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- In 2007, she is cast in the role of Jane in the Slitz.
- In 2004, Debra Winger stars as Ellen Andrews Gordon in the show 100 Greatest TV Treats of 2004.
- Debra Winger's character is Joy Gresham in the 2005 video A2m 6.
- Debra Winger's character is Katie Phillips/Cathy Weaver in the 1981 production Abends im Rampenlicht.
- In 1998, Debra Winger plays the part of Jennifer in the video All American Superstars.
- For the 1985 show Alles Paletti, she takes the role of Linda.
- For the 1967 show Abashiri Bangaichi: Ketto Reika 30 do, Debra Winger is cast in the role of The Wicked Witch of the West.
- Debra Winger's character is Kit Moresby in the 1995 movie Acheronta atropos.
- In 1982, she takes the role of Herself - Co-presenter: Short Film Awards in the movie Adulterio nacional.
- For the 1975 movie Angel and Big Joe, she plays the part of Laura Kelly.
- Angela Crispini in the 1954 production of Annapurnar Mandir.
- In 2004, Debra Winger plays Debbie in the movie Artifacts of Time.
- For the 1958 feature Asik Garip, Debra Winger plays Alexandra 'Alex' Barnes.
- For the 2005 release Bath Water, Debra Winger is cast in the role of Betty Parrish.
- She takes the role of Alice Collins in the 1981 production Beat the Carrott.
- In 1994, Debra Winger plays Marilyn in the movie Bai lu yuan.
- For the 2003 production of Behemoth, Debra Winger plays Vida Foudroyant.
- Debra Winger plays Emma Greenway Horton in the 1950 movie Belle of Old Mexico.
- For the 1912 show Broncho Billy's Mexican Wife, she is cast in the role of Martha Horgan.
- Debra Winger is cast in the role of Sherrie Hensley in the 2005 release Busty Kerry Marie 2.
- Debra Winger stars as Paula Pokrifki in the 2005 show Celebrate: The Music of Our People.
- In 2003, Debra Winger plays Melanie in the show Cold Feet: The Final Call.
- In 2000, Debra Winger plays Sissy Davis in the show Bulandi.
- She plays the part of Suzy in the 2007 movie California Indian.
- She plays the part of Herself - Nominee: Best Actress in a Leading Role in the 1951 show Debla, la virgen gitana.
- In 2004, Debra Winger's character is Herself in the production of Decadencia del club, La.
- In 1908, Debra Winger stars as Dawn Anna Townsend in the production of Guaranis, Os.
- Debra Winger plays Prudence Bushnell in the 1995 video release of Hollywood Starlets Adventure 5.
- Monday's TV Highlights: Debra Winger on 'Law & Order'
  
  Click here to download TV listings for the week of Feb. 28 - March 6 in PDF format This week's TV Movies IN THE HOT SEAT: Debra Winger guest stars in a two-hour episode of 'Law & Order' at 9...
  on 2010-03-01 04:49:50
- 'Great Buck Howard' screens in NY
  
  Film News: Colin and Tom Hanks attend premiere -- 'The Great Buck Howard,' about a once-famous mentalist and his assistant, drew a star-studded crowd including Jane Fonda, Dick Cavett, Blythe Danner, Debra Winger and Valentino.
  on 2009-03-12 04:48:02
- Recall the Gold: The 1983 Best Actress Oscar race
  
  Today in Recall the Gold: It's time for a Terms of Endearment rematch! Shirley MacLaine and Debra Winger famously clashed on the set as they portrayed mother and daughter. Winger downplays their conflict now, acknowledging "We were wild," but saying...
  on 2008-10-17 04:47:10
- A Return For Debra Winger
  
  Debra Winger shared critical acclaim with actress Shirley MacLaine the film "Terms of Endearment" a quarter-century ago. Now, after a long absence from the screen, she is back in the spotlight. Tracy Smith offers this Sunday Profile.
  on 2008-10-13 04:45:56
- Debra Winger of 'Rachel Getting Married' is back
  
  '80s actress who faded from view reappears with new movie, memoir. FOR A period in the early '80s, no one could do it like Debra Winger.
  on 2008-10-04 05:02:57
- Debra Winger of 'Rachel Getting Married' is back on the radar
  
  '80s actress who faded from view reappears with new movie, memoir. FOR A period in the early '80s, no one could do it like Debra Winger.
  on 2008-10-04 04:58:29
- Richard Gere & Debra Winger to reteam on Broadway?
  
  Richard Gere is in talks to reteam with his An Officer & A Gentleman co-star Debra Winger on Broadway. Gere is the favourite to replace Bill Pullman in the upcoming revival of Guess Who's Coming To Dinner? opposite Winger. according to FoxNews.com.
  on 2008-09-17 04:59:55
- FOX411: 'Officer and Gentleman' Reunion?
  
  Richard Gere and Debra Winger may reunite for the first time since their hit movie, 'An Officer and a Gentleman.'
  on 2008-09-16 04:48:16
- Undiscovered (Excerpt)
  
  Book Reviews: Debra Winger was 24, with one blue movie under her belt, when she was cast in ?Urban Cowboy.? She recalls her introduction to Hollywood in ?Undiscovered,? her just published literary memoir.
  on 2008-07-12 04:49:18
- Debra Winger: 'Memba Her?!
  
  Filed under: Movies, Beauty, 'Memba Them?!TMZ.com: In the '80s, Debra Winger ruled the box office in hits like "An Officer and a Gentleman," "Urban Cowboy," and "Terms of Endearment." Guess what she looks like now!... Read more
  on 2008-02-29 12:47:49
- Debra Winger: 'Memba Her?!
  
  Filed under: Movies, Beauty, 'Memba Them?!TMZ.com: In the '80s, Debra Winger ruled the box office in hits like "An Officer and a Gentleman," "Urban Cowboy," and "Terms of Endearment." Guess what she looks like now!... Read more
  on 2008-02-05 16:46:46
- "Thanatos" wrote in message news:atropos-5602CE.21455318032008@news.giganews.com... > In article > , > TranslucentAmoebae wrote: possession"http://www.tmz.com/2008/03/11/mary-ann-busted-with-mary-jane/ responsibility"http://www.tmz.com/2008/03/12/it-wasnt-mary-anns-mary-jane/ > difference? He can't tell you...too drunk.
- http://edition.cnn.com/2005/SHOWBIZ/TV/07/14/emmy.nominations/ 'Housewives,' 'Sellers' lead Emmy pack TV awards snub 'Gilmore,' 'Rescue Me' Three of the "Desperate Housewives" -- Felicity Huffman'>Felicity Huffman (second from left), Marcia Cross (center) and Teri Hatcher'>Teri Hatcher'>Teri Hatcher'>Teri Hatcher (right) -- were nominated for Emmys.WATCH Browse/Search (CNN) -- The "Desperate Housewives" have little to be desperate about now. The ABC hit, which ended the 2004-05 TV season as one of the highest-rated series on the air, received 15 nods Thursday morning as the Academy of Television Arts & Sciences announced the nominations for the 57th annual awards. "Housewives," the story of a group of women on intrigue-infested Wisteria Lane, earned picks for three of its actresses -- Felicity Huffman'>Felicity Huffman, Marcia Cross and Teri Hatcher'>Teri Hatcher'>Teri Hatcher'>Teri Hatcher -- as well as a nomination for best comedy series. However, the show's fourth "Housewife," Eva Longoria, was overlooked. Longoria was also the only "Housewife" not to earn a Golden Globe nomination. The show tied NBC's "Will & Grace" for most nominations for a series. "Everybody Loves Raymond," which wrapped its final season in May, earned 13 nominations, including nods for best comedy series and best actor in a comedy series (Ray Romano). The HBO films "The Life and Death of Peter Sellers" and "Warm Springs" each had 16 bids, to top all nominees. HBO also led all networks in nominations with 93. A few newcomers managed to break into the Emmy ranks. "Lost," another hit ABC show, was nominated 12 Emmys, including best drama. Hugh Laurie, of Fox's medical drama "House," earned a nod for best actor in a drama. In a pair of surprises, the low-rated Showtime series "Huff," about a therapist with his own issues, picked up a nomination for its lead actor, Hank Azaria, and the NBC series "Medium" received a best actress nomination for its lead, Patricia Arquette. Emmy did stick with some tried-and-true favorites, including "Will & Grace" and NBC's "The West Wing." The latter show, which has been considered on the wane, earned its sixth straight nomination for best drama over critical favorites "Nip/Tuck," "Rescue Me" and "Alias." Also snubbed were The WB's "Gilmore Girls" and UPN's "Veronica Mars," two shows that have earned good ratings and good reviews. "Peter Sellers" and "Warm Springs" were nominated for best TV movie. Other nominees in the category were "Lackawanna Blues," "The Office Special" and "The Wool Cap." List of nominations "Sellers" lead Geoffrey Rush was nominated for best actor in a TV movie or miniseries. Other nominees in that category are Kenneth Branagh for "Warm Springs," Ed Harris for "Empire Falls" and William H. Macy for "The Wool Cap." Actress nominees in the miniseries-movie category are Halle Berry for "Their Eyes Were Watching God," Blythe Danner for "Back When We Were Grownups," S. Epatha Merkerson for "Lackawanna Blues," Cynthia Nixon, the former "Sex and the City" star, for "Warm Springs," and Debra Winger for "Dawn Anna." Best miniseries nominees include "Elvis," "Empire Falls," "The 4400" and "The Lost Prince." Michael Imperioli and Jami Gertz'>Jami Gertz announce best actress in a drama.The most popular show of last season, "American Idol," was nominated for best reality competition. Also in that category are "The Amazing Race," "Survivor," "Project Runway" and "The Apprentice." The nominees for best drama series are "Deadwood," "Lost," "Six Feet Under," "24" and "The West Wing." The nominees for best comedy series are "Arrested Development," "Desperate Housewives," "Everybody Loves Raymond," "Scrubs" and "Will & Grace." The nominees for best actor in a drama are Hank Azaria ("Huff"), Hugh Laurie ("House"), Ian McShane ("Deadwood"), James Spader ("Boston Legal") and Kiefer Sutherland ("24"). The nominees for best actress in a drama are Patricia Arquette ("Medium"), Glenn Close ("The Shield"), Frances Conroy ("Six Feet Under"), Jennifer Garner ("Alias") and Mariska Hargitay ("Law & Order: Special Victims Unit"). The nominees for best actor in a comedy are Jason Bateman ("Arrested Development"), Zach Braff ("Scrubs"), Eric McCormack ("Will & Grace"), Ray Romano ("Everybody Loves Raymond") and Tony Shalhoub ("Monk"). The nominees for best actress in a comedy are Marcia Cross ("Desperate Housewives"), Teri Hatcher'>Teri Hatcher'>Teri Hatcher'>Teri Hatcher ("Desperate Housewives") , Patricia Heaton ("Everybody Loves Raymond"), Felicity Huffman'>Felicity Huffman ("Desperate Housewives") and Jane Kaczmarek ("Malcolm in the Middle"). "The Sopranos," a perennial Emmy front-runner and last year's best drama series, wasn't eligible this year because it had no new episodes during the Emmy qualifying period. The nominations were announced by Michael Imperioli ("The Sopranos," "Law & Order") and Jami Gertz'>Jami Gertz ("Still Standing"). The Emmys are scheduled to air live on Sunday, September 18, on CBS.
- in article 5358ff53.0408230542.4be5adde@posting.google.com, Portofino Poet at portofinopoet@yahoo.com wrote on 8/23/04 9:42 AM: > I wouldn't kick her out of bed Can't she take a hint it's not her age that people dislike? She's so uncomfortable to watch. I saw her on Letterman the other night and she made me sick with her desperate flirting. She kept kissing and touching him - yuck!!! Plenty of other actresses getting top jobs in their late 30s, 40s and 50s like like Julianne Moore, Glenn Close, Diane Keaton, Meryl streep, Diane Lane, Cathy Bates, Daryl Hannah, Jamie Lee Curtis, Sandra Bullock etc. Even Nicole Kidman is 37 and Halle Berry is 38! They are at the top of their game. Not only are they getting jobs they are often producing and calling the shots. If Sharon wasn't such a b*tch to everyone on her way up maybe she'd have some more work now. Her excuses and "pity me" attitude are so boring. You can't play an ingenue forever. And same thing can be said about Rosanna Arquette - she made a movie "searching for Debra Winger" about age discrimination. Let me tell you, if Rosanna was a better actress maybe more people would hire her. Same with Melanie Griffith - sex kitten role can only get you so far. Also, if Debra Winger weren't such a terror to work with maybe she'd have more jobs as well. She's a great actress but she has a terrible reputation on the set. There are a ton of younger actresses that come and go because their acting SUCKS - they can't blame age discrimination. There are a ton of male actors that come and go too. Sorry for my rant but I can't stand people who blame everyone else for their problems.
- http://www.smh.com.au/news/Film/The-way-he-is/2004/11/26/1101219735856.html The way he is November 27, 2004 Cuff luck: Robert Redford plays a kidnapped businessman in The Clearing. To get to the heart of the Hollywood icon, Tom Ryan reads between the lines. Robert Redford is approaching 70. Seventy! And in most of the films he has made in the past decade, including his new one, The Clearing, age has clearly left its mark. The guy still looks good, but now there is always the qualifier, and it's a killer, "for his age". For those of us who grew up with the smiling, smooth-faced "Sundance" raising a bemused eyebrow and exchanging crackerjack quips with Paul Newman's "Butch", this is a jolting reminder of mortality. In my pantheon of male screen idols, he rates somewhere between Cary Grant and Daffy Duck, exuding the former's urbane glamour and rising far above the latter's manic befuddlement. I've never met him, or even seen him in person, but he's been part of my life. I've seen all but a couple of the films he has made as an actor, since his debut in War Hunt (1962), and the six he's made as a director, starting with Ordinary People, for which he won an Oscar for best director in 1981. I've read most of the rare interviews he's granted and I've watched him on TV chat shows, notably Parkinson in the 1980s, to which he brought a healthy dose of modesty that only enhanced his golden boy aura. But who is Robert Redford? Is there any connection between the man born Charles Robert Redford jnr in Santa Monica in 1937 and the characters he has played? Is it possible to probe the screen persona and find anything more than a mirage? Is he a mysteriously aloof stranger, the outlaw type, the hollow man or the world-weary lover? And what is the key to his charisma? Can we learn something about him from the cheeky grin he wears in Barefoot in the Park (1967) - a role he carried from an 11-month stint on Broadway, opposite Elizabeth Ashley, to the screen with Jane Fonda? Or from the malaise that underscores his characterisation of the kidnapped business magnate in The Clearing? It's impossible to know. All such a survey can do is sketch the parameters of the persona - an object of desire who generally turns out to be unattainable; a man of action who is equally at home with reflection; a figure simultaneously mythic and human; heroic and vulnerable; impossibly good-looking and surprisingly flawed. In short, a distinctive collection of potentially fascinating contradictions that filmmakers can use however they wish. Some of Redford's most rewarding roles have been the ones that turned the golden boy persona against itself, among them The Candidate (1972), The Way We Were (1973), The Great Gatsby (1974) and All the President's Men (1976) - each of which transforms the agent of the American dream into a source of anxiety. In a 1980 interview in Rolling Stone, Redford says: "I'm interested in what's wrong in what appears to be perfect." Redford's method - which the author David Downing memorably describes as "over-understatement" in his 1982 book about Redford - places him among actors whose performances are less about their emotive flexibility than about dramatic minimalism. The silent, melancholy look he gives Helen Mirren before he heads off to work at the beginning of The Clearing, his latest film to screen in Australia, says more about the state of their marriage than any extended exposition scenes ever could. Redford is a veteran of the less-is-more school. He's not like Jack Nicholson, Dustin Hoffman, Robert De Niro or Al Pacino, who have their own way of doing things. Redford will never chew up the scenery. He prefers to exist quietly within it, to gently nudge us towards an appreciation of his characters, rather than allowing them to loudly declare themselves. For some, this has always been a sign of his uncertainty as an actor. For others, such as director Sydney Pollack, who was cast alongside Redford in War Hunt and who has directed him seven times, it's an indication of his strength. "In my opinion, he's one of the best movie actors we've ever had in America. He's never doing nothing, but he does often hold something back, which, for me, only makes him more interesting." Pollack's deion of Redford as an actor also might well apply to his performances as a public figure. There is absolutely no reason to presume that the Robert Redford who occasionally steps away from his privacy and into the public eye is any less of a character than the ones he plays on screen. There is much that's consistent in the picture he constructs of himself and his world. This Robert Redford is thoughtful, but distant. He values his privacy and would much rather be alone in the Utah wilderness than attending some Hollywood premiere or giving an interview. Both are situations in which he's required to perform: to play Robert Redford. "I never aimed to be a sex symbol, a classical actor, a box-office draw, or any of those things," he says in Downing's book. "I just did my job, went home and put myself as far away from the movie-star thing as I could." Nevertheless, he's been prepared to speak up when the occasion demands, whether it's on behalf of his beloved Sundance Institute, which he established as a haven for independent filmmakers in 1981, or for environmental causes. He has always worn his liberal principles on his sleeve, but laughed at the idea that he might go into politics. Redford has also proclaimed his lack of interest in self-examination, describing himself as the antithesis of Woody Allen. "Some people have psychoanalysis. I have Utah," he says. His marriage at 21 to Lola van Wagenen ended in 1985. The couple had four children, one of whom died of sudden infant death syndrome. They are now grandparents. Since the divorce, Redford has been romantically linked with Debra Winger, Sonia Braga and costume designer Kathy O'Rear. Newspaper reports suggest that, although he is in a "happy relationship" with the German artist Sibylle Szaggars, the pair - in the style of Jean-Paul Sartre and Simone de Beauvoir - continue to live apart. Some of what emerges about Redford's life he is able to control. Most of it he's not. And he would seem to be at least partially responsible for a number of the revealing contradictions that have emerged. Redford has always said he hates the way he's treated as a walking photo opportunity. "The bad part is that you become an object," he told Esquire magazine in 1988. "And there are three dangerous stages to that: one, people start treating you like an object; two, you start behaving like an object; and three, you become one. That's terminal." Yet he's usually been prepared to take time out to pose for Annie Leibowitz's admiring camera, or for the covers of the publications in which these interviews have appeared. Clad in smart executive suits or designer leisure gear, he's at least arrived at stage two. He's also long been talking about abandoning acting. Downing quotes him as planning to call a halt to this part of his career soon after The Way We Were. "I am retiring from films, definitely," Redford announced. It's also curious to see someone who's been such a champion of independent filmmakers remain so close to the mainstream as an actor and also as a director. Only The Milagro Beanfield War (1988) and A River Runs Through It (1992), both of which he directed, can be described as even vaguely independent. While he may be a political liberal, he appears otherwise extremely reserved, leading Downing to dub him a "conservative rebel". Few of the films he has directed reflect a risk-taking personality. Perhaps his latest project, Aloft, the story of two men tracking the flight of the North American peregrine falcon, which is scheduled to go into production this year, will open up new directions. But he has been unable to control the increasingly personal, sometimes ageist, put-downs of his acting and directing. Equally hurtful must be the sneers at his life away from the camera. In Hollywood Interrupted - Insanity Chic in Babylon, by Andrew Breitbart and Mark Ebner, he is described - along with Susan Sarandon - as "a bloviating bleeding heart". Yet the view of him that emerges through Down and Dirty Pictures, Peter Biskind's fascinating history of American independent film, is of a man who is not only "cautious by nature and almost paralysed by perfectionism" but occasionally duplicitous. In the book, Sundance becomes a dream destroyed by Redford's prevarications and by its movement ever closer to the values that hold sway in Hollywood. Yet few people can match his contributions to American film, on camera or behind the scenes. Maybe it's time to give the guy a break. From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
- http://www.smh.com.au/news/Film/The-way-he-is/2004/11/26/1101219735856.html The way he is November 27, 2004 Cuff luck: Robert Redford plays a kidnapped businessman in The Clearing. To get to the heart of the Hollywood icon, Tom Ryan reads between the lines. Robert Redford is approaching 70. Seventy! And in most of the films he has made in the past decade, including his new one, The Clearing, age has clearly left its mark. The guy still looks good, but now there is always the qualifier, and it's a killer, "for his age". For those of us who grew up with the smiling, smooth-faced "Sundance" raising a bemused eyebrow and exchanging crackerjack quips with Paul Newman's "Butch", this is a jolting reminder of mortality. In my pantheon of male screen idols, he rates somewhere between Cary Grant and Daffy Duck, exuding the former's urbane glamour and rising far above the latter's manic befuddlement. I've never met him, or even seen him in person, but he's been part of my life. I've seen all but a couple of the films he has made as an actor, since his debut in War Hunt (1962), and the six he's made as a director, starting with Ordinary People, for which he won an Oscar for best director in 1981. I've read most of the rare interviews he's granted and I've watched him on TV chat shows, notably Parkinson in the 1980s, to which he brought a healthy dose of modesty that only enhanced his golden boy aura. But who is Robert Redford? Is there any connection between the man born Charles Robert Redford jnr in Santa Monica in 1937 and the characters he has played? Is it possible to probe the screen persona and find anything more than a mirage? Is he a mysteriously aloof stranger, the outlaw type, the hollow man or the world-weary lover? And what is the key to his charisma? Can we learn something about him from the cheeky grin he wears in Barefoot in the Park (1967) - a role he carried from an 11-month stint on Broadway, opposite Elizabeth Ashley, to the screen with Jane Fonda? Or from the malaise that underscores his characterisation of the kidnapped business magnate in The Clearing? It's impossible to know. All such a survey can do is sketch the parameters of the persona - an object of desire who generally turns out to be unattainable; a man of action who is equally at home with reflection; a figure simultaneously mythic and human; heroic and vulnerable; impossibly good-looking and surprisingly flawed. In short, a distinctive collection of potentially fascinating contradictions that filmmakers can use however they wish. Some of Redford's most rewarding roles have been the ones that turned the golden boy persona against itself, among them The Candidate (1972), The Way We Were (1973), The Great Gatsby (1974) and All the President's Men (1976) - each of which transforms the agent of the American dream into a source of anxiety. In a 1980 interview in Rolling Stone, Redford says: "I'm interested in what's wrong in what appears to be perfect." Redford's method - which the author David Downing memorably describes as "over-understatement" in his 1982 book about Redford - places him among actors whose performances are less about their emotive flexibility than about dramatic minimalism. The silent, melancholy look he gives Helen Mirren before he heads off to work at the beginning of The Clearing, his latest film to screen in Australia, says more about the state of their marriage than any extended exposition scenes ever could. Redford is a veteran of the less-is-more school. He's not like Jack Nicholson, Dustin Hoffman, Robert De Niro or Al Pacino, who have their own way of doing things. Redford will never chew up the scenery. He prefers to exist quietly within it, to gently nudge us towards an appreciation of his characters, rather than allowing them to loudly declare themselves. For some, this has always been a sign of his uncertainty as an actor. For others, such as director Sydney Pollack, who was cast alongside Redford in War Hunt and who has directed him seven times, it's an indication of his strength. "In my opinion, he's one of the best movie actors we've ever had in America. He's never doing nothing, but he does often hold something back, which, for me, only makes him more interesting." Pollack's deion of Redford as an actor also might well apply to his performances as a public figure. There is absolutely no reason to presume that the Robert Redford who occasionally steps away from his privacy and into the public eye is any less of a character than the ones he plays on screen. There is much that's consistent in the picture he constructs of himself and his world. This Robert Redford is thoughtful, but distant. He values his privacy and would much rather be alone in the Utah wilderness than attending some Hollywood premiere or giving an interview. Both are situations in which he's required to perform: to play Robert Redford. "I never aimed to be a sex symbol, a classical actor, a box-office draw, or any of those things," he says in Downing's book. "I just did my job, went home and put myself as far away from the movie-star thing as I could." Nevertheless, he's been prepared to speak up when the occasion demands, whether it's on behalf of his beloved Sundance Institute, which he established as a haven for independent filmmakers in 1981, or for environmental causes. He has always worn his liberal principles on his sleeve, but laughed at the idea that he might go into politics. Redford has also proclaimed his lack of interest in self-examination, describing himself as the antithesis of Woody Allen. "Some people have psychoanalysis. I have Utah," he says. His marriage at 21 to Lola van Wagenen ended in 1985. The couple had four children, one of whom died of sudden infant death syndrome. They are now grandparents. Since the divorce, Redford has been romantically linked with Debra Winger, Sonia Braga and costume designer Kathy O'Rear. Newspaper reports suggest that, although he is in a "happy relationship" with the German artist Sibylle Szaggars, the pair - in the style of Jean-Paul Sartre and Simone de Beauvoir - continue to live apart. Some of what emerges about Redford's life he is able to control. Most of it he's not. And he would seem to be at least partially responsible for a number of the revealing contradictions that have emerged. Redford has always said he hates the way he's treated as a walking photo opportunity. "The bad part is that you become an object," he told Esquire magazine in 1988. "And there are three dangerous stages to that: one, people start treating you like an object; two, you start behaving like an object; and three, you become one. That's terminal." Yet he's usually been prepared to take time out to pose for Annie Leibowitz's admiring camera, or for the covers of the publications in which these interviews have appeared. Clad in smart executive suits or designer leisure gear, he's at least arrived at stage two. He's also long been talking about abandoning acting. Downing quotes him as planning to call a halt to this part of his career soon after The Way We Were. "I am retiring from films, definitely," Redford announced. It's also curious to see someone who's been such a champion of independent filmmakers remain so close to the mainstream as an actor and also as a director. Only The Milagro Beanfield War (1988) and A River Runs Through It (1992), both of which he directed, can be described as even vaguely independent. While he may be a political liberal, he appears otherwise extremely reserved, leading Downing to dub him a "conservative rebel". Few of the films he has directed reflect a risk-taking personality. Perhaps his latest project, Aloft, the story of two men tracking the flight of the North American peregrine falcon, which is scheduled to go into production this year, will open up new directions. But he has been unable to control the increasingly personal, sometimes ageist, put-downs of his acting and directing. Equally hurtful must be the sneers at his life away from the camera. In Hollywood Interrupted - Insanity Chic in Babylon, by Andrew Breitbart and Mark Ebner, he is described - along with Susan Sarandon - as "a bloviating bleeding heart". Yet the view of him that emerges through Down and Dirty Pictures, Peter Biskind's fascinating history of American independent film, is of a man who is not only "cautious by nature and almost paralysed by perfectionism" but occasionally duplicitous. In the book, Sundance becomes a dream destroyed by Redford's prevarications and by its movement ever closer to the values that hold sway in Hollywood. Yet few people can match his contributions to American film, on camera or behind the scenes. Maybe it's time to give the guy a break. From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
- http://www.guardian.co.uk/uk_news/story/0,3604,1076370,00.html Magazine lists cinema's cheesiest moments Gerard Seenan Monday November 3, 2003 The Guardian In the film industry, where cliche and ridiculous sentiment are no hindrance to success, there is no shortage of films which can easily be labelled as cheesy. But now there is a hierarchy of cheese. Empire magazine has compiled a list of the cheesiest movie moments - and the ripest moment of all can be found in Independence Day. When the film played in US cinemas audiences reportedly cheered as the on-screen president, Bill Pullman, called his countrymen to arms against marauding aliens with the words: "Today we celebrate our independence day." For the list's compilers, however, it is the grand fromage of movie moments. It is, they say, "a cornball speech that sounds like Shakespeare rewritten by kindergarteners". Running a close second is the 1980s fighter pilots and male bonding flick Top Gun: the scene where Val Kilmer's Iceman tells Tom Cruise's Maverick, "You can be my wingman any time." But it's not just Hollywood that serves up the cheese. The British film Four Weddings and a Funeral may be one of this country's most successful, but Empire says its ending is over-ripe. In the film, Andie MacDowell finally gets together with Hugh Grant in a torrential downpour, then ruins the moment with the line: "Is it still raining? I hadn't noticed." Empire put the scene fourth, saying: "Talk about killing the moment." The huge budget Pearl Harbor is fifth. The scene where Kate Beckinsale sits, rapt, reading a love letter as the sun sets behind was deemed to be not so much romantic as repugnant. Other moments to make the top 10 include Richard Gere sweeping Debra Winger off her feet at the end of An Officer and a Gentleman, and a romantic scene between Hayden Christensen and Natalie Portman in the Star Wars film Attack of the Clones. Kevin Costner also earns a place for his mega-flop, The Postman, in which a blind woman tells him: "You're a Godsend, a saviour," and Costner solemnly replies: "No, I'm just the postman." Cancer-stricken Susan Sarandon leading her kids in a family singalong during the sentimental Stepmom also made the list. No list of cheese would be complete without Robin Williams, though the difficulty may lie in singling out just one moment. Empire suggests a scene in Patch Adams where terminally ill children turn up at court to save the day for Williams' comedy doctor. Empire gives Williams a special commendation. Many of his films are like "being dipped in a churning vat of camembert". Empire's top 10 cheesiest moments 1 Independence Day 2 Top Gun 3 The Karate Kid 4 Four Weddings and a Funeral 5 Pearl Harbor 6 Stepmom 7 The Postman 8 An Officer and a Gentleman 9 Patch Adams 10 Star Wars: Episode II - Attack of the Clones From Sunny Oz, Rick :) Proud Keeper of the beautiful Halle Berry.
- http://story.news.yahoo.com/news?tmpl=story&cid=638&ncid=579&e=2&u=/nm/200 50105/en_nm/people_palestinians_gere_dc RAMALLAH, West Bank (Reuters) - He's been a prostitute's rich beau, an officer, a gentleman and a gigolo, but Palestinians can't fathom Richard Gere's latest incarnation as a cheerleader for their elections this weekend. Well known for his vocal support of Tibet's Dalai Lama and celebrated for his captivating good looks, Gere urged Palestinians in a television commercial broadcast ahead of Sunday's poll in the West Bank and Gaza to get out to vote for a new president to succeed Yasser Arafat, who died in November. "Hi, I'm Richard Gere and I'm speaking for the entire world. We're with you during this election time. It's really important. Get out and vote," Gere said in the advertisement. He repeated the final phrase in Arabic. But many voters, already struggling with the labyrinthine politics of the West Bank and Gaza, say they have never heard of the actor who swept Debra Winger off her feet as a dashing Navy officer in the 1982 film "An Officer and a Gentleman" and were even less interested when they were told he's an American. "I don't even know who the candidates are other than Abu Mazen (Mahmoud Abbas), let alone this Gere," Gaza soap factory worker Manar an-Najar told Reuters. "We don't need the Americans' intervention. We know who to elect. Not like them -- they elected a moron." Arafat's death has stirred international hopes of ending more than four years of Middle East violence. Moderate Fatah faction candidate Mahmoud Abbas is the front-runner to succeed him in the first Palestinian election since 1996. The Gere spot, sponsored by grassroots Israeli-Palestinian peace lobby One Voice, recalled ads put out by Hollywood notables to support Democratic candidate Sen. John Kerry in November's U.S. elections. He lost to President Bush. The actor's Los Angeles-based spokesman, Alan Nierob, said Gere has visited the Middle East several times during the past year "just educating himself" about the region. He said the 15-second public service announcement was taped in New York in recent months on behalf of One Voice after the non-profit group asked Gere to do the spot. Gere, 55, said in a statement that while he is not "officially associated" with One Voice, he felt that "this is a truly historic moment for the Palestinians as well as for the entire region, with the possibility for a real vision of peace and security for all people." Gere, star of "American Gigolo" and "Pretty Woman," was last seen in theaters with Jennifer Lopez in the film "Shall We Dance." He is due to appear with actress Juliette Binoche in the upcoming family drama "Bee Season." (Additional reporting by Steve Gorman in Los Angeles)
- http://www.smh.com.au/news/Film/The-way-he-is/2004/11/26/1101219735856.html The way he is November 27, 2004 Cuff luck: Robert Redford plays a kidnapped businessman in The Clearing. To get to the heart of the Hollywood icon, Tom Ryan reads between the lines. Robert Redford is approaching 70. Seventy! And in most of the films he has made in the past decade, including his new one, The Clearing, age has clearly left its mark. The guy still looks good, but now there is always the qualifier, and it's a killer, "for his age". For those of us who grew up with the smiling, smooth-faced "Sundance" raising a bemused eyebrow and exchanging crackerjack quips with Paul Newman's "Butch", this is a jolting reminder of mortality. In my pantheon of male screen idols, he rates somewhere between Cary Grant and Daffy Duck, exuding the former's urbane glamour and rising far above the latter's manic befuddlement. I've never met him, or even seen him in person, but he's been part of my life. I've seen all but a couple of the films he has made as an actor, since his debut in War Hunt (1962), and the six he's made as a director, starting with Ordinary People, for which he won an Oscar for best director in 1981. I've read most of the rare interviews he's granted and I've watched him on TV chat shows, notably Parkinson in the 1980s, to which he brought a healthy dose of modesty that only enhanced his golden boy aura. But who is Robert Redford? Is there any connection between the man born Charles Robert Redford jnr in Santa Monica in 1937 and the characters he has played? Is it possible to probe the screen persona and find anything more than a mirage? Is he a mysteriously aloof stranger, the outlaw type, the hollow man or the world-weary lover? And what is the key to his charisma? Can we learn something about him from the cheeky grin he wears in Barefoot in the Park (1967) - a role he carried from an 11-month stint on Broadway, opposite Elizabeth Ashley, to the screen with Jane Fonda? Or from the malaise that underscores his characterisation of the kidnapped business magnate in The Clearing? It's impossible to know. All such a survey can do is sketch the parameters of the persona - an object of desire who generally turns out to be unattainable; a man of action who is equally at home with reflection; a figure simultaneously mythic and human; heroic and vulnerable; impossibly good-looking and surprisingly flawed. In short, a distinctive collection of potentially fascinating contradictions that filmmakers can use however they wish. Some of Redford's most rewarding roles have been the ones that turned the golden boy persona against itself, among them The Candidate (1972), The Way We Were (1973), The Great Gatsby (1974) and All the President's Men (1976) - each of which transforms the agent of the American dream into a source of anxiety. In a 1980 interview in Rolling Stone, Redford says: "I'm interested in what's wrong in what appears to be perfect." Redford's method - which the author David Downing memorably describes as "over-understatement" in his 1982 book about Redford - places him among actors whose performances are less about their emotive flexibility than about dramatic minimalism. The silent, melancholy look he gives Helen Mirren before he heads off to work at the beginning of The Clearing, his latest film to screen in Australia, says more about the state of their marriage than any extended exposition scenes ever could. Redford is a veteran of the less-is-more school. He's not like Jack Nicholson, Dustin Hoffman, Robert De Niro or Al Pacino, who have their own way of doing things. Redford will never chew up the scenery. He prefers to exist quietly within it, to gently nudge us towards an appreciation of his characters, rather than allowing them to loudly declare themselves. For some, this has always been a sign of his uncertainty as an actor. For others, such as director Sydney Pollack, who was cast alongside Redford in War Hunt and who has directed him seven times, it's an indication of his strength. "In my opinion, he's one of the best movie actors we've ever had in America. He's never doing nothing, but he does often hold something back, which, for me, only makes him more interesting." Pollack's deion of Redford as an actor also might well apply to his performances as a public figure. There is absolutely no reason to presume that the Robert Redford who occasionally steps away from his privacy and into the public eye is any less of a character than the ones he plays on screen. There is much that's consistent in the picture he constructs of himself and his world. This Robert Redford is thoughtful, but distant. He values his privacy and would much rather be alone in the Utah wilderness than attending some Hollywood premiere or giving an interview. Both are situations in which he's required to perform: to play Robert Redford. "I never aimed to be a sex symbol, a classical actor, a box-office draw, or any of those things," he says in Downing's book. "I just did my job, went home and put myself as far away from the movie-star thing as I could." Nevertheless, he's been prepared to speak up when the occasion demands, whether it's on behalf of his beloved Sundance Institute, which he established as a haven for independent filmmakers in 1981, or for environmental causes. He has always worn his liberal principles on his sleeve, but laughed at the idea that he might go into politics. Redford has also proclaimed his lack of interest in self-examination, describing himself as the antithesis of Woody Allen. "Some people have psychoanalysis. I have Utah," he says. His marriage at 21 to Lola van Wagenen ended in 1985. The couple had four children, one of whom died of sudden infant death syndrome. They are now grandparents. Since the divorce, Redford has been romantically linked with Debra Winger, Sonia Braga and costume designer Kathy O'Rear. Newspaper reports suggest that, although he is in a "happy relationship" with the German artist Sibylle Szaggars, the pair - in the style of Jean-Paul Sartre and Simone de Beauvoir - continue to live apart. Some of what emerges about Redford's life he is able to control. Most of it he's not. And he would seem to be at least partially responsible for a number of the revealing contradictions that have emerged. Redford has always said he hates the way he's treated as a walking photo opportunity. "The bad part is that you become an object," he told Esquire magazine in 1988. "And there are three dangerous stages to that: one, people start treating you like an object; two, you start behaving like an object; and three, you become one. That's terminal." Yet he's usually been prepared to take time out to pose for Annie Leibowitz's admiring camera, or for the covers of the publications in which these interviews have appeared. Clad in smart executive suits or designer leisure gear, he's at least arrived at stage two. He's also long been talking about abandoning acting. Downing quotes him as planning to call a halt to this part of his career soon after The Way We Were. "I am retiring from films, definitely," Redford announced. It's also curious to see someone who's been such a champion of independent filmmakers remain so close to the mainstream as an actor and also as a director. Only The Milagro Beanfield War (1988) and A River Runs Through It (1992), both of which he directed, can be described as even vaguely independent. While he may be a political liberal, he appears otherwise extremely reserved, leading Downing to dub him a "conservative rebel". Few of the films he has directed reflect a risk-taking personality. Perhaps his latest project, Aloft, the story of two men tracking the flight of the North American peregrine falcon, which is scheduled to go into production this year, will open up new directions. But he has been unable to control the increasingly personal, sometimes ageist, put-downs of his acting and directing. Equally hurtful must be the sneers at his life away from the camera. In Hollywood Interrupted - Insanity Chic in Babylon, by Andrew Breitbart and Mark Ebner, he is described - along with Susan Sarandon - as "a bloviating bleeding heart". Yet the view of him that emerges through Down and Dirty Pictures, Peter Biskind's fascinating history of American independent film, is of a man who is not only "cautious by nature and almost paralysed by perfectionism" but occasionally duplicitous. In the book, Sundance becomes a dream destroyed by Redford's prevarications and by its movement ever closer to the values that hold sway in Hollywood. Yet few people can match his contributions to American film, on camera or behind the scenes. Maybe it's time to give the guy a break. From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
- "Janet" wrote in message news:gFjjd.7297$O11.4351@newsread3.news.pas.earthlink.net... > news:b85819de.0411051456.68867b5b@posting.google.com... > news:... > http://www.sanluisobispo.com/mld/sanluisobispo/entertainment/movies/10105397 > Sarandon, > Has > remember > Bening's > can > drunk. > she > walked > returning > for > values > Walking" > opposite > undoubtedly > playing a > named > actresses > hope > get > 50, > plays > mambo > is > merely > of > made Not to mention, I would say she is passed "middle-aged" unless she is going to live to 116.
- "Jule" wrote in message news:b85819de.0411051456.68867b5b@posting.google.com... > "Rick in Oz" wrote in message news:... http://www.sanluisobispo.com/mld/sanluisobispo/entertainment/movies/10105397 Sarandon, Has remember Bening's can drunk. she walked returning for values Walking" opposite undoubtedly playing a named actresses hope get 50, plays mambo is merely of made > There must be some kind of brain removal requirement to be a > journalist. > better angle, like oh, I don't know...the fact that writers need to > write the damn roles for the actresses? Blaming human females for > aging, something they can't control, instead of the way scripts are > done, something that CAN be controlled...hmmm...gee, that makes SO > much sense. LOL. As if writers HAD to write roles for fugly old actresses.
- http://www.sanluisobispo.com/mld/sanluisobispo/entertainment/movies/10105397 .htm Dig at Sarandon sums up the plight of many middle-aged actresses BY JAMI BERNARD New York Daily News In humor, there is often truth. So let's examine the cruel joke from the all-marionette "Team America: World Police," which satirizes Susan Sarandon, 58, as an actress whose talent is dwindling as she ages. Ouch! It's not unheard-of for people to lose their fire as the years creep by. Has it happened to Sarandon? First consider that older actresses have a hard time of it. If you remember Bette Davis and Joan Crawford in their horror-movie humiliations of the `60s, perhaps you'll forgive Sarandon for "Rugrats 2." Steady work isn't necessarily memorable work. Other actresses have faded away or disappeared. Annette Bening, 46, only recently returned from a child-raising hiatus to star in "Being Julia," about an older actress who trumps an "All About Eve"-like newcomer. Bening's movie says talent marinates over time. There's marinade, and then there's rust. An ill-advised comeback vehicle can cause a hit-and-run, as in "Taxi," in which Ann-Margret, 63, plays a drunk. Where are the actresses of yesteryear? Last we heard of Geena Davis, 48, she had taken up Olympic archery. (Okay, she was also in the "Stuart Little" movies.) She was sunk by the pirate movie "Cutthroat Island" and has walked a lonely plank ever since. Debra Winger, 49, stomped off the bandwagon nearly a decade ago, returning in 2001 for "Big Bad Love" (emphasis on "bad"). She is now better known for inspiring "Searching for Debra Winger," Rosanna Arquette's questing 2002 documentary about the plight of actresses over 40 in an industry that values youth and the Y chromosome. Sarandon has stayed visible, but some of her choices have been peculiar since the glory days of "Thelma and Louise" (1991) and "Dead Man Walking" (1995). Her highest-profile movie since then has been "Stepmom." In this melodrama, her character dies nobly (cough! cough!) of a dread disease, which clears the way for Julia Roberts' character. (It takes the opposite tack to "Being Julia.") Sarandon has two movies this fall: "Alfie" and "Shall We Dance?," both sensible choices. But they're no "Vera Drake," a movie that will undoubtedly bring British actress Imelda Staunton, 48, an Oscar nomination for playing a woman in her 50s. Staunton was so good that writer-director Mike Leigh named his untitled project after her character. Granted, "Vera Drake" is a once-in-a-lifetime plum. But not all actresses can count on a director like Leigh to come along. And they can't all hope for the kind of European sensibility that enables older actresses - like Isabelle Huppert, 51, Fanny Ardant, 55, and Charlotte Rampling, 59 - to thrive. If middle-aged American actresses want to stay viable, they've got to get big roles in small movies, or decent roles in big ones. Kim Basinger, 50, got a second wind with the summer movie "Cellular," but she was rarely onscreen with youthful co-star Chris Evans. "Cellular" played like two movies in one, an increasingly common ploy to attract a mixed-generation audience. (The female draw in "Shall We Dance?" is not Sarandon, who plays Richard Gere's oblivious wife, but Jennifer Lopez, who plays his hot mambo instructor.) The joke in "Team America" is more pointed. Is the problem that Sarandon is choosing unwisely by making films like the cringe-inducing "The Banger Sisters," co-starring with Goldie Hawn (now 58)? Or has acting become merely a paycheck for her? Did "Rugrats 2" do her in? Our best guess - the kindest, anyway - is that there's a tipping point, after which mediocre roles and competing priorities lead to a lessening of effort over time. And you know what that means - jokes at one's expense made by marionettes. From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry. ---
- "Rick in Oz" wrote in message news:akNid.186$uc.6094@nnrp1.ozemail.com.au... > http://www.sanluisobispo.com/mld/sanluisobispo/entertainment/movies/10105397 > .htm > In humor, there is often truth. So let's examine the cruel joke from the > all-marionette "Team America: World Police," which satirizes Susan > Sarandon, > 58, as an actress whose talent is dwindling as she ages. Ouch! > Has > it happened to Sarandon? > remember > Bette Davis and Joan Crawford in their horror-movie humiliations of the > `60s, perhaps you'll forgive Sarandon for "Rugrats 2." Steady work isn't > necessarily memorable work. > recently returned from a child-raising hiatus to star in "Being Julia," > about an older actress who trumps an "All About Eve"-like newcomer. > Bening's > movie says talent marinates over time. > can > cause a hit-and-run, as in "Taxi," in which Ann-Margret, 63, plays a > drunk. > she > had taken up Olympic archery. (Okay, she was also in the "Stuart Little" > movies.) She was sunk by the pirate movie "Cutthroat Island" and has > walked > a lonely plank ever since. > in 2001 for "Big Bad Love" (emphasis on "bad"). She is now better known > for > inspiring "Searching for Debra Winger," Rosanna Arquette's questing 2002 > documentary about the plight of actresses over 40 in an industry that > values > youth and the Y chromosome. > since the glory days of "Thelma and Louise" (1991) and "Dead Man Walking" > (1995). Her highest-profile movie since then has been "Stepmom." In this > melodrama, her character dies nobly (cough! cough!) of a dread disease, > which clears the way for Julia Roberts' character. (It takes the opposite > tack to "Being Julia.") > sensible choices. But they're no "Vera Drake," a movie that will > undoubtedly > bring British actress Imelda Staunton, 48, an Oscar nomination for playing > a > woman in her 50s. Staunton was so good that writer-director Mike Leigh > named > his untitled project after her character. > can count on a director like Leigh to come along. And they can't all hope > for the kind of European sensibility that enables older actresses - like > Isabelle Huppert, 51, Fanny Ardant, 55, and Charlotte Rampling, 59 - to > thrive. > big roles in small movies, or decent roles in big ones. Kim Basinger, 50, > got a second wind with the summer movie "Cellular," but she was rarely > onscreen with youthful co-star Chris Evans. "Cellular" played like two > movies in one, an increasingly common ploy to attract a mixed-generation > audience. (The female draw in "Shall We Dance?" is not Sarandon, who plays > Richard Gere's oblivious wife, but Jennifer Lopez, who plays his hot mambo > instructor.) > is > choosing unwisely by making films like the cringe-inducing "The Banger > Sisters," co-starring with Goldie Hawn (now 58)? Or has acting become > merely > a paycheck for her? Did "Rugrats 2" do her in? > after which mediocre roles and competing priorities lead to a lessening of > effort over time. And you know what that means - jokes at one's expense > made > by marionettes. > Proud Keeper of the talented & beautiful Halle Berry. To be blunt, the problem is that studios won't make a movie that stars a female that an 18 year old boy wouldn't masterbate to. Spunk equals sequel.
- "Rick in Oz" wrote in message news:... > http://www.sanluisobispo.com/mld/sanluisobispo/entertainment/movies/10105397 > .htm > In humor, there is often truth. So let's examine the cruel joke from the > all-marionette "Team America: World Police," which satirizes Susan Sarandon, > 58, as an actress whose talent is dwindling as she ages. Ouch! > it happened to Sarandon? > Bette Davis and Joan Crawford in their horror-movie humiliations of the > `60s, perhaps you'll forgive Sarandon for "Rugrats 2." Steady work isn't > necessarily memorable work. > recently returned from a child-raising hiatus to star in "Being Julia," > about an older actress who trumps an "All About Eve"-like newcomer. Bening's > movie says talent marinates over time. > cause a hit-and-run, as in "Taxi," in which Ann-Margret, 63, plays a drunk. > had taken up Olympic archery. (Okay, she was also in the "Stuart Little" > movies.) She was sunk by the pirate movie "Cutthroat Island" and has walked > a lonely plank ever since. > in 2001 for "Big Bad Love" (emphasis on "bad"). She is now better known for > inspiring "Searching for Debra Winger," Rosanna Arquette's questing 2002 > documentary about the plight of actresses over 40 in an industry that values > youth and the Y chromosome. > since the glory days of "Thelma and Louise" (1991) and "Dead Man Walking" > (1995). Her highest-profile movie since then has been "Stepmom." In this > melodrama, her character dies nobly (cough! cough!) of a dread disease, > which clears the way for Julia Roberts' character. (It takes the opposite > tack to "Being Julia.") > sensible choices. But they're no "Vera Drake," a movie that will undoubtedly > bring British actress Imelda Staunton, 48, an Oscar nomination for playing a > woman in her 50s. Staunton was so good that writer-director Mike Leigh named > his untitled project after her character. > can count on a director like Leigh to come along. And they can't all hope > for the kind of European sensibility that enables older actresses - like > Isabelle Huppert, 51, Fanny Ardant, 55, and Charlotte Rampling, 59 - to > thrive. > big roles in small movies, or decent roles in big ones. Kim Basinger, 50, > got a second wind with the summer movie "Cellular," but she was rarely > onscreen with youthful co-star Chris Evans. "Cellular" played like two > movies in one, an increasingly common ploy to attract a mixed-generation > audience. (The female draw in "Shall We Dance?" is not Sarandon, who plays > Richard Gere's oblivious wife, but Jennifer Lopez, who plays his hot mambo > instructor.) > choosing unwisely by making films like the cringe-inducing "The Banger > Sisters," co-starring with Goldie Hawn (now 58)? Or has acting become merely > a paycheck for her? Did "Rugrats 2" do her in? > after which mediocre roles and competing priorities lead to a lessening of > effort over time. And you know what that means - jokes at one's expense made > by marionettes. > Proud Keeper of the talented & beautiful Halle Berry. > There must be some kind of brain removal requirement to be a journalist. There are already a million articles about this. Can't anyone find a better angle, like oh, I don't know...the fact that writers need to write the damn roles for the actresses? Blaming human females for aging, something they can't control, instead of the way scripts are done, something that CAN be controlled...hmmm...gee, that makes SO much sense.
- in article 5358ff53.0408230542.4be5adde@posting.google.com, Portofino Poet at portofinopoet@yahoo.com wrote on 8/23/04 9:42 AM: > I wouldn't kick her out of bed Can't she take a hint it's not her age that people dislike? She's so uncomfortable to watch. I saw her on Letterman the other night and she made me sick with her desperate flirting. She kept kissing and touching him - yuck!!! Plenty of other actresses getting top jobs in their late 30s, 40s and 50s like like Julianne Moore, Glenn Close, Diane Keaton, Meryl streep, Diane Lane, Cathy Bates, Daryl Hannah, Jamie Lee Curtis, Sandra Bullock etc. Even Nicole Kidman is 37 and Halle Berry is 38! They are at the top of their game. Not only are they getting jobs they are often producing and calling the shots. If Sharon wasn't such a b*tch to everyone on her way up maybe she'd have some more work now. Her excuses and "pity me" attitude are so boring. You can't play an ingenue forever. And same thing can be said about Rosanna Arquette - she made a movie "searching for Debra Winger" about age discrimination. Let me tell you, if Rosanna was a better actress maybe more people would hire her. Same with Melanie Griffith - sex kitten role can only get you so far. Also, if Debra Winger weren't such a terror to work with maybe she'd have more jobs as well. She's a great actress but she has a terrible reputation on the set. There are a ton of younger actresses that come and go because their acting SUCKS - they can't blame age discrimination. There are a ton of male actors that come and go too. Sorry for my rant but I can't stand people who blame everyone else for their problems.
- Celebrity Gossip
- This perky, throaty brunette came to acting via a route much different than those taken by most of her contemporaries. As a teenager she emigrated to Israel, where she worked for two years on a collective farm and served in the Army. Upon returning to the States, she was involved in a serious accident that left her in a coma. Partially paralyzed and blinded in one eye for several months, Winger thought long and hard about where her life was going, and decided that upon recuperating she would become an actress. She did, making several commercials before being cast as Lynda Carter's little sister Drusilla on the popular "Wonder Woman" TV series. Winger appeared in small roles in the nondescript Slumber Party '57 (1977), Thank God It's Friday (1978), and French Postcards (1979) before beating out more than 200 hopefuls for the lead in Urban Cowboy (1980), which paired her with John Travolta and gave her an opportunity to demonstrate her ability. This arresting, star-making performance led to her casting as a homegrown hopeful Juliet opposite Richard Gere in An Officer and a Gentleman (1982), which earned her an Oscar nomination, and as Shirley MacLaine's cancerstricken daughter in Terms of Endearment (1983), for which she was Oscarnominated again. She replaced Raquel Welch in Cannery Row (1982), which was barely seen, and agreed to star in Mike's Murder for Urban Cowboy director James Bridges, but that muddled thriller sat on the shelf until 1984. She also participated in the extraordinary success of E.T. The Extra-Terrestrial (1982), but in an unusual way: her distinctive voice was among those used for the alien visitor. Winger quickly made it known that she was not interested in playing the Hollywood game and was content to let long periods go by without making movies, rather than appear in something she didn't feel strongly about. She regretted saying yes to a blatantly commercial film, Legal Eagles (1986), that didn't show her to best advantage, but was back in form in the stylish thriller Black Widow (1986), and made the best of an underwritten role in Costa Gavras' melodrama about white supremacists, Betrayed (1988). (Married for several years to actor Timothy Hutton, she made a cameo appearance, as a man, in his 1987 film Made in Heaven Everybody Wins (1990) had Nick Nolte as costar, and an Arthur Miller script, but it turned out badly. Later that year she found personal fulfillment playing a hedonist in Bernardo Bertolucci's enigmatic The Sheltering Sky (1990). Originally announced to star in A League of Their Ownshe backed out of the project early on, and then became uncharacteristically busy: she was terrific as Steve Martin's saucy partner in crime in Leap of Faith (1992), then starred in three 1993 releases: the misfired comedy Wilder Napalm, A Dangerous Womanin which she brilliantly played a retarded woman, and Shadowlands in which she delivered an intelligent, moving (and Oscar-nominated) performance as Joy Gresham, the American poet who fell in love with British author C. S. Lewis (Anthony Hopkins). This spurt of activity brought cheers from Winger admirers, and served as a reminder that she is one of the most gifted actresses in films. In 1995, she costarred with Billy Crystal in Forget Paris.
- Sister-in-law of actor/writer Jim Howard.
- Had a romance with controversial American hero and senator Bob Kerrey.
- Graduated from James Monroe High School, Sepulveda, California, in 1973.
- Graduated from Oliver Wendell Holmes Junior High School, Northridge, California, in 1970.
- Turned down the Glenn Close role in Fatal Attraction (1987).
- Born at 5:15pm-EDT
- Daughter of a meat-packer
- Debra Winger is related!
- Helen Hunt
- Sarah Michelle Gellar
- A nightly updated image feed of Debra Winger is available.
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106 pics of Debra Winger and 539,404 images of 17,201 celebrities!

In 2007, she is cast in the role of Jane in the Slitz.

In 2004, Debra Winger stars as Ellen Andrews Gordon in the show 100 Greatest TV Treats of 2004.

Debra Winger's character is Joy Gresham in the 2005 video A2m 6.

Debra Winger's character is Katie Phillips/Cathy Weaver in the 1981 production Abends im Rampenlicht.

In 1998, Debra Winger plays the part of Jennifer in the video All American Superstars.

For the 1985 show Alles Paletti, she takes the role of Linda.

For the 1967 show Abashiri Bangaichi: Ketto Reika 30 do, Debra Winger is cast in the role of The Wicked Witch of the West.

Debra Winger's character is Kit Moresby in the 1995 movie Acheronta atropos.

In 1982, she takes the role of Herself - Co-presenter: Short Film Awards in the movie Adulterio nacional.

For the 1975 movie Angel and Big Joe, she plays the part of Laura Kelly.

Angela Crispini in the 1954 production of Annapurnar Mandir.

In 2004, Debra Winger plays Debbie in the movie Artifacts of Time.

For the 1958 feature Asik Garip, Debra Winger plays Alexandra 'Alex' Barnes.

For the 2005 release Bath Water, Debra Winger is cast in the role of Betty Parrish.

She takes the role of Alice Collins in the 1981 production Beat the Carrott.

In 1994, Debra Winger plays Marilyn in the movie Bai lu yuan.

For the 2003 production of Behemoth, Debra Winger plays Vida Foudroyant.

Debra Winger plays Emma Greenway Horton in the 1950 movie Belle of Old Mexico.

For the 1912 show Broncho Billy's Mexican Wife, she is cast in the role of Martha Horgan.

Debra Winger is cast in the role of Sherrie Hensley in the 2005 release Busty Kerry Marie 2.

Debra Winger stars as Paula Pokrifki in the 2005 show Celebrate: The Music of Our People.

In 2003, Debra Winger plays Melanie in the show Cold Feet: The Final Call.

In 2000, Debra Winger plays Sissy Davis in the show Bulandi.

She plays the part of Suzy in the 2007 movie California Indian.

She plays the part of Herself - Nominee: Best Actress in a Leading Role in the 1951 show Debla, la virgen gitana.

In 2004, Debra Winger's character is Herself in the production of Decadencia del club, La.

In 1908, Debra Winger stars as Dawn Anna Townsend in the production of Guaranis, Os.

Debra Winger plays Prudence Bushnell in the 1995 video release of Hollywood Starlets Adventure 5.

Monday's TV Highlights: Debra Winger on 'Law & Order'

'Great Buck Howard' screens in NY

Recall the Gold: The 1983 Best Actress Oscar race

A Return For Debra Winger

Debra Winger of 'Rachel Getting Married' is back

Debra Winger of 'Rachel Getting Married' is back on the radar

Richard Gere & Debra Winger to reteam on Broadway?

FOX411: 'Officer and Gentleman' Reunion?

Undiscovered (Excerpt)

Debra Winger: 'Memba Her?!

Debra Winger: 'Memba Her?!