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For the 1953 production of The Good Beginning, he takes the role of Himself - Nominee: Best Adapted Screenplay.
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On 2006-06-20 18:00:10 -0700, "PurplePenny" said:
> Talented...well done. You successfully made 7 stereotyples in one
> statement.
There's a thing called humor. It may be offensive to some, but that
makes it more funny.
Though, you are not correct about all of your assumptions.
> 1-only fat women find this woman "not hot"
No true - religiously obsessed women, or overly self-centered women
would do as well.
> 2-only lonely men will find this woman "not hot"
Au contraire, I would figure precisely lonely men would find her hot.
> 3-only lonely men marry fat women
Not enough data, but don't really wanna dip in that data pool either.
> 4-fat women have nothing to offer
Well, okay, except to lonely men, or other fat women (sympathy)
> 5-all men are sluts
That'll be Mr. Slut to you, missy!
> 6-this woman is universally hot
Not true.
> 7-and you have pushed the male pig stereo type one step further.
What male pig stereotype? For liking a cute, well-made-up woman, and
not languishing amongst the fatties?
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True but
no FAT ! and were SOLD ! with a down payment !
"PurplePenny" wrote in message
news:1150784783.348505.84810@i40g2000cwc.googlegroups.com...
> lingerie and a lot of air brush and they are sold.
>
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PurplePenny wrote:
> Cally wrote:
> who are like that and many men who are not and all shades between.
> Stereotyping is for people who don't want to think. Putting people in a
> few catagories saves them from having to actually use their brains.
Penny, with all due respect, do you have any experience with men and
sex? I mean, personally? Men like sex. All of them. Men are
stimulated by sexually attractive women, (or men), and that is NORMAL.
Men are turned off by fuglys. It's nothing to do with gender politics
or stereotypes. LOL! It's one of Life's more delicious gifts that she
designed them that way. :-) Being the object of a man's desire, and
teasing him until he's ripe for the fall is much of what makes being
young and beautiful so fab.
The point of my initial comment re: this had to do with the androgynous
object that is Grace Park. The gay tong of the media/marketing/fashion
universe has succeeded in changing the ideal feminine form from
voluptuous femininity to what is obviously a rendition of a naked young
teenage male with implants stuck on to conform, (for the moment), to
convention.
In the end, men don't care what form a sexual object takes... as long
as it's beautiful and sexually appealing. God knows the Greeks had it
going on and their art proves how the child-man was revered. And
that's where it's headed today. Why on earth, for instance, would
Michael Jackson be let off unless our society is coming around to the
notion that sex between men and young boys is, if not acceptable, at
least understandable?
I happen to think it's all fucking perverted, but who cares what I
think. I just play the piano. hahahaha to the looney bin with me.
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WHICH A-list singer banishes her husband to the spare room because of
his snoring? Nothing comes between her and her eight hours' kip so her
other half gets booted out of the marital bed.
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Cally wrote:
> danefunnycookboy88 wrote:
> queer mag. There is no doubt in my mind that in 10 years time, all
> American men will think of this as the ideal "female" form. It's over.
> Thank God the Muslims are coming.
She's smoking hot but who the hell is she?
And by the way- 2 types of people will say she's ugly: fat women and
guys who can't get laid and have to settle for fat women.
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In alt.showbiz.gossip Richard Fangnail wrote:
: There is a new doc film coming out saying the electric car was
: "killed." I don't know whether the filmmaker is a Michael Moore
: wannabe.
: There were good things about electric cars in the 70s but what were its
: shortcomings?
IIRC most of them didn't work very well, or couldn't travel very far
before they needed recharding.
Fiona
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In alt.showbiz.gossip Rick in Oz wrote:
: http://www.sfgate.com/cgi-bin/blogs/sfgate/indexd?blogid=7
: Haggis Undaunted by 'Crash' Lawsuits
: Reuters / Mike Blake
: "Crash" writer/director Paul Haggis has dismissed reports his film's win for
: Best Picture Oscar is marred because of a lawsuit among the film's
: producers.
: Bob Yari and three of the film's producers were removed from the movie's
: credits, because the Academy only allows two producers from each film to be
: nominated for the top prize.
???? Has this always been the rule? It seems kind of unfair when troops of
techies are allowed to be nominated for the same job on the same film.
Fiona
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http://www.sfgate.com/cgi-bin/blogs/sfgate/indexd?blogid=7
Haggis Undaunted by 'Crash' Lawsuits
Reuters / Mike Blake
"Crash" writer/director Paul Haggis has dismissed reports his film's win for
Best Picture Oscar is marred because of a lawsuit among the film's
producers.
Bob Yari and three of the film's producers were removed from the movie's
credits, because the Academy only allows two producers from each film to be
nominated for the top prize.
Yari filed a lawsuit on February 28 to receive a proper producing credit,
while Shulman and Crash executive producer Tom Nunan are suing Yari,
claiming he failed to pay them more than $2 million, that they are owed in
fees and bonuses.
When asked if the honour was muted because of the in-fighting Haggis shot
back, "Do we look muted? Do our reactions come off as muted?
"Because we're pretty [bleep] happy."
Haggis added, "A lot of people made this film. The people who are listed as
producers, Cathy (Schulman), Bob (Yari), Don (Cheadle) and Mark (Harris) and
Bobby (Moresco), are the reason we're here."
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In this profoundly sick, upside down age, it couldn't be otherwise: the
worst, most poisonous film of the year had to win the Best Picture
Oscar! YAY!
Read this devastating review:
MOVIE REVIEW
'Crash'
Racists get equal opportunities to hate in this awkward drama.
By Carina Chocano
Times Staff Writer
May 6, 2005
I'm not sure the best way to kick off a movie that wants to expose the
dark heart of the true Los Angeles is to contrast it with "real cities"
where "people walk, you brush past people, people bump into you," but
that's what writer-director Paul Haggis does in the first few moments
of "Crash," a grim, histrionic experiment in vehicular metaphor
slaughter.
Graham Waters (Don Cheadle) and Ria (Jennifer Esposito), two detectives
in love, are rear-ended on their way to a murder scene, and no sooner
has the dazed Graham delivered his soliloquy on urban alienation ("I
think we miss that sense of touch so much, we crash into each other
just to feel something") Ria and the other driver, a middle-aged Korean
woman, start loudly trading racial slurs without even a four-letter
preamble. So much for the urban brotherhood of man: In "Crash," there's
no getting through a fender bender, casual conversation, business
transaction, phone call to mom or naked love romp without someone's
ancestry taking a nasty beating.
>From here, Haggis, a veteran television writer who wrote the for
"Million Dollar Baby," weaves no fewer than nine sets of characters
into a suffocating tangle of ham-fisted ironies and belief-beggaring
coincidences designed to reveal the latent racism that festers in the
souls of all those who ever laid claim to a 310, 323, 213 or 818 area
code. (Yes, you too.) The movie's structure has drawn comparisons to
"Short Cuts" and "Magnolia," though it'll feel familiar to anyone who
submits to regular cudgelings by "hard-hitting" network TV dramas that
wield messages like bludgeons.
Every conflict in "Crash" - even lovers' quarrels - is racially
motivated, and having hit on this key to human inhumanity, the director
pursues the line with extreme (sorry) prejudice. There may be a million
stories in the naked city, but there are something like 20 principal
characters in this movie, and they expend 90 minutes of screen time on
roughly one topic of conversation.
What really makes you want to screw up your eyes, clap your hands over
your ears and belt out a show tune, though, is the nagging feeling that
Haggis, a Canadian who has resided in this city for most of his adult
life and who suffered a traumatic real-life encounter with a pair of
armed carjackers a few years ago, seems to have experienced some
misplaced guilt over his lingering low opinion of the gentlemen who
took his car, followed by anger at the guilt, more guilt at the anger,
and so on. I'm only guessing, of course, but upon meditating on the
lives of his assailants - what were they like in their free time,
when they weren't sticking guns in people's faces? - the director has
written them a funny valentine. They are reborn in his imagination as a
couple of charming, clever, philosophical, socially committed young car
thieves who, when not busy jacking SUVs, enjoy ice hockey, Merle
Haggard and liberating smuggled Asian sweatshop workers into the free
market wonderland of downtown L.A.
Anthony (Chris "Ludacris" Bridges) and Peter (Larenz Tate), black men
in their 20s, come out of an Italian restaurant in a ritzy neighborhood
where Anthony gripes that the black waitress has treated them shabbily.
When Peter points out that black men have a reputation for being bad
tippers, Anthony confesses that he didn't leave one. This is just the
first of about 1 1/2 hours worth of Buddhist conundrums on the nature
of racist stereotypes. Anthony, a philosophical sort, sees racism
lurking in every corner, even in the gesture of a white woman who takes
her husband's arm as they pass.
"We're the only black people surrounded by a sea of over-caffeinated
white people and a trigger-happy LAPD," he says. "Why aren't we
scared?" It sounds like a good question, until the considerably more
chilled-out Peter ripostes with: "Because we have guns?" and within
seconds, Jean (Sandra Bullock) and Rick (Brendan Fraser) are scuttling
along the sidewalk, having been divested of their Escalade.
If a generalization falls in the forest, and somebody who fits the
deion confirms it, is it really true? In the case of Rick and
Jean, at least, it is. Rick happens to be the district attorney of Los
Angeles County, a man apparently incapable of experiencing anything
except through the prism of how it will play in the media. After the
carjacking, the couple repair home to change the locks and spin the
story. Rick frets that being robbed by black men will cost him either
the black vote or the law-and-order vote and instructs his aides to
locate an African American on whom he can pin a medal. The lonely,
bitter, pathologically angry Jean, meanwhile, newly freed from the
worry that her racism might have been unfounded, freaks out at the
sight of the locksmith, whom she loudly takes for a gang member. Then
she snaps at the maid.
It's around this point that the theme of the movie, neatly summarized
by one of its characters and encapsulated in the tagline, begins to
emerge. "You think you know who you are," the racist cop Officer Ryan
(Matt Dillon) tells his green, uninitiated partner. "You have no idea."
Actually, in "Crash," you do. Whatever flimsy layers cover the
characters' raging 24-hour xenophobia are swept away by the slightest
breeze. It's painfully clear to anyone but Jean, for instance, exactly
who Jean is. The sensitive, sloe-eyed locksmith, meanwhile, like the
warm and friendly domestic, bears his symbolic nobility like a cross.
Daniel (Michael Pe=F1a) bears Jean's insults silently, then goes home to
comfort his traumatized child, who sleeps under the bed for fear of
stray bullets. Soon, Daniel and his family will be victimized by a
high-strung Persian patriarch, Farhad (Shaun Toub), driven to the edge
by constant (and geographically inaccurate) race-baiting.
Add to this daisy chain of bigotry a Korean who sells illegal Thai and
Cambodian workers to sweatshops, a black HMO worker who denies coverage
to a sick man because the man's son is a racist, a white cop on his
third African American murder, and a member of the D.A.'s office who
wonders "what it is" with black people who "can't keep their hands out
of the cookie jar," and the film's characters stop seeming like they've
been culled from a random cross-section of the citizenry so much as
cherry-picked from the top of the class at the Pat Buchanan School of
International Relations.
The few characters who aren't culprits are victims, the most
discouraging among them Cameron (Terrence Howard), a successful black
television director. Cameron and his wife, Christine (Thandie Newton),
are returning home from an awards show when they're pulled over by
Dillon's racist Officer Ryan and his conflicted young partner, Officer
Hansen (Ryan Phillippe). Ryan, a virulent racist, humiliates the
director and his wife by viciously molesting her under threat of
arrest.
At home, the couple implode. After hanging up the phone without
reporting the assault ("Do you really think they'll care about what you
have to say?" says Cameron), Christine lashes out at her husband. "The
closest you ever got to being black was watching 'The Cosby Show,' "
she yells. And he: "At least I didn't watch it with the rest of the
equestrian team!" Of course, what with all this horseback riding and
"Cosby Show" watching, you'd think they'd have a lawyer too. But
"Crash" is too heavily invested in the idea of race as class to allow
these two even the slightest sense of security, entitlement or surprise
at being so crudely mishandled by the establishment of which they are a
part. Instead, Cameron quietly unravels as his whole life reveals
itself for the sham that it is. Even Tony Danza, who plays an actor on
his show, cows him into humiliating a black costar. How's that for rock
bottom?
As another critic once said about another movie bearing the same title,
" 'Crash' isn't plotted, it's programmed.' " The logarithm is fairly
simple: Money plus power plus a pale complexion equals total
inhumanity. (Jean learns the hard way that her only friend in the world
is the woman who cleans her house.) Power plus pallor minus money fares
slightly better. (Ryan's bigotry is motivated by the suffering of his
sick father, who lost his janitorial company when the city began giving
preferential contracts to minority-owned businesses, and he gets his
moment of slo-mo redemption.) Pallor minus power minus money plus
small-town idealism (as embodied by Hansen) gets a kick in the head.
Any glimpse of emotional honesty comes courtesy of the actors, who
manage to do a credible job despite the material. The smart, sexy spark
between Esposito and Cheadle is all but extinguished by the airlessness
of the , and Cheadle manages to squeeze in some quietly affecting
moment as the unloved son of a drug-addicted mother. Howard, an actor
who radiates intelligence and sensitivity, fills out his maddeningly
reductive character as best he can, though he's never given the chance
to do anything but react to the trumped-up pressures around him.
Similarly, Newton is never allowed to come down from the ledge of
hysteria, just as Bullock is systematically barred from entry into the
human race. Tate and Bridges, as the loquacious carjackers, provide the
only breath of fresh air in the movie, but given the film's bird's-eye
point of view and its pretensions at objectivity, their charm feels
assigned at random. The cast members more than pull their weight, it's
just too bad they had to get together for this.
'Crash'
MPAA rating: R for language, sexual content and some violence.
Times guidelines: Crude as the language is, it pales next to the
noxious message.
A Lions Gate Films release. Director Paul Haggis. Producers Cathy
Schulman, Don Cheadle, Bob Yari. Executive producers Andrew Reimer, Tom
Nunan, Jan K=F6rbelin, Marina Grasic. Screenplay by Paul Haggis.
Director of photography J. Michael Muro. Editor Hughes Winborne.
Costume designer Linda Bass. Music Mark Isham. Production designer
Laurence Bennett.
Running time: 1 hour, 47 minutes.
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Rick in Oz ha scritto:
> http://jam.canoe.ca/Movies/Oscars/2006/2006/02/26/1464003.html
> his fellow nominees in the dust back at the starting line. Lee, 51, has
> dominated this year's award season for his direction of Brokeback Mountain,
> his emotionally devastating look at a repressed love between two American
> cowboys in the 1960s and 70s.
> adapted for the screen by Larry McMurtry and Diana Ossana. The film has
> struck a chord with critics, audiences and film communities around the
> world. Lee received the Golden Lion at last year's Venice Film Festival the
> first of dozens of honours including the Los Angeles, New York and Broadcast
> Film Critics awards.
> Tiger, Hidden Dragon only to lose to Steven Soderbergh for Traffic.
> Crash, his beautifully crafted story of simmering racial tension in Los
> Angeles.
> Capote. It's a powerful film that boasts staggering attention to detail, all
> the more impressive considering this is Miller's first attempt at directing
> a feature film. He doesn't need to take home the Oscar to know he's on a
> winning streak.
> one of three making him the most-nominated man of the year. Clooney, 44, is
> also vying for a best original screenplay Oscar for Good Night, and Good
> Luck and a best supporting actor Oscar for Syriana. Steven Spielberg's
> Munich misfires on so many levels first promising to be a taut political
> thriller and then ending up an ill-conceived polemic.
> of who they are rather than what they've accomplished with a specific film.
> for Pride & Prejudice.
> Sensibility and Crouching Tiger, Hidden Dragon -- will be consummated this
> year with Brokeback Mountain. Lee has yet to announce his next film.
> Mind, has yet to announce his next film as a director but has already
> committed to starring in Ocean's Thirteen, his favourite cash-cow franchise.
> couple of Emmy Awards for his s for thirtysomething. Next he will
> direct Honeymoon with Harry, his newest original screenplay.
> the screenplay and Philip Seymour Hoffman who plays author Truman Capote in
> the film. Bennett still hasn't committed to a follow-up film.
> feature film debut with The Sugarland Express in 1974 and has never looked
> back. He has announced he will begin directing Indiana Jones 4 in 2007.
G:\Documents and Settings\hurricane\Desktop
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http://jam.canoe.ca/Movies/Oscars/2006/2006/02/26/1464003.html
Ang Lee a lock for Oscar
Oscar Picks: Best director
By LOUIS B. HOBSON -- Calgary Sun
If Ang Lee wasn't such a humble man, he'd be beaming with confidence.
He's the front-runner in the 2006 Oscar race for best director and he's left
his fellow nominees in the dust back at the starting line. Lee, 51, has
dominated this year's award season for his direction of Brokeback Mountain,
his emotionally devastating look at a repressed love between two American
cowboys in the 1960s and 70s.
Brokeback Mountain is based on a short story by E. Annie Proulx and was
adapted for the screen by Larry McMurtry and Diana Ossana. The film has
struck a chord with critics, audiences and film communities around the
world. Lee received the Golden Lion at last year's Venice Film Festival the
first of dozens of honours including the Los Angeles, New York and Broadcast
Film Critics awards.
Lee went into the 2001 Oscars with much the same acclaim for Crouching
Tiger, Hidden Dragon only to lose to Steven Soderbergh for Traffic.
It won't happen this year. Lee is not the man to beat. He's simply the man.
Canada's own Paul Haggis more than deserves his nomination for directing
Crash, his beautifully crafted story of simmering racial tension in Los
Angeles.
At 39, Bennett Miller is this year's youngest best director nominee for
Capote. It's a powerful film that boasts staggering attention to detail, all
the more impressive considering this is Miller's first attempt at directing
a feature film. He doesn't need to take home the Oscar to know he's on a
winning streak.
George Clooney's nomination for directing Good Night, and Good Luck is just
one of three making him the most-nominated man of the year. Clooney, 44, is
also vying for a best original screenplay Oscar for Good Night, and Good
Luck and a best supporting actor Oscar for Syriana. Steven Spielberg's
Munich misfires on so many levels first promising to be a taut political
thriller and then ending up an ill-conceived polemic.
Spielberg, 59, has become one of those filmmakers who are nominated because
of who they are rather than what they've accomplished with a specific film.
His spot should have gone to Craig Brewer for Hustle & Flow or Joe Wright
for Pride & Prejudice.
SHOULD AND WILL WIN
ANG LEE FOR BROKEBACK MOUNTAIN
The Academy's love affair with Lee -- whose credits include Sense and
Sensibility and Crouching Tiger, Hidden Dragon -- will be consummated this
year with Brokeback Mountain. Lee has yet to announce his next film.
THE OTHER NOMINEES FOR BEST DIRECTOR
GEORGE CLOONEY
Clooney, who cut his director's teeth on 2002's Confessions of a Dangerous
Mind, has yet to announce his next film as a director but has already
committed to starring in Ocean's Thirteen, his favourite cash-cow franchise.
PAUL HAGGIS
He has a shelf full of Gemini Awards for his writing on Due South and a
couple of Emmy Awards for his s for thirtysomething. Next he will
direct Honeymoon with Harry, his newest original screenplay.
BENNETT MILLER
Capote has been a long-term dream project of Miller, Dan Futterman who wrote
the screenplay and Philip Seymour Hoffman who plays author Truman Capote in
the film. Bennett still hasn't committed to a follow-up film.
STEVEN SPIELBERG
After directing episodes of Marcus Welby and Night Gallery, he made his
feature film debut with The Sugarland Express in 1974 and has never looked
back. He has announced he will begin directing Indiana Jones 4 in 2007.
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http://jam.canoe.ca/Movies/2006/01/05/1380146-ap.html
'Brokeback' leads SAG film noms
By DAVID GERMAIN
Screen Actors Guild award nominees
LOS ANGELES (AP) - The cowboy love story Brokeback Mountain led nominees
Thursday for film prizes from actors and directors unions, including
performers Heath Ledger, Michelle Williams and Jake Gyllenhaal and filmmaker
Ang Lee.
Brokeback Mountain earned four Screen Actors Guild nominations: lead actor
for Ledger and supporting actor for Gyllenhaal, who play old shepherding
buddies concealing their homosexual affair from their families; supporting
actress for Williams, who plays Ledger's wife; and best overall performance
by its entire cast.
Lee, whose films include Crouching Tiger Hidden Dragon and Hulk, was among
best-filmmaker nominees by the Directors Guild of America. Other directing
nominees were George Clooney for the Edward R. Murrow tale Good Night, and
Good Luck; Paul Haggis for the ensemble drama Crash; Bennett Miller for the
Truman Capote story Capote; and Steven Spielberg for Munich, a thriller
centred on the massacre of Israeli athletes at the 1972 Olympics.
Clooney also earned a supporting-actor nominee from SAG for his role as an
undercover CIA agent in the oil-industry thriller Syriana.
Along with Brokeback Mountain, SAG nominations for best film cast went to
Capote, Crash, Good Night and Good Luck, and Hustle & Flow, the story of a
pimp and drug dealer forging a career as a rap singer.
Joining Ledger in the lead-actor category were Philip Seymour Hoffman as
author Capote in Capote; Russell Crowe as Depression-era boxer Jim Braddock
in Cinderella Man; Joaquin Phoenix as singer Johnny Cash in Walk the Line;
and David Strathairn as newsman Murrow in Good Night and Good Luck.
Lead-actress nominees were Judi Dench as a society dame who starts a nude
stage revue in 1930s London in Mrs. Henderson Presents; Felicity Huffman in
a gender-bending role as a man preparing for sex-change surgery in
Transamerica; Charlize Theron as a woman leading a sexual-harassment lawsuit
at a mining company in North Country; Reese Witherspoon as Cash's soulmate
and eventual wife, June Carter, in Walk the Line; and Ziyi Zhang as a poor
girl who becomes a belle of Japan in Memoirs of a Geisha.
Huffman also was nominated for best actress in a TV comedy series for
Desperate Housewives, a role that earned her an Emmy last year.
Desperate Housewives co-stars Teri Hatcher, Marcia Cross and Eva Longoria,
who along with Huffman took four of the five TV musical or comedy
nominations at the upcoming Golden Globes, all were shut out for guild
nominations. The show's entire cast was honoured with a nomination for
comedy ensemble, along with Arrested Development, Boston Legal, Curb Your
Enthusiasm, Everybody Loves Raymond and My Name Is Earl.
Nominated for TV drama ensemble were The Closer, Grey's Anatomy, Lost, Six
Feet Under and The West Wing.
Policeman roles in Crash - Don Cheadle as a devoted detective, Matt Dillon
as a racist beat cop - earned them supporting-actor nominations. Along with
Gyllenhaal and Clooney, the other nominee was Paul Giamatti as boxer
Braddock's manager in Cinderella Man.
Joining Williams as supporting-actress nominees were Amy Adams as a southern
waif in the comic drama Junebug; Catherine Keener as Capote pal Harper Lee,
author of To Kill a Mockingbird, in Capote; Frances McDormand as an ailing
miner in North Country; and Rachel Weisz as a slain humanitarian-aid worker
in The Constant Gardener.
SAG awards will be presented Jan. 29 in a ceremony televised on TNT and TBS.
The Directors Guild will present its awards Jan. 30. -
On the Net:
Screen Actors Guild: http://www.sagawards.org
Directors Guild of America: http://www.dga.org -
Nominees for Screen Actors Guild Awards
Nominees for the 12th annual Screen Actors Guild Awards:
Movies:
Actor: Russell Crowe, Cinderella Man; Philip Seymour Hoffman, Capote; Heath
Ledger, Brokeback Mountain; Joaquin Phoenix, Walk the Line; David
Strathairn, Good Night, and Good Luck.
Actress: Judi Dench, Mrs. Henderson Presents; Felicity Huffman,
Transamerica; Charlize Theron, North Country; Reese Witherspoon, Walk the
Line; Ziyi Zhang, Memoirs of a Geisha.
Supporting actor: Don Cheadle, Crash; George Clooney, Syriana; Matt Dillon,
Crash; Paul Giamatti, Cinderella Man; Jake Gyllenhaal, Brokeback Mountain.
Supporting actress: Amy Adams, Junebug; Catherine Keener, Capote; Frances
McDormand, North Country; Rachel Weisz, The Constant Gardener; Michelle
Williams, Brokeback Mountain.
Ensemble cast: Brokeback Mountain, Capote, Crash, Good Night, and Good Luck,
Hustle & Flow.
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Television:
Actor in a Television Movie or Miniseries: Kenneth Branagh, Warm Springs;
Ted Danson, Knights of the South Bronx; Ed Harris, Empire Falls; Paul
Newman, Empire Falls; Christopher Plummer, Our Fathers.
Actress in a Television Movie or Miniseries: Tonantzin Carmelo, Into the
West; S. Epatha Merkerson, Lackawanna Blues; Cynthia Nixon, Warm Springs;
Joanne Woodward, Empire Falls; Robin Wright Penn, Empire Falls.
Actor in a Drama Series: Alan Alda, The West Wing; Patrick Dempsey, Grey's
Anatomy; Hugh Laurie, House; Ian McShane, Deadwood; Kiefer Sutherland, 24.
Actress in a Drama Series: Patricia Arquette, Medium; Geena Davis, Commander
in Chief; Mariska Hargitay, Law & Order: Special Victims Unit; Sandra Oh,
Grey's Anatomy; Kyra Sedgwick, The Closer.
Actor in a Comedy Series: Larry David, Curb Your Enthusiasm; Sean Hayes,
Will & Grace; Jason Lee, My Name Is Earl; William Shatner, Boston Legal;
James Spader, Boston Legal.
Actress in a Comedy Series: Candice Bergen, Boston Legal; Patricia Heaton,
Everybody Loves Raymond; Felicity Huffman, Desperate Housewives; Megan
Mullally, Will & Grace; Mary-Louise Parker, Weeds.
Drama ensemble: The Closer, Grey's Anatomy, Lost, Six Feet Under, The West
Wing.
Comedy ensemble: Arrested Development, Boston Legal, Curb Your Enthusiasm,
Desperate Housewives, Everybody Loves Raymond, My Name Is Earl.
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http://news.independent.co.uk/uk/this_britain/article319546.ece
Daniel Craig's mother blows the new James Bond's cover
By Geneviève Roberts
Published: 14 October 2005
Amid speculation and rumours over who will replace Pierce Brosnan as the
world's most enigmatic spy, the biggest film industry secret was broken
yesterday, by Daniel Craig's mother.
"Obviously we are thrilled to bits," Carol Olivia said. "It has come at a
very good time in his career. He has worked extremely hard all his life and
this would be his biggest populist role. I think he could bring something
very interesting to the part. It will be life-changing," she told the
Liverpool Daily Post.
The new 007 has been a favourite of the producer Barbara Broccoli since she
began the search for Pierce Brosnan's replacement earlier this year.
And while both Sony or Craig's agent would not confirm the news, it seems
certain he will starring in the 21st Bond film, Casino Royale, which returns
to the start of the spy's career. The bookmaker William Hill refused to take
any more money on Craig, and filming is expected to start in January.
Clive Owen, Ewan McGregor, Jude Law and Colin Farrell were also named as
possible contenders for the role.
An official announcement confirming Craig will be the new Bond is expected
today. He will be the sixth James Bond but the first blond actor to play the
part, and, in contrast, to the Etonian background described by Ian Fleming
in his novels (though his education was curtailed by an incident with a
female teacher), Craig left secondary school at 16 and left the Wirral for
London.
He joined the National Youth Theatre and then Guildhall Drama College, where
he studied alongside Ralph Fiennes and Ewan McGregor. His film career began
with The Power of One in 1992, and he later gained recognition with the hit
TV series Our Friends in the North in 1996. He rose to prominence in
Hollywood in the 2002 Sam Mendes movie Road to Perdition with Tom Hanks,
Sylvia with Gwyneth Paltrow, and Enduring Love with Rhys Ifans. He also
played opposite Angelina Jolie in Lara Croft: Tomb Raiders.
He is said have had a relationship with Kate Moss and, last week, was linked
to Sienna Miller.
Antonia Quirke has described him as "easily the best, if not the only, actor
of his type in the country" in The Independent.
Popcorn Magazine said he was "One of Britain's finest and committed actors"
and Gaby Wood in The Observer said "his film roles show off an extraordinary
range, and an exceptional grasp of rawness and complication."
Casino Royale, an adaptation of Ian Fleming's first James Bond novel, will
be directed by GoldenEye film-maker Martin Campbell. In the book, the spy is
introduced as a more youthful and ruthless character than the films.
Screenwriter Paul Haggis has already said that the new Bond will be
reinvented as a younger character with no gadgets. Brosnan, who appeared in
four Bond films, is now 52.
Craig joins a Bond dynasty of Brosnan, Sir Sean Connery, Sir Roger Moore,
George Lazenby and Timothy Dalton. There was also an unofficial spoof of
Casino Royale featured David Niven as Bond in 1967.
It also seems likely that the life of Fleming will be made into a film after
Warner Bros have agreed to back a by Damian Stevenson. Fleming, a
journalist and a banker, drew his inspiration for the debonair,
vodka-martini-sipping spy from working with Naval Intelligence during the
Second World War.
Previous 007s
* SEAN CONNERY: 1962-1971
* GEORGE LAZENBY: 1969
* ROGER MOORE: 1973-1985
* TIMOTHY DALTON: 1987-1989
* PIERCE BROSNAN: 1995-2005
-
"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://comingsoon.net/news/topnews.php?id=11032
Robert Wade on Casino Royale
Source: Screen Daily August 31, 2005
With production set to begin in January on the 21st James Bond movie, Casino
Royale, a new 007 still hasn't been cast, but Oscar-nominated writer Paul
Haggis (Million Dollar Baby) has been hired to do a rewrite of the by
Neal Purvis and Robert Wade.
Wade confirmed this to Screen Daily and added that Haggis will be doing a
three-week polish on the duo's second draft of the .
"What I can say on behalf of me and Neal is that we completed all the work
we were contracted to do on Casino Royale," he said. "It has taken us a
year-and-a-half.
"Everything is written, including the structure - it just needs a polish. If
you can bring in a hot talented writer to polish it then great, it is normal
on this size of movie. I am sure Paul Haggis will do a great job."
While he wouldn't say whether or not he and Purvis would also write the 22nd
James Bond film, he did talk about adapting a Ian Fleming novel for the
first time. They previously wrote The World is Not Enough and Die Another
Day, but this time they used Fleming's novel as their source material.
"It's been different really. There is good solid material but it is set
around a game of cards and very contained. We are writing it as he has grown
to be now and there are expectations we have to meet. A lot of it is our own
material.
"It is quite different: it is the story that shows what formed his
character. It's great to be asked to adapt that and show it in a modern
context."
In related news, The Hollywood Reporter has published a thorough article
talking about all the actors who have been rumored and possibly in talks at
one point for the coveted role
- Celebrity Gossip
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