Jake Szymanski is directing the Universal movie from a script by Adam McKay’s former assistant Lauryn Kahn
After “Les Miserables” and Seth MacFarlane’s upcoming comedy “A Million Ways to Die in the West,” Universal is sticking with Amanda Seyfried, who just closed a deal to star in “He’s F-ing Perfect,” an individual familiar with the project has told TheWrap.
Will Ferrell and Adam McKay are producing through their Gary Sanchez banner along with Kevin Messick. Jake Szymanski is directing from a script by McKay’s former assistant Lauryn Kahn, who originally sold the project as a seven-figure spec to Fox 2000. Good Universe will also produce.
The story follows a girl who’s pessimistic about love and uses social media to vet her friends’ dates. When she finds what looks like the perfect guy, she decides to use her web-sleuthing skills to turn herself into his perfect match.
Seyfried, who just signed on to star opposite Russell Crowe in “Fathers and Daughters,” is repped by Innovative Artists.
I’ve added 39 HQ photos of Amanda attending the LAByrinth Theater Company’s Celebrity Charades Benefit Gala on October 28.
- Public Appearances > 2013 > October 28: LAByrinth Theater Company Celebrity Charades 2013 Benefit Gala
Amanda Seyfried has been cast as Russell Crowe’s daughter in the drama Fathers and Daughters.
Gabriele Muccino is directing the project centered on a woman dealing with a crumbling relationship in the present and looking back on the relationship she had with her father, a famous novelist, 25 years earlier.
Crowe’s deal to play the father closed earlier this week.
Voltage Pictures’ Nicolas Chartier and Craig J. Flores are producing. Sherryl Clark is also producing.
Seyfried’s last year has been quite eventful. She was a key player in Les Miserables, starred in Lovelace and wrapped Seth MacFarlane’s A Million Ways to Die in the West.
What’s on your…
MUST-SEE-TV LIST:The Wire, Scandal, and Homeland.
BUCKET LIST: I want to learn French.
NIGHTSTAND: Incense, which I burn a couple of nights a week. I also have Hemingway, Capote, and Faulkner books because I’m trying to read some classic college curriculum literature.
FANTASY TRVVEL ITINERARY: A week in upstate New York, lakeside. No shoes allowed.
VANITY: Clé de Peau Beauté’s La Crème and its new Extra Rich Lipstick in 310; Kevin Murphy dry shampoo; Givenchy Very Irrésistible Eau de Toilette; and coconut oil.
LAST CREDIT CARD STATEMENT: Dog food, charcoal, water purifiers, and iTunes charges for music.
COFFEE TABLE: Malerie Marder and Life photo books.
LIST OF CHARITIES YOU SUPPORT: JDRF [Juvenile Diabetes Research Foundation], Pancreatic Cancer Fund, The Eric Trump Foundation, and Best Friends Animal Society.
WEEKLY GROCERY LIST: Trader Joe’s dried fruit, almond milk, dark chocolate, and fruits and veggies.
BED: Matteo sheets, down pillows, and usually a dog toy.
FEET: Dirty Laundry faux-leather boots and Topshop suede black flats.
NETFLIX QUEUE: I’ll watch any documentary. The best I’ve seen lately is about the beginning of the AIDS epidemic. I also loved Sarah Polley’s new film, Stories We Tell.
COMPUTER SCREENSAVER: A black-and-white shot that I took of my dog, Finn, on a beach on the Oregon coast.
WALLS OF YOUR FAVORITE ROOM IN YOUR HOUSE: I have Joan Nelson paintings and Sarah Baley photographs in my bedroom.
GO-TO TAKEOUT MENU: I love spicy lemongrass coconut mushroom soup and veggie pad thai.
IPHONE APPS: Picfx, Words With Friends, and Sudoku.
SPEED DIAL: My mother and Sunset Foot Spa, in L.A., for reflexology.
MIND: Too much.
IDEAL DINNER-PARTY GUEST LIST: Neil Patrick Harris, Patty Griffin, the Clintons, and some magicians.
WISH LIST: An extra month in a year, and immortality for my dog.
ITUNES PLAYLIST: Phosphorescent, JBM, and The Milk Carton Kids.
BOOKMARKS MENU: Amazon for things like Tom’s of Maine soap, paint, books, and Glutino Bagel Chips, and Etsy for antique wooden boxes and antique enamelware.
WORKOUT PLAN: Hot yoga, hiking, running, jump rope, ballet, and weights. I mix it up for enjoyment.
QUOTES-TO-LIVE-BY LIST: “You will find that it is necessary to let things go; simply for the reason that they are heavy.” —C. JoyBell C.
I’ve added another 200 photos from a shoot Amanda did back in 2010
I’ve added over 300 HQ outtakes from a shoot Amanda did back in 2010! I have hundreds more that I’ll be posting over the next few weeks.
I’ve added four HQ scans of Amanda in this month’s Cosmopolitan Singapore
Amanda Seyfried suffers from crippling anxiety.
The ‘Lovelace’ actress has spent years battling panic attacks and anxiety, but has learnt to conquer her fears by focusing on the positive aspects of her life and taking time out of her hectic schedule to relax.
She explained: ”I like challenges. I’ve suffered from anxiety and panic attacks for many years and you learn to fight your fears by facing up to them.
”I still fight against anxiety. It takes time, even to get to the point where although you might have a possible self-image, you still worry about silly little things.
”I know how to deal with and over time it’s not going to be an issue for me. I just try to relax and have fun and not let myself get wrapped up in unimportant things.”
The 27-year-old star tries to tap into her creative side to help rid herself of nerves and painting is her absolute favourite way to unwind.
Amanda told LOOK magazine: ”Recently I started painting again. I have this amazing craft room in Los Angeles that overlooks the city, with a window onto a big backyard. It’s heaven on earth.
”My dog sits under my desk and I will paint literally for hours. It’s amazing. It’s the best feeling in the world.”
IT’S almost shame to sully Amanda Seyfried by talking about sex.
She sits in an oversized designer chair, feet not touching the floor; shrunk to the size of a child by the furniture. There’s something pure about Seyfried, heightened by her waterfall of blonde hair, her doe eyes.
Who’d have thought she’d make such a good porn star?
The reason sex is on the agenda is that for her latest film, Lovelace, Seyfried has transformed into Linda Lovelace, a 1970s sexual icon for her role in the world’s most profitable porn film, Deep Throat. Lovelace’s turbulent and often unhappy life came to an early close in 2002, when she died in a car crash at the age of 53.
Seyfried, at 27, finally loses some of that grit-your-teeth sweetness audiences saw in musical hits like Mamma Mia and Les Miserables, developing some of Linda’s brunette earthiness, fleshing out into porn star curves. Yet what Linda and Amanda really share is the impression of girl-next-door innocence.
In Seyfried’s case, she’s keen to show that’s not reality.
Making a film about Lovelace has been on the Hollywood agenda for nearly 20 years; in 2010, Seyfried’s Mean Girls co-star Lindsay Lohan was cast, before later getting dropped from the project. Seyfried said yes to it a year later. She was, she says, well aware of the risk to her career.
“I knew it, and people close to me did not stop reminding me either that it was a risk to take the part. But I wanted a challenge, and it was an unique opportunity.”
Not risky in terms of the cast and crew – Peter Sarsgaard gives dimension to Chuck Traynor, Lovelace’s abusive ex-husband, and Sharon Stone is unrecognisable as Linda’s religious mother Dorothy – but in that Hollywood still doesn’t seem to appreciate movies about sex.
After all, Ang Lee missed his Oscar for Brokeback Mountain after sweeping the rest of the awards season. Being naked is apparently the one physical transformation that an actor can make without being in danger of getting an Academy Award for it.
“I would love it if Americans could only appreciate sex in film the way everyone in Europe seems to,” Seyfried sighs. “I mean, as far as I’m concerned, it’s not that big a deal. I didn’t mind the nudity at all in this film, I have no problems taking my clothes off. Not,” she adds quickly, “that I’d ever consider doing anything like a porno at all.
“But here in America, there is such a stigma attached to sex. But isn’t it better than violence and making movies about people killing each other? Sex is the biggest part of our culture. So why aren’t we talking about it in a movie?”
For someone with a reputation for sweetness, backed up by those parts in Les Mis, Mamma Mia and a Nicholas Sparks adaptation, Dear John, this Pennsylvania-born girl really does not have a problem getting naked. She did so two years ago when she played a call girl in erotic thriller Chloe with Julianne Moore.
Perhaps starting off in child modelling at the age of 11 gave her a lack of self-consciousness, but Seyfried claims the opposite is true.
“I actually grew up thinking that sex was absolutely terrifying and that it could kill you. It’s taken a while to figure myself out in that way and connect with sex in a healthy way. These roles are a way of challenging myself, of confronting me.”
Her frankness is delicious but it must have been excruciating for someone so open about her awkwardness to go through her biggest romantic split in the public eye. Seyfried’s most significant relationship to date was with Mamma Mia co-star Dominic Cooper, and confessed she had her heart “well and truly broken” by him.
This year, she has recently hinted that there was someone in her life not from the industry, someone she says she pictures “as the father of her children. But it’s a fantasy right now.”
Until that happens, she says, it’s work and her dog, Finn. Her focus, she says, is to prove herself as something more durable than red-carpet fodder.
“Sometimes I wish I could just go to something like the Oscars in just sweatpants,” she jokes, and then sighs again. “But then they’d write bad things and you don’t want that. I want to let my work speak for me.
“I now want to take on only roles that challenge me,” Seyfried continues, suddenly animated. “Roles that take me to places where I am afraid.
That’s the big thing for me. I know there’s an image of me as sweet and it would be easy to get stuck into those parts, to be typecast as that female in that kind of film.
“I am privileged that finally there are people out there right now who believe that I can handle the stuff being thrown at me. But I’ve had to work really hard for that. I really think I’m getting better every year – as an actor that is.”
This thirst to prove herself, to keep trying something different, has sometimes led Seyfried badly astray – the schlocky horror Jennifer’s Body with Megan Fox, for example, or even Catherine Hardwicke’s supposedly erotic twist on a fairy tale with Red Riding Hood in 2011.
However, it also led her to her breakthrough role in 2004 as Karen in Mean Girls. After starting acting when she was 15, taking roles in TV series such as Veronica Mars, Seyfried says she clawed her way into the twisted teen comedy, against the advice of many.
“I really did come into this business from a place of innocence and people did try to exploit me all the time. I had to learn quickly,” she says, soberly. “You’ve got to know your boundaries and insist on making your own choices in life.
“That’s why perhaps I related to Linda Lovelace. But she had none of the freedom I enjoy. Her husband wouldn’t let her go to the bathroom without permission.”
There is little that’s erotic about the sex in Lovelace. It’s partly just the daily grind of the porn industry, but mainly it’s because of the abusive marriage that Linda claims she endured to Chuck Traynor.
Years after Deep Throat was released, Lovelace claimed Traynor had raped her and abused her, forcing her to take part in the film. “Each time you watch Deep Throat,” she would say, “you are watching me getting raped.”
The absolute truth died with both Lovelace and Traynor more than a decade ago, although both sides of the story are presented by journalists-turned-directors Jeffrey Friedman and Rob Epstein. Seyfried calls the experience of filming, “the most harrowing of my life”.
“Not the sex, because actually Peter and I managed to make it really matter of fact. I found filming Chloe far more explicit and graphic. No, it was the violence.
I think we’ve made it a hard watch, and it only just skims the surface of what she says she went through. It took me to dark places that I found it difficult to let go of. Put it this way,” she adds, “I went to the set of Les Mis a few weeks later for the light relief. I only managed to let Linda go there.”
Whatever toll it takes, Seyfried says she’s “unbelievably proud to have made this film”, that whatever glack is thrown at her, she’ll stand by this work. “This is a high-profile role for me. I hope this is the game-changer.” She looks up and smiles. Sweetly.
She was an iconic figure of the 1970s – yet her fame came from appearing in a pornographic film. Now the legacy of Deep Throat star Linda Lovelace is re-examined in a Hollywood biopic, starring Amanda Seyfried, Sharon Stone and Peter Sarsgaard.
Linda Lovelace, born Linda Boreman in New York in 1949, was a divisive figure. Not only because she made her name in a pornographic film, but because she later accused her ex-husband Chuck Traynor, the producer of Deep Throat, of forcing her to take the role.
According to Lovelace, he was a violent and sexually abusive partner, and she lived in fear for her life.
Later, she would join feminist and anti-pornography movements, describing porn films as “legalised rape”.
Many, however, refused to believe her story and no charges were ever brought against Traynor who died in 2002, just months after Lovelace was killed in a car crash.
Hollywood’s attempt to dramatise the actress’s life, titled Lovelace, has also been controversial.
The pressure, according to Seyfried, “lies within the fact that she’s a real person, even if she’s no longer with us”.
“But I wanted a challenge to risk myself and there’s nothing riskier than taking responsibility for a real person’s voice. Especially for Linda Lovelace, she has one kind of image and it is all connected with her doing Deep Throat,” she says.
Deep Throat was made in six days in 1972 for a budget of just £25,000 – significantly less than the £6.5m spent on Lovelace.
The title – a reference to fellatio – pretty much summarises the paper-thin plot, in which Lovelace seeks help with a sexually sensitive area at the back of her throat.
It drew middle class audiences to the cinema and became a forerunner of today’s hardcore adult entertainment industry. But it caused such outrage that its male star, Harry Reems, was subsequently convicted of obscenity.
Linda Lovelace’s appeal, it was claimed at the time, came from her naivete, making her seem more like a girl-next-door than an adult film star.
It’s been estimated Deep Throat made anything between $100m and $600m (£382m), making it the most profitable pornographic film of all time, although Lovelace later said she made no money from it.
Lovelace directors Jeffrey Friedman and Rob Epstein, who are former journalists, tell both sides of her story in their film and include graphic and harrowing scenes of the abuse she claimed to have suffered.
“We did this so the audience can make up their mind,” says Friedman. “No one knows for sure what the truth is. Both Chuck Traynor and Linda died in the same year and he never admitted guilt or denied it outright.”
Seyfried says her own role was easier, “because I only had one point of view as far as I was concerned, and that was to believe Linda. She believed she suffered abuse and so I did as well”.
“People ask ‘why did she do Deep Throat if it was against her will, why did she stay with Chuck Traynor for so long before leaving?’ I think the answer to that is she was deeply controlled and in fear for her life, as so many victims of domestic abuse are.
“Hopefully, 40 years on, there is far less stigma surrounding such things, but many victims still feel shame. I am sure she did too,” she says.
The nudity that came with the part “was easy” she says. “At least it was easy compared to showing the violence. I went into a very, very hard place because of those scenes. We just skim the surface in what we show and that was dark enough.”
As a result, she says, “Linda has stayed with me more than any other part I have ever played. She affected me so deeply and it was weeks into filming my next part, Cosette in Les Miserables, before I could actually let her go”.
But according to author Eric Danville, who wrote Lovelace’s authorised biography, The Complete Linda Lovelace, the film “only tells half the story”.
“It ends with Linda joining the feminist movement – and she did, of course – but it doesn’t show how later she became disillusioned with that movement as well and even went back to pornography before the end of her life.
“Hollywood needs to give audiences a happy ending, I know, but this film is a drama, not a documentary – it’s not the last word on her,” he says.
Lovelace follows Michael Fassbender’s portrayal of a sex addict in Shame; and precedes Joseph Gordon-Levitt’s directorial debut Don Jon’s Addiction, which explores one man’s dependency upon pornography.
Seyfried notes that the topic of sex, which is often unpopular with movie executives, “is definitely in the spotlight”.
“I think a greater discussion about sexual issues is essential in filmmaking,” she says. “It isn’t something we should shy away from.
“But this is not a porn movie in any way, as far as I am concerned. It is not erotic. It’s a film about a young woman in a terrible, abusive marriage.”
While Lovelace went on to marry for a second time and have two children, she died at the age of 53. The star lost control of her car on 3 April 2002 and hit a concrete post. Three weeks later, with her parents at her bedside, her life support was turned off.
The actress’s life, according to Friedman, was “all too brief and unhappy in many ways”.
“She is a tragic figure. However, she is an icon. She did a great deal for sexual liberation in the 1970s with Deep Throat.
“She actually helped end a great deal of silence and repression surrounding sex because the film was so popular and, whether it’s a porn film or not, because of that she deserves her place in popular culture.”