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  • Link Time! 5/8

    
    Popwatch has the recent EW cover featuring Josh Brolin and Elizabeth Banks as George W. Bush and Laura Bush for the Oliver Stone movie. Stereogum has the initial lineup for the 2008 Siren Festival. At The TV Addict, you can watch a video of Zach Braff in
    on 2008-05-08 17:03:48

  • Isabella makes a 'Porno'

    
    This week Isabella Rossellini launched a series of short films on SundanceChannel.com called Green Porno. While the title may remind you of the actress' Blue Velvet days, the content may have more in common with National Geographic than David Lynch....
    on 2008-05-07 16:54:43

  • Famed actress investigates 'Porno'

    
    When it comes to sex, Isabella Rossellini is an animal.
    on 2008-05-05 16:47:53

  • Ashley Olsen Is Casual, Sexy, Cool

    
    I was impressed by Mary-Kate Olsen on Monday night, but yesterday Ashley looked just fabulous at the Everywhere At Once Cocktail Party and Screening Hosted by Harper's Bazaar in NYC. Look at that grin, love it! Everyone is wearing those Balenciaga gladiat
    on 2008-04-30 08:48:55

  • Rossellini unsure if films can make money online (Reuters)

    
    Reuters - While Isabella Rossellini enjoyed her foray into new media with her short films about insect sex, she is not sure they could turn a profit, given that so much content is available on the Internet for free.
    on 2008-04-27 16:45:47

  • Isabella Rossellini turns to directing insect sex (Reuters)

    
    Reuters - Isabella Rossellini treated audiences at the Berlin Film Festival to wild and crazy sex scenes in a series of short films she directs and stars in.
    on 2008-02-12 00:45:03

  • Isabella Rossellini turns to directing insect sex (Reuters)

    
    Reuters - Isabella Rossellini treated audiences at the Berlin Film Festival to wild and crazy sex scenes in a series of short films she directs and stars in.
    on 2008-02-12 00:45:07

  • Anne Hathaway?s Set To Peddle Fragrance

    
    Joining Mariah Carey, Jennifer Lopez, Britney Spears, and Paris Hilton in the world of celebrity fragrance endorsement, Anne Hathaway has reportedly signed on to promote a new fragrance from Lancome. The “Princess Diaries” actress, 25,
    on 2008-01-08 12:47:42
  • "Agent Smith" wrote in message news:Xns9772AD68B6549agentsmithtwoblockso@207.115.17.102... > "Rick in Oz" wrote in > news:3oYKf.353$NN.8808@snnrp1.syd4.maint.ops.aspac.uu.net: I remember when she was arrested they reported that she said the people she stole from, including Grace Hightower (De Niro's wife), had treated her very badly. She also said that she never stole from Isabella Rossellini who had always been very nice to her. That kind of implies that she felt somehow justified in "stealing from the bitch".
  • http://www.smh.com.au/news/people/housekeeper-stole-from-de-niros-wife/2005/ 08/24/1124562907612.html Housekeeper 'stole from de Niro's wife' August 24, 2005 - 3:17PM A housekeeper charged with looting the homes of Manhattan's rich and famous claimed she targeted Oscar winning actor Robert De Niro's wife because she was a bad employer, according to court documents. "If she treated me better, with more respect, I probably wouldn't have done this," Lucyna Turyk-Wawrynowicz allegedly told police following her arrest. Turyk-Wawrynowicz, 35, who is from Poland, pleaded not guilty last month to charges including grand larceny and criminal possession of stolen property. An indictment has identified the theft victims as De Niro's wife, Grace Hightower, as well as actress Candice Bergen and Renee Rockefeller. "I didn't steal from Isabella Rossellini because she treated me well. I only stole from people who didn't treat me with respect," Turyk-Wawrynowicz said, according to the court documents made public on Tuesday. While searching the defendant's home in June, investigators found a set of $US96,000 ($127,000) diamond earrings belonging to Hightower and a stolen suede jacket worth $US1000, authorities said. A lawyer for the De Niro family, Tom Harvey, said the housekeeper worked two weeks for Hightower and had little contact with her. Turyk-Wawrynowicz first denied raiding Hightower's jewellery box. But police claim that when asked about the earrings she responded: "They are at my house, and I will get them for you." She also allegedly told officers she had tried to contact Hightower after the theft out of guilt. "I feel horrible, but she wouldn't take my phone calls any more," she allegedly said. "I know I'm guilty. I feel horrible about what I've done." Turyk-Wawrynowicz made a brief appearance in state Supreme Court in Manhattan; another pretrial hearing was set for October 11.
  • http://www.sun-sentinel.com/entertainment/movies/sfl-lipopfineartjan28,0,421 0905.story?coll=sfla-entertainment-movies Movies based on books are shedding new light on old masters By Karin Lipson Newsday Posted January 28 2004 Tracy Chevalier knew she had a good story brewing as soon as she read the magazine article about a set of six mysterious medieval tapestries hanging in a Paris museum. "Alarm bells went off," the novelist recalled, "and I said, `A-ha, there's stuff to be filled in here!'" What sort of stuff? Well, who, for instance, was the elegant woman in each of the elaborate tapestries, which are known as The Lady and the Unicorn? Who designed them? Who wanted them enough to pay a fortune for them? So fill in Chevalier did, weaving her own fictional tale about the origin of the tapestries in her latest novel, The Lady and the Unicorn (Dutton, $23.95), which landed in bookstores late last month. The plot is itself a tapestry of sex, violence, medieval politics, the role of women, sex (did we mention that?) and, on occasion, even true love. But ultimately, as Chevalier writes in the afterword, "This is a novel about creating art." As such, it's in growing company. Emerging from the domain of museums, galleries and textbooks, art seems to be a hot topic these days, appearing all around us in everyday culture. Walk into a bookstore, hit a movie, go to a play -- and you may find yourself thinking about art. Examples? The Da Vinci Code: With more than 5 million copies in print, Dan Brown's thriller is the mega-hit of art-inspired popular works. Sure, it's a murder mystery on a religious (or, some would say, pseudo-religious) theme -- a wild scavenger hunt involving the pursuit of the Holy Grail, the identity of Mary Magdalene and lots more in that vein. But what's on the cover? Leonardo's Mona Lisa, one of the great art icons of the Western world. And what does the author use as key evidence for his interpretation of the true nature of the Grail? Leonardo's famed mural The Last Supper. If there's a perfect current example of high art-meets-pop art, this is it. Mona Lisa Smile: Julia Roberts plays a 1950s art history instructor at exclusive Wellesley College, who (among other things) teaches her young charges how to really look at and understand art. What is good art?, she asks. And why is the original inherently better than the reproduction? The movie garnered less-than-stellar reviews (along with the ire of some Wellesley graduates), but it does raise intriguing questions about the nature of creativity and analytical thought. Girl With a Pearl Earring: Chevalier's best seller, published in 2000, was recently reissued in a new paperback edition. Like The Lady and the Unicorn, it begins with a real work of art (the beguiling portrait of a young woman by the 17th century artist Johannes Vermeer), from which it spins the fictional tale of the servant girl who inspired the artist. The movie version, starring Scarlett Johansson as Griet, the girl, and Colin Firth as Vermeer, opens Friday in South Florida. The Stendhal Syndrome: An upcoming off-Broadway double bill by Tony winner Terrence McNally, featuring Isabella Rossellini, in her stage debut, and Richard Thomas. Its opener explores what can happen when three very different American tourists and their European tour guide are confronted by one colossal work of art -- Michelangelo's sculpture of the biblical David. The title, by the way, is a term for a kind of ecstasy and disorientation that can occur in the face of overwhelmingly beautiful art. It's quite a range, the tone varying from the literary "who is she?" of The Lady and the Unicorn to the rip-roaring "whodunit" of The Da Vinci Code and the questing "who made it?" of Mona Lisa Smile. Inevitably, some refinements are lost. Seeing Mona Lisa Smile, after all, is not really like taking an art-appreciation course, and reading The Da Vinci Code doesn't equal studying Renaissance painting. So, does the subject's popularization give art historians the chills? Do they bemoan the "dumbing-down" of their life's work? No, at least not in the case of Denise Allen, whose specialty is the Italian Renaissance. "People are reading these things for pleasure and enjoyment and some kind of fulfillment, and I think that's terrific," said Allen, associate curator at New York's Frick Collection. As a curator, of course, Allen thinks the best way to enjoy the profound gifts art offers "is to see the work of art itself. However, another way in is to read about it in this way, or see the movie." Sometimes, Allen pointed out, a popular work taps into an already existing fascination with a work of art or artist -- such as Leonardo da Vinci. The art popularizes the fiction, rather than the other way around. "Even if you've just been through high school, you've heard about Leonardo, about the Mona Lisa," said Allen. The answers offered in The Da Vinci Code have been amply skewered, both on religious grounds and for their interpretations of art history. (Knowing about art via The Da Vinci Code is "a little like the way most Americans now say they got their understanding of the Kennedy assassination from Oliver Stone's JFK," was the scathing assessment by Bruce Boucher, a curator at the Art Institute of Chicago, in a December issue of U.S. News and World Report.) But there's no denying that The Da Vinci Code is a page-turner that can induce almost breathless excitement, and its influence is likely to spread: Ron Howard (A Beautiful Mind) has signed on as director of the film version, with production due to start this year. The movie Girl With a Pearl Earring, meanwhile, has boosted sales of the book. A new movie tie-in paperback edition, featuring Johansson on the cover, was published by Plume Books in October, as advance publicity on the film began to build. "Right out of the gate, sales were terrific," said Brant Janeway, Plume's marketing director. Even sales of the original paperback, published in 2001 -- and featuring the Vermeer painting on the cover -- have been going up, Janeway said. In any case, the contents are the same: The story of the artist and the girl whose expression -- head turned toward us, mouth slightly open, eyes riveted on someone outside the picture -- entranced Chevalier. "For years, I wondered what she is thinking about," said the author, speaking by phone from London, where she lives. "Then, I wondered, what is she thinking about him? The painting became the portrait of a relationship." Her questions about The Lady and the Unicorn tapestries, oddly enough, were rooted in an adolescent fad. "I knew the tapestries from when I was a teenager -- I had this sort of unicorn craze," said the author. The craze was fed by the unicorn books and gewgaws then in the stores in Washington, D.C., where Chevalier was raised. "It was totally a marketing thing, like smiley faces, but we didn't know that," she recalled. After admiring the tapestries in Paris at age 20, she put them out of her mind. But in 2000, she read an art-magazine article that "reminded me about all the mysterious things about them. It brought up that there are all these different interpretations of the tapestries." Like what? Like the narrative that runs through them. At first glance, the tapestries seem to record six episodes of an elegant lady's seduction of a unicorn, the mythical medieval symbol of power and purity. But viewing the woven scenes in the reverse sequence gives a whole new spin to the story -- one that may begin in seduction, but ends in renunciation. And, as Chevalier noticed, the lady's face in each tapestry is different, opening up the possibility that more than one woman is being depicted. In her novel, it turns out there is indeed more than one woman inspiring the tapestries. Also involved in their creation are the rakish artist who designs them, the ambitious courtier who commissions them and the weavers, dyers and other craftsmen who bring them to glorious life. So what if these are all figments of the writer's imagination about what was, in truth, a largely anonymous endeavor? "Art is very open-ended," said Chevalier. "So there's a lot of room for stories to be made up. It's made for individual interpretation." If Chevalier's work deals largely with the mysteries of creating art, Terrence McNally's The Stendhal Syndrome explores the process -- intellectual, emotional, even erotic -- of beholding it. McNally's first play since 1998, The Stendhal Syndrome begins previews at Primary Stages on Sunday. McNally came across the title phrase in an essay about the 19th century French writer Stendhal. "He described people having intense emotional reactions to works of art," McNally explained. "I thought, well, that's true, and now there's a name for it." The double bill begins with the aptly named Full Frontal Nudity, about the impact of Michelangelo's monumental sculpture of the naked David on those three American tourists making the rounds of Florence, Italy. (The second play, Prelude & Liebestod, deals with the extraordinary effects of the music of composer Richard Wagner.) How did McNally zero in on Michelangelo's David? Easy, he said: "I think the David is such a startling work when you first see it -- the size of it, the perfection of it, the whiteness of the marble." Beholding such an amazing work, McNally said, leads his characters "to deeper feelings about mortality, perfection, sex, love. I think works of art strike chords that maybe we can't always identify at first." And that's not just the case for art experts. The story of Full Frontal Nudity, in a sense, is the story of what can happen when great art meets pop culture: "What I like about the people in the first piece is that they're not obvious art historians," McNally said. "But by the end of the play, I hope that Michelangelo has spoken to them somewhat." From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry. ART IN POP CULTURE : The Lady and the Unicorn Who made the tapestries? The makers are anonymous, though the skill and techniques "indicate the workshop would have been northern, possibly in Brussels," Tracy Chevalier writes in the notes that follow her novel. When were they woven? Probably the late 15th century. What happened to them? Passed out of the Le Viste family; rediscovered in 1841 (by writer Prosper Mérimée) in a French chateau, gnawed at by rats and cut in some areas. Bought in 1882 by the French government, which restored them. Where are they now? In the Musée National du Moyen Age, Paris. Girl With a Pearl Earring Who painted it? Johannes Vermeer. Born in 1632 in Delft, Holland. Died there in 1675. When was it painted? Circa 1665. Who is the "girl," really? Who knows? That's what novels are for. (One theory identified the sitter as one of Vermeer's daughters, but the eldest was only 11 in 1665.) Where is the painting now? At the Mauritshuis, a museum in The Hague, Netherlands, specializing in Dutch and Flemish art. David Who was the sculptor? Michelangelo created this David. Other celebrated sculptors also depicted the biblical hero, usually standing over Goliath's severed head, but Michelangelo captured David before the moment of battle. When was it made? 1501-4 Why? Commissioned to be placed on a buttress of the Florence Cathedral. It was such a hit that city fathers placed it in front of the Palazzo Vecchio, site of government offices, as a symbol of the Florentine republic. How big is it? David stands 13 feet 5 inches high. Where is it now? In the Galleria dell'Accademia, Florence, Italy. Not to be confused with the copy that now stands outside the Palazzo Vecchio. The Mona Lisa Who painted her? Leonardo da Vinci. But you knew that. When? 1503-5 Who is she? The most popular theory identifies her as the young wife of a rich Florentine merchant, Francisco del Giocondo. But other theories persist... as in The Da Vinci Code. Why is she smiling? Maybe because such a smile was considered a sign of elegance at the time. Maybe, as an Italian doctor has contended, because she suffered from a compulsive gnashing of the teeth. Or maybe because she knew she would become instantly famous. (The painting was widely admired, even in Leonardo's day.) Where is she? At the Louvre, in Paris, behind bullet-proof glass.
  • My wife and I did this recently. I could never come up with more than two. 1.) Catherine Zeta Jones 2) Rachel Weiss (She has to wear the glasses from "The Mummy", though) Been trying to come up with more but, unlike Ross, I want to be strategic about this thing:) "Ablang" wrote in message news:9p8li0l36374uhdh3pajd74ghpktp2t5id@4ax.com... > was a time when Ross & Rachel were dating that they each had a list of > celebrities that they were allowed to sleep with should they ever meet > them in public. Ross got to meet Isabella Rossellini, but didn't have > her name on his list. > would be on your list? And remember... it's laminated. > 1. Jessica Alba 3. Jennifer Garner 5. Katie Holmes "Money will not make you happy, and happy will not make you money." > -- Groucho Marx
  • Good to see Natalie Imbuglia right up there. She's not much discussed, but she's got a very sexy voice, too. Isabella Rossellini deserves to be on there, which she is. Kate moss looks good, too. But Princess Diana? Julia Roberts? I'm glad to see my girl Alicia Silverstone sneaked in. And I'm I the only one who thought Jane Fonda looked good in "Barberella"? When I first saw that I thought, man, I didn't know she ever looked like that.
  • http://www.thecouriermail.news.com.au/common/story_page/0,5936,8786552%255E2 8377,00.html From Bay to big time Louise Crossen 26feb04 FOR a long time, Melissa George was just another former soapie star chasing her big break in La La Land. She worked steadily: a string of pilots, a short-lived series, a couple of small movies. Then suddenly, everything fell into place. Her dream run began last year with a high-profile stint on Friends and ended with a lead role in Alias. The 27-year-old puts it down to talent, luck and perseverance. George won her first role at 15, playing a reformed Summer Bay wild child on Home and Away. It's taken more than a decade of false starts, dead ends and dashed dreams to get this far. "You get in a room with people like David Lynch and Steven Soderbergh, and they won't cast you if you're not talented," she says. "It can also be as easy as being in the right place at the right time - you've got to be right for the role. "If they are looking for a 5' 4" (163cm) African American you're not going to get it, no matter how talented you are or how hard you try. "But I think of it as a long queue to the best restaurant in town: You'll get there one day if you're patient. If you get out of line, someone is going to take your place." George says she never considered running back home, even when the going got tough. "Moving over here was a chance to reinvent myself," she says. "I did Home and Away when I was 15 - and who cares what you did when you were that age - but to everyone in Australia I was always going to be Angel. "It's funny, everyone here in the States is like, 'What's up with Home and Away?' A lot of Aussie actors got their first start on that show: Simon Denny, Heath Ledger, Guy Pearce. "I think people in the US think it's some kind of finishing school for Australian actors." After 12 years of hard graft she has few illusions about the TV industry. "You don't have job security in this line of work - it's not nine-to-five - and with acting, it's your face out there, so you can't just accept the first job that comes your way. "But I feel I've paid my dues. Thank God it's not another pilot." Far from it: Alias is one of the top-rating shows in the US, and has attracted a loyal following in Australia during its run on Seven. In last season's cliffhanger finale, Sydney Bristow (Jennifer Garner) awoke in Hong Kong with no memory of the past two years. Cut to this season's opener and things have moved on dramatically: it turns out everyone thought Sydney was dead, her father has been sent to the slammer and her lover Vaughn got hitched. Enter George as Vaughn's wife, Lauren Reed. "You guys are only just getting the third season, so I don't want to give too much away," she says. "It's basically an amazing love triangle. Sydney still loves Vaughn (Michael Vartan), Vaughn loves me and the audience is a bit confused about just who Lauren is. "People over here are saying this is literally the best season of Alias." Apparently not everyone agreed, with diehard fans of the show frustrated that fate had (once again) conspired to keep Sydney and Vaughn apart. At a network fan event last year George was booed by rabid Alias fans, the Net is littered with sites calling for Lauren's demise, one magazine labelled Lauren "the most hated woman in America". If George was thrown by the chilly reception, she's not sharing. "I didn't mind. This is TV and you want people to invest something in these characters," George says. "The writers were literally rubbing their hands. They thought it was fantastic. I guess you don't want the fans to get complacent." And as Dolly Parton once said, if you want the rainbow, you've got to put up with the rain - and this was one of the most coveted roles in the industry. "The notice went out to all of the agencies, and I think every actress in town tried to get an audition," she says. "I like to audition just for practice, so I took a shot. "It was very special. I had instant chemistry with Michael. I was the first one called back for a reading, and Michael told me later I had the part as soon as I walked out the door." The part was originally conceived as a recurring guest role, but Alias creator J.J. Abrams was so impressed with George he offered her a full-time gig. "I was filming a guest spot on Charmed when he called. I was in this leather get-up playing the Queen of Valkryies, trying to take it all in," she recalls. "My insides were churning, but I was on set at the time and I didn't want to make a big fuss, so I was like, 'OK, uh-huh.' "I must have been playing it cool, because J.J. actually got concerned, and he was like, 'Is this something you really want to do?' "I had to convince him that I wanted the part." She has been shooting since August, and says Alias is a "dream job". But that's not to say it's been an easy ride. Not only is she under intense scrutiny from the show's fans and the American press, she is pulling 12-hour days on a fast-paced, action-packed show. Jennifer Garner is probably one of the buffest actors in Hollywood, and has often spoken about the tough training regimen she maintains while shooting Alias. But George is an old pro thanks to her last role. "I did a show called Thieves where I played a high-class catburglar, so I had to master martial arts, scale buildings, shoot guns," she says. "I think they hired me because I looked right and had the emotional ability to pull it off, but they also knew I could handle all of the physical stuff needed for this role. "But you really have to be in shape. Yesterday we were filming a scene where we had to run up five flights of stairs, two at a time, and we did 10 takes." And with two arse-kicking super agents on set, things can sometimes get a little bit out of control. On her first day on set, George threw Garner clean through a sheet of glass - apparently all part of a typical day on set. "I was only supposed to give her a push," she says with a laugh. "Fortunately, she was OK." And while life on set can be demanding and occasionally dangerous, George is enjoying working with a top-notch team. "We have great writers, directors and amazing people on set every week. "Quentin Tarantino plays my boss, Peter Fonda is playing my dad. We had Isabella Rossellini on the other week. When she came by to say hello I could feel the blood rushing to my head." And while she is still in awe of her castmates, George is set to become a star in her own right. It looks like the kid from Summer Bay finally got her break.
  • Isabella Rossellini
  • HELLO MAGAZINE 6 OCTOBER 2003 Pulp Fiction star Uma Thurman has been axed by cosmetics giant Lancome after just two years. "It's all over, I'm finished working for them," said the 33-year-old when asked about her £9-million contract with the company. Lancome has refused to explain why it dropped the actress, but there has been speculation that she is considered too old. The company previously found itself at the centre of a storm of controversy after sacking Isabella Rossellini and replacing her with Juliette Binoche. Isabella insisted she had fallen victim to ageism at the company, but Lancome managed to silence its critics by signing Uma as their new model. The decision comes as a shock to the cosmetics industry as Uma is currently winning rave reviews for her latest film Kill Bill. The actress, who recently split with husband Ethan Hawke, once thanked Lancome for giving her the "extra exposure" she needed to boost her career.
  • http://canoe.ca/JamMovies/jan21_sundance2-sun.html Happy to be Sad By KEVIN WILLIAMSON -- Calgary Sun PARK CITY, Utah -- The way Canadian director Guy Maddin tells it, his wooing of Isabella Rossellini had all the sweaty-palmed anxiety of a teenage courtship. First he sent her samples of his work. That got her to agree to a phone call, "so I could dazzle her with my wit, sitting there with my thesaurus and dictionary," he recalls. Before he could speak with her though, he prepared by listening to Rossellini's commentary track on the Blue Velvet DVD. Not so he could impress her with his knowledge of the film, mind you, but rather, "I just wanted to get her voice in my head so that when I finally did hear it, I didn't faint." Rossellini can have that kind of effect on people. It's that very timelessness -- she's one of the few actresses who can play an iconic character and get away with it -- that makes her a perfect fit for Maddin's The Saddest Music in the World. The film had its premiere at Sundance this past week in an event that brought director and leading lady to town, along with Kid in the Hall Mark McKinney. Relaxing in a Park City coffee shop, the trio clearly enjoys each other's company. Rossellini, for one, spends much of our interview laughing, at herself (she has some trouble with the word "pelt") and at McKinney's spot-on impersonation of her. Saddest Music, which bowed last fall at the Toronto International Film Festival, is an odd, strange work, a faux-musical set in Winnipeg during the Great Depression where a beer baroness hosts a contest to find the saddest music in the world. The competition brings musicians from across the globe to vie for the $25,000 prize. But the movie is as concerned with movie lore as it is music or plot. Maddin acknowledges he wrote McKinney's role with James Cagney in mind (McKinney says he had to keep from imitating him during production, and Rossellini's performance references the screen goddesses of old -- including her mother, the legendary Ingrid Bergman. Cinematic strangeness is nothing new for Rossellini, who, ever since David Lynch's masterpiece, the aforementioned Blue Velvet, she has gravitated towards roles far outside of the mainstream. She can afford to -- a cosmetics and perfume titan, she doesn't need to pander for Hollywood paycheques. Then again, Rossellini says, she's never really been asked to. "I do what I love. There's no arrogance in it. I never wanted another career. If someone had said to me, 'Isabella, we will give you $20 million a picture as long as they are all commercial,' I might have accepted that proposal, but no one has come up with it. If it's not satisfying, I'll go write. If you have an urge to do something, it can be directing or writing; it can be photography. Cosmetics, my commercial projects and the rest, that's what can pay me. But I'm not offered the roles of Julia Roberts." Not that she's a fan of working for free; while Saddest Music is a small movie, she says she was well compensated for it. "I worked with (British director) Peter Greenaway after you and he paid me less," she tells Maddin. "You weren't a charity case." In fact, she enjoyed working with Maddin so much that his next project will be a collaboration on a short film dedicated to her father, Roberto Rossellini. McKinney, meanwhile, will continue to work on CBC's Slings and Arrows, after moving back from the U.S. to Toronto a year ago. Although he says he's enjoyed being back home, he half-kids the skittish nature of the Canadian film scene has him contemplating a return south: "It's an industry that is just so in peril at any given time, I start to get paranoid." From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
  • Top 100 Beautiful Women By Dave Higgens, PA News Film legend Audrey Hepburn was today named the most naturally beautiful woman of all time by a panel of experts. The full list is: 1. Audrey Hepburn 2. Liv Tyler 3. Cate Blanchett 4. Angelina Jolie 5. Grace Kelly 6. Natalie Imbruglia 7. Juliette Binoche 8. Halle Berry 9. Helena Christensen 10. Elle MacPherson 11. Cameron Diaz 12. Princess Diana 13. Kate Moss 14. Charlize Theron 15. Scarlett Johansson 16. Isabella Rossellini 17. Nigella Lawson 18. Beyonce Knowles 19. Madonna 20. Jamelia 21. Nicole Kidman 22. Monica Bellucci 23. Audrey Tatou 24. Vanessa Paradis 25. Julianne Moore 26. Jennifer Lopez 27. Marilyn Monroe 28. Julia Roberts 29. Beyonce Knowles 30. Kylie Minogue 31. Estelle Warren 32. Gisele 33. Gwyneth Paltrow 34. Kate Winslet 35. Katherine Hepburn 36. Marilyn Monroe 37. Kiera Knightley 38. Iman 39. Jerry Hall 40. Heidi Klum 41. Ursula Andress 42. Virginie Ledoyen 43. Sophie Dahl 44. Michelle Pfeiffer 45. Uma Thurman 46. Kim Catrell 47. Jennifer Aniston 48. Eva Herzigova 49. Brigitte Bardot 50. Felicity Kendal 51. Claudia Schiffer 52. Jacqueline Kennedy 53. Marlene Dietrich 54. Milla Jovovitch 55. Lucy Liu 56. Penelope Cruz 57. Neve Campbell 58. Sharon Stone 59. Vivien Leigh 60. Sophie Marceau 61. Linda Evangelista 62. Dido 63. Catherine Zeta Jones 64. Jessica Lange 65. Ingrid Bergman 66. Greta Garbo 67. Jodie Kidd 68. Vanessa Paradis 69. Princess Caroline of Monaco 70. Kathleen Turner 71. Rachel Weisz 72. Naomi Campbell 73. Grace Jones 74. Christie Turlington 75. Famke Jensen 76. Catherine Deneuve 77. Cindy Crawford 78. Heather Graham 79. Judy Garland 80. Ginger Rogers 81. Sophia Loren 82. Yasmin Le Bon 83. Kirsten Dunst 84. Sandra Bullock 85. Melanie Sykes 86. Cleopatra 87. Lisa Snowdon 88. Rita Hayworth 89. Katie Holmes 90. Honor Blackman 91. Joely Richardson 92. Joanna Lumley 93. Andie MacDowell 94. Alicia Silverstone 95. Cat Deeley 96. Rene Russo 97. Sienna Miller 98. Rachel Hunter 99. Jade Jagger 100. Kelly Brook
  • http://www.sun-sentinel.com/entertainment/movies/sfl-lipopfineartjan28,0,421 0905.story?coll=sfla-entertainment-movies Movies based on books are shedding new light on old masters By Karin Lipson Newsday Posted January 28 2004 Tracy Chevalier knew she had a good story brewing as soon as she read the magazine article about a set of six mysterious medieval tapestries hanging in a Paris museum. "Alarm bells went off," the novelist recalled, "and I said, `A-ha, there's stuff to be filled in here!'" What sort of stuff? Well, who, for instance, was the elegant woman in each of the elaborate tapestries, which are known as The Lady and the Unicorn? Who designed them? Who wanted them enough to pay a fortune for them? So fill in Chevalier did, weaving her own fictional tale about the origin of the tapestries in her latest novel, The Lady and the Unicorn (Dutton, $23.95), which landed in bookstores late last month. The plot is itself a tapestry of sex, violence, medieval politics, the role of women, sex (did we mention that?) and, on occasion, even true love. But ultimately, as Chevalier writes in the afterword, "This is a novel about creating art." As such, it's in growing company. Emerging from the domain of museums, galleries and textbooks, art seems to be a hot topic these days, appearing all around us in everyday culture. Walk into a bookstore, hit a movie, go to a play -- and you may find yourself thinking about art. Examples? The Da Vinci Code: With more than 5 million copies in print, Dan Brown's thriller is the mega-hit of art-inspired popular works. Sure, it's a murder mystery on a religious (or, some would say, pseudo-religious) theme -- a wild scavenger hunt involving the pursuit of the Holy Grail, the identity of Mary Magdalene and lots more in that vein. But what's on the cover? Leonardo's Mona Lisa, one of the great art icons of the Western world. And what does the author use as key evidence for his interpretation of the true nature of the Grail? Leonardo's famed mural The Last Supper. If there's a perfect current example of high art-meets-pop art, this is it. Mona Lisa Smile: Julia Roberts plays a 1950s art history instructor at exclusive Wellesley College, who (among other things) teaches her young charges how to really look at and understand art. What is good art?, she asks. And why is the original inherently better than the reproduction? The movie garnered less-than-stellar reviews (along with the ire of some Wellesley graduates), but it does raise intriguing questions about the nature of creativity and analytical thought. Girl With a Pearl Earring: Chevalier's best seller, published in 2000, was recently reissued in a new paperback edition. Like The Lady and the Unicorn, it begins with a real work of art (the beguiling portrait of a young woman by the 17th century artist Johannes Vermeer), from which it spins the fictional tale of the servant girl who inspired the artist. The movie version, starring Scarlett Johansson as Griet, the girl, and Colin Firth as Vermeer, opens Friday in South Florida. The Stendhal Syndrome: An upcoming off-Broadway double bill by Tony winner Terrence McNally, featuring Isabella Rossellini, in her stage debut, and Richard Thomas. Its opener explores what can happen when three very different American tourists and their European tour guide are confronted by one colossal work of art -- Michelangelo's sculpture of the biblical David. The title, by the way, is a term for a kind of ecstasy and disorientation that can occur in the face of overwhelmingly beautiful art. It's quite a range, the tone varying from the literary "who is she?" of The Lady and the Unicorn to the rip-roaring "whodunit" of The Da Vinci Code and the questing "who made it?" of Mona Lisa Smile. Inevitably, some refinements are lost. Seeing Mona Lisa Smile, after all, is not really like taking an art-appreciation course, and reading The Da Vinci Code doesn't equal studying Renaissance painting. So, does the subject's popularization give art historians the chills? Do they bemoan the "dumbing-down" of their life's work? No, at least not in the case of Denise Allen, whose specialty is the Italian Renaissance. "People are reading these things for pleasure and enjoyment and some kind of fulfillment, and I think that's terrific," said Allen, associate curator at New York's Frick Collection. As a curator, of course, Allen thinks the best way to enjoy the profound gifts art offers "is to see the work of art itself. However, another way in is to read about it in this way, or see the movie." Sometimes, Allen pointed out, a popular work taps into an already existing fascination with a work of art or artist -- such as Leonardo da Vinci. The art popularizes the fiction, rather than the other way around. "Even if you've just been through high school, you've heard about Leonardo, about the Mona Lisa," said Allen. The answers offered in The Da Vinci Code have been amply skewered, both on religious grounds and for their interpretations of art history. (Knowing about art via The Da Vinci Code is "a little like the way most Americans now say they got their understanding of the Kennedy assassination from Oliver Stone's JFK," was the scathing assessment by Bruce Boucher, a curator at the Art Institute of Chicago, in a December issue of U.S. News and World Report.) But there's no denying that The Da Vinci Code is a page-turner that can induce almost breathless excitement, and its influence is likely to spread: Ron Howard (A Beautiful Mind) has signed on as director of the film version, with production due to start this year. The movie Girl With a Pearl Earring, meanwhile, has boosted sales of the book. A new movie tie-in paperback edition, featuring Johansson on the cover, was published by Plume Books in October, as advance publicity on the film began to build. "Right out of the gate, sales were terrific," said Brant Janeway, Plume's marketing director. Even sales of the original paperback, published in 2001 -- and featuring the Vermeer painting on the cover -- have been going up, Janeway said. In any case, the contents are the same: The story of the artist and the girl whose expression -- head turned toward us, mouth slightly open, eyes riveted on someone outside the picture -- entranced Chevalier. "For years, I wondered what she is thinking about," said the author, speaking by phone from London, where she lives. "Then, I wondered, what is she thinking about him? The painting became the portrait of a relationship." Her questions about The Lady and the Unicorn tapestries, oddly enough, were rooted in an adolescent fad. "I knew the tapestries from when I was a teenager -- I had this sort of unicorn craze," said the author. The craze was fed by the unicorn books and gewgaws then in the stores in Washington, D.C., where Chevalier was raised. "It was totally a marketing thing, like smiley faces, but we didn't know that," she recalled. After admiring the tapestries in Paris at age 20, she put them out of her mind. But in 2000, she read an art-magazine article that "reminded me about all the mysterious things about them. It brought up that there are all these different interpretations of the tapestries." Like what? Like the narrative that runs through them. At first glance, the tapestries seem to record six episodes of an elegant lady's seduction of a unicorn, the mythical medieval symbol of power and purity. But viewing the woven scenes in the reverse sequence gives a whole new spin to the story -- one that may begin in seduction, but ends in renunciation. And, as Chevalier noticed, the lady's face in each tapestry is different, opening up the possibility that more than one woman is being depicted. In her novel, it turns out there is indeed more than one woman inspiring the tapestries. Also involved in their creation are the rakish artist who designs them, the ambitious courtier who commissions them and the weavers, dyers and other craftsmen who bring them to glorious life. So what if these are all figments of the writer's imagination about what was, in truth, a largely anonymous endeavor? "Art is very open-ended," said Chevalier. "So there's a lot of room for stories to be made up. It's made for individual interpretation." If Chevalier's work deals largely with the mysteries of creating art, Terrence McNally's The Stendhal Syndrome explores the process -- intellectual, emotional, even erotic -- of beholding it. McNally's first play since 1998, The Stendhal Syndrome begins previews at Primary Stages on Sunday. McNally came across the title phrase in an essay about the 19th century French writer Stendhal. "He described people having intense emotional reactions to works of art," McNally explained. "I thought, well, that's true, and now there's a name for it." The double bill begins with the aptly named Full Frontal Nudity, about the impact of Michelangelo's monumental sculpture of the naked David on those three American tourists making the rounds of Florence, Italy. (The second play, Prelude & Liebestod, deals with the extraordinary effects of the music of composer Richard Wagner.) How did McNally zero in on Michelangelo's David? Easy, he said: "I think the David is such a startling work when you first see it -- the size of it, the perfection of it, the whiteness of the marble." Beholding such an amazing work, McNally said, leads his characters "to deeper feelings about mortality, perfection, sex, love. I think works of art strike chords that maybe we can't always identify at first." And that's not just the case for art experts. The story of Full Frontal Nudity, in a sense, is the story of what can happen when great art meets pop culture: "What I like about the people in the first piece is that they're not obvious art historians," McNally said. "But by the end of the play, I hope that Michelangelo has spoken to them somewhat." From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry. ART IN POP CULTURE : The Lady and the Unicorn Who made the tapestries? The makers are anonymous, though the skill and techniques "indicate the workshop would have been northern, possibly in Brussels," Tracy Chevalier writes in the notes that follow her novel. When were they woven? Probably the late 15th century. What happened to them? Passed out of the Le Viste family; rediscovered in 1841 (by writer Prosper Mérimée) in a French chateau, gnawed at by rats and cut in some areas. Bought in 1882 by the French government, which restored them. Where are they now? In the Musée National du Moyen Age, Paris. Girl With a Pearl Earring Who painted it? Johannes Vermeer. Born in 1632 in Delft, Holland. Died there in 1675. When was it painted? Circa 1665. Who is the "girl," really? Who knows? That's what novels are for. (One theory identified the sitter as one of Vermeer's daughters, but the eldest was only 11 in 1665.) Where is the painting now? At the Mauritshuis, a museum in The Hague, Netherlands, specializing in Dutch and Flemish art. David Who was the sculptor? Michelangelo created this David. Other celebrated sculptors also depicted the biblical hero, usually standing over Goliath's severed head, but Michelangelo captured David before the moment of battle. When was it made? 1501-4 Why? Commissioned to be placed on a buttress of the Florence Cathedral. It was such a hit that city fathers placed it in front of the Palazzo Vecchio, site of government offices, as a symbol of the Florentine republic. How big is it? David stands 13 feet 5 inches high. Where is it now? In the Galleria dell'Accademia, Florence, Italy. Not to be confused with the copy that now stands outside the Palazzo Vecchio. The Mona Lisa Who painted her? Leonardo da Vinci. But you knew that. When? 1503-5 Who is she? The most popular theory identifies her as the young wife of a rich Florentine merchant, Francisco del Giocondo. But other theories persist... as in The Da Vinci Code. Why is she smiling? Maybe because such a smile was considered a sign of elegance at the time. Maybe, as an Italian doctor has contended, because she suffered from a compulsive gnashing of the teeth. Or maybe because she knew she would become instantly famous. (The painting was widely admired, even in Leonardo's day.) Where is she? At the Louvre, in Paris, behind bullet-proof glass.
  • Good to see Natalie Imbuglia right up there. She's not much discussed, but she's got a very sexy voice, too. Isabella Rossellini deserves to be on there, which she is. Kate moss looks good, too. But Princess Diana? Julia Roberts? I'm glad to see my girl Alicia Silverstone sneaked in. And I'm I the only one who thought Jane Fonda looked good in "Barberella"? When I first saw that I thought, man, I didn't know she ever looked like that.
  • Rick in Oz wrote: > http://www.irishexaminer.com/breaking/2004/02/01/story132162.html > most unromantic couple in movie history. > celebrate their love for one another by going on a killing spree across > America. > world's most unromantic twosome. > marital home descends into Armageddon. > that makes you feel like falling in love all over again. This is not that > movie." > weird 1996 film Crash, who get aroused by the idea of car accidents. That should say Edward Norton, not Brad Pitt. The article writer must have missed the movie.
  • "piscesrr" wrote in message news:GmfTb.27929$eY2.3391@fe2.texas.rr.com... > Rick in Oz wrote: movie Roses. the picture that > writer must have missed the movie. First rule....first rule. shhhh... ~Shell
  • "Rick" wrote in message news:310520041201091096%rickjm@nyc.rr.com... : In article , Rick in Oz : wrote: : : > Film legend Audrey Hepburn was today named the most naturally beautiful : > woman of all time by a panel of experts. : : I have no problem at all with Audrey Hepburn ranking #1. But how does : Marilyn Monroe rank both #27 and #36? And Ginger Rogers more beautiful : than Sophia Loren???? Pshaw! : : -- : Rick And Liv Tyler number 2? I wouldn't put Audrey Hepburn as number one, I've always thought of her more as cute than beautiful. And Catherine Deneuve is 76 while Jerry Hall is number 40!! And Elizabeth Taylor is a no-show, wow! The full list is: 1. Audrey Hepburn 2. Liv Tyler 3. Cate Blanchett 4. Angelina Jolie 5. Grace Kelly 6. Natalie Imbruglia 7. Juliette Binoche 8. Halle Berry 9. Helena Christensen 10. Elle MacPherson 11. Cameron Diaz 12. Princess Diana 13. Kate Moss 14. Charlize Theron 15. Scarlett Johansson 16. Isabella Rossellini 17. Nigella Lawson 18. Beyonce Knowles 19. Madonna 20. Jamelia 21. Nicole Kidman 22. Monica Bellucci 23. Audrey Tatou 24. Vanessa Paradis 25. Julianne Moore 26. Jennifer Lopez 27. Marilyn Monroe 28. Julia Roberts 29. Beyonce Knowles 30. Kylie Minogue 31. Estelle Warren 32. Gisele 33. Gwyneth Paltrow 34. Kate Winslet 35. Katherine Hepburn 36. Marilyn Monroe 37. Kiera Knightley 38. Iman 39. Jerry Hall 40. Heidi Klum 41. Ursula Andress 42. Virginie Ledoyen 43. Sophie Dahl 44. Michelle Pfeiffer 45. Uma Thurman 46. Kim Catrell 47. Jennifer Aniston 48. Eva Herzigova 49. Brigitte Bardot 50. Felicity Kendal 51. Claudia Schiffer 52. Jacqueline Kennedy 53. Marlene Dietrich 54. Milla Jovovitch 55. Lucy Liu 56. Penelope Cruz 57. Neve Campbell 58. Sharon Stone 59. Vivien Leigh 60. Sophie Marceau 61. Linda Evangelista 62. Dido 63. Catherine Zeta Jones 64. Jessica Lange 65. Ingrid Bergman 66. Greta Garbo 67. Jodie Kidd 68. Vanessa Paradis 69. Princess Caroline of Monaco 70. Kathleen Turner 71. Rachel Weisz 72. Naomi Campbell 73. Grace Jones 74. Christie Turlington 75. Famke Jensen 76. Catherine Deneuve 77. Cindy Crawford 78. Heather Graham 79. Judy Garland 80. Ginger Rogers 81. Sophia Loren 82. Yasmin Le Bon 83. Kirsten Dunst 84. Sandra Bullock 85. Melanie Sykes 86. Cleopatra 87. Lisa Snowdon 88. Rita Hayworth 89. Katie Holmes 90. Honor Blackman 91. Joely Richardson 92. Joanna Lumley 93. Andie MacDowell 94. Alicia Silverstone 95. Cat Deeley 96. Rene Russo 97. Sienna Miller 98. Rachel Hunter 99. Jade Jagger 100. Kelly Brook
  • HELLO MAGAZINE 6 OCTOBER 2003 Pulp Fiction star Uma Thurman has been axed by cosmetics giant Lancome after just two years. "It's all over, I'm finished working for them," said the 33-year-old when asked about her £9-million contract with the company. Lancome has refused to explain why it dropped the actress, but there has been speculation that she is considered too old. The company previously found itself at the centre of a storm of controversy after sacking Isabella Rossellini and replacing her with Juliette Binoche. Isabella insisted she had fallen victim to ageism at the company, but Lancome managed to silence its critics by signing Uma as their new model. The decision comes as a shock to the cosmetics industry as Uma is currently winning rave reviews for her latest film Kill Bill. The actress, who recently split with husband Ethan Hawke, once thanked Lancome for giving her the "extra exposure" she needed to boost her career.
  • "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.
  • U-San Bernardino County Sun Gross points Today's horror pales in comparison to sickest movies scenes of all time By Glenn Whipp Film Writer Thursday, October 30, 2003 - The recent spate of horror movies - "Cabin Fever," "House of the Dead," "Underworld," "The Texas Chainsaw Massacre" - have been doing their darndest to try to scare us or, at the very least, gross us out. They've failed miserably - not that teenagers seem to care. But you'd think among the lot of them they could have produced one true moment of revulsion, but the best any of them could do was ape the greats of the past. Fortunately for true believers, a new print of Ridley Scott's "Alien" arrived Wednesday, a potent reminder of how much fun a great horror film can be. And while the movie has a myriad of superlative scenes, the one that sticks in everyone's mind occurs just as everyone is sitting down to dinner and an unwanted guest makes a surprise appearance. Which got me to thinking: What are the other great stomach-churning movie moments, scenes that make you want to turn away and head for the exit? (To clarify, I'm defining "stomach-churning" in the more gruesome sense, not, say, having to sit through a recent John Travolta movie.) So, in the spirit of Halloween, I came up with a list of 20 - obviously a subjective one - scenes that make me want to chew a roll of antacids. Needless to say, if you're reading this while eating, you might want to finish your meal first. The Andalusian Dog (1928) Put Luis Bunuel and Salvador Dali together and you know you're in for a freak show, and this plotless series of surrealistic images doesn't disappoint. The movie contains the earliest - and probably most horrifying - stomach churner: a man slicing a woman's eye with a razor. A willful (and cheerful) exercise in alienation, it remains one of the most shocking images in film history - a real eye opener. The Birds (1963) As a child, I thought birds were my friends. You know, Jonathan Livingston Seagull and all that. Then I saw that farmer with his eyes pecked out in this Hitchcock flick of nature gone wild, and the next morning I was asking my dad to chop down the trees in the back yard. Rosemary's Baby (1968) A child is born ... and it's the spawn of Satan. Still, what's a mother to do but nurse the little darling, as Mia Farrow did in this Roman Polanski chiller. Deliverance (1972) Ned Beatty, playing a city businessman, squeals like a pig as he's abused by vengeful Appalachian mountain men, and I can still hear that godawful cry sometimes. You know what gets it out of my head? "Dueling Banjos." (But how do I get !ital!that!off! out of my head?) Pink Flamingos (1972) There's all sorts of "fun" here - castration, bestiality, cannibalism - much of it really happening, but the scene everyone remembers comes when transvestite Divine eats dog waste. Billed as the "most disgusting picture of all time," and, for once, the truth matched the hype. The Exorcist (1973) The head on the girl goes round and round, round and round, round and round. The head on the girl goes round and round and pea soup gushes forth! (And, for the intellectually curious, that really is pea soup. How that Andersen's place in Buellton stayed in business after this, I'll never know.) Jaws (1975) Sure, there's the skinny dipper's severed hand and Ben Gardner's head floating out of his boat, but the real stomach-churner is watching Capt. Quint (Robert Shaw) being bitten in half and that shark's eyes, those "lifeless eyes, black eyes" rolling over white and you hear his terrible high-pitched screaming and the ocean turns red. Eraserhead (1976) Remember the "Seinfeld" episode? "You've got to see the ba-by! When are you coming to see the ba-by?" And Seinfeld comes over, looks in the crib and ... my God! Well, that kid has nothing on David Lynch's newborn in "Eraserhead." Hope they registered for a lifetime of therapy. Marathon Man (1976) An obvious choice, not so much for what we see, but for what we hear, that horrible whirring drill as it grinds against Dustin Hoffman's teeth as Laurence Olivier's Szell - a Nazi war criminal on the lam - keeps asking if it's "safe." Legend has it that director John Schlesinger shortened the scene after test audiences started streaming to the exits. 1900 (1976) While some may choose the Marlon Brando sex scenes in "Last Tango in Paris," Bernardo Bertolucci's greatest stomach-churning achievement came when peasants revolt and pelt an evil fascist (played bravely by Donald Sutherland) with horse manure. What tips the scales is the shot (and, readers, really, I've got to warn you here) of the angry man prodding his horse to produce a fresh batch, which is then shoved with gusto in Sutherland's face. Scanners (1981) It's hard to pick just one moment from a David Cronenberg movie for a list like this. Let's face it: We could fill all 20 slots here from the Cronenberg oeuvre, from Jeremy Irons' gynecological exploits in "Dead Ringers" to Rosanna Arquette's leg- brace-fetish sex scene in "Crash." But we'll go with the, um, most mind-blowing Cronenberg moment when a bad psychic makes a lesser's head go ka-blooey in "Scanners," which was very cool if you were, like, 16, at the time. Monty Python's The Meaning of Life (1983) Clearing attempting to wrest the title of "most disgusting picture of all time" away from John Waters, the Python troupe goes for broke here with "live" organ transplants and a song about sperm. The topper, of course, comes courtesy of the portly Mr. Creosote, who, while consuming a four-course meal, eats and vomits, eats and vomits (you get the idea) until he explodes when eating the after-dinner mint. I know people who watch this right before beginning a diet. Blue Velvet (1986) David Lynch movies always punch us in the gut. Here it's the scene where Dennis Hopper's Frank Booth comes home, inhales narcotic gas and sexually abuses Isabella Rossellini while Kyle MacLachlan watches in the closet. Even for the Lynch mob, this one's tough to stomach. Misery (1990) Kathy Bates does what any No. 1 fan would do to an unappreciative dirty-bird writer - she picks up a sledgehammer, takes a Reggie Jackson swing and shatters James Caan's ankle into a thousand little pieces. Silence of the Lambs (1991) The two sequels have certainly dulled the impact of Hannibal Lecter's debut, but the scene of Lecter's escape - he impersonates a guard by killing him, skinning his face and using it as a mask - remains undiluted. Gruesome. Reservoir Dogs (1992) Again, time and kitsch have somewhat lessened the grisly horror of Quentin Tarantino's jaunty little torture scene, which is made completely surreal through the use of the Stealers Wheel song "Stuck in the Middle With You." Nobody who saw the movie has listened to Gerry Rafferty the same way since. Dead Alive (1993) Before he made the "Lord of the Rings" trilogy, Peter Jackson was something of a cult figure in horror circles. In this breakneck splatter flick, the film's hero defeats a room full of zombies by grabbing a lawn mower and slicing and dicing the undead, coating the walls with red and green zombie blood in a collage that Jackson Pollack would have envied. Se7en (1995) David Fincher's relentlessly assaultive movie in which a serial killer dispatches his victims in a grotesque version of their particular "deadly sin" is a veritable stomach-turning smorgasbord. Since we've already covered gluttony with "The Meaning of Life," we'll take the sloth scene for, if no other reason, its sick shock value. Trainspotting (1995) For those searching for a lesson in a movie that doesn't offer one, perhaps it's this: Never leave something valuable in the "filthiest toilet in Scotland." It can only lead to desperate measures. Pay It Forward (2000) Haley Joel Osment dies in slow motion from every conceivable angle. We're supposed to weep, but Mimi Leder's movie is so crassly manipulative that we run to the bathroom (even the filthiest toilet in Scotland will do) instead. ---------------------------------- (-)> *peep* (-)> *peep* (-)> *muckmouth*
  • http://www.scifi.com/scifiwire/art-main.html?2004-12/09/12.30.tv Alias Wants Rossellini Back Isabella Rossellini told SCI FI Wire that she's been asked to reprise her role as Katya on ABC's spy drama Alias, which kicks off a fourth season in January. "They called me the other day to see if I was available in January, so I hope they'll make me kill someone else soon," Rossellini said in an interview. "I did say that I was available, so hopefully [it will work out]." Rossellini guest-starred three times last season as Katya, the sister of Irina Derevko (Lena Olin). In her first episode, "Crossings," Katya informed Jack (Victor Garber) that Sydney (Jennifer Garner) was still alive, and offered to do everything in her power to save Sydney, so long as Jack agreed to kill Sloane (Ron Rifkin). Later, Katya tried to kill Sydney and made romantic advances toward Jack. "My character is pretty mysterious, and we're all very devious," Rossellini said. "So the moment you think you get your character—'I'm bad at this, but good at that'—uh-uh. The next arrives, and you're betraying [someone]. We're meaner than the public can even imagine." Rossellini added that playing so mysterious and devious a character wasn't unusual or difficult, as she's played dark characters before. But she said that perpetrating Katya's brand of violence did not come easily. "I had to take my chopsticks and put them [through] somebody's hands," Rossellini said, referring to a scene in "Crossings." "There were all these special effects, and I wasn't hurting the person, but even just doing it I flinched a little bit. So the director said to me, 'Isabella, you have the accent. If you get the violence, you can be governor. So go. Go for it.' They're a great bunch of people. [Executive producer] J.J. Abrams and Jennifer Garner, they're so great. It's fun to be with them." Alias begins its new season with a two-hour premiere on Jan. 5 and moves to a new timeslot, Wednesdays at 9 p.m. ET/PT, following Abrams' other hit series, Lost.
  • libracyn@yahoo.com (MnGddess) wrote in message news:<93dff057.0408282131.3875d03f@posting.google.com>... > arinaanna@yahoo.com (Nikita) wrote in message news:<1380b7fe.0408272338.6942174a@posting.google.com>... > 2. Hank Azaria > 3. Vincent D'Onofrio > 4. Pierce Brosnan > 5. Russell Crowe OK - replace Vincent with Hugh Jackman, and add Julian McMahon... Cyn
  • Celebrity Gossip
  • Beautiful daughter of Ingrid Bergman (whom she closely resembles) and director Roberto Rossellini who turned to acting in the midst of a long, successful modeling career and now wears both hats with ease. She initially worked as a TV journalist in Europe; her first movie appearance, opposite her mother in Vincente Minnelli's little-seen A Matter of Time (1976), was more or less a lark. American audiences next saw her in 1985's White Nights in which she appeared with then-lover, ballet dancer Mikhail Baryshnikov. Rossellini took a gamble on her modeling futureshe was earning millions of dollars as the primary model in all Lancôme cosmetics advertising-by appearing in a distinctly unglamorous, explicit, even unpleasant role in David Lynch's Blue Velvet (1986). (The director and actress were companions for a few years thereafter, and appeared together in the 1988 feature Zelly and Me.) She has almost consis- tently chosen roles in non-mainstream pictures, an exception being Cousins (1989), a Hollywood remake of the French comedy Cousin, Cousine. Her other films include Siesta, Tough Guys Don't Dance (both 1987), and Lynch's Wild at Heart (1990)-all of which indicate a decidedly iconoclastic attitude toward stardom. She took a colorful supporting role in Death Becomes Her (1992), then gave her best performance to date as Jeff Bridges' wife in Fearless (1993), and appeared in Wyatt Earp (1994). She was briefly married to director Martin Scorsese.
  • (March 2003) Winnipeg, Canada - filming Guy Maddin's The Saddest Music in the World.
  • Published an autobiography called "Some of me".
  • Has a daughter, Elettra (named after her paternal grandmother), by Weidemann, and an adopted son called Roberto (named after her father).
  • Virtually identical to her mother, Ingrid Bergman, but surprisingly was never given the opportunity to portray her mother in a biography film. The closest she came was with an eerily accurate spoof of Ilsa Lund in an episode of "Tales from the Crypt."
  • She suffered from scoliosis (progressive curvature of the spine) and underwent surgery to correct it. She was in a body cast for a year.
  • Was scheduled to appear in the David Lean-directed "Nostromo" in 1991, before Lean died, and the production came to a halt.
  • Maintains a home in the village of Bellport, NY
  • Chosen by Empire magazine as one of the 100 Sexiest Stars in film history (#84). [1995]
  • Suffered from a spine injury which kept her bedridden for over a year W_hen she was thirteen.
  • Chosen by People magazine as one of the 50 Most Beautiful People in the world [1990]
  • Chosen by People magazine as one of the 50 Most Beautiful People in the world. [1991]
  • Dated Gary Oldman (1994)
  • Has fraternal twin sister named Ingrid who is a professor of Italian Renaissance literature at Columbia University (as of 1995).
  • Has a daughter Elettra from Wiedemann
  • She has adopted both of her children
  • Daughter of Ingrid Bergman and Roberto Rossellini
  • Born at 6:07pm-CET
  • Sister of Pia Lindström
  • Isabella Rossellini is related!
  • 
  • Britney Spears
  • 
  • Katie Holmes
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