"FACTORY GIRL" REPORT: Sienna and Hayden's Sex Scene In Movie -- Was Real...

Desperately Saving Factory Girl

A movie with huge expectations, beset by production delays and drama on the set, release date pushed back into obscurity, despite heavy campaigning by its producer, and now blasted by critics – no wonder Harvey Weinstein had to do SOMETHING.
The problem is, allegedly leaking this kind of story via the NY Daily News is pathetic at best…and even an amateur gossip can see through that bullsh*t.

In case you haven’t heard – the paper printed a story today that that sizzling sex scene between Sienna Miller and Hayden Christensen in Factory was not just acting…it was the real thing. As in penetration. As in intercourse. As in completely fantasy. And denied immediately by Sienna – for once you should believe her.

If you recall, I broke the story of the reshoots for that particular scene back in November. The set was built in Toronto designed to resemble Bob Dylan’s cabin and they were NOT alone. The director, assistants, lighting crew, makeup, a small village was on hand that day, and more importantly – the two protagonists were at odds. So much so that there was much conflict surrounding the first takes because of Sienna’s supposed unprofessionalism, the director and Hayden’s constant redheaded companion, with whom he’s been seen since last summer, stepped in to placate both stars, resulting in footage that has been edited to appear hot.

Repeat – Hayden was not alone that day. In fact, he insisted that his girl remain on set throughout the duration of the intimate scenes…not because he’s a freak *** perv who wanted her to watch but because it was a simple, professional love scene, and he is by all accounts a professional. And … given his aversion to any public scrutiny relating to his private life, especially since he seems particularly interested in forgetting the Sienna Episode, there is absolutely no f*cking way Hayden Christensen would have popped a c*ckstand, let alone putting it out there for public consumption.

I’m telling you gossips, it didn’t happen.

A better explanation of this and why the director George Hickenlooper did not confirm or deny the report when asked about it is because the movie is in trouble. And a savvy movie mogul like Harvey Weinstein is no stranger to whipping up scandal and intrigue to save his project. While Sienna – to her credit – is earnestly pounding the pavement desperately trying to salvage her film, Harvey seems to be masterminding a different kind of attack. Not unlike the studio-fueled rumours that resulted in heightened interest surrounding Mr & Mrs Smith except that …well…clearly apples and oranges, non?

Conclusion: Publicity Stunt.

Trust.

http://www.laineygossip.com/ArticleList.aspx?ID=5727
 
impossibleprincess said:
God, Hayden is gay. I bet this comes from his people.

:lol:
This has been great publicity for the movie...:rolleyes: as Jennika's post points out
 
It's pathetic, is what it is trying to drum roll a movie that is going straight to DVD after a few weeks
 
If those sex scenes really are how they did it in real life, it's no wonder they split. The scenes aren't sizzling, they aren't hot. I've eaten icecream that was hotter. I have to agree that this is probably just a way of getting some publicity for the movie.
 
Noo.. he isn't gay is he? maybe bi?? ohh :(

Wait here, I'm flying over to where he is to find out.. if he resists my lady berries and sexual fury... then I'll have to jump onto the Jake G. band-wagon to help him prove he is straight.. ;)
 
I think I'll watch the movie and see... but if they did do it in front of their entire crew, that's kind of dodgy... :shock:
 
I am not on the payroll of Village Voice's publicity people... (but maybe I should be):

Edie Made Easy
Queen of the Factory gets a dull biopic
by Nathan Lee
February 2nd, 2007 3:12 PM
lee.jpg

A slave to her craft, Sienna Miler rocks the Edie 'do.
Patti Perret
Factory Girl
Directed by George Hickenlooper
The Weinstein Company
Opens February 2

Ticket buyers to Factory Girl are in for a drag; not even the drag queens will like it. Cookie-cut from the biopic assembly line, this life and times of Edie Sedgwick (Sienna Miller) is the least-fabulous movie imaginable about the most fabulous persona in that most fabulous of scenes, the Warhol Factory at the height of its genius and gaiety. That Shreveport, Louisiana, is frequently made to stand in for 1960s Manhattan is the least of its problems. Warhol wonks will note dozens of distortions, beginning with the Factory itself. The infamous loft at 231 East 47th Street was remembered by Billy Name, the man who silvered its every square inch and became its live-in custodian, as a dark, dank, menacing place, buzzing with the hive energies of art making and amphetamine frenzy. The Factory in Factory Girl is much too tidy and bright, a neat pile of Brillo boxes here, a bit of speed freak goofing over there, random heaps of pseudo-bohemians huffing down helium in fits of giggles.
Primitively written by "Captain Mauzner" (né Josh Klausner) and prosaically directed by George Hickenlooper (Hearts of Darkness: A Filmmaker's Apocalypse—indeed), Factory Girl sanitizes the Factory era even as it aims to expose its spiritual grime. The story of Edie Sedgwick is not a happy one. Born into an insanely rich, obscenely dysfunctional clutch of Massachusetts blue bloods, she fled to art school before finding her true calling as an ebullient junkie and archetypal "It" girl. Scenester, tastemaker, one-woman youthquake, and hardcore basket case, she would serve for a brief, blazing moment in the mid '60s as the Wigged One's most scintillating muse.
Insiders called him Drella. That's Dracula + Cinderella, though Guy Pearce, in a performance at once over-calculated and under-conceived, emphasizes the bloodsucking aspect. He goes deep into Andy's physical strangeness to embody the skin-deep thesis that he compensated for ugliness by leeching on to pretty people. That might well be valid but it's definitely not definitive. Like everything here it's a Cliffs Notes cop-out.
Mauzner's script isn't quite the work of an "illiterate ******," as Lou Reed says, but it's close. Factory Girl is Edie for Dummies, a simpleminded checklist of biographical tidbits held together by a voiceover of staggering banality. "We were experiencing life on our own terms!" "It was a perpetual party, one that I was happy to lose myself in!" "He was so...different!" That last bit concerns what the screenplay, dodging lawsuits, refers to as "the musician": Bob Dylan, whose relationship to Edie is a subject of controversy, and who might well have murdered the filmmakers had he seen how heinous Hayden Christensen travesties his mythology.
Miller, meanwhile, works very hard at her Edie. She does the voice and the laugh and the style to a T, though she never nails the ineffable, effervescent vitality. Who could? On the one hand, Edie is a walking cliché: the poor little rich girl who burned bright then burned out. On the other, shes as enigmatic as Warhol, a white-light/white-heat lightning bolt from the zeitgeist, showering the scene with giddy radiance. You need but see her in Vinyl, her Factory film debut, holding down a corner of its deep-space S&M tableau doing nothing but flicking a cigarette and bopping her head, to get her enchantment. Chief among Hickenlooper's follies is his restaging of Vinyl; I'm glad his heavy hand laid off Kitchen, one of my favorite Warhol two-reelers, in which Edie gives a charmed, hilarious performance punctuated by nonstop sneezing, the signal she's forgotten a line.
Hickenlooper makes up for it with his mutilation of Beauty #2, the richest of Warhol's cine-interrogations and the apex of Edie's underground Superstardom. Plunked on a bed with a chunk of stud named Gino, Edie submits to the offscreen questions of Chuck Wein (a clueless Jimmy Fallon), an old friend of Edie's whose crucial and controversial role in the Factory ecosystem is here glossed over. Factory Girl literalizes the r*pe scenario implicit in Beauty #2, escalating into the vulgar (and wildly exaggerated) spectacle of Wein forcing Gino on the distressed starlet.
Poor little girl, chewed up in the Factory machinery. It was inevitable, perhaps, that a biopic of the Pop princess would stick to pop psychology, but did it have to feel as flat as a silkscreen? With its hackneyed party scenes and jet-set montages, Factory Girl fails even at frivolity.

www.villagevoice.com
 
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