TIME celebrities

Bill Cosby Fights to Maintain Confidentiality of ‘Embarrassing’ Court Records

Bill Cosby during an interview in Washington on Nov. 6, 2014.
Evan Vucci—AP Bill Cosby during an interview in Washington on Nov. 6, 2014.

An obscure rule allows the unsealing of court records after two years

On Wednesday, Bill Cosby told a Pennsylvania judge he’s not a public figure, there’s “no legitimate public interest” in an old sex abuse lawsuit, and confidentiality should be maintained on materials described as posing a “real, specific threat of serious embarrassment.”

This all dates back to a dispute that ended nine years ago. There, the embattled comedian settled a lawsuit brought by Andrea Constand, who was the first woman to publicly come forward with allegations that he drugged and sexually assaulted her. The settlement happened in the midst of discovery as Cosby confronted charges that there were other women who were victims.

After the settlement happened, the Associated Press filed motions to intervene to challenge the sealing of certain motions brought in the case. At the time, the judge agreed with Cosby’s arguments about why various discovery motions — including ones that talked about Cosby’s deposition — shouldn’t be open to the media.

Last December, amid a media frenzy as more women came forward to accuse Cosby of sexual abuse, the AP sent a letter to the court demanding a review of the sealing order under a local rule of civil procedure that presumes an unsealing of records after two years unless the judge dictates otherwise.

That’s led to a new showdown over materials that according to Cosby’s brief on Wednesday, not only includes more about the sexual misconduct allegations, but also issues relating to Cosby’s health, use of prescription drugs, financial affairs and personal relationships.

Cosby’s attorney George Gowen argues there is no public right to access discovery motions and would violate his client’s privacy.

“Moreover, unlike a deposition in a typical case, there is a voracious media appetite for Defendant’s deposition, and public release of it would quickly become widespread public knowledge of it,” states the brief. “There is no doubt that public disclosure of the motions and Defendant’s sworn deposition testimony, which delves into the most intimate subjects imaginable, would generate a firestorm of publicity.”

Although the rules might be set up towards the presumption of public access to judicial records, the brief further argues that he “is not a public official, nor is the relevant information important to public health or safety… Defendant’s status as a well-known comedian and entertainer does not render him a ‘public’ person within the meaning of the law.”

Cosby’s attorney later argues that lifting the seal would undermine the settlement with Constand, interfere with a defamation lawsuit brought against Cosby in Massachusetts, and takes a shot at reporters by saying “the media has had no apparent difficulty flooding the airwaves and press with reports on this story, even without access to the discovery materials. Nor is there any credible argument that public knowledge of the details of those motions will serve some public purpose.”

The AP argues otherwise in its own brief.

“The defendant is the only party who objects to unsealing the record,” writes the wire service. “However, now that the circumstances that he relied upon to gain preliminary sealing in this matter are nothing more than historic references, bypassed by recent public events, the files at issue should be unsealed.”

The judge is asked to consider the fact that Constand is not objecting, the “Jane Doe” accusers in the original suit have publicly come forward, there’s no longer a jury pool to be tainted, and “the Court has already ruled, in accordance with firmly established precedent, that defendant’s fear of embarrassment and humiliation is insufficient to support a finding a good cause.”

The AP adds that Cosby is “unquestionably a public figure” and his conduct “a legitimate matter for public scrutiny.”

This article originally appeared on The Hollywood Reporter

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TIME celebrity

Rose McGowan Fired By Agent After Public Hollywood Sexism Comment

Rose McGowan at SiriusXM Studios in New York City on June 23, 2015.
Robin Marchant—Getty Images Rose McGowan at SiriusXM Studios in New York City on June 23, 2015.

"You can't be fired from your own mind"

Rose McGowan didn’t appreciate a recent audition request asking that she wear a revealing outfit— “form fitting tank that shows off cleavage (push-up bras encouraged).” She took her disgust public,tweeted the news, revealed that the audition was for an Adam Sandler movie, and reiterated and clarified her complaint to EW.

Wednesday night, McGowan tweeted that she had been fired by her “wussy acting agent” due to her comments.

“I’m not trying to vilify Adam Sander,” the actress told EW in her recent interview. “I was offended by the stupidity more than anything. I was offended by the fact that went through so many people’s hands and nobody red flagged it. This is normal to so many people. It was probably even a girl that had to type it up. It’s institutionally okay.”

In that same interview to promote her directorial debut Dawn, which premiered earlier this year at the Sundance Film Festival, McGowan spoke openly about her experience as a woman in the industry. She revealed that “when I did my first film, I was told by my agent that I would need to have long hair so men in this town would want to f— me and hire me. That was said to a 17 year old.”

McGowan’s reps did not immediately respond to EW’s request for comment. Listen to McGowan talk about the tweets in an interview with EW Live on SiriusXM ch. 105 below.

This article originally appeared on EW.com

TIME Crime

Dustin Diamond Gets 4 Months in Jail for Stabbing

Dustin Diamond & Amanda Schutz Trial
Jeffrey Phelps—Getty Images Dustin Diamond walks out of the coutroom after a split verdict in an Ozaukee County Courthouse May 29, 2015 in Port Washington, Wisconsin.

The actor was convicted earlier this month on two misdemeanor counts

(PORT WASHINGTON, Wis.) — Dustin Diamond, who played Screech on the 1990s TV show “Saved by the Bell,” apologized Thursday for his part in a Wisconsin barroom stabbing before being sentenced to serve 4 months in jail.

Judge Paul Malloy also sentenced Diamond to 15 months’ probation and ordered him to report to jail Sunday. Diamond was convicted earlier this month on two misdemeanor counts that stemmed from a Christmas Day barroom fight.

Diamond, appearing misty-eyed, left the courtroom without commenting.

The 38-year-old actor was cleared of a felony charge last month after a three-day jury trial. The jury found him guilty of carrying a concealed weapon and disorderly conduct.

Malloy said the sentence “has to send a message to the community that we’re just not going to live like this.”

The actor told jurors that he took out a knife that day to try to ward off people, including a woman who punched his girlfriend. He said he then accidentally stabbed a man during an altercation.

“I sincerely apologize to everyone involved,” Diamond said at the hearing Thursday. “This was the single most terrifying experience of my life … This is all I’ve been able to think about for the last six months.”

Witnesses testified that Diamond’s girlfriend, Amanda Schutz, pushed one woman at the bar and grabbed another woman’s hand, initiating the bar fight. Schutz was also convicted of disorderly conduct last month and Malloy fined her $500.

Ozaukee County District Attorney Adam Gerol said during the trial that Diamond lied about what happened and that the actor had scripted his testimony.

Gerol showed body-camera footage of Diamond’s statements to a Port Washington police officer the night of the fight. In the video, Diamond first said he might have struck the man with a pen. In a video of testimony later that night, Diamond said he had a knife at the bar, but hadn’t used it to stab anyone.

Port Washington is 25 miles north of Milwaukee.

Since his role on the popular 1990s TV show about Bayside High School students, Diamond has been sued several times for delinquent taxes and in foreclosure proceedings for missing mortgage payments. He has appeared on reality TV shows, made a sex tape and most recently produced a tell-all documentary on Lifetime TV called “The Unauthorized Saved by the Bell Story.”


The story has been corrected to show that Diamond was just talking to a police officer in the body-camera footage, not testifying.

TIME movies

Jason Statham Says He Will Join Furious 8

Jason Statham at the New York Premiere of "Spy" in New York City on June 1, 2015.
Sylvain Gaboury—PatrickMcmullan.com/AP Jason Statham at the New York Premiere of "Spy" in New York City on June 1, 2015.

“There is some great stuff that I already know about”

After the runaway success of Furious 7, an eighth movie in the Fast & Furious series already has an April 14, 2017 release date. Vin Diesel is on board for Furious 8, but we can also expect at least one villain to make an appearance: Jason Statham’s Deckard Shaw.

“We’re already talking about doing another one, part eight,” Statham told Access Hollywood. “I’m a newcomer. I just got invited to the party in this last one, so it’s nice to know I’m going to be doing another.”

Statham and his Furious 7 costars were at Universal Studios Hollywood for the debut of the new “Fast & Furious—Supercharged” ride, which opened to the public on Wednesday. When pressed for plot details about Furious 8, Statham said he couldn’t reveal anything, but he teased: “There is some great stuff that I already know about.”

This article originally appeared on EW.com

TIME celebrities

Watch What Happens When Arnold Schwarzenegger and Jimmy Fallon Share a Brain

A hilarious Q&A session

There was a meeting of minds on The Tonight Show Starring Jimmy Fallon Wednesday night, when the late-night host and Arnold Schwarzenegger “linked” their brains in such a way that “the first brain” — Schwarzenegger’s — would say an answer, and “the second brain” would “reveal the question.” This produced a Q&A. For example, when the actor said “Samsung,” the comedian said, “What happened at the Sam Smith concert?”

The actor and former governor of California is promoting his upcoming film, Terminator Genisys, out in theaters July 1.


TIME celebrities

Bobbi Kristina Brown Moved to Hospice Care

Bobbi Kristina Brown has been moved to hospice care.

“Despite the great medical care at numerous facilities, [her] condition has continued to deteriorate,” Pat Houston said Wednesday in a statement on behalf of the Houston family.

“As of today, she has been moved into hospice care. We thank everyone for their support and prayers. She is in God’s hands now.”

A Brown family source tells PEOPLE, “She’s skin and bones now. She has been losing weight, she’s been losing hair. They were taking good care of her, but she has no muscle tone at all. There has been some worry that her organs are shutting down.”

The 22-year-old daughter of Bobby Brown and Whitney Houston was hospitalized in January after being found unconscious and unresponsive in a bathtub in her Atlanta townhouse. Still unresponsive after months in the hospital, Bobbi Kristina was transferred to an Atlanta-area rehab facility in March.

“Krissi is breathing, but she cannot communicate,” a source close to the Houston family told PEOPLE earlier this week.

“The family and her father are just taking things one day at a time. She’s just in God’s care and it’s whatever he decides.”

Added the source, “The heartbreak and pain we feel in seeing her that way is beyond words.”

— With reporting by Liz McNeil and Steve Helling

This article originally appeared on PEOPLE.com

TIME Television

PBS Puts Finding Your Roots on Hold Amid Ben Affleck Controversy

The show complied with Affleck's request to not reveal his ancestor's slave-holding history in the 2014 episode

(LOS ANGELES) — PBS put its “Finding Your Roots” series on hold Wednesday after determining an episode that omitted references to Ben Affleck’s ancestor as a slave owner violated its standards.

The public television service said it is postponing the show’s third season and delaying a commitment to a fourth year until it is satisfied with improvement in the show’s editorial standards.

PBS launched its investigation after it was reported that Affleck requested the program not reveal his ancestor’s slave-holding history in the 2014 episode. The Associated Press examined historical documents and found that Affleck’s great-great-great-grandfather owned 24 slaves.

The review found that co-producers violated PBS standards by allowing improper influence on the show’s editorial process and failed to inform PBS or producing station WNET of Affleck’s efforts to affect the program’s content.

In a statement, series host and executive producer Henry Louis Gates Jr. apologized for forcing PBS to defend the integrity of its programming. He said he’s working with public TV on new guidelines to ensure increased transparency.

Affleck’s request came to light last spring in hacked Sony emails published online by whistleblower site WikiLeaks.

“These reports marked the first time that either PBS or WNET learned of this request,” PBS said Wednesday.

PBS said it will withdraw the episode from all forms of distribution including on-air, digital platforms and home video. The show was also ordered to hire an additional researcher and an independent genealogist to review programs for factual accuracy.

Gates and PBS said in April they didn’t censor the slave-owner details. Instead, more interesting ancestors of the “Argo” and “The Town” actor emerged and Gates chose to highlight them instead.

But in an email exchange between Gates and Sony Pictures chief executive Michael Lynton, Gates asks Lynton for advice on how to handle Affleck’s request.

“Here’s my dilemma,” says Gates in one email, dated July 22, 2014, “confidentially, for the first time, one of our guests has asked us to edit out something about one of his ancestors — the fact that he owned slaves. Now, four or five of our guests this season descend from slave owners, including (prolific documentary filmmaker) Ken Burns. We’ve never had anyone ever try to censor or edit what we found. He’s a megastar. What do we do?”

Lynton replied that it all depends on who knows that the information was in the documentary already.

Last January, PBS station WETA in Washington, D.C., succeeded WNET as the show’s producing station.


AP Television Writer David Bauder contributed to this report.

TIME celebrities

Shia LaBeouf Injured on American Honey Set

Shia LaBeouf at the 2015 Tribeca Film Festival in New York City on April 16, 2015.
Taylor Hill—FilmMagic/Getty Images Shia LaBeouf at the 2015 Tribeca Film Festival in New York City on April 16, 2015.

The actor received medical treatment for injuries on his hand and head

Shia LaBeouf was injured on the set of American Honey, his rep confirmed to EW Wednesday.

“As protocol, production sought out medical attention and Shia received stitches on his hand and for a laceration on his head,” Melissa Kates said.

LaBeouf is starring in the film, which follows a group of travelers as they journey across the country selling magazines (and doing a good bit of partying).

According to the Associated Press, LaBeouf’s injury happened “during a scene in which [he] was to put his head through a glass window.” He’s expected to return to set Thursday.

This article originally appeared on EW.com

TIME movies

Paul Rudd ‘Never Imagined’ Starring in a Marvel Film

Dream come true for the next Ant-Man

A version of this story first appeared in the July 3 issue of The Hollywood Reporter magazine.

Marvel is used to thinking in the biggest of terms. Its most recent movie, Avengers: Age of Ultron– produced at a whopping $250 million and pitting an ever-sprawling cast of superheroes (Iron Man, Captain America, Quicksilver and Scarlet Witch) against yet another apocalyptic threat – became the second-biggest movie of 2015 to date (behind only Furious 7), grossing nearly $1.4 billion globally. So Marvel Studios president Kevin Feige, 42, isn’t about to begin scaling back his ambitions: In October, he revealed what he calls Phase Three, a four-year plan of nine interconnected movies that the Disney-owned Marvel intends to roll out between 2016 and 2019 as it grows its Marvel Cinematic Universe (which, since 2008’s Iron Man, has grossed $8.5 billion from 11 movies).

A key piece of that plan was unveiled June 23 when Marvel and Sony Pictures jointly announced that after an extensive talent hunt, involving high-stakes screen tests in which the young contenders were filmed opposite established Marvel players like Robert Downey Jr. and Chris Evans, they’d picked 19-year-old British actor Tom Holland (The Impossible) to play Peter Parker and his superhero alter ego, Spider-Man. They also announced they’re entrusting the next Spider-Man movie, which is aiming for a July 28, 2017, opening, to a virtually unknown new director, whom Feige had championed: Jon Watts, whose sophomore indie feature, the thriller Cop Car, debuted at this year’s Sundance Film Festival. Holland will report immediately to the set of the currently shooting Captain America: Civil War, which Marvel has scheduled for a May 6, 2016, release and in which the newest Spider-Man will make his first onscreen appearance.

But, first, for its next act, Ant-Man, the final installment in Phase Two, Marvel deliberately is thinking smaller. Paul Rudd, 46, best known for playing likable guys in such off-kilter rom-coms as This Is 40 and I Love You, Man, is stepping into the Ant-Man suit to shrink down to the size of a picnic-pooper. And this time, instead of a cataclysmic battle to save the world, the climactic showdown takes place among a little girl’s play set. After the superheroics of Ultron, Ant-Man director Peyton Reed likens the new movie, which hits theaters July 17, to “a palate cleanser.”

But though Ant-Man, which cost $130 million, may be a more modest bet for Marvel, it’s no less of a risk, already having survived lots of behind-the-scenes drama. In May 2014, Marvel and British director Edgar Wright – who’d been attached to the project since 2006, co-writing a screenplay with Joe Cornish – hit an impasse. Fanboys, who loved the quirky sensibility Wright had brought to movies like Shaun of the Dead, were outraged to learn he was off the movie. Admits Feige, “There were all these stories, the evil studio is crushing dreams and creative visions.” Adding to the pressure as Marvel moved quickly to try to keep Ant-Man on track was the fact that other studios, most notably Warner Bros., were taking a cue from Marvel’s playbook and attempting to build their own competing universes of interrelated movies. But after Rudd and his Anchorman director Adam McKay volunteered to rewrite the screenplay, Reed (Bring It On), who nearly had been tapped to direct last summer’s Guardians of the Galaxy, quickly was drafted to take over the reins. Just a little more than a year later, as the Ant-Man release (and Comic-Con, which Marvel Studios is bypassing for the first time since 2011) approaches, Rudd and Feige sat down together with THR at Marvel’s offices on the Disney lot to look back at the experience as well as look ahead to where Marvel goes next, including its deal with Sony to share Spider-Man in upcoming movies. “Ant-Man is the movie that closes out Phase Two,” says Feige. “But the truth is, there’s so much in Ant-Man that all plays into Phase Three.”

Why isn’t Marvel going to Comic-Con this year?

KEVIN FEIGE It was just timing. We had done that [media] event in October, when we announced so much. Everyone knows what we’re doing over the next few years. I really have a belief: If you can’t go to Comic-Con and overdeliver, then don’t go.

Back in 2006, you announced Iron Man, Hulk and Ant-Man as your initial trio of movies. But then you moved on to Thor, Captain America and Avengers. Why did Ant-Man get sidelined?

FEIGE That Comic-Con 2006 was less than 10 frickin’ years ago, but it feels like 50 years ago. That was the first time we had ever gone as our own studio. That Comic-Con was really about us trying to show people we were serious. But it’s not quite accurate to say that Ant-Man has been actively in development for all that time. Edgar [Wright] had done a draft, and then nothing happened for two or three or four years. Then he’d do another draft, and another two to three years would go by. It wasn’t until two years ago, we said, “Hey, let’s make this movie.”

So why do Ant-Man now as opposed to one of the other characters?

FEIGE If the stars had aligned, we would have made it earlier. Ant-Man will be our 12th Marvel Cinematic Universe film. Even when we had done only five or six, it was very clear that Ant-Man was going to be slightly different. It was an opportunity to tell a more intimate story. We’ve never had a hero whose origin involved him having a daughter as a motivating factor for his redemption. And when you’ve had aliens pouring into Manhattan, artificial intelligence robots lifting cities out of the ground to annihilate mankind, supersoldiers, Norse gods and dark elves, there’s a lot of action going on. So the notion of shrinking down, to have an arena that is not another city or an entire planet or a fictional place like Asgard but is a bathtub, or is a rug, or is a little girl’s play set – that felt like a great opportunity to deliver Marvel’s thrills and action in a totally different way.

Paul, while this was being developed, you were busy doing a lot of comedies. Had you asked your reps to get you a Marvel movie?

PAUL RUDD No, but I rarely have those kind of discussions with my representatives about anything. I don’t have an agenda where I do a comedy and say, “I have to do a drama next,” or “I am looking for an action movie now.” The Marvel world wasn’t anything I thought about seriously because I guess I never imagined I’d get hired.

FEIGE We honed in on Paul relatively early. A very high bar has been set with Robert Downey in Iron Man. That idea was, find the best actor for the part, regardless of whether they’ve been in a movie like this before. Great actors, charismatic actors, who can connect to the audience on a deeply emotional and on an entertaining, charismatic level and also be able to pull off the action and look cool in a suit – the inherent likability you can’t train for, and Paul has that.

Paul, is a Marvel movie different from signing on to do some other movie since you know the character will appear in other films?

RUDD What’s different about it is that it’s a character who’s joining a universe that exists throughout several movies, and that’s like nothing I’ve ever done.

So how many movies is Paul signed for?

FEIGE It was multiple, like every movie nowadays. Three is the minimum. But I think it’s three-plus-plus to appear in other things.

Let’s talk about what happened last spring. Kevin, you decided the script wasn’t right. But other studios have been in the same situation and decided to move forward anyway.

FEIGE Well, we’ve done that before, and sometimes that can work, and sometimes it’s more difficult. But with Edgar, it was mutual. People said, “You guys have been working together for 10 years; why did you only figure it out a couple of months before you started filming?” But that’s really not true. We’d been working on it for about nine months, maybe a year at most. And it became apparent to him and to us that the best thing to do was to move on. But because Edgar has a fan base and Marvel has a fan base, there’s good and bad that comes with that high profile. And one of the bads is that internal decisions and shuffles get headlines.

Paul, did you think the movie was falling apart?

RUDD Kevin assured me that it wasn’t. And within days, I was here sitting in offices right down the hall, kind of formulating the next steps, meeting new directors.

Why did you and Adam McKay then decide to rewrite the screenplay yourselves?

RUDD When we were talking about other directors, Adam came in. He’s a friend of mine. We talked about some things in that meeting, and then walked outside, and Adam and I spent 20 minutes or so in the parking lot talking about possibilities. It felt like we were building room additions on a house that Edgar and Joe had done.

The movie’s really about fathers and daughters. Was that something that was always there?

FEIGE That was there. I think they enhanced it in many ways. But that goes back to the comics — the relationship between Scott Lang and his daughter, Cassie, is key to his origin in the late ’70s in the comics. And the addition of Hope Van Dyne as Hank Pym’s daughter is something that was in those early drafts from Edgar and Joe in the beginning.

RUDD These two guys are birds of a feather in many regards. If Scott is experiencing some of these things with his daughter, Hank can be maybe a few steps ahead of the game, but have the same kind of dynamic. It just seemed like interesting parallel stories to focus on, this idea of struggles that parents and kids have.

Maybe because of those family themes, it feels like a Disney movie as much as a Marvel movie.

FEIGE Probably, but there certainly wasn’t any intention of making this any more or less Disney than any of our other movies. The relationship with Disney has been unbelievable, going back toIron Man 2 and then to Avengers, which is the first one they marketed and distributed.

When you’re working on a movie like Ant-Man, when does Disney know exactly what you’re up to?

FEIGE They know from the very beginning. [Walt Disney Studios chairman] Alan Horn and [Disney chairman and CEO] Bob Iger know from the start, and read drafts and certainly know all the moves that we’re making and watch early cuts.

How often do you talk to both of them?

FEIGE It varies. I talk to Alan more than Bob. But it varies – a few times a week.

And how do you strike a balance between Ant-Man being a stand-alone movie and also having connections to the other movies?

FEIGE Ant-Man is one of the best examples of how a movie can do both. It’s absolutely a stand-alone film about Hank Pym and Scott Lang, but it is within this universe.

RUDD Essentially, this is a heist film, and if you look at the structure of heist films, there is always a test run and the test run fails. In talking about what could be a good test run, we were just playing around with conversations and thought, “Oh my God, what if he actually fought an Avenger?” We started getting really giddy about this idea. It seemed like that would be a fun way to incorporate the universe into this film.

Is there some secret room here where there’s a big map of how all these movies inter-relate?

FEIGE There’s various rooms. Occasionally, we’ll bring out boards. But it’s become second nature. So it’s sort of spread out amongst the rooms of the brain trust here.

Do you keep a bible of how all the movies are connected?

FEIGE People think we have a whole big story, but really what we are doing right now is producing 10 individual stand-alone movies that have to work and play on their own. Our sandbox is full of Marvel characters, so it makes sense to pull from that. So that often happens. We need a character to get from A to B. Should he encounter a policeman? Should he encounter a banker? Should he encounter another superhero? It just opens up our creative avenues to explore and to tie them together.

Peyton Reed hasn’t directed anything like this before. Why did you turn to him?

FEIGE When I was a lowly man on the Marvel totem pole many years ago, he was attached to direct a version of Fantastic Four at 20th Century Fox. That version of the movie didn’t end up going forward. Peyton came very, very close to doing Guardians of the Galaxy for us. So when this came together, he ended up coming in and was 50 percent very enthusiastic to do a movie with us and 50 percent skeptical, but he read all the drafts and heard some of the new ideas we were already talking about with Paul and with Adam. Thankfully, he signed up.

Warner Bros.’ Greg Silverman told THR that the difference between the DC/Warners movies and Marvel movies is that Warners allows directors to fulfill their visions. How do you respond?

FEIGE My response is: Look at the movies. Iron Man and Iron Man 2 are as Jon Favreau films as you can see. Kenneth Branagh has his stamp all over Thor. Captain America: First Avenger is very much a Joe Johnston film. The greatest example of that, look at Guardians of the Galaxy with James Gunn. And the one I always point out is Avengers. We knew the general structure when we sat down with Joss [Whedon]. But I don’t want you to think we gave him a story. We gave him a “Here’s where we think the movie should start, here’s where we think this character should come into it; it would be fun if something like this happened in the middle and in the end a hole opens up and aliens pour out into Manhattan.” So arguably, there were many pieces in place, and yet now that everyone has seen the movie, it’s completely a Joss Whedon film. He was able to take all the elements that were handed to him – that were studio-imposed, if you want to look at it that way – and make it his own. We wouldn’t have hired any of the filmmakers we’ve hired if we just wanted somebody who would do what we say.

Paul, did you have to train for Ant-Man? In This Is 40, you had more of what’s now being called a “dad bod.”

RUDD [Judd] Apatow made me gain weight for that. He was sending me food. So, yeah, I went the opposite way for this. Besides just working out with a trainer and weights, I also worked with a gymnast. I knew I was going to have to do rolls and flips and things like that. I just wanted to be as convincing as possible.

Did you get any type of CG assist? Because you’re looking pretty cut in the movie.

FEIGE You mean when Paul has his shirt off? No, it’s all him.

RUDD (Laughing.) That’s right.

How does Ant-Man fit into what you call the Phase Three cycle of Marvel movies?

FEIGE It really is the movie that closes out Phase Two. Phase One ended with Avengers. So some people thought that Phase Two would end with an Avengers film. But the truth is, there is so much in Ant-Man: introducing a new hero, introducing a very important part of technology in the Marvel universe, the Pym particles. Ant-Man getting on the Avengers’ radar in this film and even – this is the weirdest part, you shouldn’t really talk about it because it won’t be apparent for years – but the whole notion of the quantum realm and the whole notion of going to places that are so out there, they are almost mind-bendingly hard to fathom. It all plays into Phase Three. It became very clear that Ant-Man is the pinnacle and finale of Phase Two and Captain America: Civil War [May 6] is the start of Phase Three.

You laid out the framework for Phase Three in October – how much room do you give yourself to move it around?

FEIGE Well, we already shifted once. Spider-Man wasn’t part of that announcement when we made it in October. So there’s always room to shift. But since we shifted the release dates a couple of months ago when the Sony agreement was announced, that’s the plan we’re very much headed toward, with Civil War being the first part of that. We go into production on Doctor Strangein November. The next Guardians of the Galaxy starts shooting around February of next year. The Spider-Man film soon after that. The third Thor film right about the same time. And we’re already beginning to prep: We’ve announced the writers and directors [Anthony and Joe Russo] for Avengers: Infinity War 1 and 2.

Other studios now are copying the Marvel game plan, trying to create their own universes. Is it getting too crowded?

FEIGE For the most part, that’s been the case since 2003. There was Iron Man, there was Hulk, Punisher – maybe that was 2003 – Daredevil, Fantastic Four, Iron Man 2, Spider-Man 3. There really has been three or four a year almost every year that I’ve been working here. And I feel the same way I did then. We’re just going to continue doing what we’re doing. We can’t control what other people do. We can get excited about it when [other studios’ films are] good and root for them. Because the more of these films that are successful, the more audiences are going to be excited for the next one, especially if they are not delineating between the universes. And as long as ours are distinct – not from everything else because I don’t know what everybody else is doing – but from each other, I think our plan that we outlined last October represents a very clear and exciting four-year plan.

After Civil War, how much will Marvel be involved in Sony’s Spider-Man movie?

FEIGE Well, we’re producing it for Sony. It’s exciting, and we’re treating it like we treat all of our films. To try to make the best version now of Spider-Man and a version of Spider-Man that inhabits this universe that we’ve created. We’re in lockstep with [Sony Motion Picture Group chairman] Tom Rothman and [producer] Amy Pascal at every turn.

So some of your Marvel characters will show up in the Sony Spider-Man movies?

FEIGE Specifics of the story aside, the agreement that has been made between Sony and Marvel is that we could do that.

Do you risk giving up any of your autonomy by working with Sony?

FEIGE Without getting into the contracts, it’s definitely a Sony picture, produced by Marvel Studios. We’ve been working with each other for a number of months now. It’s been just as healthy as any of our internal discussions. We just look at it as having additional team members. We wouldn’t want to do it if we couldn’t do it in the way we’ve done all the other movies, and I think that’s what Sony wants from us.

How far away are you from picking directors for Black Panther and Captain Marvel?

FEIGE I think by the end of the summer, we’ll have most of those things. Black Panther especially.

Do you feel pressure to find a black director for Black Panther or a woman for the female superhero movie Captain Marvel?

FEIGE It’s an issue across the industry, for sure. And the issue is, we need to find the best director for any given movie. And that’s really where we always start. If diversity is part of that, it’s great. It’s important. You will start to see things across the industry as a whole change as more filmmakers come up through the ranks and become part of making movies like this.

Would you have liked to have had a woman director on one of these movies by now?

FEIGE I think it will happen sooner rather than later, without giving too much away. But you look back sometimes, and it’s just the nature of this industry, or the nature of the culture. But there’s a big shift happening. What’s exciting about Marvel, go back and look at the source material: It’s been diverse in a cutting-edge way going back to the ’60s, and I think we’ve represented that effortlessly and accurately in the movies we’ve made up to this point, but certainly with Black Panther and Captain Marvel doing it in a much more overt and purposeful way.

Ava DuVernay has been mentioned as a director for Black Panther. Is she under consideration?

FEIGE We’ve met with her for sure. We’ve met with a number of people for a number of movies. She has been one of them.

Looking to the future: Robert Downey Jr. has hinted his days as Iron Man might be numbered. If for some reason one of your actors doesn’t continue in the movies, do you recast or simply retire the character now that you’re developing new members of the Avengers?

FEIGE Thankfully, I’m not going to be faced with that decision for many, many years because we have everybody locked up and planned out for as far as any studio has movies planned. But one day, it will be a combination. It will be a combination of choosing which characters to continue on with and explore and which to bring in, as we’re doing with Captain Marvel and Black Panther. And certainly to recast in some way or another – as we’ve already done in certain cases. Certainly many other franchises have reached that milestone before we have and done that with great success.

During the Ultron rollout, you had a couple of cases where the actors went off script, like Jeremy Renner and Chris Evans calling Black Widow a slut. How much anxiety did that create for you?

FEIGE Well, it’s never fun when stuff spins out — particularly today, anything goes, starts trending and becomes the biggest deal in the world. All of those actors are the sweetest, kindest people in the world. Everyone gets loopy on a junket. You’re around the world, you land at two in the morning, you don’t know what day it is. So now those things get picked up and serviced and sent around the world. At least, in the instances that occurred on Avengers, it was just people being loopy and not thinking.

So, Paul, have you also started shooting your scenes in Captain America: Civil War?

RUDD I did a couple of weeks ago.

And are you team Iron Man or team Captain America?

RUDD Those are government secrets. I was telling Kevin, it was the first time I really felt like I was in it. I started working on Ant-Man a couple of years ago, and I’ve been so immersed in it. But we’ve been shooting it in a bubble. When I went to the set of Civil War, I was 10 years old. There’s Captain America, there’s Iron Man. And not only that, but I’m doing scenes with them, calling them by their names. That feeling of excitement, the surreal nature of it is the best, it was great. I really felt for the first time part of the Marvel Universe.

This article originally appeared on The Hollywood Reporter

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Rapper Rick Ross Arrested on Kidnapping, Aggravated Battery Charges

Rick Ross performs during the 99 Jamz Summer Jamz Concert in Sunrise, Fla. on May 23, 2015.
Johnny Louis—Getty Images Rick Ross performs during the 99 Jamz Summer Jamz Concert in Sunrise, Fla. on May 23, 2015.

Ross allegedly got into a fight with and pistol-whipped someone working on his home

Police arrested “Hustlin'” rapper Rick Ross and his bodyguard on charges of kidnapping and aggravated battery Wednesday in Fayetville, Ga.

Ross, 39, whose real name is William Leonard Roberts II, and 42-year-old bodyguard Nadrian Lateef James were arrested “without incident” following an investigation into an alleged early June assault, according to Fayette County Sheriff’s Office spokesman Allen Stevens.

Ross, the founder of Maybach Music Group, was also charged with aggravated assault, the Atlanta Journal Constitution reports. Ross allegedly got into a fight with and pistol-whipped someone working on his home.

Ross’ record label did not immediately respond to reporters’ request for comment.

It’s not the first arrest for Ross. Earlier this month, he was arrested on a misdemeanor marijuana charge. He was also arrested on marijuana charges in North Carolina in 2013, Louisiana in 2011 and Miami in 2008.

[The Atlanta Journal-Constitution]


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