Renner was grabbing a late-night (early morning, actually) drink in Thailand with his local guide, when the guide and some bar employees got into a fight about something or other. The guide dropped a glass on the floor when the six employees fell upon him, stabbing him in the stomach repeatedly because, hey, glass is a bitch to clean up. They then severed the guide’s neck tendons with a homemade axe (because where’s the beauty or charm in a store-bought one?).

Umm…AWESOME?

The original report said Renner suffered some minor injuries, but now it’s being reported that he booked it from the bar right when the shit went down.

If he was wearing his Hansel and Gretel: Witch Hunters outfit, I’m going to overdose on cool.

Padilha and writer Nick Schenk (Gran Torino) are collaborating on a film called Tri-Border, about the dangerous, crime-ridden border area between Argentina, Paraguay and Brazil. The two of them are doing research there now. Hopefully they’ve got a RoboGuard or something with them. The script follows a Boston-born DEA agent who’s forced to go to Tri-Borderville, in order to track down a top drug dealer.

Hurt Locker director Kathryn Bigelow and writer Mark Boal were prepping a thriller for a year called Triple Frontier, about the same location. However, they also had a project in storage about some guy named Osama bin Laden, which for some mysterious reason has taken precedence for them now. (Hollywood Reporter)

He’s received an offer to battle the undead alongside Brad Pitt in World War Z and is being looked at for a role in Gangster Squad. No idea what characters he will portray in either but we can assume both will require him to kick some ass. Especially the zombies. They need to learn they can’t go around biting everyone. (Variety)

^{"Maybe swinging by Taco Bell before the show was a mistake on my part."}

Last night at the 2010 Golden Globe Awards, host Ricky Gervais talked about his penis and helped hand out some statues. Avatar won for Best Motion Picture Drama and Best Director. Michael C. Hall and John Lithgow dominated for their work on Dexter. The Hurt Locker walked away empty-handed. Maybe the film will have better luck at The Academy Awards where the winners are based on merit, not studio checkbooks. *almost keeps a straight face*

CHECK OUT THE FULL LIST OF WINNERS AFTER THE JUMP…

Best motion picture – drama
Avatar

Best performance by an actress in a motion picture – drama
Sandra Bullock, The Blind Side

Best performance by an actor in a motion picture – drama
Jeff Bridges, Crazy Heart

Best motion picture – comedy or musical
The Hangover

Best performance by an actress in a motion picture – comedy or musical
Meryl Streep, Julie & Julia

Best performance by an actor in a motion picture – comedy or musical
Robert Downey Jr, Sherlock Holmes

Best animated feature
Up

Best foreign language film
The White Ribbon (Germany)

Best performance by an actress in a supporting role in a motion picture
Mo’Nique, Precious: Based on the Novel Push by Sapphire

Best performance by an actor in a supporting role in a motion picture
Christoph Waltz, Inglourious Basterds

Best director – motion picture
James Cameron, Avatar

Best screenplay – motion picture
Jason Reitman and Sheldon Turner, Up in the Air

Best original score – motion picture
Michael Giacchino, Up

Best original song – motion picture
The Weary Kind (Theme from Crazy Heart), Crazy Heart

Best television series
Mad Men (AMC)

Best performance by an actress in a television series – drama
Julianna Margulies, The Good Wife

Best performance by an actor in a television series – drama
Michael C Hall, Dexter

Best television series – comedy or musical
Glee (Fox)

Best performance by an actress in a television series – comedy or musical
Toni Collette, United States of Tara

Best performance by an actor in a television series – comedy or musical

THE HURT LOCKER examines the dangerous duties of three members of the Army’s Explosive Ordinance Disposal (EOD) squad.  Bombs are their business, and they know their business extremely well.  They have to because each roadside stop could mean their lives.  Stars Jeremy Renner, Anthony Mackie, and Brian Geraghty, director Kathryn Bigelow and writer Mark Boal broke down for us how you tackle a movie about an elite unit that goes in when everyone else is running away. 

It’s as meticulous a task as disarming an IED (That’s an Improvised Explosive Device for you civilians).    

Anthony Mackie: The great thing about this film is it’s not about the war.  It’s not about Kathryn putting a political stamp on who should be president or anything like that.  It’s a psychological drama about these three guys and the war is the backdrop. 

Jeremy Renner: It’s about an interesting job and fascinating characters.  It could have been about bull riders or some job I’m not very familiar with but still think is fascinating, and you throw in these characters, and that’s what it is to me.

Kathryn Bigelow: I tried to remain unresponsive to the other Iraq films out there.  This [our film] was about a bomb squad, and the bomb squad is universal.  I think of it as a war film and not a reintegration of the home front.  And predominantly it’s based on first hand observation.   
 

Anthony:  [The filmmakers] liked the dynamic between Brian and I.  We had worked together on We Are Marshall.  And with Jeremy being such a strong presence, if you had three Jeremy Renners it was just going to be a headache.  You needed the awkward guy, and the other guy to make the triangle work. 

Brian: I texted Anthony after my audition and said, hey man, I just ruined this opportunity I had, but there’s a great role in there for you.  And he said, that’s so funny, I’m trying to work it out with them, they’ve offered me the job.  And was like, of course they did.  
 

Anthony: Most of my research was done online.  I had done weapons training before, so I knew my way around a piece.  I was in North Carolina so I went over to Fort Bragg and met with some guys there and just chopped it.  The military mentality is just so different.  I just wanted to be around those guys and talk to them and study them.  All the tactical stuff would just come when we got there.

Jeremy: I did intense training for a couple weeks.  Strictly EOD.  I only wanted to be informed about the movie we were making, and not boot camp or anything like that.  It was a great opportunity to sit down with these guys and pick their brains and learn, but not too much about them until you get some booze inside, cause everything’s top secret.

Brian: Jeremy was a tremendous resource for us because he was really educated on the subject and had trained with all the guys in the year he had been attached to the project.   A lot of it was all textbook.  We’d quiz each other.
 

Jeremy: That suit was two things: it was informing, and it was hell.  I couldn’t keep the helmet on longer than twenty-five minutes cause it was too damn hot.  There are lots of parts to it.  There’s a diaper.  It’s made of Kevlar to protect you.  It’s not a “diaper” diaper.        

Anthony: It’s much easier when you have the backdrop of the reality that you’re playing in.  If you’re doing a movie that’s supposed to be set in New York and you’re shooting in New York and you’re looking at the skyline and you’re like, “I love New York,” that’s completely different than standing on a green-screen in Dodger Stadium saying, “I love New York.”  Jordan was definitely the fourth actor in the film, and it made everything ten times easier. 

Mark: We were the first film to shoot in Jordan.  There was no big tent when we came.  It was like two guys in the back of a room with a coffee pot, “Hey we’re the Jordan Film Commission.” “
“You got any cameras?”
“No.”
“You got any lights?”
“No.”
“What do you got?”
“You got us two guys and this pot of coffee!”  So they really boned up and were great in terms of giving us access and support. 
Kathryn: I found all the hardships to be somewhat romantic, but maybe I’m a member of one.
Mark: She’s a cyborg who doesn’t feel pain, but for the rest of us…  
 

Anthony: That sniper sequence was eight of the worst days of my life.  Between the flies, and the heat, and the rogue goats, and the sand storms.  You’d be standing out there and all of a sudden a sand hurricane would come through.  It took everything in me when they handed me that Hi-C to me to not gulp that motherf**ker.  Then that sniper rifle is so powerful that when you shoot it it’s literally like someone kicking you in the chest.  

Kathryn: The sand was really punishing.  Every time I’d say cut, Anthony, his eyelashes were covered in sand, his head would just go down and he’d be buried in it, and I’d say action and his head would come back up.   I remember walking up to him at some point and saying, “Four years of Juilliard,” trying to get him to smile at the whole process.  

Kathryn: Goat wrangling was a new one for me. 
Mark: You had a thing where there had to be an additive effect with the goats.  So the first time you see it it’s one goat, and then three, and four, like The Birds, until it’s a flock of goats.
Kathryn: A flock of goats?  A herd?  A herd.  So there you are with all your reporting skills screaming.
Mark: Trying to make that happen for you.  But there’s an Albanian shepard guy who had no idea what I was saying, letting one go at a time.    
 

Anthony: I’m the only motherf**ker that’s never been to Kathryn’s house.  I told her you find a brotha on your porch you know what’s goin’ on.  Everybody’s been to her house.  Jeremy went over and they had tea and sh*t.  Brian went over and did his audition there.  We met at the Four Seasons.  I was like, are you serious?  With all these old dudes and hookers?  Take me to your house!

THE HURT LOCKER opens in select theatres on June 26th.

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