Saturday, December 31, 2011

Je T'aime....Moi Non Plus

Beauty magazine
Creative team: PetOrly
Photographer: Nikolay Ivanov
Make-up: Desi Yordanova for ID Studio
Hair: Margarita Doseva for Victoria 5
Model: Snejan Makaveeva  Ivet Fashion

Je T'aime….Moi Non Plus

for Beauty magazine

Creative team               PetOrly
Photographer               Nikolay Ivanov
make-up                        Desi Yordanova for ID Studio
hair                                Margarita Doseva for Victoria 5
model                           Snejan Makaveeva  Ivet Fashion

Tuesday, December 27, 2011

World Go Boom: United States of Pop 2011

If ever there was a time capsule of the pop music landscape of 2011, it’s DJ Earworm’s ‘United State of Pop 2011 World Go Boom’ mash up.

The DJ seamlessly and flawlessly smashed the most familiar, popular and beloved songs of 2011, ranging from Lady Gaga‘s ‘Born This Way’ to Rihanna‘s ‘We Found Love’ to Nicki Minaj‘s ‘Super Bass’ in one fell swoop. Not sure how DJ Earworm does what he does in the space of five minutes, but he managed to thread a year’s worth of tunes into a compact song. Bravo, bravo.

Of course, he engages in a little shameless self-promotion in the video, such as superimposing the phrase ‘Who the hell is DJ Earworm’ t-shirt on Maroon 5 singer Adam Levine, along with having his name permanently inked on RiRi’s firm, round patoot.

Some of the songs that Earworm cycled through in this mix include Pitbull‘s ‘Give Me Everything’; Katy Perry‘s ‘Last Friday Night,’ ‘E.T.’ and ‘Firework’; Britney Spears‘ ‘Till the World Ends’; Adele‘s ‘Rolling in the Deep’ and ‘Someone Like You’; Cee Lo Green‘s ‘Forget You’; Maroon 5‘s ‘Moves Like Jagger’ with Christina Aguilera; Lupe Fiasco‘s ‘The Show Goes On’; and many more.  [Text re-posted from]

DJ Earworm made some changes in his song selection process 2011. In efforts to better reflect the year, he created a system that drew from the weekly charts from throughout 2011 that ensures that all the late-breaking hits, such as “We Found Love” & “Sexy and I Know It”, were included in the 2011 mix. 

Video Credits:

Brian Benson who made this art and all Earworm illustration and art,
Oiseaux who introduced some compositing magic.
Tatiana for her production support

Song List:
    Adele – Rolling In The Deep
    Adele – Someone Like You
    Black Eyed Peas – Just Can’t Get Enough
    Bruno Mars – Grenade
    Bruno Mars – The Lazy Song
    Britney Spears – Till The World Ends
    Cee Lo Green – F* You
    Enrique Iglesias – Tonight (I’m Lovin’ You)
    Foster the People – Pumped Up Kicks
    Jennifer Lopez – On The Floor
    Jeremih feat. 50 cent – Down On Me
    Katy Perry – Firework
    Katy Perry – E.T.
    Katy Perry – Last Friday Night (T.G.I.F.)
    Lady Gaga – Born This Way
    LMFAO – Party Rock Anthem
    LMFAO – Sexy and I Know It
    Lupe Fiasco – The Show Goes On
    Maroon 5 – Moves Like Jagger
    Nicki Minaj – Super Bass
    OneRepublic – Good Life
    Pink – Raise Your Glass
    Pitbull – Give Me Everything
    Rihanna – S&M
    Rihanna – We Found Love

Last year,  DJ Earworm whose real name is Jordan Roseman brought "Don't Stop the Pop" as a theme. He mashed up hit singles by Ke$ha, Lady Antebellum, Train, Usher, B.o.B, Eminem, Taio Cruz, Mike Posner, Travis McCoy, Iyaz, Jay-Z and Jason Derulo. Artists like GaGa, Riri, Katy and Bruno, who are on this year's list, were included as well.

Monday, December 26, 2011


The Adventures of Tintin – the Secret of the Unicorn (2011)

Director: Steven Spielberg. Writers: Steven Moffat, Edgar Wright, Joe Cornish. Stars: Jamie Bell, Daniel Craig, Andy Serkis, Nick Frost, Simon Pegg

Before “Pirates of the Caribbean”, before “Raiders of the Lost Ark”, even before there were Republic Serials – There were “The Adventures of Tin Tin”. 

Tintin's debut, in the 11th issue of the Petit Vingtième:Tintin in the Land of the Soviets:
What began in 1929 when Belgium’s Georges Remi, better known as “Hergé”, started writing and illustrating a regular comic strip, Tin Tin has entertained young and old alike worldwide for decades. Each serialized story was published in book form. 

Herge In the office of the Petit Vingtième
His 11th book, “The Adventures of Tin Tin: The Secret of the Unicorn”, is the basis of the big screen animated film directed by Steven Spielberg. [The Hollywood Review: The Adventures of Tin Tin – the Secret of the Unicorn]

Tintin : Secret of the Unicorn by ~Barukurii - DeviantArt


Having bought a model ship, the Unicorn, for a pound off a market stall Tintin is initially puzzled that the sinister Mr. Sakharine should be so eager to buy it from him, resorting to murder and kidnapping Tintin - accompanied by his marvellous dog Snowy - to join him and his gang as they sail to Morocco on an old cargo ship.

Ivan Ivanovitch Sakharine: a collector of model ships
Sakharine has bribed the crew to revolt against the ship's master, drunken Captain Haddock, but Tintin, Snowy and Haddock escape, arriving in Morocco at the court of a sheikh, who also has a model of the Unicorn. 

Captain Haddock “gruff, capable of expansive gestures and prone occasionally to minor mishaps.” Herge

Haddock tells Tintin that over three hundred years earlier his ancestor Sir Francis Haddock was forced to scuttle the original Unicorn when attacked by a piratical forebear of Sakharine but he managed to save his treasure and provide clues to its location in three separate scrolls, all of which were secreted in models of the Unicorn. Tintin and Sakharine... Written by don @ minifie-1   

The story of this film actually combines several of the Tintin books: ’The Crab with the Golden Claws’ (in which Tintin befriends Haddock and saves him from smugglers) and the two-parter ‘The Secret of the Unicorn’ and ‘Red Rackham’s Treasure’ [which is the core of the story about the search for the lost treasure]. There are also some very small elements and secondary characters from other stories too, but as far as taking liberties that’s where Spielberg stopped. 

Everything else is precisely how the Belgian creator, Hergé had imagined it: with that same sense of adventure, mystery, intrigue, action and fun. In other words the same mood and atmosphere that made the comics so successful  [at least in Europe] and incidentally, in a way those same elements that were also at the centre of one of Spielberg’s classic, Raiders of the lost ark.  [MovieGeekBlog]

Photo Credits: Hergé, by Pierre Assouline, published by Plon.
It’s not surprising that Hergé himself, after seeing that film back in 1981 thought Spielberg was the only person who could ever do Tintin justice. Spielberg pays homage to Tintin’s creator right from the start, not just in the beautifully design title sequence (reminiscent of the one from Catch Me If You Can), where he show us so many elements from all Tintin stories, not just in the colour palette he chooses for the cinematography of the film or in the way each character’s face looks, but he even goes as far as having Hergé himself appearing as a street artist drawing a portrait of Tintin the way we are used to see him in the comics. [MovieGeekBlog]

Sunday, November 27, 2011

Beyonce - Dance for You

"Dance For You," a sultry black-and-white 40's film noir-inspired video goes for a Jessica Rabbit vibe in the shadowy offices of a private detective. 

The video carries the standard Bey DNA -- wind machines, plunging necklines and lots of hair. Not that I'm complaining.

The black and white video for the '4' album bonus track will be featured in Bey's deluxe version of her concert DVD, "Live At Roseland: The Elements of 4" (Nov. 29). The two-disc DVD that will include complete concert footage, bonus offstage footage, a 20-page booklet and a video anthology that includes seven videos from her Billboard 200 No.1 album, "4."

Hugo: A Must-See - Andrew O'Hehir Salon

Heartbreaking, funny, passionate and impossibly beautiful, Scorsese's "Hugo" is a must-see - By Andrew O'Hehir [Note: this is a reblog of O'Hehir's review at O'Hehir writes intelligent and insightful reviews and I recommend following him at][Note 2: The embedded clips were not part of O'Hehir's review. They were added them to complement O'Hehir's commentary]

I will repeat what I said after watching an unfinished version of “Hugo” a few weeks ago: I have seen the future of 3-D moviemaking, and it belongs to Martin Scorsese, unlikely as that may sound. In this case, of course, the future may also be the past. I wouldn’t be the least bit surprised if “Hugo,” Scorsese’s gorgeous and meticulous 1930s fantasy re-creating life in a Parisian railway station in extraordinary detail, is the best movie anyone will make in the current post-”Avatar” 3-D wave [which has already ebbed considerably].

If you were bewildered by the news that Scorsese was apparently blundering into Steven Spielberg’s territory and making a 3-D family spectacle for the holidays, wonder no longer. No doubt “Hugo” has enormous potential when it comes to the box office and the upcoming awards season. It’s a heartwarming, old-fashioned yarn about an orphan who finds love by giving love, who finds a purpose in life by restoring purpose to a wounded and bitter old man. It’s often a breathtaking visual spectacle, full of delightful flights of imagination, large and small: a view of Paris from a railroad clock tower, drawings that come alive, an adorable little clockwork mouse. It offers a rich and varied cast of adult actors — from Ben Kingsley to Sacha Baron Cohen to Emily Mortimer — supporting youthful leads Asa Butterfield and Chloë Grace Moretz, as a pair of intrepid orphan adventurers.

But “Hugo” is also clearly a personal film, a film about making films that addresses Scorsese’s obsession with the history of cinema and echoes psychological themes found throughout his work. It is without question a work by a major film artist and craftsman, made partly in tribute to another one. “Hugo” was adapted from Brian Selznick’s Caldecott Medal children’s book, “The Invention of Hugo Cabret,” by screenwriter John Logan, but if you set out to design a story for Martin Scorsese you could hardly do better: a lonely boy of the Depression, obsessed with technology and the movies; a forgotten filmmaker and his lost masterpiece; snippets of early films by the Lumière brothers, Buster Keaton, Charlie Chaplin, Harold Lloyd and Georges Méliès, all of them organic to the narrative.

Scorsese and his usual team of technical and design collaborators — let’s mention cinematographer Robert Richardson and production designer Dante Ferretti, for starters — create a gorgeous storybook vision of Paris, circa 1930, and moves us through it with fluid cinematic ease. Scorsese isn’t using 3-D as a stunt or a value-added effect but as a storytelling tool, a method of infusing his tale with humor, humanity and often breathtaking depth. From the opening tracking shot, which plunges from the Parisian sky along the railroad platforms and finally to the station clock, behind which 12-year-old Hugo (played by Butterfield, a British teenager previously in the TV series “Merlin”) is hidden, the vision at work in this film is unmistakable. And while that shot is largely a digital creation, most of the film was shot with live actors in physical space, on a full-scale set built at Shepperton Studios outside London. That adds a level of realism to the fairytale that’s absolutely crucial. No one but Scorsese, perhaps, would pay attention to the floating motes of dust in a 3-D movie — and then there’s the fact that they’re real motes of dust.

If you already know Selznick’s book — best described as a fusion of novel, graphic novel and picture book — you’ll understand exactly why its central plot twist appealed to Scorsese so much. (This may be a heretical thing to say, but I think Logan’s screenplay is more elegant than the book and improves on some of its awkward and unsatisfactory structural elements.) Bedraggled Hugo has lived alone in the train station for some months, since the death of his father (Jude Law, seen in a flashback) and the disappearance of his drunken uncle (Ray Winstone). He keeps the clocks wound and lives by stealing food and evading the mock-villainous Station Inspector (Baron Cohen, whose enormous head serves as the movie’s funniest 3-D effect). Hugo’s only companion is literally a mechanical man, a magician’s automaton his father was trying to repair before he died. Apparently the automaton can write (such machines indeed existed) and Hugo is determined to continue the repair work and receive the mechanical man’s secret message.

But Hugo’s attempts to steal tools and clockwork pieces get him in trouble with Georges (Kingsley), the grumpy old toy-seller who runs a booth in the station. Only the intervention of Georges’ precocious goddaughter, Isabelle (Moretz), can rescue a precious notebook the old man has confiscated from Hugo. Together these two orphans begin to explore the mechanical man’s secret, which of course turns out to link the present and the past and connect Hugo’s late father to Isabelle’s Papa Georges, who is dead in spirit but not in fact. (I’m about to issue a minor spoiler, but one that’s highly relevant and has been widely discussed.) You see, Papa Georges is in fact the aforementioned Georges Méliès, a magician who became a pioneer of imaginative cinema and directed perhaps the first science-fiction film, the 1902 “A Trip to the Moon.” Although Méliès made hundreds of movies and was one of the first directors to become famous to the general public, it’s true that he was virtually forgotten by the 1920s and had sold off his films to be recycled into shoes. (Despite the best efforts of Scorsese and other restoration mavens, only a small proportion of Méliès’ immense output survives today.)

Is the 21st-century public even remotely interested in the mythology surrounding a remote and strange figure like Méliès? Probably not, but I don’t think the success or failure of “Hugo” hinges on that. This movie creates a world that is both magical and realistic and invites us to live in it, and it tells a story of a community of damaged people in this fantastical version of interwar Europe who all find some redemption. Georges Méliès was frankly not one-tenth the filmmaker that Martin Scorsese is. As storytelling, his movies are primitive and silly, but he was a visionary showman who understood this newly invented medium as a delivery system for special effects and spectacle — and in so doing, paved the way toward Hollywood. Still, if Scorsese wants to celebrate the fact that one part of his lineage, so to speak, goes back to the innovations of Méliès, he’s of course correct.

Given Scorsese’s superlative command of the technical aspects of cinema, and his career-long commitment to movies as full-on sensual spectacles (although always, or almost always, built around human characters and stories), it shouldn’t really surprise us that he saw potential in 3-D that other filmmakers failed to grasp. Up until now, almost the only post-”Avatar” film made in 3-D that displayed any verve or imagination whatsoever was the summer 2010 animated hit “Despicable Me,” which at least was good fun. (I enjoyed “Cars 2” more than most critics, but you really didn’t miss much of the production design — and you saved several bucks — if you watched it in 2-D projection.) Too much of the time, we’re dealing with postproduction 3-D conversion, which either looks like absolute crap (“The Last Airbender”) or added nothing but a mild headache to the viewing experience (the two-part “Harry Potter” conclusion).

Scorsese’s use of 3-D in “Hugo” is both physical and psychological, going inside the outsized clockwork above the train station where Hugo makes his home and also inside the machinery of dreams, the prehistory of the craft and art to which this great American director has devoted his life. It’s way too early to know how posterity or film history will view “Hugo,” but no doubt to some viewers it will look like an inexplicable tangent in Scorsese’s long and prolific career. Then again, plenty of people might describe “The Last Temptation of Christ” or “The Age of Innocence” or “Kundun” that way, in that they don’t have guns or gangsters in them and don’t resemble his most iconic work, and I’d argue those are three of his best movies. Let’s leave it this way: Instead of sticking with the familiar, Scorsese has followed his impulses into something that feels entirely new but is still distinctively his. He has made a potential holiday classic, an exciting, comic and sentimental melodrama that will satisfy children and adults alike and reward repeat viewings for many years to come.

Dakota and Elle Fanning: Golden Girls

W Magazine December 2011
Photographer: Mario Sorrenti ;  
Stylist: Lori Goldstein

Saturday, November 26, 2011


Hugo, directed by Martin Scorsese is based on Brian Selznick’s New York Best Seller book, The Invention of Hugo Cabret.  

Hugo, Asa Butterfield, a boy living in post-World War I France, is orphaned when his father, Judd Law, a clock maker is killed in a fire, forcing Hugo,  to work for his drunk uncle winding all the massive clocks in the sprawling Paris train station. 

Hugo’s only possession, left by his father, is a rusty automaton wind-up man who purpose is unknown — if only the thing had all its clockwork parts intact and the key for a heart-shaped lock.

While Hugo pilfers parts from a toy booth propreitor, Ben Kingsley, who is the forgotten and broke French Filmmaker Georges Mélies, he must stay away from the hobbled Station Inspector, Sasha Baron Cohen, and his doberman or risk being sent to an orphanage. 

Hugo meets Mélies’s also-parentless goddaughter Isabel, Chloë Grace Moretz, who is dying for an adventure away from book-reading. She wears a heart-shaped key.

Martin Scorsese makes a five-second cameo as a photographer during a flashback of the Georges Mélies backstory.  Along with screenwriter John Logan, Scorsese loads the movie with winks to movie pals like Francis Ford Coppola and unnamed protrayals/references of James Joyce, Salvador Dali, and Django Reinhardt. 

The cast is filled out with known character actors that could have stepped out of a Sylvain Chomet animated film. Even Christopher Lee is perfectly cast as the nearly non-essential train station bookseller Monsieur Labisse. 

Some elements and characters are used just to move one plot point or sense of atmosphere along, and even Cohen is allowed to riff in a sub-plot using his typical comedy set-up. [Movie Review: “Hugo” November 24th, 2011 | By Brian Jacobson Third Coast Digest]

Hugo is certainly a departure from most Scorsese movies, but the critics are effusive in their praise.

Richard Roeper says, "One of the most magical viewing experiences of the decade so far." Richard Roeper - Richard Roeper and the Movies

"Hugo is unlike any other film Martin Scorsese has ever made, and yet possibly the closest to his heart: a big-budget, family epic in 3-D, and in some ways, a mirror of his own life." Roger Ebert - Chicago Sun-Times

 "A stunning exercise in 3D and a delightful celebration of Scorsese's lifelong love of the movies, something he, like Hugo, developed on childhood. Roger Moore - Orlando Sentinel
Hugo emerges as a spectacular adventure for film lovers of all ages. Peter Travels - Rolling Stone

In attempting to make his first film for all ages, Martin Scorsese has fashioned one for the ages. Simultaneously classical and modern, populist but also unapologetically personal, Hugo flagrantly defies the mind-numbing quality of most contempo kidpics. Peter Debruge - Variety

..a fabulous and passionate love letter to the cinema and its preservation framed by the strenuous adventures of two orphans in 1930s Paris. Todd McCarthy - Hollywood Reporter

Wednesday, November 23, 2011

Universal Coverage

Universal Coverage Vogue U.S. August 2010
Photographer: Steven Meisel
Models: Sasha Pivovarova, Caroline Trentini, Christina Kruse, and Daria Strokous