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19-Nov-2017 06:29

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Their relationship—Liberace was 57 when they met backstage at one of Lee’s sold-out Vegas extravaganzas—was intense, bizarre, and, despite the glitz and glamour, remarkably like that of any married couple.

“I wanted to make something really intimate,” Soderbergh said.

The movie was going to receive an X for “a penis inserted into a guy’s behind,” said Weintraub.

“The studio was afraid to put it out, but it made them a fantastic amount of money.” Neither Weintraub nor Soderbergh gave up: For reasons that he can’t explain, Soderbergh had been interested in Liberace as a topic for years, and while they were on the set of Traffic in 2000, he had asked Michael Douglas about playing him.

For Liberace, who sued a London newspaper and won when it insinuated about his sexuality, revealing his lust for men would have been, in his mind, career suicide.

The movie, which isn’t really a biography, is the story of Liberace’s life with Scott Thorson, a naïve 18-year-old (perfectly played by Matt Damon with wide-eyed innocence mixed with the entitlement of youth) who was Liberace’s live-in boyfriend for five years.

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” Weintraub, who produced the movie, had been down this road before: In the seventies, he produced Cruising, which starred Al Pacino as a cop hunting down a serial killer in the homosexual leather scene.I didn’t want it to be unkind, because everyone loved Liberace.He was the nicest man.” For Douglas, the sexuality of Behind the Candelabra was the easiest part to get right.In many of his films (with the huge exception of Wall Street), he is usually the nice guy who is surrounded by extreme characters, mostly women—whether they be psychotic killers or wronged lovers or some combination of both.

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While he is not a particularly self-reflective person, Douglas is aware that his considerable charm, both on-camera and off, can be a protective device, an area in which to operate safely. “It may be a second-generation-­Hollywood thing—my father [Kirk Douglas] was known for tough-guy parts, and I probably gravitated toward the cerebral rather than the physical to be different from him.” Having worked as a producer—at 31, he won the Academy Award for Best Picture for One Flew Over the Cuckoo’s Nest—Douglas was also more interested in the film as an entity, rather than the stellar nature of his individual part.The movie is something of a career rebirth—in the past few years, Douglas was diagnosed with life-­threatening cancer, and his oldest son was sent to prison.