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  • She is cast in the role of Constance in the 2003 video release of 18 and Ready to Fuck 2.

  • In 2005, she takes the role of Leni in the video 30 Days in Hell.

  • For the 1998 show The 55th Annual Golden Globe Awards, Julie Delpy's character is Lena.

  • In 1998, Julie Delpy plays the part of Anya in the The Advanced Guard.

  • In 2004, Julie Delpy's character is Melodie in the show Arnold Schwarzenegger: A VH1 Popumentary.

  • Julie Delpy plays Nicole (2001) in the 1980 movie Aman Laxmi.

  • In 1940, Julie Delpy stars as Celine in the feature Amor de mis amores.

  • Julie Delpy plays Herself in the 1986 release of Amrit.

  • Julie Delpy plays the part of Zoe in the 2005 movie Anak ni Brocka.

  • Julie Delpy is cast in the role of Louise Créteur in the 1991 movie Andy's Got a Girlfriend.

  • For the 1937 release of Astero, Julie Delpy plays Francesca.

  • For the 1988 movie At Her Feet, she plays the part of Julie.

  • Julie Delpy plays Eva Purpur in the 2005 video Bareback Fly Boys.

  • Alice Rousset in the 1987 tv series Boi aus Vietnam - Mit dreizehn von zu Hause weg.

  • In 1986, she takes the role of Mélie in the feature Aval Kathirunnu Avanum.

  • Julie Delpy plays Dominique in the 2009 release of Bad Love.

  • Julie Delpy is cast in the role of Lipstick Lesbian at Cocksucker in the 1969 show Battle of Britain.

  • She plays the part of Serafine Pigot in the 1965 feature Beach Blanket Bingo.

  • In 1997, she takes the role of Lill in the feature The Big Pickle.

  • For the 1939 movie Blue Montana Skies, she is cast in the role of Sabeth.

  • For the 1997 Celtic Minstrel, Julie Delpy plays Young Leah/Leah Ilana Rosenbloom.

  • In 1974, Julie Delpy plays the part of Charlotte in the show Calles no se siembran, Las.

  • For the 2000 show Chinde, she is cast in the role of Dominique.

  • Julie Delpy plays Barbara in the 1974 show Chueh tou lao hou chuang.

  • Julie Delpy stars as Virgin Mary in the 1976 feature Cinta dan lagu.

  • For the 1990 release of City Streaming, she is cast in the role of Chloe.

  • She takes the role of Marguerite in the 1987 Dorothy Meets Ozma of Oz.

  • She is cast in the role of Marie in the 2005 show D-Day.

  • She takes the role of Celine in the 2006 production of D-Day.

  • For the 1994 movie Eternity, Julie Delpy's character is Lise.

  • For the 1951 show Footlight Varieties, Julie Delpy plays Al.

  • Herself in the 1929 show Fragmentos da vida.

  • In 1952, she takes the role of Jeanne Cooley in the release of Gobs and Gals.

  • In 1953, Julie Delpy plays Himself - Nominee: Best Adapted Screenplay in the movie The Good Beginning.

  • In 2007, Julie Delpy is cast in the role of Herself in the feature HairKuTT.

  • Delpy revives bloody Countess Bathory in new film (Reuters)

    
    Reuters - French actress Julie Delpy resurrects the specter of a blood-drenched countess in her third outing as director to recast one of Europe's most celebrated villains as a desperate player in a Greek tragedy.
    on 2009-02-10 04:45:10

  • Delpy and Hawke to Reunite?

    
    Are Julie Delpy and Ethan Hawke about to team up again? Rumors have been circulating for months that the pair, who starred onscreen together in the Richard Linklater films Before Sunrise...
    on 2007-11-06 20:45:33
  • "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://news.bbc.co.uk/1/hi/entertainment/film/4559197.stm Murray 'unsettled' by latest film By Caroline Briggs BBC News entertainment reporter in Cannes Actor Bill Murray has said he found it "unsettling" making his latest film about a man who traces his girlfriends after discovering he has a son. Broken Flowers, which premiered at Cannes on Tuesday, also stars Sharon Stone, Jessica Lange, Tilda Swinton, Frances Conroy and Julie Delpy. He likened making the film to "trying to learn to swing on a trapeze". "You might want to try going to a circus camp or something for a couple of weeks instead," he said. Broken Flowers is up for the prestigious Palme d'Or prize at the film festival and is considered one of the forerunners for the award, with Murray's performance praised as one of the strongest so far. Murray also starred in Lost in Translation Jarmusch said he wrote the part of Don Johnston with Murray in mind. He said: "I wanted to work with Bill for quite a while¿ and I had written a several years ago and he was interested. "But I decided I did not want to make that story, so I talked to Bill about the idea for Broken Flowers and we went with it." "I wrote it thinking about Bill as the character. I wanted to create a character that Bill could embody well." Murray added that hunting down old flames was not something he would recommend. Delving into past "For six weeks, trying it with four different actresses, I found it to be unsettling and disturbing," he said of the film, directed by Jim Jarmusch. But Murray, who was nominated for an Oscar for Lost in Translation, said the role of Don Johnston in Broken Flowers did resonate more as he got older. "I have thought about it [looking for old flames] but I usually decide to try in the middle of the night in a hotel," he said. "I think about people in my past a lot. I think we all have someone in our past who you think maybe I didn't give them, or maybe I didn't give myself much of a chance."
  • "Rick in Oz" wrote in message news:tRn_d.18$M17.672@nnrp1.ozemail.com.au... > * guess this is one time some of you in the US will cheer Beyonce ? > Actress Julie Delpy has accused Beyonce Knowles of offending her fellow > French citizens -- by "murdering" their language during her performance of > "Vois Sur Ton Chemin" at last month's Oscars. > The "Before Sunrise" beauty was disgusted by Knowles' rendition of the > Gallic song, from the movie "Les Choristes (The Chorus)," because it sounded > like she was singing in Chinese. > Delpy complains, "Beyonce singing in French -- it sounds like she's crooning > in strong Chinese. > "I swear to God, to French people it was like being stabbed in the heart." Oh, lord... Could the "Before Sunrise beauty" fathom how idiotic it is to snivel about the French people being "stabbed in the heart" over their precious language by trashing another language and culture? What the hell is "strong" Chinese anyway? Have you ever heard a strongly French-accented person try to H-lessly try to whine and pout (you know that dismissive French "pout-for-emphasis, usually with hands helplessly outstretched) and "euh..." and "bof!" her way through a sentence in any other language? How fucking French. Words cannot express how despicable and overrated they are. I think the language is repulsive and cannot understand why people insist that it's "beautiful." I'm allowed to spew this --I speak it fluently, having been tortured at a French school most of my childhood. Ack. I'll add the predictably lame cliché that my best friend is (well, was -- he died earlier this year) French. I'll also add that my hatred of things French predated the whole 9/11 thing by decades.
  • On Fri, 18 Mar 2005 09:52:56 +1100, "Rick in Oz" wrote: >* guess this is one time some of you in the US will cheer Beyonce ? >Actress Julie Delpy has accused Beyonce Knowles of offending her fellow >French citizens -- by "murdering" their language during her performance of >"Vois Sur Ton Chemin" at last month's Oscars. Did they all signal their disgust by waving white flags?
  • * guess this is one time some of you in the US will cheer Beyonce ? http://www.sfgate.com/columnists/dailydish/ DELPY: 'BEYONCE'S OSCAR SONG OFFENDED THE FRENCH' Actress Julie Delpy has accused Beyonce Knowles of offending her fellow French citizens -- by "murdering" their language during her performance of "Vois Sur Ton Chemin" at last month's Oscars. The "Before Sunrise" beauty was disgusted by Knowles' rendition of the Gallic song, from the movie "Les Choristes (The Chorus)," because it sounded like she was singing in Chinese. Delpy complains, "Beyonce singing in French -- it sounds like she's crooning in strong Chinese. "I swear to God, to French people it was like being stabbed in the heart."
  • http://jam.canoe.ca/Movies/2005/03/13/959727-ap.html Tarantino wins British film award Film director Quentin Tarantino, left, and actor Michael Madsen pose for photographers as they arrive at the Empire awards in central London Sunday. (AP/Adam Butler) LONDON (AP) - Quentin Tarantino, director of cult movies Pulp Fiction and Reservoir Dogs, was named Film Icon of the Decade at an awards ceremony in London on Sunday. Tarantino was among a cast of Hollywood and British movie talent recognized during the Empire Awards, which were voted for by more than 12,000 readers of Empire Magazine. Accepting his award, the 41-year-old announced plans to retire from movie directing in 15 years to become a movie theatre manager. "The fact that England has embraced me as one of its own is really cool," Tarantino said. "I hope to give you at least 15 more years of movies, I'm not going to be this old guy that keeps cranking them out. "My plan is to have a theatre by that time in some small town and I will be the manager - this crazy old movie guy. "I've made enough money that nobody even needs to show up at the theatre. It's just having something to do." Other award recipients included Matt Damon, who was voted Best Actor for his role in The Bourne Supremacy. The action thriller was also named Best Film. Julie Delpy was awarded Best Actress for Before Sunset, Kate Winslet's performance in Eternal Sunshine of the Spotless Mind won her the Best British Actress award. Best British Actor went to Paddy Considine for his role in Dead Man's Shoes. Supermodel Claudia Schiffer collected the Best British Director award on behalf of her husband Matthew Vaughn, who directed British gangster film Layer Cake. From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
  • http://www.sky.com/showbiz/article/0,,50001-1174469,00.html Matt's Double Empire Glory Hollywood star Matt Damon was a double winner at this year's Empire Awards in London. He was named Best Actor for The Bourne Supremacy, and the action thriller was also named Best Film. Twelve-year-old Freddie Highmore pipped Sienna Miller when he was named best newcomer. The schoolboy was nominated for his role in the film Finding Neverland as the little boy who inspired J M Barrie to write Peter Pan. Sienna, 23, had been nominated for her performance opposite boyfriend Jude Law in the remake of Alfie. Quentin Tarantino, director of Kill Bill, Reservoir Dogs and Pulp Fiction, was named Icon of the Decade at the ceremony in London's Guildhall. Kate Winslet triumphed over Imelda Staunton and Keira Knightley to the Best British Actress prize for her role in Eternal Sunshine of the Spotless Mind. Paddy Considine won Best British Actor for Dead Man's Shoes, while zombie comedy Shaun of the Dead was named best British film. Claudia Schiffer's husband Matthew Vaughn won Best British Director for gangster movie Layer Cake. Kate Winslet - Best British Actress The Empire movie awards are billed as the only ones to be voted for by the public. More than 12,000 Empire Magazine readers cast their votes. Full list of winners: Best Newcomer - Freddie Highmore (Finding Neverland) Best British Actress - Kate Winslet (Eternal Sunshine of the Spotless Mind) Best British Actor - Paddy Considine (Dead Man's Shoes) Best British Director - Matthew Vaughn (Layer Cake) Best British Film - Shaun of the Dead Sony Ericsson scene of the year - the hot air balloon sequence in Enduring Love Best Actress - Julie Delpy (Before Sunset) Best Actor - Matt Damon (The Bourne Supremacy) Best Director - Sam Raimi (Spider-Man 2) Best Film - The Bourne Supremacy Independent Spirit Award - Kevin Smith Empire Inspiration Award - Brad Bird (The Incredibles) Outstanding contribution to British cinema - Working Title Icon of the Decade - Quentin Tarantino. From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
  • http://breakingnews.iol.ie/entertainment/story.asp?j=10399590&p=yx399644&n=1 0399704 Sienna Miller up for Best Newcomer award 07/03/2005 - 18:32:18 Sienna Miller is in the running for her first acting prize with a nomination for best newcomer at the Empire Awards. Miller, 23, was nominated for her performance opposite Jude Law in Alfie. The couple fell in love on the set of the film and plan to marry next year. She is up against 12-year-old Finding Neverland star Freddie Highmore and Claudia Schiffer's director husband Matthew Vaughn. The Sony Ericsson Empire Awards are the only movie awards voted for by the British public and are held on March 13. Best British actress contenders include Kate Winslet for Eternal Sunshine of the Spotless Mind, Imelda Staunton for Vera Drake and Keira Knightley for King Arthur. Daniel Craig is nominated for best British actor for Layer Cake, alongside Rhys Ifans for Enduring Love and Paul Bettany for Wimbledon. Best British film will go to either Enduring Love, Sean of the Dead, Layer Cake, Bridget Jones: The Edge of Reason and Dead Man's Shoes. Empire also gives an award for the best scene of the year. Contenders include the "Bride vs Elle" fight between Uma Thurman and Daryl Hannah in Kill Bill Vol 2 and the Moscow car chase in The Bourne Supremacy. More than 12,000 Empire readers have already cast their vote. The awards ceremony will be held at London's Guildhall and hosted by Johnny Vaughan. It will be broadcast on Five on March 15. Nominations: Best Newcomer :: Matthew Vaughn - Layer Cake :: Freddie Highmore - Finding Neverland :: Sienna Miller - Alfie :: Bryce Dallas Howard - The Village :: Zach Braff - Garden State Best British Actress :: Samantha Morton - Enduring Love :: Keira Knightley - King Arthur :: Imelda Staunton - Vera Drake :: Kate Winslet - Eternal Sunshine of the Spotless Mind :: Kate Ashfield - Shaun of the Dead Best British Actor :: Daniel Craig - Layer Cake :: Rhys Ifans - Enduring Love :: Simon Pegg - Shaun of the Dead :: Paul Bettany - Wimbledon :: Paddy Considine - Dead Man's Shoes Best British Director :: Roger Michell - Enduring Love :: Edgar Wright - Shaun of the Dead :: Shane Meadows - Dead Man's Shoes :: Paul Greengrass - The Bourne Supremacy :: Matthew Vaughn - Layer Cake Best British Film :: Enduring Love :: Shaun of the Dead :: Layer Cake :: Bridget Jones: The Edge of Reason :: Dead Man's Shoes Sony Ericsson Scene of the Year :: The Bourne Supremacy - the Moscow car chase sequence :: Enduring Love - the balloon sequence :: Kill Bill Vol 2 - The Bride versus Elle sequence :: Spider-Man 2 - Spider-Man battles Dr Octopus on the train :: Shaun of the Dead - the records and zombies sequence Best Actress :: Bryce Dallas Howard - The Village :: Kirsten Dunst - Spider-Man 2 :: Uma Thurman - Kill Bill Vol 2 :: Julie Delpy - Before Sunset :: Cate Blanchett - The Aviator Best Actor :: Tobey Maguire - Spider-Man 2 :: Tom Cruise - Collateral :: Johnny Depp - Finding Neverland :: Matt Damon - The Bourne Supremacy :: Jim Carrey - Eternal Sunshine of the Spotless Mind Best Director :: Michel Gondry - Eternal Sunshine of the Spotless Mind :: Sam Raimi - Spider-Man 2 :: M Night Shyamalan - The Village :: Michael Mann - Collateral :: Quentin Tarantino - Kill Bill Vol 2 Best Film :: Kill Bill Vol 2 :: The Bourne Supremacy :: The Incredibles :: Collateral :: Spider-Man 2
  • http://breakingnews.iol.ie/entertainment/story.asp?j=10399590&p=yx399644&n=1 0399704 Sienna Miller up for Best Newcomer award 07/03/2005 - 18:32:18 Sienna Miller is in the running for her first acting prize with a nomination for best newcomer at the Empire Awards. Miller, 23, was nominated for her performance opposite Jude Law in Alfie. The couple fell in love on the set of the film and plan to marry next year. She is up against 12-year-old Finding Neverland star Freddie Highmore and Claudia Schiffer's director husband Matthew Vaughn. The Sony Ericsson Empire Awards are the only movie awards voted for by the British public and are held on March 13. Best British actress contenders include Kate Winslet for Eternal Sunshine of the Spotless Mind, Imelda Staunton for Vera Drake and Keira Knightley for King Arthur. Daniel Craig is nominated for best British actor for Layer Cake, alongside Rhys Ifans for Enduring Love and Paul Bettany for Wimbledon. Best British film will go to either Enduring Love, Sean of the Dead, Layer Cake, Bridget Jones: The Edge of Reason and Dead Man's Shoes. Empire also gives an award for the best scene of the year. Contenders include the "Bride vs Elle" fight between Uma Thurman and Daryl Hannah in Kill Bill Vol 2 and the Moscow car chase in The Bourne Supremacy. More than 12,000 Empire readers have already cast their vote. The awards ceremony will be held at London's Guildhall and hosted by Johnny Vaughan. It will be broadcast on Five on March 15. Nominations: Best Newcomer :: Matthew Vaughn - Layer Cake :: Freddie Highmore - Finding Neverland :: Sienna Miller - Alfie :: Bryce Dallas Howard - The Village :: Zach Braff - Garden State Best British Actress :: Samantha Morton - Enduring Love :: Keira Knightley - King Arthur :: Imelda Staunton - Vera Drake :: Kate Winslet - Eternal Sunshine of the Spotless Mind :: Kate Ashfield - Shaun of the Dead Best British Actor :: Daniel Craig - Layer Cake :: Rhys Ifans - Enduring Love :: Simon Pegg - Shaun of the Dead :: Paul Bettany - Wimbledon :: Paddy Considine - Dead Man's Shoes Best British Director :: Roger Michell - Enduring Love :: Edgar Wright - Shaun of the Dead :: Shane Meadows - Dead Man's Shoes :: Paul Greengrass - The Bourne Supremacy :: Matthew Vaughn - Layer Cake Best British Film :: Enduring Love :: Shaun of the Dead :: Layer Cake :: Bridget Jones: The Edge of Reason :: Dead Man's Shoes Sony Ericsson Scene of the Year :: The Bourne Supremacy - the Moscow car chase sequence :: Enduring Love - the balloon sequence :: Kill Bill Vol 2 - The Bride versus Elle sequence :: Spider-Man 2 - Spider-Man battles Dr Octopus on the train :: Shaun of the Dead - the records and zombies sequence Best Actress :: Bryce Dallas Howard - The Village :: Kirsten Dunst - Spider-Man 2 :: Uma Thurman - Kill Bill Vol 2 :: Julie Delpy - Before Sunset :: Cate Blanchett - The Aviator Best Actor :: Tobey Maguire - Spider-Man 2 :: Tom Cruise - Collateral :: Johnny Depp - Finding Neverland :: Matt Damon - The Bourne Supremacy :: Jim Carrey - Eternal Sunshine of the Spotless Mind Best Director :: Michel Gondry - Eternal Sunshine of the Spotless Mind :: Sam Raimi - Spider-Man 2 :: M Night Shyamalan - The Village :: Michael Mann - Collateral :: Quentin Tarantino - Kill Bill Vol 2 Best Film :: Kill Bill Vol 2 :: The Bourne Supremacy :: The Incredibles :: Collateral :: Spider-Man 2
  • http://www.imdb.com/news/wenn/2005-03-01/#2 Bloom and Bosworth Reunite for Charity Party Orlando Bloom and Kate Bosworth attended Global Green's Rock The Earth party last week - but they maintained a distance from each other to avoid any conflict following their split earlier this year. The Lord Of The Rings heart-throb and the Beyond The Sea beauty were together for two years, but busy work schedules and jet-set lifestyles eventually made their relationship untenable. But the former-couple reunited in support of the American charity promoting anti- global warming measures - other stars in attendance included Tim Robbins, Salma Hayek, Penelope Cruz and Julie Delpy. From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
  • http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2005/01/26/DDGCAB05IE25.DTL &type=movies Good Academy -- 'Million Dollar Baby,' 'Sideways' for best picture. Bad Academy -- Depp, no Giamatti. Mick LaSalle, Chronicle Movie Critic Wednesday, January 26, 2005 The morning the Academy Award nominations are announced provides a welcome opportunity for spiritual reflection, meditating on justice and injustice and on the eternal consistency of obtuse minds. We turn our thoughts to other, bigger disasters -- social and natural -- and in this way find the distance to contemplate how, for example, Paul Giamatti could be overlooked for his performance in "Sideways" and Leonardo DiCaprio nominated for "The Aviator." Or how insipid twaddle like "Finding Neverland" could get a best picture nomination while "Hotel Rwanda" could be slighted. The nominations for the 77th annual Academy Awards program, which will air on Feb. 27, are the usual mix of confounding and reasonable choices. "The Aviator," Martin Scorsese's likable, well-made, perfectly entertaining and perfectly empty film biography of Howard Hughes, led the pack with 11 nominations. Tied for second place with seven nominations were "Finding Neverland," a fact-based fantasy about the writing of James Barrie's "Peter Pan," and "Million Dollar Baby," Clint Eastwood's elegiac fable of a female boxer. Meanwhile, "Sideways," which swept most critics' awards, got only five. Historically, the best picture category has always been one of the weakest, a place for safe, sentimental and artistically conservative choices. The Academy lived down to its reputation this year, nominating The Aviator" (please), "Ray" (come on) and "Finding Neverland" (tell me they're kidding). As if at a loss to find anything else with the right combination of grandiloquence and schmaltz, the Academy condescended to nominate two genuinely impeccable movies: "Sideways" and "Million Dollar Baby." The Academy has always tended to be more adventurous in the acting categories, and, again, this year followed the usual pattern. Don Cheadle in "Hotel Rwanda," Eastwood in "Million Dollar Baby" and Jamie Foxx in "Ray" all belong there. In a friendly frame of mind, one might also say the same for DiCaprio in "The Aviator." The only laugher in the group is Johnny Depp for "Finding Neverland." Just a few years ago, it was hard to find enough important performances to fill the best actress category. Not in recent years. Annette Bening ("Being Julia"), "Hilary Swank ("Million Dollar Baby") and Catalina Sandino Moreno ("Maria Full of Grace") were nominated for top-notch work, while Imelda Staunton was nominated for smiling for an hour and then sobbing for another hour in "Vera Drake." The nomination of Kate Winslet for "The Eternal Sunshine of the Spotless Mind" is something of a surprise, though justifiable. However, if Academy members wanted to nominate an actress in a romantic comedy, they might have looked to Julie Delpy's powerhouse performance in "Before Sunset." The supporting actress category is traditional the weakest, because the supporting players in most films tend to be men. But this year, supporting actress is the strongest category: Cate Blanchett ("The Aviator"), Laura Linney ("Kinsey"), Virginia Madsen ("Sideways"), Sophie Okonedo ("Hotel Rwanda") and Natalie Portman ("Closer"). A case could be made for any one of them. Supporting actor is almost as strong: Foxx was superb in "Collateral," but he was actually the star of that movie; Tom Cruise as the assassin was really the supporting role. Thomas Haden Church did some very specific and delightful character work in "Sideways." Morgan Freeman was the aching soul of "Million Dollar Baby," and Clive Owen was the best thing in "Closer." As for Alan Alda in "The Aviator," his nomination (for his performance as a corrupt senator) will remind everyone he was in the picture. That's nice. Best director will be a contest between Martin Scorsese ("The Aviator"), Eastwood ("Million Dollar Baby"), Taylor Hackford ("Ray"), Alexander Payne ("Sideways") and Mike Leigh ("Vera Drake"). Michael Moore, who won best documentary for "Bowling for Columbine," made a calculated effort to secure a best picture nomination for "Fahrenheit 911." He didn't succeed in crashing that gate and then found himself shut out of the best documentary category. Moore had two obstacles he couldn't surmount: Republicans weren't going to vote for him in the first place, and Democrats, after the election, were too heartsick to put his DVD into the machine. As soon as Bush won the election, it would have been smart to switch strategies and aim for best documentary. As it stands, the only widely known film nominated for best documentary this year is "Super Size Me." In the unnecessary category of best animated film, "The Incredibles," "Shark Tale" and "Shrek 2" got the nod. Surprisingly, "The Polar Express" didn't make the cut. It really should have. So what do we take from this year's Oscar nominations? We're presented with the usual triumph of bloat, as represented by "The Aviator." In this case, the bloat isn't obnoxious. That makes it a good year, almost. We're also presented with the less palatable triumph of false sentiment in the form of "Finding Neverland." In and of itself, that's also nothing to grieve over, either, except that it robs the atmosphere of box office oxygen that might have sustained "Hotel Rwanda" -- a movie of intense and genuine emotion. "Hotel Rwanda" is a hard sell. Ask people if they'd like to see a movie about the Rwandan genocide and most will say, "Oh, uh, maybe, but I think I may have to get my teeth cleaned that day." They don't know they're going to love it until they're watching it. The case of Giamatti and "Sideways" is also sad, in that he gave hands down one of the year's best performances, while Depp gave one of the year's worst. Call me paranoid, but I can't help suspecting that Giamatti's momentum was stopped by A.O. Scott's New York Times piece, which basically said that "Sideways" is a good not great film and that the fuss over it was overblown. Scott is entitled to his opinion, and his article made an excellent case. But what should be remembered -- and what I'm afraid won't be remembered -- is that a similar good-not-great argument could be made against every work of art since cavemen started finger painting. I've heard similar arguments made about Chaplin's "City Lights," "Citizen Kane," "The Godfather" and "Casablanca." The real truth is that there is no perfect work of art. Our perception of greatness often depends on our perceiving a work from a specific flattering angle. And the seductive power of an art work is in the way it makes us want to look at it from its best side. Greatness is not greatness but rather a mixture of near greatness and near-perfect seduction ... But enough whining. At least Cheadle got nominated. From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
  • http://canoe.ca/JamMovies/mar18_hawke-sun.html Screamin' Hawke Marriage woes in celebrity spotlight gnaw Ethan By BRUCE KIRKLAND -- Toronto Sun NEW YORK -- Actor, novelist and filmmaker Ethan Hawke is a reluctant celebrity in an age of celebrity obsession. "Each one of those magazines needs more fodder," Hawke says, reflecting on the dozens of publications that deal in Hollywood celebrities, feeding the voracious public appetite. "And I do it too. Reading idle gossip is much more easy than reading Moby Dick, you know what I mean? Unless it's about you and then you want everybody to put it down, grow up." He has been fodder in recent months as his six-year marriage to bombshell Uma Thurman disintegrated amid rumours of his infidelity and reported threats from her brothers to exact physical revenge. It was an ugly saga, although, to her credit, Thurman never trashed her future ex in public. "I can face anything," she told The Toronto Sun recently. "I always believe that the facts are friendly, that the truth is your friend. You just don't need to discuss things and I don't, really." Neither does Hawke, who is keeping his movie career alive by co-starring with Angelina Jolie in the serial-killer thriller Taking Lives, which opens across North America tomorrow. "You know, I've worked very hard to try not to care," Hawke says of the gossip mongering. "But I can't control it. I've got to move on with my life. The quicker I move on, the quicker someone else can move on." Hawke, just like Ben Affleck and his forthcoming Jersey Girl, is fretting about the residual effect of being in the gossip columns and then on the screen. Will audiences be distracted? "What can I do about it?" says Hawke. "I worry about it. I worry more about it on a personal level. You hate having people you love reading about you and everybody looking at you when they meet you, thinking weird things in their head. "(But) I've been dedicated to the work my whole life and hopefully that will bring itself back around. "If the work is good, ultimately what is going on in someone's personal life ends up not being that substantial. It's something that you crane your neck around (to see) when you drive by a car wreck." The work in Taking Lives is mainstream. After co-starring with Oscar-winner Denzel Washington in the cop picture Training Day -- with an excellent, subtle performance that earned the 33-year-old Hawke an Oscar nomination as best supporting actor -- he decided to try another genre picture and see what he could do with a thriller, with its formula plot. "I thought this part was a really good opportunity for me to do something I had never done before and it was really interesting for me. How the formula works and whether you are turned on by that formula is another question altogether." Hawke, who careens between Hollywood mainstream and off-beat indie movies, says he has "to keep the ball rolling" by doing the big box-office hits. "I feel that I do, you know. Because, quite frankly, if you don't, it gets harder to get anything done at all. "It's just trying to find a healthy balance. It's interesting. I keep shaking it up for myself." SUN RISES ON HIS CULT FLICK Don't call Before Sunset, Ethan Hawke's latest collaboration with filmmaker Richard Linklater, a true sequel to their cult favourite Before Sunrise. "It's hardly really a sequel," Hawke says, discounting that he and French starlet Julie Delpy play the same characters. "That was such a weird little arthouse movie," he says of the 1995 original. "So it's not like doing Bad Boys 2 or something like that." Before Sunrise helped establish Hawke as an indie star. "That movie's really close to all our hearts," Hawke says of the quirky romance about an American in France. "It's had its own little cult following and we really, for the past nine years, thought about how much fun it would be to try to revisit those people and that situation and see what we might have to say about relationships at this juncture in our lives." Linklater (The School Of Rock) is a friend and collaborator, Hawke says. "I feel that he's truly one of the unique voices in American cinema. He is just his own guy and I love him because we live in a community where everyone's trying to get as much jack as quick as they can and this guy's real sincere." From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
  • http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2005/01/26/DDGCAB05IE25.DTL &type=movies Good Academy -- 'Million Dollar Baby,' 'Sideways' for best picture. Bad Academy -- Depp, no Giamatti. Mick LaSalle, Chronicle Movie Critic Wednesday, January 26, 2005 The morning the Academy Award nominations are announced provides a welcome opportunity for spiritual reflection, meditating on justice and injustice and on the eternal consistency of obtuse minds. We turn our thoughts to other, bigger disasters -- social and natural -- and in this way find the distance to contemplate how, for example, Paul Giamatti could be overlooked for his performance in "Sideways" and Leonardo DiCaprio nominated for "The Aviator." Or how insipid twaddle like "Finding Neverland" could get a best picture nomination while "Hotel Rwanda" could be slighted. The nominations for the 77th annual Academy Awards program, which will air on Feb. 27, are the usual mix of confounding and reasonable choices. "The Aviator," Martin Scorsese's likable, well-made, perfectly entertaining and perfectly empty film biography of Howard Hughes, led the pack with 11 nominations. Tied for second place with seven nominations were "Finding Neverland," a fact-based fantasy about the writing of James Barrie's "Peter Pan," and "Million Dollar Baby," Clint Eastwood's elegiac fable of a female boxer. Meanwhile, "Sideways," which swept most critics' awards, got only five. Historically, the best picture category has always been one of the weakest, a place for safe, sentimental and artistically conservative choices. The Academy lived down to its reputation this year, nominating The Aviator" (please), "Ray" (come on) and "Finding Neverland" (tell me they're kidding). As if at a loss to find anything else with the right combination of grandiloquence and schmaltz, the Academy condescended to nominate two genuinely impeccable movies: "Sideways" and "Million Dollar Baby." The Academy has always tended to be more adventurous in the acting categories, and, again, this year followed the usual pattern. Don Cheadle in "Hotel Rwanda," Eastwood in "Million Dollar Baby" and Jamie Foxx in "Ray" all belong there. In a friendly frame of mind, one might also say the same for DiCaprio in "The Aviator." The only laugher in the group is Johnny Depp for "Finding Neverland." Just a few years ago, it was hard to find enough important performances to fill the best actress category. Not in recent years. Annette Bening ("Being Julia"), "Hilary Swank ("Million Dollar Baby") and Catalina Sandino Moreno ("Maria Full of Grace") were nominated for top-notch work, while Imelda Staunton was nominated for smiling for an hour and then sobbing for another hour in "Vera Drake." The nomination of Kate Winslet for "The Eternal Sunshine of the Spotless Mind" is something of a surprise, though justifiable. However, if Academy members wanted to nominate an actress in a romantic comedy, they might have looked to Julie Delpy's powerhouse performance in "Before Sunset." The supporting actress category is traditional the weakest, because the supporting players in most films tend to be men. But this year, supporting actress is the strongest category: Cate Blanchett ("The Aviator"), Laura Linney ("Kinsey"), Virginia Madsen ("Sideways"), Sophie Okonedo ("Hotel Rwanda") and Natalie Portman ("Closer"). A case could be made for any one of them. Supporting actor is almost as strong: Foxx was superb in "Collateral," but he was actually the star of that movie; Tom Cruise as the assassin was really the supporting role. Thomas Haden Church did some very specific and delightful character work in "Sideways." Morgan Freeman was the aching soul of "Million Dollar Baby," and Clive Owen was the best thing in "Closer." As for Alan Alda in "The Aviator," his nomination (for his performance as a corrupt senator) will remind everyone he was in the picture. That's nice. Best director will be a contest between Martin Scorsese ("The Aviator"), Eastwood ("Million Dollar Baby"), Taylor Hackford ("Ray"), Alexander Payne ("Sideways") and Mike Leigh ("Vera Drake"). Michael Moore, who won best documentary for "Bowling for Columbine," made a calculated effort to secure a best picture nomination for "Fahrenheit 911." He didn't succeed in crashing that gate and then found himself shut out of the best documentary category. Moore had two obstacles he couldn't surmount: Republicans weren't going to vote for him in the first place, and Democrats, after the election, were too heartsick to put his DVD into the machine. As soon as Bush won the election, it would have been smart to switch strategies and aim for best documentary. As it stands, the only widely known film nominated for best documentary this year is "Super Size Me." In the unnecessary category of best animated film, "The Incredibles," "Shark Tale" and "Shrek 2" got the nod. Surprisingly, "The Polar Express" didn't make the cut. It really should have. So what do we take from this year's Oscar nominations? We're presented with the usual triumph of bloat, as represented by "The Aviator." In this case, the bloat isn't obnoxious. That makes it a good year, almost. We're also presented with the less palatable triumph of false sentiment in the form of "Finding Neverland." In and of itself, that's also nothing to grieve over, either, except that it robs the atmosphere of box office oxygen that might have sustained "Hotel Rwanda" -- a movie of intense and genuine emotion. "Hotel Rwanda" is a hard sell. Ask people if they'd like to see a movie about the Rwandan genocide and most will say, "Oh, uh, maybe, but I think I may have to get my teeth cleaned that day." They don't know they're going to love it until they're watching it. The case of Giamatti and "Sideways" is also sad, in that he gave hands down one of the year's best performances, while Depp gave one of the year's worst. Call me paranoid, but I can't help suspecting that Giamatti's momentum was stopped by A.O. Scott's New York Times piece, which basically said that "Sideways" is a good not great film and that the fuss over it was overblown. Scott is entitled to his opinion, and his article made an excellent case. But what should be remembered -- and what I'm afraid won't be remembered -- is that a similar good-not-great argument could be made against every work of art since cavemen started finger painting. I've heard similar arguments made about Chaplin's "City Lights," "Citizen Kane," "The Godfather" and "Casablanca." The real truth is that there is no perfect work of art. Our perception of greatness often depends on our perceiving a work from a specific flattering angle. And the seductive power of an art work is in the way it makes us want to look at it from its best side. Greatness is not greatness but rather a mixture of near greatness and near-perfect seduction ... But enough whining. At least Cheadle got nominated. From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
  • http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2005/01/26/DDGCAB05IE25.DTL &type=movies Good Academy -- 'Million Dollar Baby,' 'Sideways' for best picture. Bad Academy -- Depp, no Giamatti. Mick LaSalle, Chronicle Movie Critic Wednesday, January 26, 2005 The morning the Academy Award nominations are announced provides a welcome opportunity for spiritual reflection, meditating on justice and injustice and on the eternal consistency of obtuse minds. We turn our thoughts to other, bigger disasters -- social and natural -- and in this way find the distance to contemplate how, for example, Paul Giamatti could be overlooked for his performance in "Sideways" and Leonardo DiCaprio nominated for "The Aviator." Or how insipid twaddle like "Finding Neverland" could get a best picture nomination while "Hotel Rwanda" could be slighted. The nominations for the 77th annual Academy Awards program, which will air on Feb. 27, are the usual mix of confounding and reasonable choices. "The Aviator," Martin Scorsese's likable, well-made, perfectly entertaining and perfectly empty film biography of Howard Hughes, led the pack with 11 nominations. Tied for second place with seven nominations were "Finding Neverland," a fact-based fantasy about the writing of James Barrie's "Peter Pan," and "Million Dollar Baby," Clint Eastwood's elegiac fable of a female boxer. Meanwhile, "Sideways," which swept most critics' awards, got only five. Historically, the best picture category has always been one of the weakest, a place for safe, sentimental and artistically conservative choices. The Academy lived down to its reputation this year, nominating The Aviator" (please), "Ray" (come on) and "Finding Neverland" (tell me they're kidding). As if at a loss to find anything else with the right combination of grandiloquence and schmaltz, the Academy condescended to nominate two genuinely impeccable movies: "Sideways" and "Million Dollar Baby." The Academy has always tended to be more adventurous in the acting categories, and, again, this year followed the usual pattern. Don Cheadle in "Hotel Rwanda," Eastwood in "Million Dollar Baby" and Jamie Foxx in "Ray" all belong there. In a friendly frame of mind, one might also say the same for DiCaprio in "The Aviator." The only laugher in the group is Johnny Depp for "Finding Neverland." Just a few years ago, it was hard to find enough important performances to fill the best actress category. Not in recent years. Annette Bening ("Being Julia"), "Hilary Swank ("Million Dollar Baby") and Catalina Sandino Moreno ("Maria Full of Grace") were nominated for top-notch work, while Imelda Staunton was nominated for smiling for an hour and then sobbing for another hour in "Vera Drake." The nomination of Kate Winslet for "The Eternal Sunshine of the Spotless Mind" is something of a surprise, though justifiable. However, if Academy members wanted to nominate an actress in a romantic comedy, they might have looked to Julie Delpy's powerhouse performance in "Before Sunset." The supporting actress category is traditional the weakest, because the supporting players in most films tend to be men. But this year, supporting actress is the strongest category: Cate Blanchett ("The Aviator"), Laura Linney ("Kinsey"), Virginia Madsen ("Sideways"), Sophie Okonedo ("Hotel Rwanda") and Natalie Portman ("Closer"). A case could be made for any one of them. Supporting actor is almost as strong: Foxx was superb in "Collateral," but he was actually the star of that movie; Tom Cruise as the assassin was really the supporting role. Thomas Haden Church did some very specific and delightful character work in "Sideways." Morgan Freeman was the aching soul of "Million Dollar Baby," and Clive Owen was the best thing in "Closer." As for Alan Alda in "The Aviator," his nomination (for his performance as a corrupt senator) will remind everyone he was in the picture. That's nice. Best director will be a contest between Martin Scorsese ("The Aviator"), Eastwood ("Million Dollar Baby"), Taylor Hackford ("Ray"), Alexander Payne ("Sideways") and Mike Leigh ("Vera Drake"). Michael Moore, who won best documentary for "Bowling for Columbine," made a calculated effort to secure a best picture nomination for "Fahrenheit 911." He didn't succeed in crashing that gate and then found himself shut out of the best documentary category. Moore had two obstacles he couldn't surmount: Republicans weren't going to vote for him in the first place, and Democrats, after the election, were too heartsick to put his DVD into the machine. As soon as Bush won the election, it would have been smart to switch strategies and aim for best documentary. As it stands, the only widely known film nominated for best documentary this year is "Super Size Me." In the unnecessary category of best animated film, "The Incredibles," "Shark Tale" and "Shrek 2" got the nod. Surprisingly, "The Polar Express" didn't make the cut. It really should have. So what do we take from this year's Oscar nominations? We're presented with the usual triumph of bloat, as represented by "The Aviator." In this case, the bloat isn't obnoxious. That makes it a good year, almost. We're also presented with the less palatable triumph of false sentiment in the form of "Finding Neverland." In and of itself, that's also nothing to grieve over, either, except that it robs the atmosphere of box office oxygen that might have sustained "Hotel Rwanda" -- a movie of intense and genuine emotion. "Hotel Rwanda" is a hard sell. Ask people if they'd like to see a movie about the Rwandan genocide and most will say, "Oh, uh, maybe, but I think I may have to get my teeth cleaned that day." They don't know they're going to love it until they're watching it. The case of Giamatti and "Sideways" is also sad, in that he gave hands down one of the year's best performances, while Depp gave one of the year's worst. Call me paranoid, but I can't help suspecting that Giamatti's momentum was stopped by A.O. Scott's New York Times piece, which basically said that "Sideways" is a good not great film and that the fuss over it was overblown. Scott is entitled to his opinion, and his article made an excellent case. But what should be remembered -- and what I'm afraid won't be remembered -- is that a similar good-not-great argument could be made against every work of art since cavemen started finger painting. I've heard similar arguments made about Chaplin's "City Lights," "Citizen Kane," "The Godfather" and "Casablanca." The real truth is that there is no perfect work of art. Our perception of greatness often depends on our perceiving a work from a specific flattering angle. And the seductive power of an art work is in the way it makes us want to look at it from its best side. Greatness is not greatness but rather a mixture of near greatness and near-perfect seduction ... But enough whining. At least Cheadle got nominated. From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
  • http://enjoyment.independent.co.uk/film/interviews/story.jsp?story=541380 Ethan Hawke: The dawn of a new day You've defined a generation, married Uma Thurman and played Hamlet. What now? Well, if you're Ethan Hawke, you live the Beat life you dreamt of as a child. As the sun rises on his latest film, Vanessa Grigoriadis meets the novel-writing, guitar-strumming anti-star 18 July 2004 One warm Sunday spring evening, Ethan Hawke's every-other-weekend visit with his kids - Maya, five, and Levon, two - came to a close at Uma Thurman's Manhattan apartment, and he didn't know quite what to do. He thought he would check out the revival of Ingmar Bergman's Fanny and Alexander, the story of familial bliss marred by a father's death and a mother's remarriage, so he trudged down to a rep cinema. He stood in front of the entrance. Then he thought that if he went in, he was going to get suicidal. A person can't drop off his kids at his ex-wife's and go to see Fanny and Alexander, he mused. So he headed back to his apartment, where his friend Josh Charles, a friend from all the way back to Dead Poets Society, was crashing in Hawke's office-slash-guest-room for the duration of his run in Neil LaBute's The Distance From Here. They listened to the new Wilco album and played some poker. Hawke kept waiting for a friend who was on a date to call - he'd said that Hawke could meet up with them later - but he never did. So Hawke watched the second half of the Lakers-Minnesota basketball game, praying for Minnesota to win because he hates the Lakers, and being happy when Minnesota did, indeed, win. Then he took an obscure frontier-battle book someone had lent him into bed, a bed with caramel-coloured sheets that would stay unmade the following day. So that was a wash out of a day, mostly because he didn't do anything creative, and if Hawke doesn't do at least one creative thing each day, he considers the day "pissed away, useless, wasted", and even gets to feeling that way about himself. This summer, Hawke's schedule includes finishing a starring role in a remake of John Carpenter's exploitation movie Assault on Precinct 13, filming in Toronto; constructing a three-bedroom hermitage in Nova Scotia, on an island he bought with Thurman but which most likely will soon be his; raising money to direct an adaptation of his first novel, The Hottest State; travelling to South Africa to film a part in Andrew Niccol's Lord of War; and crisscrossing the country on a press junket for Richard Linklater's Before Sunset, a reprise of the much-loved 1995 film Before Sunrise that's written by Hawke, Linklater and co-star Julie Delpy. He also wants to read for three hours a day, and spend three hours a day working on his next novel, a kind of paean to Somerset Maugham's The Razor's Edge he's making notes for these days, in a small black journal he carries with him almost everywhere he goes. "I always hear my old football coach talking in my head," says Hawke. "'Two hundred per cent, Hawke! Ordinary effort, ordinary result!'" This was the coach who advised Hawke not to quit the team when he was cast in his first film, the ET manqué Explorers, at 12. He was discovered at an open call in New York City which he attended by train from New Jersey, one of the places he moved with his mother after his parents got divorced in Texas when he was three. "The coach gave me a big speech," says Hawke. "I was like, 'I'm going to be in a major motion picture, bro; I'm going to quit this freshman football team.'" He smiles. "He might be right, in hindsight." Hawke's drive doesn't manifest itself in casual conversation - and all conversation with him is a fairly leisurely process, as there's nothing Hawke likes more than a good long talk that meanders to a point far away, even on a banal topic like the process of interviewing. "When I first started acting, it was so uncool to even do an interview," says Hawke, sipping a ginger ale from a wide blue straw at Gramercy Park's Player's Club, an old-timer-thespian hangout. "Last time I was here, a guy came up to me and said, 'Loved your Hotspur, better than Sean Connery in 1960,'" he says, referring to his widely acclaimed performance last winter in Henry IV at New York's Lincoln Centre. "You know, Redford didn't do interviews, you didn't see Paul Newman on the cover of some magazine hawking his shit, you didn't see Nicholson on the Jay Leno show," says Hawke. "I remember when Reds came out, Warren Beatty didn't do one press thing - he said, 'The movie will speak for itself.'" Hawke sips from the straw. "Ginsberg's Spontaneous Mind, a collection of all his interviews, is great. A ton of people know who he is but haven't read one poem by him, and at the height of his celebrity, he made 17 grand a year. Anyway, he decided that more people read interviews than read poetry - so he felt that doing interviews was more a part of his life's work, that it was as great a way to communicate with the world as poetry was. So he'd try to speak as honestly and put as much thought into those interviews as he did his poetry." Sip, sip, then later: "You know, though, I always want people to do interviews for me. However I present myself, there's still something fake about it. 'Cause we're all presenting ourselves all the time. So how does one go about it?" "Aww," he says, setting the ginger ale down and spreading his arms across the back of his chair. "I'm just babbling." Such musings are part of the Hawkean cliché, the sensitive pretty boy hanging around a patchouli-scented college dormitory discussing the meaning of life - "the Gen-X fruitcake", as he describes his persona circa Reality Bites and Before Sunrise (before then, he was cast mainly as a soulful preppy in male ensemble films; see Dead Poets Society, Alive, Midnight Clear). He's been called pretentious. "I remember one of my really close friends saying, 'Hawke. You gonna play Hamlet?'" he says. "I'm like, 'Why not, man?' He said, 'People are going to kill you for it. You write a book, and now you're going to play Hamlet?' 'Look, it's got nothing to do with you, bro. It won't mean shit to you when I'm dead whether I did Hamlet or didn't do Hamlet. Your mama doesn't care if I do Hamlet. Your mama just wants you to be nice to her.' " Choosing Thurman as his mate seemed to announce Hawke's appreciation of the finer things in life. She was the highly evolved Quentin Tarantino muse with impeccable parental credentials, her father a professor of Indo-Tibetan Buddhist studies at Columbia University and the first Westerner to become a Tibetan Buddhist monk, her mother a model turned psychotherapist and a former wife of Timothy Leary. Ethereal princess and goofball naïf pushed prams to the Magnolia Bakery and passed time at their farmhouse in Woodstock until the tabloids got wind of Hawke's affair with a 22-year-old on a Montreal film set, revelling in the hypocrisy of the über-sensitive star who nevertheless cuckolded his wife. One of Thurman's brothers told reporters, "I want to kill him"; Hawke later pointed to Thurman's career as a factor, declaring that he didn't know if it was simply too difficult to be married to a woman who is a film star. Hawke calls last year the worst of his life. "Falling in love and having a baby made me feel the whole world changed," says Hawke. "It brought up issues of faith and love, why would I want to be a parent? What am I living for? What's worth dying for? All that interesting stuff. At the time I thought it was my defining moment, my dark night of the soul. I realise that's not true. It was one dark night of the soul. Then you hit another one." On the Monday of the Sunday when he did nothing, Hawke is loping around Manhattan's Chelsea district pointing out his favourite diners and record shops. He's wearing ripped-up blue jeans and semi-laced Wallabees, a worn baseball cap perched high on his head. The famous goatee, which Hawke shamefacedly * reveals as inspiration for his nickname among his close friends - Goat, short for the Goateed Love Boy - remains intact, as does the ever-present American Spirit cigarette drooping from his lip, which he puffs at with thumb and forefinger as though it were a joint; he says that his doctor told him that he could smoke for a year after his divorce is final. He says, "Until I was 16, I wanted to be Holden Caulfield; from 16 to 23, I wanted to be Neal Cassady. I wasn't cool enough. I guess after 23, I tried to be me." The world, however, saw him as representative of a generation, and not always in a good way. "When I was younger, I was always sad that I couldn't ride with the Merry Pranksters, or that I didn't get to hang out with Allen Ginsberg," says Hawke. "I found the label Gen X kind of irritating, sure, but I actually like the other people associated with that time, Douglas Coupland or Kurt Cobain, so no shame in that. When Before Sunrise premiered in Berlin, Linklater and I took off to Barcelona to see REM, and for some reason at the hotel we ran into Michael Stipe and went to his room and smoked cigarettes. Rick and Michael were both vegetarians, and they were talking passionately about that. It felt very exciting for some reason. Then we went to the concert, and Michael dedicated his first song to Rick, and we looked at each other like, 'That is so cool. You just got a song dedicated to you in a 35,000-seat stadium' - Gen X! Yeah!" Though Thurman and Hawke's lives remain intertwined - "We're both so busy, we need each other to take care of the kids," he says - the existences that they are leading today significantly diverge. Thurman, who has been dating hotelier Andre Balazs, bought a $5m (£2.7m), three-storey, six-bedroom house, with intentions of moving in, then flipped it. Hawke, who has indulged in dalliances but says he's found no one special, landed in a hotel in Chelsea that's been the site of numerous haute-bohemian triumphs and tragedies, and inspiration for Hawke's first feature film as a director, Chelsea Walls, a dreamy pastiche of Kris Kristofferson monologues and Beat poetry. The two-bedroom flat he's renting is the kind of place he always wanted to live in, the kind of place he had in mind when in younger days he'd dream of living where Henry Miller might've lived. "I've struggled with the belief that anyone who is a really, really serious artist should be poor," says Hawke. "When the revolution comes, who's going to be hung? I don't want some fancy apartment, 'cause I don't want them to hang me from a chandelier when the revolution comes." In a lot of ways, Hawke takes after his mother, who left the city five years ago to work for the Peace Corps in Romania, sick of feeling like a middle-aged person in New York looking for a date. "She likes to read books about Eleanor Roosevelt and great people, and I think she started feeling like her life was incredibly empty," he says. "I think it also did a weird whammy on her when I got married and had a kid: 'My son's an adult now.'" Hawke steps into the lift. "Are you an actor?" asks a woman with pinkies linked with a toddler daughter. "I am," says Hawke. "Do you know Ethan Hawke?" she asks. "I do," he says. "I was born the exact same moment as him." She looks confused. "I am him," says Hawke. "Oh, I'm sorry," she says. "I thought you were Ethan Hawke, and then I noticed your hair was a different colour." "Hmm," says Hawke. "I've never been a hair-dye guy. That's not my trip." The sun beats into Hawke's apartment, and the air-con is on the fritz. It's cluttered and messy, with toys strewn all over, dozens of furry things in a pile near white bunk-beds in his kids' room, the only air coming in through a small window looking out on an air shaft. Once inhabited by Andy Warhol star Viva, Hawke's bedroom is painted gold and deep blue, with a fresco of the Holy Trinity on the ceiling. An impish Gabriel lurks over the doorway. He has a bar-code label stuck to his ankle. "I can't take it down," says Hawke. "It's too funny." The apartment functions as a show-and-tell of Hawke's many hobbies. Wistful black-and-white portraits that he took of his kids rest on the lip of a piano, next to a few guitars - Hawke likes noodling around on them, especially during downtime on film sets, and is currently teaching himself to play Gordon Lightfoot's "Early Morning Rain". ("Modern music lacks the spit and piss of good soul music," he notes.) A portrait of the Newton Boys that Hawke painted on the set of that 1998 Linklater film hangs on one wall. There's a manual typewriter on his desk; he wrote both his books on it. "The computer has destroyed fiction," he declares. "Paragraphs get so perfectly sculpted they lose all their juice." In the living-room, there's an art project going on, though Hawke doesn't have much to do with this one. Two women are kneeling by a slab of plywood that almost covers his threadbare Oriental carpet. "What happened to my coffee-table?" asks Hawke. "We threw it out the window," one of them deadpans. The coffee-table is actually shoved up against a wall with a dartboard, to make room for the construction of this collage, a housewarming gift from Linklater. It's made up of index-card-size frame grabs - numbers from a projectionist's reel, stills of women's faces. The workers are clearly nervous around Hawke, though, and keep asking if he has any advice. "Just do it as you think is cool," he says, flipping through the rubber-banded stacks of cards. "God, this is going to be awesome!" he says, and shakes his head. "This thing is totally odd! It can't be pretentious, because it's too odd." If Hawke sees Before Sunrise as the high point in his early adult life, then Before Sunset seems to be functioning as a kind of marker for the current phase. "Dead Poets Society was all about how brilliant Peter Weir was - anyone could've played my part," he says. "But being in Before Sunrise was the closest thing I ever came to being in a band. Both of these movies are really personal. There's not a goddamn thing Rick, Julie and I don't know about each other." Before Sunrise is the perfect summer movie, recording only the beginning of a romance, with no bitter contrail. It's one night between the Euro-railing Hawke and a French graduate student: adulthood has just arrived for each, and though they fall in love, they don't feel compelled to seal their future together. Before Sunset chronicles one day nine years later, after Delpy appears at a Paris bookshop to see Hawke's character read from his novel, which is largely based on their encounter. She is now in a dead-end relationship; he is in an unhappy marriage and makes comments such as: "What is love? Respect, trust, admiration. I felt all those things. So cut to the present tense and I feel like I'm running a small nursery with someone I used to date. I'm like a monk. I've had sex less than 10 times in the past four years. I feel if someone were to touch me I'd dissolve into molecules." "I don't know who wrote that," says Hawke. He adds, "You don't make a movie like this without putting some blood, spit, and piss into it." The next day, Hawke had to fly back to Toronto for Assault on Precinct 13, so he couldn't go to a concert at Irving Plaza he'd planned to see with some friends, which was a bummer. His last night in New York for a while was spent with two of his best buddies, the playwright Jonathan Marc Sherman and the actor Frank Whaley, and their wives. They took him to a nice restaurant, somewhere he'd never been before, and he ordered some "fancy catfish". It was weird to be sitting in that restaurant with them talking about kids, at the kind of place that they wouldn't have been caught dead at 10 years ago. "I don't know what it's like to be anybody else," says Hawke, "but what was nice for me about being young is that friendships have a real power and a weight because nobody's hooked. And then slowly everybody starts getting hooked and you have a priority above your friendships, you have a relationship and wife and kids, things that are more important to you than making sure your homey's doing all right. Now here I am, 33 and single again, and all of them are married. It's like, who wants to hang with me, man? Nobody." From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
  • It's "New Yorker" critic Anthony Lane's contention that film critics are obligated to fall in love with movie stars on a regular basis. He wrote this in a review of "BEfore Sunrise" and the object of his affection was Julie Delpy. We can't fault his taste! You do wonder when starlets such as Amanda Peet or Jennifer Garner get good reviews if they just aren't expressions of lust on the critic's part. Sometimes, of course, they're really talented and deserve the recognition (Selma Blair, Reese Witherspoon, Kirsten Dunst). Dean John Harkness wrote in message news:... > On Sat, 17 Apr 2004 00:09:36 GMT, "Woodie69" > wrote:
  • http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2005/01/26/DDGCAB05IE25.DTL &type=movies Good Academy -- 'Million Dollar Baby,' 'Sideways' for best picture. Bad Academy -- Depp, no Giamatti. Mick LaSalle, Chronicle Movie Critic Wednesday, January 26, 2005 The morning the Academy Award nominations are announced provides a welcome opportunity for spiritual reflection, meditating on justice and injustice and on the eternal consistency of obtuse minds. We turn our thoughts to other, bigger disasters -- social and natural -- and in this way find the distance to contemplate how, for example, Paul Giamatti could be overlooked for his performance in "Sideways" and Leonardo DiCaprio nominated for "The Aviator." Or how insipid twaddle like "Finding Neverland" could get a best picture nomination while "Hotel Rwanda" could be slighted. The nominations for the 77th annual Academy Awards program, which will air on Feb. 27, are the usual mix of confounding and reasonable choices. "The Aviator," Martin Scorsese's likable, well-made, perfectly entertaining and perfectly empty film biography of Howard Hughes, led the pack with 11 nominations. Tied for second place with seven nominations were "Finding Neverland," a fact-based fantasy about the writing of James Barrie's "Peter Pan," and "Million Dollar Baby," Clint Eastwood's elegiac fable of a female boxer. Meanwhile, "Sideways," which swept most critics' awards, got only five. Historically, the best picture category has always been one of the weakest, a place for safe, sentimental and artistically conservative choices. The Academy lived down to its reputation this year, nominating The Aviator" (please), "Ray" (come on) and "Finding Neverland" (tell me they're kidding). As if at a loss to find anything else with the right combination of grandiloquence and schmaltz, the Academy condescended to nominate two genuinely impeccable movies: "Sideways" and "Million Dollar Baby." The Academy has always tended to be more adventurous in the acting categories, and, again, this year followed the usual pattern. Don Cheadle in "Hotel Rwanda," Eastwood in "Million Dollar Baby" and Jamie Foxx in "Ray" all belong there. In a friendly frame of mind, one might also say the same for DiCaprio in "The Aviator." The only laugher in the group is Johnny Depp for "Finding Neverland." Just a few years ago, it was hard to find enough important performances to fill the best actress category. Not in recent years. Annette Bening ("Being Julia"), "Hilary Swank ("Million Dollar Baby") and Catalina Sandino Moreno ("Maria Full of Grace") were nominated for top-notch work, while Imelda Staunton was nominated for smiling for an hour and then sobbing for another hour in "Vera Drake." The nomination of Kate Winslet for "The Eternal Sunshine of the Spotless Mind" is something of a surprise, though justifiable. However, if Academy members wanted to nominate an actress in a romantic comedy, they might have looked to Julie Delpy's powerhouse performance in "Before Sunset." The supporting actress category is traditional the weakest, because the supporting players in most films tend to be men. But this year, supporting actress is the strongest category: Cate Blanchett ("The Aviator"), Laura Linney ("Kinsey"), Virginia Madsen ("Sideways"), Sophie Okonedo ("Hotel Rwanda") and Natalie Portman ("Closer"). A case could be made for any one of them. Supporting actor is almost as strong: Foxx was superb in "Collateral," but he was actually the star of that movie; Tom Cruise as the assassin was really the supporting role. Thomas Haden Church did some very specific and delightful character work in "Sideways." Morgan Freeman was the aching soul of "Million Dollar Baby," and Clive Owen was the best thing in "Closer." As for Alan Alda in "The Aviator," his nomination (for his performance as a corrupt senator) will remind everyone he was in the picture. That's nice. Best director will be a contest between Martin Scorsese ("The Aviator"), Eastwood ("Million Dollar Baby"), Taylor Hackford ("Ray"), Alexander Payne ("Sideways") and Mike Leigh ("Vera Drake"). Michael Moore, who won best documentary for "Bowling for Columbine," made a calculated effort to secure a best picture nomination for "Fahrenheit 911." He didn't succeed in crashing that gate and then found himself shut out of the best documentary category. Moore had two obstacles he couldn't surmount: Republicans weren't going to vote for him in the first place, and Democrats, after the election, were too heartsick to put his DVD into the machine. As soon as Bush won the election, it would have been smart to switch strategies and aim for best documentary. As it stands, the only widely known film nominated for best documentary this year is "Super Size Me." In the unnecessary category of best animated film, "The Incredibles," "Shark Tale" and "Shrek 2" got the nod. Surprisingly, "The Polar Express" didn't make the cut. It really should have. So what do we take from this year's Oscar nominations? We're presented with the usual triumph of bloat, as represented by "The Aviator." In this case, the bloat isn't obnoxious. That makes it a good year, almost. We're also presented with the less palatable triumph of false sentiment in the form of "Finding Neverland." In and of itself, that's also nothing to grieve over, either, except that it robs the atmosphere of box office oxygen that might have sustained "Hotel Rwanda" -- a movie of intense and genuine emotion. "Hotel Rwanda" is a hard sell. Ask people if they'd like to see a movie about the Rwandan genocide and most will say, "Oh, uh, maybe, but I think I may have to get my teeth cleaned that day." They don't know they're going to love it until they're watching it. The case of Giamatti and "Sideways" is also sad, in that he gave hands down one of the year's best performances, while Depp gave one of the year's worst. Call me paranoid, but I can't help suspecting that Giamatti's momentum was stopped by A.O. Scott's New York Times piece, which basically said that "Sideways" is a good not great film and that the fuss over it was overblown. Scott is entitled to his opinion, and his article made an excellent case. But what should be remembered -- and what I'm afraid won't be remembered -- is that a similar good-not-great argument could be made against every work of art since cavemen started finger painting. I've heard similar arguments made about Chaplin's "City Lights," "Citizen Kane," "The Godfather" and "Casablanca." The real truth is that there is no perfect work of art. Our perception of greatness often depends on our perceiving a work from a specific flattering angle. And the seductive power of an art work is in the way it makes us want to look at it from its best side. Greatness is not greatness but rather a mixture of near greatness and near-perfect seduction ... But enough whining. At least Cheadle got nominated. From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
  • http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2004/11/15/DDGJP9PUBH1.DTL& type=movies Bening or Blanchett? DiCaprio or Depp? 'Alexander' or 'Aviator'? Let the Oscar guessing game begin. Ruthe Stein, Chronicle Senior Movie Writer Monday, November 15, 2004 The 1993 Oscar ceremony celebrated women in the movies. If the Academy of Motion Picture Arts & Sciences has yet to officially recognize men in the movies, it's because in such a male-dominated industry, every year is men's year. But 2004 is even more so. The number of potential best actor nominees keeps rising like registered Republicans. There are so many knockout performances that "An Unfinished Life, " in which Robert Redford is said to deliver another, has been postponed until 2005 to give the Sundance Kid a fighting chance at his first acting Oscar. In a hopeful sign, more African Americans may be nominated this time than ever. Should early favorite Jamie Foxx win for "Ray," it would be the second victory for a black actor in three years. Almost four decades passed between Sidney Poitier and Denzel Washington's best actor Oscars. The Golden Globe nominations, announced on Dec. 13, will offer only limited guidance predicting Oscar nods. Golden Globes are awarded for best drama and best musical or comedy, as well as best actor and actress in these categories, meaning there are a lot more of them to go around. For a definitive answer on who will compete for a coveted gold statuette, movie fans will have to wait for the Oscar nominations on Jan. 25. Meanwhile here's an educated guess on the actors and filmmakers whose day will be made that fateful morning. Best picture: This category is still up for grabs with many potential contenders kept under wraps until the holidays. Buzzed about but not yet seen are "Closer," a tale of romantic betrayal boasting an all-star cast, "The Aviator," a biopic of a youthful Howard Hughes before he encased his feet in Kleenex boxes and "Alexander," an epic of "Gladiator" proportions about the youthful conqueror of most of the then-known world. For those who keep hoping for a rebirth of Hollywood musicals, "The Phantom of the Opera," featuring largely unknowns but the familiar mask and chandelier, could find itself up for an Oscar, as could "Hotel Rwanda," a deeply moving true story of a Rwandan Oskar Schindler. "Spanglish," a comedic look at a clash between domestics and their rich L.A. clients, has the pedigree to be among the top five -- the film is director James L. Brooks' first since "As Good as It Gets.'' On Friday, two more possible nominees open in the Bay Area: "Kinsey," a gutsy look at the pioneer sex researcher, and "Finding Neverland," an almost fairytale-like portrayal of Peter Pan's creator. Of the movies already in theaters, "Ray," a brutally honest portrait of Ray Charles, leads the pack of Oscar hopefuls. There's also hope for the poignant buddy movie "Sideways" and the bleak but unforgettable "Vera Drake'' - - both small films of enormous quality. Michael Moore took his "Fahrenheit 9/11" out of the documentary competition to push for a best-picture nod. Despite impressive box-office, the movie had little impact on the election, and it's hard to imagine that academy voters want to please Moore, who has been nothing but trouble at their hallowed ceremony. Among this year's anomalies, "The Incredibles" stands a better chance of becoming the first animated feature nominated as best picture since animated films got their own category. Then there's "The Passion of the Christ." Mel Gibson won respect for guessing right about audiences' passion for the subject, but his movie may still be too controversial for best-picture consideration. Best actor: In a year filled with compelling biopics, a slate could easily be put together comprised entirely of actors playing real people. Jamie Foxx's spot-on portrayal of Ray Charles ("Ray'') could be up against Kevin Spacey's Bobby Darin ("Beyond the Sea''), Liam Neeson's Alfred Kinsey ("Kinsey''), Johnny Depp's J.M. Barrie ("Finding Neverland''), Leonardo DiCaprio's Howard Hughes ("The Aviator'') and Colin Farrell's Alexander ("Alexander the Great''). The crowded list may also include Javier Bardem as a famous Spanish right-to-die advocate ("The Sea Inside''), Don Cheadle as a courageous Rwandan hotel manager ("Hotel Rwanda''), Sean Penn as a would-be presidential assassin ("The Assassination of Richard Nixon'') and Gael Garcia Bernal as Che Guevara ("The Motorcycle Diaries''). The problem with this scenario is that it leaves out buzzed-about performances by actors in fictional roles, such as Bernal's sexy transvestite in "Bad Education," Kevin Bacon's reformed pedophile in "The Woodsman" and Bill Murray's offbeat oceanographer in "The Life Aquatic with Steve Zissou." Academy members will be hard pressed to winnow the many worthy performances down to five. Best actress: The bright spot in a generally weak year for actresses is that some may get on Oscar's radar for little-seen indies. Annette Bening deserves a nod for her indomitable stage star in "Being Julia," as do virtual unknowns Catalina Sandino Moreno as an impoverished woman forced to become a heroin transporter in "Maria Full of Grace" and Imelda Staunton's "Vera Drake, " a well-meaning abortionist in 1950s England. Julie Delpy, terrific in the two-person set piece "Before Sunset," is already actively campaigning for a nomination under the guise of promoting the DVD. Another French actress, Audrey Tautou, also is being touted for "A Very Long Engagement.'' Major studio movies could net nominations for Julia Roberts and/or Natalie Portman in "Closer" and Cate Blanchett either as Katharine Hepburn in "The Aviator" or a reporter in "The Life Aquatic." Hilary Swank is rumored to be in such top form as a boxer in Clint Eastwood's "Million Dollar Baby" that the movie was moved up a couple of months to qualify her for best-actress consideration. Best supporting actor: Any one who's seen "Sideways" will root for Thomas Haden Church's name to be among the nominees. He's definitely made the leap from the small to the big screen. Peter Sarsgaard, unjustly overlooked last year for "Shattered Glass," could get a nod as a participatory sex researcher in "Kinsey" who goes naked in the line of duty. Liev Schreiber may find himself a candidate for his creepy mama's boy in "The Manchurian Candidate," as could Owen Wilson for playing a pilot not in "The Aviator," but in "The Life Aquatic." James Garner would be a sentimental choice as the devoted husband of a woman with Alzheimer's in "The Notebook.'' Rodrigo De la Serna is a longer shot as Che Guevara's buddy in "The Motorcycle Diaries." An even longer shot is Cameron Bright as Nicole Kidman's 10-year-old suitor in "Birth. " It's the most unnerving performance by a kid since Haley Joel Osment in "The Sixth Sense.'' Best supporting actress: "Ray" may cause a traffic jam in this category, with predicted nods for Kerry Washington, Regina King and Sharon Warren as, respectively, Ray Charles' wife, mistress and mother. To avoid them knocking one another out of the race, Washington has been mentioned as a possible best- actress nominee, though hers really is a supporting performance. Virginia Madsen and Sandra Oh are also potential competitors from the same movie, "Sideways." Look for Laura Linney to get another nod as Alfred Kinsey's supportive mate in "Kinsey." Kate Winslet could be honored again as the single mom in "Finding Neverland," and perennial nominee and occasional winner Meryl Streep may grace the ceremony again for her "Mommie Dearest'' role in "The Manchurian Candidate." Minnie Driver is said to hit all the right notes in "The Phantom of the Opera" and may score a nomination along with a boost for her fledgling singing career. In the long-shot division put Gena Rowlands as an Alzheimer's patient in "The Notebook," Sophie Okonedo as a scared wife in "Hotel Rwanda" and Irma P. Hall as an understanding landlady in "The Ladykillers.'' Best director: Martin Scorsese is almost a shoo-in to be nominated for "The Aviator." Hollywood worships the guy, and he keeps coming in second best. His main competitors are likely to be Taylor Hackford for "Ray," Mike Nichols for "Closer," Alexander Payne for "Sideways" (he won't win, but will get a screenwriting Oscar as compensation), Marc Forster for "Finding Neverland" and/or James L. Brooks for "Spanglish." Other possible nominees are Terry George for "Hotel Rwanda," Wes Anderson for "The Life Aquatic with Steve Zissou," Mike Leigh for "Vera Drake," Oliver Stone for "Alexander" and Walter Salles for "The Motorcycle Diaries." Last but not least the academy could honor Mel Gibson for "The Passion of the Christ" and for being Mel Gibson. E-mail Ruthe Stein at rstein@sfchronicle.com. From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
  • On Fri, 5 Nov 2004 09:15:42 +1100, "Rick in Oz" wrote: >http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2004/11/04/DDGJR9KHTB1.DTL& >type=movies >propelling her beyond the screen >Edward Guthmann, Chronicle Staff Writer >In "Before Sunset," the indie hit that just wrapped a 17-week run in San >Francisco, Julie Delpy plays Celine, a Parisian idealist who reconnects with >Jesse (Ethan Hawke), an American writer she met nine years before. Like >Delpy, Celine is vibrant, smart -- a woman who feels things more sharply, >enjoys her pleasures more voluptuously, suffers her hurts more deeply, than >most of us. >conversation about politics and philosophy, the roots of creativity and >matters of the heart. >the characters I've played before," the actress allows. "I wrote all her >lines. But at the same time I have many traits in my personality and my life >that are extremely different." >fantasy that's at the heart of "Before Sunset" or its predecessor, "Before >Sunrise," which in 1995 introduced the Jesse and Celine characters on a >European train and followed them through a night in Vienna. >nine years later. Jesse, now a novelist, is giving a reading at Shakespeare >and Co., the landmark Parisian bookstore once frequented by Hemingway and >Fitzgerald. He and Celine had promised to meet six months after their first >encounter but failed to follow through. Celine hovers outside the bookstore, >approaches Jesse and after some awkwardness, finds that the original sparks >still glow. >sitting in the boardroom of a smart boutique hotel, sipping coffee and >picking at a plate of figs and strawberries and other fruits. She's dressed >in a baggy sweater, furry boots and loose black skirt and even though she >claims to be jet-lagged from a Paris-to-SFO flight, you'd never know it from >the flood of words and ideas that pour from her. >living in the United States, she's not Celine. "The way I relate to love is >different. I don't really have this idea of the man that I missed and how we >could have been together, which is very romantic." >("The School of Rock"), Celine says she's become "numb" from a life of >disappointments. "I'm not numb at all!" Delpy says. "I'm the opposite. I'm, >like, constantly feeling things for people, for friends, for people I love, >parents, my cat, friends of friends. As an actress I have to constantly feel >things so I can use it later. ... But that's the kind of person Celine is. >She has pushed away some emotions (to survive)." >talker, she jumps into conversational topics the way a benched footballer, >hooked on endorphins and adrenalin, jumps into a game. Ask about her writing >projects and she'll talk at length about writer's block ("It's horrifying -- >I feel it in my joints"). Mention U.S. politics and she launches into an >angry diatribe on President Bush and the blunder of Iraq. (She became a U.S. >citizen three years ago, while retaining her French citizenship.) >fascinating, detail-drenched bio that sounds like grist for a novel. Her >father, Albert Delpy, grew up in Vietnam, Cambodia and West Africa where his >father held administrative positions with the French colonial government. In >1960, Albert's father, whom Delpy suspects was a spy, committed suicide in >Ouagadougou, the capital of Upper Volta (now called Burkina Faso). >Albert when she came to Paris to study acting. Both parents appear in the >last minutes of "Before Sunrise," playing the neighbors of Celine who >prepare a community meal in a courtyard. >with a love of art, bringing me to museums and seeing things that a child >wouldn't see at that age. I would see Ingmar Bergman movies when I was 9 and >totally go for it. And they would bring me to see Francis Bacon's paintings, >which I loved: so dark and at the same time it's so wonderful." >theater. "It was pretty subversive -- kind of edgy, crazy stuff like >Fernando Arrabal, Copi, Ionesco. Pretty out there. Like, I would see my dad >playing a woman and changing -- what is the thing women wear when they have >their period? -- onstage." She blushes, laughs at herself. Then: "Oh, I >shouldn't say that! I'm going to sound like I come from a family of crazy >people." >success that Delpy achieved at an early age. At 14, she was chosen by >Jean-Luc Godard to make her film debut in "Detective." Two years later, >Bertrand Tavernier gave her the title role in "Beatrice," a 14th century >tale of a rape and incest victim. >and cameolike face, Delpy went from one choice role to another: the Virgin >Mary in Carlos Saura's "The Dark Night," a young Nazi girl in Agnieszka >Holland's "Europa Europa," Sam Shepard's lover in Volker Schlondorff's >"Voyager," a hairdresser's disagreeable wife in Krzysztof Kieslowski's >"Three Colors: White." >New York at 18 to study film directing at New York University. She settled >in Los Angeles two years later, still lives there -- you can hear it in her >speech idioms, the "likes" and the "totallys" -- and for six months has been >dating a man she refers to only as Mark, a music supervisor on films. They >don't live together, and likely won't: "I like to have my own space. It's >essential to me." >match the impact of "Before Sunrise" and "Before Sunset," a pair of films so >affecting, so smart, so sweet and full of yearning, that many fans regard >them not only as movies but as emotional touchstones. People look at Celine >and Jesse, fall in love with either one or both of them and then fantasize >making a connection so deep with another soul, and communicating so fully >that one's sense of isolation evaporates. >it's not like a romantic comedy that follows codes and has funny things here >and funny things there and a happy ending. It's more bittersweet. And I >think people really relate to them because they're real people." >the pair of films. "Each time I'm in New York we spend all days together and >we go to the park with his kids. We play guitar together. Totally best >friends. I have lots of very deep friendships with men that are not >ambiguous." >was raw from the breakup of his five-year marriage to Uma Thurman. "It >definitely influenced his acting." Not so the writing: "That was done way >before, before he even suspected things would go wrong (with the marriage). >The way he talks about his marriage is very different from the way Jesse >talks about his. Very." >dialogue that they'd written and had to perform frequently in long, unbroken >takes while walking through the streets of Paris. Tricky stuff. Their >dialogue, Delpy claims, was the equivalent of 3 1/2 normal screenplays. >"It's the hardest work I've ever done, to make that seem effortless." >and speak of his divorce off camera. "Sometimes he was like, 'Oh, can I talk >about it?' but I was very tough on him. I said, 'You know what, I don't want >to share too much your personal problems 'cause I want to focus on the >film.' I felt it was the best thing for him, actually, not to dwell on it." >her creative life has become a complicated, multipronged enterprise that >would challenge half a dozen people. She works on scripts, writes and >records music (her debut album, "Julie Delpy," was released in Europe last >year) and has directed a short, "Bla Bla Bla," and a feature, "Looking for >Jimmy." She hopes to direct "Bathory," the true story of a Hungarian >countess/serial killer who bathed in the blood of young girls. >nurturing as hers, and had grown up steeped in the arts, would the world be >full of smart, dynamic people whose brains, like Delpy's, are factories for >ideas and creative projects? >in," Delpy says in a rush of words. "I have to write about 10 short stories >right now that I've taken notes on. I have to write about five scripts that >I've started. I have tons of songs I'm writing. Sometimes it's good and >sometimes it's bad, it doesn't matter. I need to get it all out." I kind of think she's pretty cute.
  • http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2004/11/04/DDGJR9KHTB1.DTL& type=movies Julie Delpy is bursting with feeling, full of words -- and all that is propelling her beyond the screen Edward Guthmann, Chronicle Staff Writer Thursday, November 4, 2004 In "Before Sunset," the indie hit that just wrapped a 17-week run in San Francisco, Julie Delpy plays Celine, a Parisian idealist who reconnects with Jesse (Ethan Hawke), an American writer she met nine years before. Like Delpy, Celine is vibrant, smart -- a woman who feels things more sharply, enjoys her pleasures more voluptuously, suffers her hurts more deeply, than most of us. Like Delpy, she loves to talk and is prone to long jags of probing, animated conversation about politics and philosophy, the roots of creativity and matters of the heart. But don't tell Delpy they're the same person. "She's closer to me than all the characters I've played before," the actress allows. "I wrote all her lines. But at the same time I have many traits in my personality and my life that are extremely different." For one thing, says Delpy, 34, she doesn't harbor the kind of romantic fantasy that's at the heart of "Before Sunset" or its predecessor, "Before Sunrise," which in 1995 introduced the Jesse and Celine characters on a European train and followed them through a night in Vienna. The new film, which will be released on video and DVD next Tuesday, picks up nine years later. Jesse, now a novelist, is giving a reading at Shakespeare and Co., the landmark Parisian bookstore once frequented by Hemingway and Fitzgerald. He and Celine had promised to meet six months after their first encounter but failed to follow through. Celine hovers outside the bookstore, approaches Jesse and after some awkwardness, finds that the original sparks still glow. Delpy, who in person is just as luminous, just as likeable as Celine, is sitting in the boardroom of a smart boutique hotel, sipping coffee and picking at a plate of figs and strawberries and other fruits. She's dressed in a baggy sweater, furry boots and loose black skirt and even though she claims to be jet-lagged from a Paris-to-SFO flight, you'd never know it from the flood of words and ideas that pour from her. No, no, she says in a French accent that's turned subtle after 10 years of living in the United States, she's not Celine. "The way I relate to love is different. I don't really have this idea of the man that I missed and how we could have been together, which is very romantic." In the movie, which Delpy co-wrote with Hawke and director Richard Linklater ("The School of Rock"), Celine says she's become "numb" from a life of disappointments. "I'm not numb at all!" Delpy says. "I'm the opposite. I'm, like, constantly feeling things for people, for friends, for people I love, parents, my cat, friends of friends. As an actress I have to constantly feel things so I can use it later. ... But that's the kind of person Celine is. She has pushed away some emotions (to survive)." Mind you, this wasn't all Delpy had to say on the subject. A marathon talker, she jumps into conversational topics the way a benched footballer, hooked on endorphins and adrenalin, jumps into a game. Ask about her writing projects and she'll talk at length about writer's block ("It's horrifying -- I feel it in my joints"). Mention U.S. politics and she launches into an angry diatribe on President Bush and the blunder of Iraq. (She became a U.S. citizen three years ago, while retaining her French citizenship.) Best of all, bring up her bohemian parents, both actors, and you get a fascinating, detail-drenched bio that sounds like grist for a novel. Her father, Albert Delpy, grew up in Vietnam, Cambodia and West Africa where his father held administrative positions with the French colonial government. In 1960, Albert's father, whom Delpy suspects was a spy, committed suicide in Ouagadougou, the capital of Upper Volta (now called Burkina Faso). Her mother, Marie Pillet, was raised on the French-Swiss border and met Albert when she came to Paris to study acting. Both parents appear in the last minutes of "Before Sunrise," playing the neighbors of Celine who prepare a community meal in a courtyard. "I couldn't hope for better parents," Delpy says. "They really raised me with a love of art, bringing me to museums and seeing things that a child wouldn't see at that age. I would see Ingmar Bergman movies when I was 9 and totally go for it. And they would bring me to see Francis Bacon's paintings, which I loved: so dark and at the same time it's so wonderful." On the stages of Paris, Albert and Marie were involved in underground theater. "It was pretty subversive -- kind of edgy, crazy stuff like Fernando Arrabal, Copi, Ionesco. Pretty out there. Like, I would see my dad playing a woman and changing -- what is the thing women wear when they have their period? -- onstage." She blushes, laughs at herself. Then: "Oh, I shouldn't say that! I'm going to sound like I come from a family of crazy people." Both parents have acted in dozens of films but neither at the level of success that Delpy achieved at an early age. At 14, she was chosen by Jean-Luc Godard to make her film debut in "Detective." Two years later, Bertrand Tavernier gave her the title role in "Beatrice," a 14th century tale of a rape and incest victim. Precocious, a gift to the camera with her alabaster skin, intelligent eyes and cameolike face, Delpy went from one choice role to another: the Virgin Mary in Carlos Saura's "The Dark Night," a young Nazi girl in Agnieszka Holland's "Europa Europa," Sam Shepard's lover in Volker Schlondorff's "Voyager," a hairdresser's disagreeable wife in Krzysztof Kieslowski's "Three Colors: White." It was a brilliant career and one that Delpy risked, somewhat, by moving to New York at 18 to study film directing at New York University. She settled in Los Angeles two years later, still lives there -- you can hear it in her speech idioms, the "likes" and the "totallys" -- and for six months has been dating a man she refers to only as Mark, a music supervisor on films. They don't live together, and likely won't: "I like to have my own space. It's essential to me." Nothing that Delpy has done -- and possibly nothing she'll ever do -- can match the impact of "Before Sunrise" and "Before Sunset," a pair of films so affecting, so smart, so sweet and full of yearning, that many fans regard them not only as movies but as emotional touchstones. People look at Celine and Jesse, fall in love with either one or both of them and then fantasize making a connection so deep with another soul, and communicating so fully that one's sense of isolation evaporates. "We tried to capture something true," Delpy says. "It's a romantic movie but it's not like a romantic comedy that follows codes and has funny things here and funny things there and a happy ending. It's more bittersweet. And I think people really relate to them because they're real people." Off camera, Delpy says she and Hawke became "very good buddies" from making the pair of films. "Each time I'm in New York we spend all days together and we go to the park with his kids. We play guitar together. Totally best friends. I have lots of very deep friendships with men that are not ambiguous." During the shooting of "Before Sunrise" in Paris last year, she says, Hawke was raw from the breakup of his five-year marriage to Uma Thurman. "It definitely influenced his acting." Not so the writing: "That was done way before, before he even suspected things would go wrong (with the marriage). The way he talks about his marriage is very different from the way Jesse talks about his. Very." Emotional baggage aside, the work was tough: Delpy and Hawke had 75 pages of dialogue that they'd written and had to perform frequently in long, unbroken takes while walking through the streets of Paris. Tricky stuff. Their dialogue, Delpy claims, was the equivalent of 3 1/2 normal screenplays. "It's the hardest work I've ever done, to make that seem effortless." So hard that Delpy had to draw a line when Hawke sought to unburden himself and speak of his divorce off camera. "Sometimes he was like, 'Oh, can I talk about it?' but I was very tough on him. I said, 'You know what, I don't want to share too much your personal problems 'cause I want to focus on the film.' I felt it was the best thing for him, actually, not to dwell on it." Delpy continues to act in Europe and the United States, but in recent years her creative life has become a complicated, multipronged enterprise that would challenge half a dozen people. She works on scripts, writes and records music (her debut album, "Julie Delpy," was released in Europe last year) and has directed a short, "Bla Bla Bla," and a feature, "Looking for Jimmy." She hopes to direct "Bathory," the true story of a Hungarian countess/serial killer who bathed in the blood of young girls. Delpy's creative life is so rich that one wonders: If we all had parents as nurturing as hers, and had grown up steeped in the arts, would the world be full of smart, dynamic people whose brains, like Delpy's, are factories for ideas and creative projects? "Basically, I need to get things out of my head before I put things back in," Delpy says in a rush of words. "I have to write about 10 short stories right now that I've taken notes on. I have to write about five scripts that I've started. I have tons of songs I'm writing. Sometimes it's good and sometimes it's bad, it doesn't matter. I need to get it all out." E-mail Edward Guthmann at eguthmann@sfchronicle.com.
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