You don't need to take a cross-country trip to check out where some of the most well-known movies of all time were filmed or inspired.

As long as you have the address or the name of any given venue, you can explore plenty of classic film locations through Google Street View.

Dozens of landmarks and settings throughout New York City alone have provided the setting for some of the most memorable movie scenes to date. 

"Life is like a box of chocolates" scene from "Forrest Gump."

The 1994 film "Forrest Gump" holds some of the most memorable and quotable scenes of any movie. In the film, Forrest sits on a park bench as he waits for his bus to arrive while recounting all of the astounding details of his life to a stranger. One of the movie's most famous lines is uttered on that park bench:

"My momma always said, 'Life is like a box of chocolates. You never know what you're gonna get.'" 

And here's how it looks through Street View.

That scene is filmed in Chippewa Square in Savannah, Georgia. The actual bench that Tom Hanks sat on as the scene was filmed is located in the Savannah History Museum, but you can its former spot in the park through Google Street View. 

Shermer High from "The Breakfast Club."

John Hughes' 1985 hit "The Breakfast Club" was one of the most iconic coming-of-age films of its time. The plot centers on five high school students with different teenage stereotypes who discover they have a lot more in common than they initially thought during a Saturday afternoon in detention. It made The New York Times' list of the 1,000 Best Movies Ever Made published in 2003.

Above is an image of Shermer High School as it appeared in the movie.

Chris Rock recently opened up to "CBS This Morning" host Charlie Rose about how being black and famous in Hollywood is very different from being white and famous.

"Being famous as a black guy is a little different than being famous as a white guy. Tom Hanks is an amazing actor, but Denzel Washington is a god to his people," the comedian told Rose, not in jest. "Denzel Washington has a responsibility to his people that Tom Cruise, Liam Neeson, all these guys don’t have. They just make their art."

Rock continued: "No one says, 'Hey, Tom Cruise! Stay white! Don't forget your whiteness! Come back and visit white people! What-chu doin' for white people, Tom Cruise?! Yo Stallone, what are you doing for Italians?!'"

Black people "want to know that Denzel loves his people," Rock says. "That’s he doing stuff for his people. They feel his highs and lows more than white people. If Tom Hanks does a bad movie, there’s gonna be another good movie by somebody white next week. If Denzel does a bad movie, I might not see a good black movie for a year. I am really left out here hanging."

Rock acknowledged that he felt the same pressure on himself "a little bit."

In his new directorial feature "Top Five," Rock plays a version of himself who is trying to make it as a serious actor.

"I wanted to do a movie about black fame," he says of the film, in theaters Dec. 12.

He says with this movie, he finally "found a tone that works" for him.

Rock, who has appeared alongside Adam Sandler in the "Grown Ups" franchise and in "The Longest Yard," says that following in Sandler's career footsteps hasn't always been the smartest move for him.

Rock says: "Men always get their fashion sense from whatever friend gets laid the most ... so since Sandler is my biggest movie star friend, I was like, 'OK, I'll just do what he's doing,' but it didn't really fit me. It fits when I'm in a movie with him, but it didn't fit to make a movie with that tone. Or even an Eddie Murphy movie, that wasn't my tone."

But outside of his movie career, Rock says, "standup will always be at the core of my life. I really like it. I kind of love it."

Watch Rock's full interview with Charlie Rose below:

SEE ALSO: Jerry Seinfeld's One Great Trick For 'Talking To Regular People'

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"Dumb and Dumber To," which reunited original stars Jim Carrey and Jeff Daniels 20 years after the 1994 hit, made an estimated $38 million worldwide at this weekend's box office.

Fans of the first film may have recognized a familiar face in the sequel — child star Brady Bluhm.

Bluhm briefly became famous after appearing in the original "Dumb and Dumber" as "Blind Billy," a kid who Harry (Jeff Daniels) and Lloyd (Jim Carrey) take advantage of by selling him a dead bird for $25.

Here's Bluhm as Billy in 1994. You may recall him stroking the bird with his now-famous phrase, "Pretty bird, pretty bird":

Fast forward to nearly 20 years later and Bluhm is now a 30-year-old man with a wife and baby. 

According to his Facebook page, he moved behind the scenes after his child acting with jobs including sound engineer and is currently employed by an educational software company.

When the Farrelly brothers started working on "Dumb and Dumber To" earlier this year, they wanted to bring back Bluhm — but had a hard time finding him.

Eventually, the Farrelly bros — who wrote, directed, and produced the sequel — turned to Facebook.

When they found him, Bluhm was asked to re-audition for the role and landed the job, according to a TMZ report.

Here's Bluhm today:

Yes, it's really him---Billy in 4C today! #DumbTopic.twitter.com/RUh7OUrEkG

— Farrelly Brothers (@farrellybros) September 25, 2013

Both Bluhm and the bird are bigger:

Bluhm posted this photo to his Facebook from set: 

After shooting, he's returned home to his wife, Abbie, and daughter, Faye:

But he's had plenty of fun promoting his role in the film:

Now check out the role that made Bluhm famous 20 years ago:

SEE ALSO: 'Dumb And Dumber' Sequel Has Huge Opening Weekend

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4DX is the latest technology transforming the movie experience. 4DX cinema rumbles, rocks, sways, vibrates, smokes, strobes, sprays water, tickles your legs and even introduces smells. 

Los Angeles is now the first and only US city to have a 4DX theater, showcasing the latest version that includes three motion effects and eight environmental effects.

Produced by Devan Joseph. Video courtesy of Associated Press.

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Warning: If you haven't seen "Big Hero 6," there are spoilers ahead.

If you've seen Disney's latest animated picture "Big Hero 6," you most likely missed out on one of the best parts of the film without even knowing it.

There's an end-credits scene following the movie featuring a big cameo, but barely anyone seems to know to stick around for it. 

By now, Marvel fans know that any of Disney and Marvel's superhero movies have an end-creditsscene hinting at future sequels. But since this was an animated Marvel movie from Disney Animation, it wasn't clear whether or not there would be an additional scene afterward.

If you left the theater early, here's what you missed...

Last chance to head back before spoilers!

What Happens

Parents may have noticed early on in the film that when Fred (T.J. Miller) walks his friends through his home, he stops at a family portrait showing his parents. Staring us straight in the face is an animated Stan Lee!

That wasn't where the cameo ended. 

After the credits, we see Fred return to the portrait, wishing his parents were around more. As he leans on the picture, he reveals a secret passageway. Inside is what looks like a superhero lair filled with costumes and gadgets. 

Stan Lee then appears and tells Fred they have a lot to discuss.

What it means for a "Big Hero 6" sequel

The end-credits sequence plays out a lot like the scene from "Spider-Man 2" where Harry Osborn (James Franco) discovers his father (Willem Dafoe) is the Green Goblin.

In "Big Hero 6," it looks like Stan the Man and his son may combine forces to be a superhero team. We'll have to wait and see whether or not that actually happens.

During a panel discussion and screening of the film in Beverly Hills, the directors discussed how only a handful of people knew about the cameo.

Via InsidetheMagic.net:

“We kept that a secret from everyone involved in the production, except for a very small team sworn to secrecy,” said producer Ray Conli. 

Cinemablend has a bit more on how the scene came together from a discussion with co-director Don Hall: 

The writers, Dan Gerson and Rob Baird, came to us one day with a pitch about ‘Hey, what if Fred was rich? But nobody knew it.’ You know, he comes off as this kind of slacker dude and his underwear thing and all that. He's kind of this gross guy, but appealing. What if we found out he was super, super rich? We all thought that was a super funny idea. Then it felt like, ‘Oh, what if…’ and then we started from that. It's like, ‘What if his dad closely resembled Stan Lee?’ It felt like we could kind of weave that in there, and get a little humor, a little wink to Stan Lee out of that."

SEE ALSO: Read the letter that landed Donald Sutherland his role in "The Hunger Games"

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Nike just debuted this ad – the first one of a series promoting its new Hyperwarm line – featuring actor Chris O'Dowd from "Girls" and "Bridesmaids" as well as football stars Aaron Rodgers and Jordy Nelson, soccer players Clint Dempsey and Brad Evans, distance runner Mary Cain, figure skater Gracie Gold, and snowboarder Johnnie Paxson.

The ad was produced by the advertising agency, Wieden+Kennedy, that made the 25th anniversary ad for the "Just Do It" campaign last year. 

Video courtesy of Nike

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Steve Albini has recorded well over 1,000 rock albums, from famous names like Nirvana and Robert Plant and Jimmy Page, to more obscure but beloved bands like Jesus Lizard. He's also played in a few bands that are well known in indie rock and punk circles, like Big Black.

But he's equally well known for a 1993 essay that he wrote. The essay, "The Problem With Music," was an essential read for any musician who dreamed of signing a big record company contract. The basic idea was that most of those contracts were one-sided, and ended up making record companies rich while keeping musicians in a state like indentured servitude. The essay was shared and reprinted and published all over the internet.

Fast forward 21 years. This weekend, Albini gave a speech at an Australian music conference in which he basically said that the internet hasn't broken the music business at all  — at least not as far as fans and 99% of musicians are concerned. Fans have easier access to more music than they ever could have dreamed of 20 years ago. Musicians have many more ways to reach fans directly, and as a result the relationship between fans and bands is stronger than ever. Albini says his band's live gigs can pay 10 times better than they did a decade ago.

According to Albini, the only people who don't like the way it works are the middlemen who profit off the old way of doing things. Look no further than mega-star Taylor Swift, whose record label pulled her songs off Spotify.

He takes particular issue with a statement that's often thrown around these days in the music business: "We need to figure out how to make internet distribution work for everyone."

As he puts it:

I disagree that the old way is better. And I do not believe this sentence to be true: “We need to figure out how to make this digital distribution work for everyone.” I disagree with it because within its mundane language are tacit assumptions: the framework of an exploitative system that I have been at odds with my whole creative life. Inside that trite sentence, “We need to figure out how to make this work for everyone,” hides the skeleton of a monster....

The internet has facilitated the most direct and efficient, compact relationship ever between band and audience. And I do not mourn the loss of the offices of inefficiencies that died in the process. I suppose some people are out of work. But the same things happened when the automobile replaced the horse, and all the blacksmiths had to adapt, spending their time making garden gates rather than horseshoes.

It's a great speech for anybody interested in digital music and the music business.

Read the whole thing here>>

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Sony Computer Entertainment America CEO Shawn Layden isn't worried about the other guys, not even mobile and PC games. 

In a Q&A with VentureBeat's Dean Takahashi, Layden touts the PlayStation 4's incredible achievement of trouncing its main competitor on the market, the Xbox One, for 10 months in a row.

It could've been 12 months in a row, he says, but they didn't get enough units to market in time.

On Friday, Sony revealed all of the PS4's accomplishments on the console's first birthday. In the past year, 13.5 million units have been shipped worldwide, and people have spent 1 billion hours playing online.

According to Takahashi's math, the PlayStation 4 "has about a two-to-one advantage over Xbox One," and Layden agrees, saying, "The math seems to look like that."

The Xbox One could catch up this holiday season, but Layden says he's "not at all" worried about the Xbox One's planned $50 price cut. "We're going to be fully engaged in that battle." 

Layden's view on mobile and PC games is also interesting. The mobile games market is enormous, and will continue to grow. And e-sports online games, such as "League of Legends," are ramping up their space in the market. In fact, the company behind "League of Legends," Riot Games, is on track to becoming a billion-dollar business. 

But Layden doesn't seem too worried. 

"We coexist," Layden says. "The world is a big place. We totally accept that, even if you’re a hardcore PlayStation gamer, you may wish to have different gaming experiences in different settings. That’s completely reasonable."

He says that the key to making it is offering a great player experience. "We want to be successful. I don’t think it’s necessarily a zero-sum game. I don’t have to beat some other game in order for my game to succeed. I just have to make a great game."

Still, he's not opposed to finding new business models, perhaps even a free-to-play model, which is how "League of Legends" has found such great success.

As he puts it:

Free-to-play is an interesting market. It’s quicker to understand how that works on a mobile phone, or on tablet, because the development costs going in to build the application are different. When you bring it to a 75” TV, the development cost of creating that is pretty high. If it’s completely free-to-play, you’re looking at business models where 99 percent of people don’t pay for anything, one percent pay for everything, and that’s how you build it out. It’s tricky. We’re working with a lot of different developers on what’s the best route to market for that.

Read the entire Q&A over at VentureBeat>>

SEE ALSO: This 22-Year-Old Went From Working At McDonald's To Making $1 Million A Year Playing Video Games

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Since the release of "Interstellar" in theaters, some viewers have expressed concerns over possible sound-mixing issues during showings of the movie.

/Film collected a number of critics and fans around the world who claimed their showings included muddled audio and overpowering music that drowned out dialogue at points in the film. 

In response to viewer complaints, a theater in upstate New York posted a sign on its door clarifying there were no issues with the theater’s sound equipment and that director Christopher Nolan “mixed the soundtrack with an emphasis on the music.”

During Saturday's press day for "Interstellar," we asked the film's composer Hans Zimmer about his reaction to sound complaints. The film is the composer's fifth collaboration with Nolan after "The Dark Knight" trilogy and 2010's "Inception."

"We tried to push the boundaries," Zimmer told Business Insider. "[Nolan and I] were getting the same sort of comments on 'Inception'” says Zimmer. "'Inception' was really incomprehensible to a large amount of people and the size of 'Inception,' or the ideas and the underlying metaphors were really incomprehensible."

Zimmer recalled something he told Nolan while working on that soundtrack:

"Pretend the music is a river and the audience is on this boat and it’s going to go down this river and the river is going to go inevitably. There’s no stopping it. Sometimes it’s going to get a little bumpy and sometimes it’s going to get a little incomprehensible, but what I want to do is I want to take you on a journey. I want to take you on a journey that you haven’t been on. And, I want to take you on an adventure. And it’s not a science class. These days we’re being fed nothing but information, but emotionally, i think we get less and less experience in anything because … everything is so cleaned up and we’re losing the edge … the mystery of things." 

Similarly, Zimmer says both he and Nolan wanted to take audiences on a journey on the big screen with "Interstellar." 

"We want it to be bold. We were aiming for the best sound systems," said Zimmer. "And, yes, it was really important for me that people wouldn’t hear this music detached from the movie for the first time on their little computer speaker because that’s not what it was designed for."

"I want to go and write music that announces to you that you can feel something. I don’t want to tell you what to feel, but I just want you to have the possibility of feeling something." — Hans Zimmer, composer

"Of course, now, suddenly there is a story that some people couldn’t understand the words [of 'Interstellar']," added Zimmer. "When I go and see a great opera I usually can’t understand the words anyway but I’m still on this amazing emotional journey. What I’m interested in ultimately is quite simply this: I want to go and write music that announces to you that you can feel something. I don’t want to tell you what to feel, but I just want you to have the possibility of feeling something. What you feel is what you bring to it. I want you be a co-conspirator in the music, and in a funny way, a co-creator in it." 

In an interview with The Hollywood Reporter, Nolan broke his silence on the film's sound saying it's "exactly as he intended." Nolan emphasized Zimmer's points about the marriage of the film’s picture and sound coming together to create a bold adventure.  

"Many of the filmmakers I’ve admired over the years have used sound in bold and adventurous ways," Nolan told THR. "I don’t agree with the idea that you can only achieve clarity through dialogue. Clarity of story, clarity of emotions — I try to achieve that in a very layered way using all the different things at my disposal — picture and sound."

"The idea is to experience the journey the character is going on," he said. "[For instance] the experience of being in the cockpit is you hear the creaking [of the spacecraft]; it’s a very scary sound. We wanted to be true to the experience of space travel. We wanted to emphasize those intimate elements."

"We mixed for months and months and we talked about everything," Nolan added. "We must have mixed this film over six months. It was a continuous, organic process and discussion."

More "Interstellar": The only way you should see the movie

SEE ALSO: Our review of "Interstellar"

AND: This extremely detailed graphic will explain everything you need to know about "Interstellar"

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Kim Kardashian's 2003 sex tape with her former boyfriend Ray J is now the biggest-selling sex tape of all time.

The title has been held by Pamela Anderson and Tommy Lee since 1995 for their home video.

Kardashian dethroned Anderson thanks to renewed interest after her nude Paper magazine spread last week.

According to TMZ, her sex tape sales have since increased exponentially.

While the site reports Ray J usually earns $90,000 every three months from his deal with Vivid Entertainment, the 33-year-old will rake in $50,000 from the past week alone.

Vivid Entertainment president Steve Hirsch tells TMZ that those sales pushed the sex tape rankings over the edge for "Kim K: Superstar." 

Kardashian reportedly received $5 million from Vivid, giving the company the rights to distribute the sex tape, back in 2007. Today, the 34-year-old reality star is reportedly worth more than $65 million.

Ray J, a rapper-actor-music producer, is worth a reported $6 million.

NOW WATCH: Neil deGrasse Tyson Explains The End Of 'Interstellar'

SEE ALSO: Here's The Ridiculous Amount Of Money 'Kim Kardashian: Hollywood' Actually Made

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What does a celebrity who already has everything do?

Buy a winery, of course.

We rounded up celebrity winemakers, some whom have invested in their own vineyard and others who have teamed up with an already established winery to create their own unique collection. 

From AC/DC’s "Back in Black Shiraz" to Francis Ford Coppola’s Sophia rosé (named after his daughter), these are the best celebrity wines and winemakers. 

Cheers.

Brad Pitt and Angelina Jolie, Château Mirava, South France

Brad Pitt and Angelia Jolie are the epitome of a power couple. Among their charity projects and awards, Angie and Brad own a $60 million estate and winery in Provence. 

Their winery is located at Château Miraval, a 1,200-acre estate in the village of Correns, France. Built in 1841, the French Country manor has 35 rooms and 926 acres of fountains, gardens, and woodlands. It even has a moat. 

The couple just released their second award-winning wine this year, a rosé called the Chateau Miraval. The wine, which was was one of Wine Spectator's top 100 wines last year, was released on February 7th and sold out within five hours. 

The Château was also the location of their secret wedding.  

Sting and Trudie Styler, Il Palagio, Italy 

Sting and his wife Trudie Styler have their own vineyard just 45 minutes south of Florence where they make organic and "biodynamic" wines. 

The 900-acre estate, known as Il Palagio, also has a 16th-century villa with swimming pool, 12 acres of vegetable gardens, around 80 bee colonies, olive groves, and several small lakes. 

Their wines are also often named after Sting's songs. The first wine they made was called "Sister Moon," and they also have a wine called "When We Dance."

In addition to wine, Il Palagio also produces honey and organic olive oil. 

Francis Ford Coppola, Rubicon Estate Winery, California

"The Godfather" director is a true oenophile and has produced over 40 wines from his resort in the heart of Alexander Valley, California. 

The winery is named the Rubicon Estate Winery and is located in one of Napa Valley’s prime spots. The estate has a wine tasting bar, two restaurants, swimming pools, a movie gallery, a performing arts pavilion, and a park area with game tables and bocce courts. 

The winery also produces a rosé called Sophia in honor of his daughter Sophia Coppola. 

Disney's animated feature "Frozen" may have raked in over a billion dollars worldwide, but not everyone involved with making the film is reaping the rewards.

Actress Spencer Lacey Ganus, the 15-year-old who voiced teenage Elsa, received a measly one-day guaranteed payment of $926.20, reports TMZ, who obtained a copy of Ganus' contract because it has to be filed with the courts since she is still a minor.

Ganus did only have a few lines in the film, as another actresses voiced young Elsa and Idina Menzel was the voice of grown-up Elsa.

Nonetheless, "Frozen" is the fifth highest-grossing movie of all time and the movie raked in more than $1.2 billion, so TMZ notes that Ganus' slice of the pie is just .000077%.

Ganus will, however, earn a pretty penny thanks to residual checks.

"She's collected more than $10,000 in residuals," the actress' rep told TMZ, adding that the money is being put into a college fund.

But Disney is no stranger to controversy over how much they pay their voice talent.

In 1992, Robin Williams was paid scale of $75,000 for his work on "Aladdin," which went on to gross more than $504 million worldwide.

Williams agreed to the fee "for my children," but told Disney, "I just don't want to sell anything — as in Burger King, as in toys, as in stuff."

After Disney proceeded to use Williams' voice in promo materials leading to a decade-long feud, the actor snarked, "You realize now when you work for Disney why the mouse has only four fingers — because he can't pick up a check." 

SEE ALSO: $9,000-An-Episode And A Fancy Dressing Room: Ariana Grande Contract Info Revealed From Before She Made It Big

MORE: 17-Year-Old Chloe Moretz Could Earn $550,000 For Costarring In Denzel Washington's New Movie

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Dave Chappelle returned to the spotlight earlier this year when he performed sold-out shows at Radio City Music Hall for one week straight.

10 years ago, the comedian walked away from a hit series on Comedy Central and a reported $50 million contract. 

During a stand-up routine in 2004, Chappelle told the audience the show was ruining his life. 

Since his return, fans have wondered whether the 41-year-old comedian is ready to make a comeback. 

In a new interview with GQ, Chappelle says he wouldn’t mind returning to television, but not with his own show. Instead, he has a “show-business bucket list” he’d like to accomplish. 

"For one year, I want to do this thing where I guest-star on as many television shows as I possibly can,” Chappelle tells GQ. "I love television. The fact that television ultimately made me famous was very gratifying for me. Chris Tucker did it in movies, and Chris Rock did it from his stand-up, which was very impressive."

"But you know, the thing that people most will remember me for is 'Chappelle's Show,'" he adds. "If I were to never do anything else, that show would be a culmination of what was a very long and tedious process of me learning how to be in the television business."

Chappelle says if he could choose any shows to star on it would be "The Walking Dead," a series he has binge-watched, "CSI," or ABC's hit show with Kerry Washington, "Scandal." 

"I’d be a zombie in The Walking Dead. A corpse on CSI. I'd be the first black guy to f— Olivia Pope on Scandal," says Chappelle.

You can read the full GQ article here.

SEE ALSO: Dave Chappelle had a very honest description of what it's like walking away from $50 million

AND: Dave Chappelle did 11 failed TV pilots before "Chappelle's Show"

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Dave Chappelle is best known for his hit comedy "Chappelle's Show," but the comedian had the chance to be a TV star before the Comedy Central series.

Chappelle revealed he was in 11 different failed TV show pilots in a new in interview with GQ.

"I probably did eleven failed television pilots," Chappelle told GQ. "And I have to be honest: Like, maybe one went to series. Another one was bought, but I quit."

When asked why he quit, Chappelle said he didn't think the series was good enough.

"It just wasn't good," said Chappelle. "None of 'em were really good. And it took that experience, those experiences, to learn how to do television."

One show Chappelle starred on before his Comedy Central career was a "Home Improvement" spinoff titled "Buddies" which aired on ABC in 1996. 

The series followed two friends as they tried to start up a film company called “Hi-Intensity." Only five episodes of the series ever made it to air.

Here's how Chappelle described the show to CBS in 2004: ""It was a bad show. It was bad. I mean when we were doing it, I could tell this was not gonna work."

Chappelle told GQ his television experience up until that point taught him it may be better for him to take the lead on a series.

"I'm a slow learner," Chappelle added. "Early in my career, I was along for a ride. And then, later in my career, I was like, 'You know, I should really drive. 'Cause nobody has ever taken me to a place I actually want to go.'"

That led to three seasons on Comedy Central's "Chappelle's Show," which the comedian abruptly left in 2004. While the show launched Chappelle into stardom, he tells GQ he sometimes forgets he had a hit show.

“Even now, I can go days at a time and forget that I ever did Chappelle's Show or any of that s---,” said Chappelle. 

Chappelle is alright with that. He says allowing himself to forget the comedy has allowed him to focus on other things. 

“What that's allowed me to do is have a vantage point about my own life that's accessible to people still,” added Chappelle. “I could see a guy walking down the street and be like, Even though I'm famous, I got more in common with this guy than, like, Brad Pitt. You know what I mean?”  

Read the full GQ article here.

SEE ALSO: Dave Chappelle says he wants to return to TV

AND: Dave Chappelle explains what its like to walk away from $50 million

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Elizabeth Streb, the founder of the Streb Lab for Action Mechanics, has spent her career testing the limits of the human body through performance and choreography that combines dance, circus arts, athletics and rodeo. 

In her company's production of "Ascension" nine people scale a 22-foot long ladder modeled after a New York City fire escape while it rotates at varying speeds. With grace and courage, her dancers accept the challenges she presents despite the risks to life and limb. 

Produced by Alana Kakoyiannis. Additional Camera by Justin Gmoser.

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"Grand Theft Auto 5" is not for the faint of heart. 

It's graphic. It's gritty and dark. And especially violent. With its move to current-gen consoles, the game now lets you do things from the first-person perspective. Including realistic sex scenes with prostitutes. Whom you can later kill.

Forbes calls it "more horrible than ever."

But to Strauss Zelnick, the CEO of the game's publisher, Take-Two Interactive, the violence and grit in the game is "art."

"This is a criminal setting," he said on Bloomberg TV. "It's a gritty underworld. It is art. And I've embraced that art."

He then explained that it's no different from movies or television, which can also be gritty and violent. "We stand shoulder to shoulder with other major motion picture releases, major television shows that explore a similar universe," he said. "So yeah, this is a tough universe because it's a criminal universe."

He also said that there's tons of other stuff to do in the game, with "hundreds of hours of gameplay." 

The "Grand Theft Auto" series has been widely criticized for not just being extremely violent, but particularly violent against women, who are unplayable characters. (You can play as a female character online, however. Although that doesn't seem to be much better.) 

Watch the whole video on Bloomberg TV below:

SEE ALSO: Black Friday Could Be The Day The Xbox One Finally Towers Over The Competition

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There's something fascinating about photo sets that show people getting older.

One of our favorite examples is Clint Eastwood, an 84-year-old movie star who has been on screen for decades.

From his uncredited role in a 1955's "Revenge Of The Creature" to directing "Jersey Boys" in 2014, this is a guy who makes aging look easy. Also he's 6' 4" tall.

First, here's a yearbook picture.

1955: 25-year-old Eastwood has an uncredited bit part in 'Revenge Of The Creature.'

1956: Here's a still from 'Star In The Dust.'

Washington (AFP) - Australian actor and "Thor" avenger Chris Hemsworth is the world's sexiest man, the US magazine People said Thursday.

The honor was announced on the late night US TV show hosted by Jimmy Kimmel on ABC and the magazine itself.

With his face at first masked and his voice digitally modified, Hemsworth, 31, speaking from Australia, toyed with playful yes-or-no questions from the American TV audience.

Kimmel's instructions and teasers to his crowd: "If you guess correctly, the sexiest man alive will make love to you, so this is big. I will give you three clues. He is sexy, he is a man, he is alive."

Is he in a band? No. Over age 35? Wrong, again.

"Are you hairy?" a bearded, balding man in the audience asked, smiling

"Just up here," the still unknown masked person asked, gesturing to his head.

Fast forward: the audience zeroed in on the guy as a non-American, buffed dude who is an actor that has played a superhero in the movies, wielding a hammer: Thor in the Marvel Studios superhero movies? Bingo! 

Hemsworth's award was a small facial mirror.

"Anything you would like to say to the men who lost, specifically Matt Damon?," Kimmel asked, referring to the popular American actor.

"I like everything there is about being sexy, to persing the lips the right way to squinting at the essential time. Thank you, Matt, and all the other previous intelligent men. This is based on an IQ test, not just the physical appearance," the actor said.

Asked if there was anyone he wanted to thank, Hemsworth said, "my parents, I guess, for putting this together."

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Earlier this month, the debate on whether musicians benefit from streaming services was revisited after Taylor Swift's record label pulled all of her music from Spotify. 

Since then, Spotify and Swift's label have gone back and forth disputing the actual royalties received by the streaming service. (Spotify says Swift's label received $2 million from the artist's streamed songs in the past year. The label says it was actually $500,000.)

If anyone's going to pull their content off of Spotify, it certainly doesn't hurt Swift to do so. 

Her latest album "1989" generated more than $10 million in sales in its first week after selling more than 1.2 million copies. She's the only artist whose last three albums have sold more than one million copies in their debut week.

Over the weekend, during a press day for “Interstellar,” we asked Oscar-winning composer Hans Zimmer his thoughts on the Taylor Swift / Spotify ordeal.  

His response included a passionate critique of the music industry, in which he told Business Insider music shouldn’t be free and came to the defense of Taylor Swift and musicians in general.

Zimmer explained to Business Insider:

I think Taylor Swift, and really honestly, I haven’t quite been following it — I've been a little busy — but my point on the whole thing is, you know, it’s very easy to say, ‘Oh, those rich musicians. Their music should be free or whatever.'

It shouldn’t be free. It’s their livelihood. It’s their job. And I’m not talking about the rich musicians. Anybody should have the chance to as their dream say, ‘I want to become a musician and I want to make a living at it.’ You know? And why shouldn’t they be afforded a living? It’s a great big world and if there are millions of people listening to your music and enjoying it and getting something out of it then it’s not a hobby, it’s work.

The composer also explained the importance of original orchestral music:

It’s absolutely ridiculous. Look, one of my big things in life is, I like using real orchestras. I like supporting real orchestras. The way the music industry has run itself into the ground ... you know the last place on Earth that really on a daily basis commissions orchestral music is Hollywood. Whatever horrible things you want to say about Hollywood — which are all true— you can’t take away this idea that it’s the last place on Earth that actually supports orchestral music. And I think, it’s just a thought I have, you know, if we lose the orchestra it’s not just about these musicians and their families and their livelihood. You know the loss of the orchestra would be such a rift in our … such a tear into our culture. We as humanity would lose a lot more.

SEE ALSO: Hans Zimmer speaks out against "Interstellar" sound critics

AND: This insider just explained the truth about today's music business

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In 1992, Disney's animated feature "Aladdin" raked in a whopping $504 million worldwide.

Part of the film's success was due to Robin Williams' beloved genie character, whom the late actor voiced and improvised so well that Disney decided to make Genie a pivotal role.

Williams ended up recording about 30 hours of written and improvised dialogue for "Aladdin" because, according to a 1993 interview with New York Magazine, he "wanted to leave something wonderful behind for his kids."

So Williams took a hefty pay cut and agreed to be paid $75,000 for his work on the Disney film instead of his usual fee of about $8 million— but there was a catch. Williams did not want his voice used to merchandise products.

"I don't want to sell stuff," Williams later told New York magazine. "It's the one thing I don't do."

"We had a deal," the actor later said on the "Today Show." "The one thing I said was I will do the voice. I'm doing it basically because I want to be part of this animation tradition. I want something for my children. One deal is, I just don't want to sell anything — as in Burger King, as in toys, as in stuff."

Williams said Disney execs signed off on the deal, "Then all of a sudden, they release an advertisement — one part was the movie, the second part was where they used the movie to sell stuff. Not only did they use my voice, they took a character I did and overdubbed it to sell stuff. That was the one thing I said: 'I don't do that.' That was the one thing where they crossed the line."

Disney initially defended using Williams' voice, saying, "He agreed to the deal, and then when the movie turned out to be a big hit, he didn't like the deal he had made."

But the studio quickly changed its tune and sent the actor an apology in the form of a Pablo Picasso painting estimated at the time to be worth $1 million, according to artnet.

The painting was a self-portrait of the artist as Vincent van Gogh, which apparently really "clashed" with the Williams' wilder home decor.

Williams' friend and fellow actor Eric Idle even suggested Williams go on TV and burn the Picasso live as a form of protest.

Williams told New York mag that his previous "Mork & Mindy" merchandising was different because, "the image is theirs. But the voice, that's me; I gave them myself. When it happened, I said, 'You know I don't do that.' And they [Disney] apologized; they said it was done by other people.

"You realize now when you work for Disney why the mouse has only four fingers — because he can't pick up a check," he joked to the magazine.

Ultimately, Disney and Williams made up, later making a third "Aladdin" sequel (he sat the second one out), 1996's "Jack," and "Bicentennial Man" in 1999.

When Williams died this August, Disney sent a final peace offering:

SEE ALSO: Disney Has Been Hiding A Secret Message In Its Movies For Years

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