Jersey, and she would have people come up to her often and say, "Your kid's so animated. She should try out for commercials or modeling." My mom eventually was like, "Okay, we'll try it." She was a stay-at-home mom, and we were only an hour outside of [New York City], so she and my dad were like, "Maybe we'll put some money away for college." Basically, that's how it started. I booked the first print job I ever went out on. Then I booked my first commercial I went out for, which was for Kix cereal, and it was like a snowball effect. I had fun doing it, and also it was fun to go into the city. My mom always made it an adventure. It became part of my life and something I did. I think it was because I was very natural and a lot of the kids had makeup on and all that stuff. I did a lot of print and commercials when I was younger. Eventually my agent at the time said, "You guys need to go to L.A. for pilot season." Before that I [was cast in] "[The] Bonfire of the Vanities." That was the first time I came to L.A. I did a small part in that film with Tom Hanks; I played his daughter. We did the thing most people in NY eventually do if they're successful in commercial work. The next step is to go to L.A. and do pilot season. I was one of those kids. Back Stage: Do you have advice for parents of young performers? Dunst: I think kids have to really enjoy it. I had fun acting. When I was little, I put on plays for my family at Sunday dinner, and I would direct them and have all my cousins, my brother, and my best friends in it. I was a very imaginative and theatrical child and wasn't afraid of being in front of a camera. It was like make-believe to me. The hard thing is, a lot of kids just don't want to do it. I really had fun. And my mom always made school a priority. Even when I started working, I always went to normal school. If I was on a film set, yes, I'd have a tutor, but then I'd go right back to the kids I was in school with and [be] on their same syllabus of whatever was going on. None of my friends were in acting either, which was a big thing too. It was just something I did. My girlfriends were in cheerleading; I would act. It never felt isolating. I think once you pull your kids out of school and do home schooling, it makes it more of a job rather than something you just do. I also had an acting coach when I was younger, because having that relationship with your child, where you're coaching them, is a little weird. A lot of moms give their kids line reads. My mom wasn't put in that position because I always had an acting teacher helping with the feelings rather than how to say something. That was really, I think, important as wellnot having that relationship with your child where you're their acting teacher. Back Stage: Who was your acting coach? Dunst: I worked with John Homa for a very long time. He also coached me on "Interview With the Vampire." I started when I was like 9 or 10. We'd play games in the beginning where it's about trusting each other and being aware of what the other person's doing and building camaraderie, and then we'd work on a scene. It was fun. The vibe was very non-competitive and felt very much likesome kids went to gymnastics after school, and I'd go once a week to these acting classes. John and I became very closehe was almost like a father figure in a way, because I worked with him constantly on things and emotional things, and he always made it feel very safe for me. Back Stage: Do you remember auditioning for "Interview With the Vampire?" Dunst: There were so many different audition processesthree or four auditions and then screen tests. John was with me in the process, and he made it so I wasn't afraid to get angry. He'd do exercises with me where I'd slam a door a bunch of times and things like thatbecause when you're a kid you're afraid to do things your parents would reprimand you for, like slamming a door. He made a safe environment and allowed me to bring up things that would invoke feelings in me that were uncomfortable but also broke through and allowed me to be emotional and not be afraid of it. Also, when things in "Interview With the Vampire" invoked sexuality, we never talked about it that way. He would say, "Think about this scene as if you stole your brother's favorite toy, and he's asking you where it is and you know exactly where it is, but you hid it and you're not going to tell him." It gives you this precocious energy that can be read in a different way. It was always about making me feel comfortable and not expecting things that were out of my understanding. Back Stage: When did you decide you wanted acting to be your career? Dunst: It was always what I did, what I was used to doing. Now there are so many different facets of the industry I really enjoy. I love to produce, and I've directed two short films. Now that I'm at a position where I get to choose what I want to do and wait and not have to work on movie after movie, I can take breaks so I can really figure out what I want to portray, what would be exciting and challenging for me in my life, because I just don't want to act to act anymoreit really has to mean something to me personally. Or the director has to inspire me. It's always about the filmmakers. I would always rather do a mediocre script with a great filmmaker than a great script with a mediocre filmmaker. Those directors don't always have a role for you, so there's a lot of waiting now, which I don't mind. Back Stage: Do you still study acting with someone? Dunst: I do work with someone still. But it's private to me. I think for everyone it's good to have your own personal work on a character and a film before you even start rehearsing, to have an inner life. I've always been someone that has, like, "character therapy" between me and whoever I'm playing. I'm the type of actor where when I get on set, I throw it all away, and then it becomes about being in the moment with whoever you're acting with and that inner life. You've worked on it and it's there, but then it's about being there for whatever happens in the scene. I'm not a very "this is planned out" person when I get to set. "This is how I'm going to do it"I'm never like that. The energy with whoever you're working with and also of the place you're in, the set, or wherever it is. Your environment feeds what you're doing as well. You have to be open to whatever happens and not be afraid. That was the biggest thing from being a young adult actress to now being in films. There's a period where you have to break through this fear. It's okay to do a terrible take. Try something different. Or if you start laughing, or wherever it goes, it doesn't really matter, because by the end of the scene it could come to something really special. If you had this way in your head of thinking about it, it would have fell flat. That's usually the way I work. Also, I'm not a big fan of rehearsal, for the most part. I think when you find something for the first time on film, you get something special. Back Stage: You've worked with great directors, including Sofia Coppola twice ["The Virgin Suicides" and "Marie Antoinette"]. What directorial style do you like to work with? Dunst: I like [directors] who are very emotionally intuitive and understand what to say and how to hold back and just say enough. I think when they're too precise about the way they want something, they're never going to be happy. My favorite kind of directors know how to put a chemistry of people together where you know it's going to work. I had such a good experience on "Melancholia." I loved all those actors so much. It was a real team. The environment which Lars [von Trier] sets up, which actually Sofia [Coppola] does too, is they set up a very natural energy that just lends itself to the scene and the environment they create as people and the tone they set for the film. I really enjoy when they feel it so deeply inside of them it permeates to set. I would love to work with Quentin Tarantinohe's my number one. My ultimate. I would love to work with Paul Thomas Anderson, Alexander PaynePedro Almodvar wouldn't be too shabby. There are so many good directors, but those are some of my favorites.Back Stage: How did "Melancholia" come to you? Is it true you got the job over Skype? Dunst: Yes, it was. It was actually one of the simplest processes of getting a job I've ever had in my entire life. I got an email one day: "Lars is obsessed with you for this part. Read this script. You're Skyping with him tomorrow." It came so out of the blue. I was ecstatic about it. There aren't many great auteurs writing films and roles for women except for him and Pedro Almodvar. Then I talked to him the next day. We barely talked about the script. Barely. We just talked about Charlotte Rampling [who plays Dunst's mother in "Melancholia"] and how much we loved her. I found out later I was recommended to him by two director friends of hisPaul Thomas Anderson and Susanne Bier. It was the most wonderful process. He was just like, "I'd love you to be in my movie." It was so nothing. The way I like it to besimple, direct, to the point. It was like, "I know I want this girl; I'm hiring her." After that I jumped around like a teenager. I was so excited to have the opportunity to work with him. He doesn't make many movies, and no one writes roles the way he does for women. Back Stage: How did you approach playing a depressed person so it wouldn't look boring on film? Do you have advice for actors who have to play depressed? Dunst: Depression's not something that's easy to portray on film, period. I knew with Lars it would be something poetic and interesting to watch, and not boring, because you're working with Lars von Trier. It depends on the film and what context and how the story is written. I definitely think there has to be an energy. A depressed person can't play a depressed person. Even though you're playing someone who's depressed and who doesn't want to do anything, you have to have an underlying energy to you. Back Stage: What was your biggest challenge playing this role? Dunst: It was emotionally really draining every day. It's a lot to put yourself in that place and be so vulnerable and so open. You have to forget anyone will ever see it. You're performing, and it will never be seen. I play such a vulnerable person, and even though I bring them together in the end, I'm cruel to my family, distant, and almost alien-like. There were a lot of things I really felt like I stepped out of a part of myself. I lived this movie more than I lived other films. Back Stage: If you could teach a class in acting, what would you teach or advise your students? Dunst: I'm an actor who has been very intuitive all my life. I feel like that's a hard thing to teach. When you block someone's intuition in the way film sets do sometimes because you have to do take after take, you can get really dry. Sometimes I create different fantasies that I'll write down and remind myself so that I won't get dry. Also, I think about acting for something other than the set I'm on or the director I'm working with or the actors I'm working with. I truly try and find something in myself or inI don't want to get too dorky about itbut almost like a more whimsical expression. Because movies are meant to move people, and so if you think about that and you're working toward something higher than whatever's happening on set or whatever drama or anything, I think it's a nice way of pulling yourself up to a level where you can experience the scene you're doing or the film you're on in a way that elevates it. And never do anything you're not 100 percent on100 percent meaning you truly believe in it. You won't do your best work if you're not engaged completely and excited about what you're filming. Finally, find what you're good at. What you're best at. Don't try and change yourself to fit some kind of mold you think will bring greater success, because what makes actors unique is them themselves.OUTTAKES - When auditioning, Dunst always dresses the part. For "Elizabethtown," she auditioned for Cameron Crowe in a navy skirt, blazer, and white button-down so she'd look like a flight attendant. - On directing: "I want to direct again. Maybe another short film or a music video would be really fun for me. I think it's good to practice as much as you can. Maybe in the next three to four years. I'm also interested in producing."- Upcoming film releases include the dark comedy "Bachelorette" with Lizzy Caplan, Rebel Wilson, and Adam Scott; a small part in "On the Road," based on the Jack Kerouac novel; and "Upside Down" with Jim Sturgess. "It has beautiful animation and special effectsnothing like I've ever seen," Dunst says. "It's about these two universes, but gravity keeps them to themselves. It's a Romeo and Juliet story for everyone."- Has not seen "Bring It On: The Musical" but wants to. Kirsten Dunst Relies on Intuition and Years of Experience to Serve the Role By Jessica Gardner November 2, 2011 Kirsten Dunst PHOTO CREDIT Genaro Molina/Los Angeles Times/Contour by Getty Images At this year's Cannes Film Festival, the paparazzi couldn't get enough of Lars von Trier's meltdown after he made a joke about Nazis and Hitler to the press. For those there for the films, however, the big story was Kirsten Dunst's performance in von Trier's "Melancholia," which garnered her a well-deserved best actress win. Having starred in "Interview with the Vampire: The Vampire Chronicles," "Little Women," and "Jumanji" as a child, Dunst is one of the few successful young actors who seamlessly transitioned into a successful adult actor. She has worked steadily for years in comedies such as "Bring It On," "Dick," and "Drop Dead Gorgeous" the big-budget "Spider-Man" trilogy; and dramas such as "The Virgin Suicides," "Crazy/Beautiful," "Eternal Sunshine of the Spotless Mind," "Elizabethtown," and "Marie Antoinette." Dunst has no plans to stop, either. "I'd like to continue working, always," she says. "This is what I love to do." Back Stage: You started acting at a really young age. What originally got you into it? Kirsten Dunst: My mother and I would be in our grocery store in New Jersey, and she would have people come up to her often and say, "Your kid's so animated. She should try out for commercials or modeling." My mom eventually was like, "Okay, we'll try it." She was a stay-at-home mom, and we were only an hour outside of [NY City], so she and my dad were like, "Maybe we'll put some money away for college." Basically, that's how it started. I booked the first print job I ever went out on. Then I booked my first commercial I went out for, which was for Kix cereal, and it was like a snowball effect. I had fun doing it, and also it was fun to go into the city. My mom always made it an adventure. It became part of my life and something I did. I think it was because I was very natural and a lot of the kids had makeup on and all that stuff. I did a lot of print and commercials when I was younger. Eventually my agent at the time said, "You guys need to go to L.A. for pilot season." Before that I [was cast in] "[The] Bonfire of the Vanities." That was the first time I came to L.A. I did a small part in that film with Tom Hanks; I played his daughter. We did the thing most people in NY eventually do if they're successful in commercial work. The next step is to go to L.A. and do pilot season. I was one of those kids. Back Stage: Do you have advice for parents of young performers? Dunst: I think kids have to really enjoy it. I had fun acting. When I was little, I put on plays for my family at Sunday dinner, and I would direct them and have all my cousins, my brother, and my best friends in it. I was a very imaginative and theatrical child and wasn't afraid of being in front of a camera. It was like make-believe to me. The hard thing is, a lot of kids just don't want to do it. I really had fun. And my mom always made school a priority. Even when I started working, I always went to normal school. If I was on a film set, yes, I'd have a tutor, but then I'd go right back to the kids I was in school with and [be] on their same syllabus of whatever was going on. None of my friends were in acting either, which was a big thing too. It was just something I did. My girlfriends were in cheerleading; I would act. It never felt isolating. I think once you pull your kids out of school and do home schooling, it makes it more of a job rather than something you just do. I also had an acting coach when I was younger, because having that relationship with your child, where you're coaching them, is a little weird. A lot of moms give their kids line reads. My mom wasn't put in that position because I always had an acting teacher helping with the feelings rather than how to say something. That was really, I think, important as wellnot having that relationship with your child where you're their acting teacher. Back Stage: Who was your acting coach? Dunst: I worked with John Homa for a very long time. He also coached me on "Interview With the Vampire." I started when I was like 9 or 10. We'd play games in the beginning where it's about trusting each other and being aware of what the other person's doing and building camaraderie, and then we'd work on a scene. It was fun. The vibe was very non-competitive and felt very much likesome kids went to gymnastics after school, and I'd go once a week to these acting classes. John and I became very closehe was almost like a father figure in a way, because I worked with him constantly on things and emotional things, and he always made it feel very safe for me. Back Stage: Do you remember auditioning for "Interview With the Vampire?" Dunst: There were so many different audition processesthree or four auditions and then screen tests. John was with me in the process, and he made it so I wasn't afraid to get angry. He'd do exercises with me where I'd slam a door a bunch of times and things like thatbecause when you're a kid you're afraid to do things your parents would reprimand you for, like slamming a door. He made a safe environment and allowed me to bring up things that would invoke feelings in me that were uncomfortable but also broke through and allowed me to be emotional and not be afraid of it. Also, when things in "Interview With the Vampire" invoked sexuality, we never talked about it that way. He would say, "Think about this scene as if you stole your brother's favorite toy, and he's asking you where it is and you know exactly where it is, but you hid it and you're not going to tell him." It gives you this precocious energy that can be read in a different way. It was always about making me feel comfortable and not expecting things that were out of my understanding. Back Stage: When did you decide you wanted acting to be your career? Dunst: It was always what I did, what I was used to doing. Now there are so many different facets of the industry I really enjoy. I love to produce, and I've directed two short films. Now that I'm at a position where I get to choose what I want to do and wait and not have to work on movie after movie, I can take breaks so I can really figure out what I want to portray, what would be exciting and challenging for me in my life, because I just don't want to act to act anymoreit really has to mean something to me personally. Or the director has to inspire me. It's always about the filmmakers. I would always rather do a mediocre script with a great filmmaker than a great script with a mediocre filmmaker. Those directors don't always have a role for you, so there's a lot of waiting now, which I don't mind. Back Stage: Do you still study acting with someone? Dunst: I do work with someone still. But it's private to me. I think for everyone it's good to have your own personal work on a character and a film before you even start rehearsing, to have an inner life. I've always been someone that has, like, "character therapy" between me and whoever I'm playing. I'm the type of actor where when I get on set, I throw it all away, and then it becomes about being in the moment with whoever you're acting with and that inner life. You've worked on it and it's there, but then it's about being there for whatever happens in the scene. I'm not a very "this is planned out" person when I get to set. "This is how I'm going to do it"I'm never like that. The energy with whoever you're working with and also of the place you're in, the set, or wherever it is. Your environment feeds what you're doing as well. You have to be open to whatever happens and not be afraid. That was the biggest thing from being a young adult actress to now being in films. There's a period where you have to break through this fear. It's okay to do a terrible take. Try something different. Or if you start laughing, or wherever it goes, it doesn't really matter, because by the end of the scene it could come to something really special. If you had this way in your head of thinking about it, it would have fell flat. That's usually the way I work. Also, I'm not a big fan of rehearsal, for the most part. I think when you find something for the first time on film, you get something special. Back Stage: You've worked with great directors, including Sofia Coppola twice ["The Virgin Suicides" and "Marie Antoinette"]. What directorial style do you like to work with? Dunst: I like [directors] who are very emotionally intuitive and understand what to say and how to hold back and just say enough. I think when they're too precise about the way they want something, they're never going to be happy. My favorite kind of directors know how to put a chemistry of people together where you know it's going to work. I had such a good experience on "Melancholia." I loved all those actors so much. It was a real team. The environment which Lars [von Trier] sets up, which actually Sofia [Coppola] does too, is they set up a very natural energy that just lends itself to the scene and the environment they create as people and the tone they set for the film. I really enjoy when they feel it so deeply inside of them it permeates to set. I would love to work with Quentin Tarantinohe's my number one. My ultimate. I would love to work with Paul Thomas Anderson, Alexander PaynePedro Almodvar wouldn't be too shabby. There are so many good directors, but those are some of my favorites.Back Stage: How did "Melancholia" come to you? Is it true you got the job over Skype? Dunst: Yes, it was. It was actually one of the simplest processes of getting a job I've ever had in my entire life. I got an email one day: "Lars is obsessed with you for this part. Read this script. You're Skyping with him tomorrow." It came so out of the blue. I was ecstatic about it. There aren't many great auteurs writing films and roles for women except for him and Pedro Almodvar. Then I talked to him the next day. We barely talked about the script. Barely. We just talked about Charlotte Rampling [who plays Dunst's mother in "Melancholia"] and how much we loved her. I found out later I was recommended to him by two director friends of hisPaul Thomas Anderson and Susanne Bier. It was the most wonderful process. He was just like, "I'd love you to be in my movie." It was so nothing. The way I like it to besimple, direct, to the point. It was like, "I know I want this girl; I'm hiring her." After that I jumped around like a teenager. I was so excited to have the opportunity to work with him. He doesn't make many movies, and no one writes roles the way he does for women. Back Stage: How did you approach playing a depressed person so it wouldn't look boring on film? Do you have advice for actors who have to play depressed? Dunst: Depression's not something that's easy to portray on film, period. I knew with Lars it would be something poetic and interesting to watch, and not boring, because you're working with Lars von Trier. It depends on the film and what context and how the story is written. I definitely think there has to be an energy. A depressed person can't play a depressed person. Even though you're playing someone who's depressed and who doesn't want to do anything, you have to have an underlying energy to you. Back Stage: What was your biggest challenge playing this role? Dunst: It was emotionally really draining every day. It's a lot to put yourself in that place and be so vulnerable and so open. You have to forget anyone will ever see it. You're performing, and it will never be seen. I play such a vulnerable person, and even though I bring them together in the end, I'm cruel to my family, distant, and almost alien-like. There were a lot of things I really felt like I stepped out of a part of myself. I lived this movie more than I lived other films. Back Stage: If you could teach a class in acting, what would you teach or advise your students? Dunst: I'm an actor who has been very intuitive all my life. I feel like that's a hard thing to teach. When you block someone's intuition in the way film sets do sometimes because you have to do take after take, you can get really dry. Sometimes I create different fantasies that I'll write down and remind myself so that I won't get dry. Also, I think about acting for something other than the set I'm on or the director I'm working with or the actors I'm working with. I truly try and find something in myself or inI don't want to get too dorky about itbut almost like a more whimsical expression. Because movies are meant to move people, and so if you think about that and you're working toward something higher than whatever's happening on set or whatever drama or anything, I think it's a nice way of pulling yourself up to a level where you can experience the scene you're doing or the film you're on in a way that elevates it. And never do anything you're not 100 percent on100 percent meaning you truly believe in it. You won't do your best work if you're not engaged completely and excited about what you're filming. Finally, find what you're good at. What you're best at. Don't try and change yourself to fit some kind of mold you think will bring greater success, because what makes actors unique is them themselves.OUTTAKES - When auditioning, Dunst always dresses the part. For "Elizabethtown," she auditioned for Cameron Crowe in a navy skirt, blazer, and white button-down so she'd look like a flight attendant. - On directing: "I want to direct again. Maybe another short film or a music video would be really fun for me. I think it's good to practice as much as you can. Maybe in the next three to four years. I'm also interested in producing."- Upcoming film releases include the dark comedy "Bachelorette" with Lizzy Caplan, Rebel Wilson, and Adam Scott; a small part in "On the Road," based on the Jack Kerouac novel; and "Upside Down" with Jim Sturgess. "It has beautiful animation and special effectsnothing like I've ever seen," Dunst says. "It's about these two universes, but gravity keeps them to themselves. It's a Romeo and Juliet story for everyone."- Has not seen "Bring It On: The Musical" but wants to.

Kim Kardashian Talks Out About Divorce: 'It's Hard to undergo Everything Right Now' (Video)

Together with her sister Khloe by her side, Kim Kardashian made her first media appearance since declaring divorce from husband Kris Humphries on Monday.our editor recommendsKim Kardashian Divorce: E! Caught unexpectedly, Holding Emergency Conferences Kim Kardashian Divorcing Kris Humphries After 72 Times of MarriageKris Humphries Responds to Kim Kardashian Divorce: 'I'm Devoted to This Marriage'Kim Kardashian's Marriage 'Wasn't a Sham,' Mother States on 'Today' (Video) PHOTOS: 19 of Hollywood's All-Time Least Partnerships The truth star, who get married Humphries August. 20, was reserved while responding to questions regarding her decision to finish the wedding after 72 days and stated she's dealing with a "hard" time. PHOTOS: Inside Kardashian Corporation. In reaction towards the host asking if she'd attempted to visit marriage counseling, coupled with attempted her toughest to create the wedding work, Kim stated, "I believe when you are aware so deep inside your heart, that you just need to pay attention to your intuition and follow your heart." Adding, "There's really no right factor to complete. I don't think I'm ready to get involved with the particulars from it.Inch STORY: Kim Kardashian, Kris Humphries' Divorce: Through the Amounts She also known as the general public backlash a "double-edged sword." Saying, "We wanna share these great occasions, however when you wish to possess a while on your own and also have some private time, you're not necessarily permitted to per say, as with the general public.Inch STORY: Kim Kardashian Divorce: 10 Signs the wedding Was One Large Hoax All Along The siblings were in the united states to advertise their new Kardashian handbag collection, that is only at Australia. Discover the shocking truth below Related Subjects Khloe Kardashian Kim Kardashian Maintaining Using the Kardashians