person of the day
susan sontag
I read her interviewed from the book today, kinda special writer, egotist, I keep thinking of her
Full Version: Person of The Day
it's a topic rather different than artists of the day, but similar............let's start
person of the day
susan sontag
I read her interviewed from the book today, kinda special writer, egotist, I keep thinking of her
person of the day
susan sontag
I read her interviewed from the book today, kinda special writer, egotist, I keep thinking of her
QUOTE(wirewalker @ Oct 13 2007, 12:31 AM) [snapback]112526[/snapback]
it's a topic rather different than artists of the day, but similar............let's start
person of the day
susan sontag
I read her interviewed from the book today, kinda special writer, egotist, I keep thinking of her
I had to write a paper on Susan Vs. Camille Paglia for a college class.
Have you read Susan's "Notes on Camp"?
My person of the day is Kathy Acker. Kathy was a terrific and challenging novelist/essayist very similar to Burroughs, Ballard & Burgess. I reread her novel KATHY GOES TO HAITI about once a year-it is in a volume of 3 novellas entitled LITERAL MADNESS. Some other cool novels of hers are BLOOD & GUTS IN HIGH SCHOOL and her rewrite of GREAT EXPECTATIONS. I guess Kathy used to come to Portland a lot during the early grunge days to see a lot of the early riott grrl stuff, but I never met her. Sadly, Kathy passed on from breast cancer in 1997. Her writing will always make her unforgettable.
QUOTE(katefan4 @ Oct 13 2007, 07:25 PM) [snapback]112558[/snapback]
I had to write a paper on Susan Vs. Camille Paglia for a college class.
Have you read Susan's "Notes on Camp"?
I would love robbery all of her books from the book store
person of the day: kate4fan
because he's being overexposure in this forum, that's a good thing, very famous guy here!!! I kiss him!
dyslexia, gotta love it.
jeana jamieson.
QUOTE(wirewalker @ Oct 15 2007, 09:59 PM) [snapback]112838[/snapback]
I would love robbery all of her books from the book store
person of the day: kate4fan
because he's being overexposure in this forum, that's a good thing, very famous guy here!!! I kiss him!
Well, thank you, sweetheart...(I think...)
I have been around here A Lot lately due to:
1. I am stuck here having to do indoor work-part of my work time is spent out in the field, but this time of year I have to do some other work that I am stuck inside for.
2. You guys are fun, feel very close to some (most) of you already & I actually fit in somewhere for a change.
3. I am a soon to be 36 year old, gay alcoholic (lately) with no other life other than music collecting & going to concerts occassionally anymore. I gave up smoking (long time ago), and most drugs-so you ain't taking the booze away from papa...
Thank you all for putting up with me.
Love,
Jeff
Katefan4
XXXOOO
you should smoke some pot, poppa
my person of the day is my fave actress
julia roberts!!!
Roberts (with Tom Hanks) in "Charlie Wilson's War"
Cinematheque honoree Roberts embodies 'magic something'
By Rebecca Ascher-Walsh
Oct 12, 2007
SWEET CINEMA: Key roles in Roberts' career
Ask producers, studio executives, directors and casting agents to define "that magic something" they spend their days seeking, and they will most likely shrug before saying falteringly, "You just know it when you see it." Or they'll just point to Julia Roberts.
In an era when most stars grow up in the spotlight or spend years struggling to get there, Robert's journey from high school student in Smyrna, Georgia, to international icon is as stunning as it was simple. The actress, who is being honored this year by American Cinematheque for her career achievements, moved to New York City, scored parts here and there on TV shows like "Crime Story" in 1987 and "Miami Vice" in 1988, and then landed a part in 1988's "Mystic Pizza." The coming-of-age story about three teenagers co-starred Lili Taylor and Annabeth Gish, but it was Roberts, as a waitress who falls for a guy from the right side of the tracks, who emerged as the dazzling discovery.
"I have a feeling that 'Mystic Pizza' may someday become known for the movie stars it showcased back before they became stars," critic Roger Ebert wrote presciently at the time, continuing, "Roberts is a major beauty with a fierce energy." A star is born, indeed.
In the intervening years, Roberts has built a career on that fierce energy -- becoming the biggest female movie star in the world. She was the first actress to command a $20 million paycheck, and that was before she picked up an Academy Award for her turn as a crusading single mother in Steven Soderbergh's "Erin Brockovich" (2000). In the last decade, she has built on that success, branching out as a producer and Broadway performer, not to mention possibly her most challenging role of all, mother to three young children.
"She's one of those people who can do anything, and she's never been afraid to take risks," says P.J. Hogan, who directed Roberts in 1997's "My Best Friend's Wedding." "There are a lot of roles she's played that other actors wouldn't have had the courage to."
In some ways, it seems that Roberts was destined for success. While many actors seem diminished in ensemble movies, being surrounded by other actors only made Roberts' star power all the more apparent: For 1989's "Steel Magnolias," directed by Herbert Ross, she played a Southern belle opposite the likes of Sally Field, Dolly Parton, Shirley MacLaine and Daryl Hannah. It was the perfect part for the young star, proving she could evoke vulnerability, humor and tenderness all with the same ease -- and throw in a wicked death scene to boot. The result, only two years into her movie career, was an Oscar nomination and a Golden Globe win.
Roberts didn't take her newfound fame sitting down, however. Garry Marshall, who directed 1990's "Pretty Woman," remembers that when he first met the actress, she couldn't contain her nervous energy. "She leaned against things. She jumped around. But she never sat," says Marshall, who would go on to incorporate the tic into Roberts' character. Oddly enough, she seemed just as uncomfortable during her initial screen tests for the unlikely role of a prostitute with a heart of gold searching for her Prince Charming.
Marshall recalls that none of the potential leading men managed to ignite any chemistry with Roberts. "It's not like she said, 'Hello, my name is Julia Roberts' and then did three jokes, and I just didn't know her," he explains. After two screen tests fell flat, the director called in a favor from his friend Charles Grodin. "I said to her, 'He's not going to stick to the script, so just try to follow along in character.' And she was marvelous. She has a certain free spirit, and when she laughs naturally, she just lights up the screen. I remember calling Jeffrey Katzenberg and saying, 'Cast the guy, because I've got a movie. I know how to make her work, and she's a champion.'"
Ultimately, the film would become a pop culture touchstone, earning $178 million domestically on a budget of $14 million and yielding a Golden Globe win and an Oscar nomination for Roberts. Of course, "Woman" also launched her into that rare stratosphere of celebrity reserved for only the industry's biggest stars. "We used to go out and grab something to eat during filming," Marshall remembers. "But after the picture came out, we'd go to the same restaurants, and we'd have to enter and leave through the kitchen while another car that looked like hers went in one direction to throw people off while she got in another. She was the same girl, but life had changed on her."
As Roberts' audience allure continued to rise, so did her salary. She earned $300,000 for "Woman," $500,000 for Joel Schumacher's 1990 thriller "Flatliners" and $1 million for her role as a woman on the run from her abusive husband in Joseph Ruben's 1991 hit "Sleeping With the Enemy." That same year, Roberts appeared in two somewhat less successful ventures -- Schumacher's tragic love story "Dying Young" and Steven Spielberg's $70 million production "Hook" -- but she did manage to bring home $7 million for the latter film.
Choosing roles that interested her and keeping her focus on the job at hand helped Roberts ride out the doldrums, according to those closest to her. Director Hogan remembers being especially impressed by the way Roberts could block out a host of onlookers screaming her name in order to nail a scene in "My Best Friend's Wedding."
Hogan remembers how nervous he was during his first meeting with the actress. "I remember being sure she'd see I had no idea what I was doing," says the director, whose only credit at the time was 1994's Australian import "Muriel's Wedding." "But she's such an enormously generous person, she went out of her way to make me feel comfortable. I remember looking up and thinking it was Julia Roberts, but somebody fun and normal was inhabiting her body."
As for any fears he might have directing her, they quickly dissipated when he realized he just had to "turn the camera on and see what happened," he says. "She'd throw curveballs, and when they connected, they were hilarious. I know this may sound strange, but I didn't understand what a movie star was at the time. Then I saw the first few days of dailies, and I knew. There's something that happens between Julia's face and the camera, and you're entirely unaware of it on set, but there it is. There's a magic that takes place that you just can't account for."
Roger Michell, who directed Roberts in 1999's "Notting Hill," recalls a similar experience. "When you say 'action,' something very odd happens," he says. "She comes alive in the lens in the most extraordinary way. It's not quite like life itself, but a sort of superconcentrated superlife. I've never known an actor like it. She does spontaneity better than anyone else, and she does it take after take."
Her natural screen presence certainly contributed to the boxoffice prospects of her films, with "Notting Hill" taking in more than $116 million and 1999's "Runaway Bride," her reteaming with Marshall and "Pretty Woman" co-star Richard Gere, raking in more than $152 million at the boxoffice.
It was that back-to-back success that would push Roberts' salary to $20 million when she signed on to play the lead in "Erin Brockovich," the story of a real-life crusader. The role cast Roberts in a new dramatic light and earned her an Oscar. "I remember thinking Julia would get an Oscar," Hogan says. "I was just so glad it was so quick."
Just as quickly, Roberts returned to choosing roles on her own terms, taking parts in Soderbergh's 2001 heist flick "Ocean's Eleven" and its 2004 follow-up, "Ocean's Twelve," as well as a small part in her "Ocean's" co-star George Clooney's 2002 feature directorial debut, "Confessions of a Dangerous Mind." She also began upping her power as a producer through her company, Red Om Films, which is behind the "American Girl" series of TV movies and a feature film now in production, "Kitt Kittredge: An American Girl Mystery," which is set to release next summer. As for more adult-minded fare, Red Om is developing the film adaptation of Kathleen Jacobs' novel, "The Friday Night Knitting Club," to which Roberts is attached to star.
Even though she's chosen to step out of the spotlight for the last several years -- in order to raise a family with cinematographer Danny Moder and to try her luck on Broadway with a revival of Richard Greenberg's "Three Days of Rain" last year -- Roberts hasn't exactly left Hollywood behind. In December, she'll appear opposite Tom Hanks in Universal's anticipated release "Charlie Wilson's War," directed by Mike Nichols and based on Texas congressman Wilson's covert dealings in Afghanistan. She's also set to take a part in Dennis Lee's autobiographical drama "Fireflies in the Garden," due out next year.
Lee believes that Roberts' experience as a mother might have added more depth to her as an actress, but it clearly hasn't dampened her spontaneity. The writer-director remembers that while he was interviewing Moder -- who has since signed on to be his director of cinematography -- he mentioned that he had given the script to Roberts. The following day, Roberts asked the director to meet her at a cafe near her home in Venice, Calif.
"Her agents didn't know we were meeting, and neither did mine," Lee says. "We talked about the script, and at the end of the meeting, she said, 'Well, I think it's time to call my agents and let them know I'm going to be a part of it.'"
According to Lee, she sat still the whole time.
link
my person of the day is my fave actress
julia roberts!!!
Roberts (with Tom Hanks) in "Charlie Wilson's War"
Cinematheque honoree Roberts embodies 'magic something'
By Rebecca Ascher-Walsh
Oct 12, 2007
SWEET CINEMA: Key roles in Roberts' career
Ask producers, studio executives, directors and casting agents to define "that magic something" they spend their days seeking, and they will most likely shrug before saying falteringly, "You just know it when you see it." Or they'll just point to Julia Roberts.
In an era when most stars grow up in the spotlight or spend years struggling to get there, Robert's journey from high school student in Smyrna, Georgia, to international icon is as stunning as it was simple. The actress, who is being honored this year by American Cinematheque for her career achievements, moved to New York City, scored parts here and there on TV shows like "Crime Story" in 1987 and "Miami Vice" in 1988, and then landed a part in 1988's "Mystic Pizza." The coming-of-age story about three teenagers co-starred Lili Taylor and Annabeth Gish, but it was Roberts, as a waitress who falls for a guy from the right side of the tracks, who emerged as the dazzling discovery.
"I have a feeling that 'Mystic Pizza' may someday become known for the movie stars it showcased back before they became stars," critic Roger Ebert wrote presciently at the time, continuing, "Roberts is a major beauty with a fierce energy." A star is born, indeed.
In the intervening years, Roberts has built a career on that fierce energy -- becoming the biggest female movie star in the world. She was the first actress to command a $20 million paycheck, and that was before she picked up an Academy Award for her turn as a crusading single mother in Steven Soderbergh's "Erin Brockovich" (2000). In the last decade, she has built on that success, branching out as a producer and Broadway performer, not to mention possibly her most challenging role of all, mother to three young children.
"She's one of those people who can do anything, and she's never been afraid to take risks," says P.J. Hogan, who directed Roberts in 1997's "My Best Friend's Wedding." "There are a lot of roles she's played that other actors wouldn't have had the courage to."
In some ways, it seems that Roberts was destined for success. While many actors seem diminished in ensemble movies, being surrounded by other actors only made Roberts' star power all the more apparent: For 1989's "Steel Magnolias," directed by Herbert Ross, she played a Southern belle opposite the likes of Sally Field, Dolly Parton, Shirley MacLaine and Daryl Hannah. It was the perfect part for the young star, proving she could evoke vulnerability, humor and tenderness all with the same ease -- and throw in a wicked death scene to boot. The result, only two years into her movie career, was an Oscar nomination and a Golden Globe win.
Roberts didn't take her newfound fame sitting down, however. Garry Marshall, who directed 1990's "Pretty Woman," remembers that when he first met the actress, she couldn't contain her nervous energy. "She leaned against things. She jumped around. But she never sat," says Marshall, who would go on to incorporate the tic into Roberts' character. Oddly enough, she seemed just as uncomfortable during her initial screen tests for the unlikely role of a prostitute with a heart of gold searching for her Prince Charming.
Marshall recalls that none of the potential leading men managed to ignite any chemistry with Roberts. "It's not like she said, 'Hello, my name is Julia Roberts' and then did three jokes, and I just didn't know her," he explains. After two screen tests fell flat, the director called in a favor from his friend Charles Grodin. "I said to her, 'He's not going to stick to the script, so just try to follow along in character.' And she was marvelous. She has a certain free spirit, and when she laughs naturally, she just lights up the screen. I remember calling Jeffrey Katzenberg and saying, 'Cast the guy, because I've got a movie. I know how to make her work, and she's a champion.'"
Ultimately, the film would become a pop culture touchstone, earning $178 million domestically on a budget of $14 million and yielding a Golden Globe win and an Oscar nomination for Roberts. Of course, "Woman" also launched her into that rare stratosphere of celebrity reserved for only the industry's biggest stars. "We used to go out and grab something to eat during filming," Marshall remembers. "But after the picture came out, we'd go to the same restaurants, and we'd have to enter and leave through the kitchen while another car that looked like hers went in one direction to throw people off while she got in another. She was the same girl, but life had changed on her."
As Roberts' audience allure continued to rise, so did her salary. She earned $300,000 for "Woman," $500,000 for Joel Schumacher's 1990 thriller "Flatliners" and $1 million for her role as a woman on the run from her abusive husband in Joseph Ruben's 1991 hit "Sleeping With the Enemy." That same year, Roberts appeared in two somewhat less successful ventures -- Schumacher's tragic love story "Dying Young" and Steven Spielberg's $70 million production "Hook" -- but she did manage to bring home $7 million for the latter film.
Choosing roles that interested her and keeping her focus on the job at hand helped Roberts ride out the doldrums, according to those closest to her. Director Hogan remembers being especially impressed by the way Roberts could block out a host of onlookers screaming her name in order to nail a scene in "My Best Friend's Wedding."
Hogan remembers how nervous he was during his first meeting with the actress. "I remember being sure she'd see I had no idea what I was doing," says the director, whose only credit at the time was 1994's Australian import "Muriel's Wedding." "But she's such an enormously generous person, she went out of her way to make me feel comfortable. I remember looking up and thinking it was Julia Roberts, but somebody fun and normal was inhabiting her body."
As for any fears he might have directing her, they quickly dissipated when he realized he just had to "turn the camera on and see what happened," he says. "She'd throw curveballs, and when they connected, they were hilarious. I know this may sound strange, but I didn't understand what a movie star was at the time. Then I saw the first few days of dailies, and I knew. There's something that happens between Julia's face and the camera, and you're entirely unaware of it on set, but there it is. There's a magic that takes place that you just can't account for."
Roger Michell, who directed Roberts in 1999's "Notting Hill," recalls a similar experience. "When you say 'action,' something very odd happens," he says. "She comes alive in the lens in the most extraordinary way. It's not quite like life itself, but a sort of superconcentrated superlife. I've never known an actor like it. She does spontaneity better than anyone else, and she does it take after take."
Her natural screen presence certainly contributed to the boxoffice prospects of her films, with "Notting Hill" taking in more than $116 million and 1999's "Runaway Bride," her reteaming with Marshall and "Pretty Woman" co-star Richard Gere, raking in more than $152 million at the boxoffice.
It was that back-to-back success that would push Roberts' salary to $20 million when she signed on to play the lead in "Erin Brockovich," the story of a real-life crusader. The role cast Roberts in a new dramatic light and earned her an Oscar. "I remember thinking Julia would get an Oscar," Hogan says. "I was just so glad it was so quick."
Just as quickly, Roberts returned to choosing roles on her own terms, taking parts in Soderbergh's 2001 heist flick "Ocean's Eleven" and its 2004 follow-up, "Ocean's Twelve," as well as a small part in her "Ocean's" co-star George Clooney's 2002 feature directorial debut, "Confessions of a Dangerous Mind." She also began upping her power as a producer through her company, Red Om Films, which is behind the "American Girl" series of TV movies and a feature film now in production, "Kitt Kittredge: An American Girl Mystery," which is set to release next summer. As for more adult-minded fare, Red Om is developing the film adaptation of Kathleen Jacobs' novel, "The Friday Night Knitting Club," to which Roberts is attached to star.
Even though she's chosen to step out of the spotlight for the last several years -- in order to raise a family with cinematographer Danny Moder and to try her luck on Broadway with a revival of Richard Greenberg's "Three Days of Rain" last year -- Roberts hasn't exactly left Hollywood behind. In December, she'll appear opposite Tom Hanks in Universal's anticipated release "Charlie Wilson's War," directed by Mike Nichols and based on Texas congressman Wilson's covert dealings in Afghanistan. She's also set to take a part in Dennis Lee's autobiographical drama "Fireflies in the Garden," due out next year.
Lee believes that Roberts' experience as a mother might have added more depth to her as an actress, but it clearly hasn't dampened her spontaneity. The writer-director remembers that while he was interviewing Moder -- who has since signed on to be his director of cinematography -- he mentioned that he had given the script to Roberts. The following day, Roberts asked the director to meet her at a cafe near her home in Venice, Calif.
"Her agents didn't know we were meeting, and neither did mine," Lee says. "We talked about the script, and at the end of the meeting, she said, 'Well, I think it's time to call my agents and let them know I'm going to be a part of it.'"
According to Lee, she sat still the whole time.
link
I didn't know you were such a freak about da Juila...
heh
so am..
so am..
persons of the day
father: dee some
mother: heung wong
I don't wanna live like my father
I don't wanna live like my mother
he used to be a heroin sucker
she used to be a beautiful women
father is a suicide poem
mother is a sad song
I wish I'm a orphan
I wish I don't have motherfathersisterbrother
there's no teas on my face
nothing can make me cry except onion
I don't putting any candy in my mouth
I don't stop when I was tired
I only stop when I die
father: dee some
mother: heung wong
I don't wanna live like my father
I don't wanna live like my mother
he used to be a heroin sucker
she used to be a beautiful women
father is a suicide poem
mother is a sad song
I wish I'm a orphan
I wish I don't have motherfathersisterbrother
there's no teas on my face
nothing can make me cry except onion
I don't putting any candy in my mouth
I don't stop when I was tired
I only stop when I die
a old time american supermodel from texas
jerry hall
jerry hall
The crow outside my window. It's kind of... barking?
It's a bit of a legend in my eyes. I might invite it in for tea.
It's a bit of a legend in my eyes. I might invite it in for tea.
invite the crow sex with you 
QUOTE(wooden and alone @ Oct 16 2007, 03:39 PM) [snapback]112879[/snapback]
you should smoke some pot, poppa
my person of the day is my fave actress
julia roberts!!!
Roberts (with Tom Hanks) in "Charlie Wilson's War"
Cinematheque honoree Roberts embodies 'magic something'
By Rebecca Ascher-Walsh
Oct 12, 2007
SWEET CINEMA: Key roles in Roberts' career
Ask producers, studio executives, directors and casting agents to define "that magic something" they spend their days seeking, and they will most likely shrug before saying falteringly, "You just know it when you see it." Or they'll just point to Julia Roberts.
In an era when most stars grow up in the spotlight or spend years struggling to get there, Robert's journey from high school student in Smyrna, Georgia, to international icon is as stunning as it was simple. The actress, who is being honored this year by American Cinematheque for her career achievements, moved to New York City, scored parts here and there on TV shows like "Crime Story" in 1987 and "Miami Vice" in 1988, and then landed a part in 1988's "Mystic Pizza." The coming-of-age story about three teenagers co-starred Lili Taylor and Annabeth Gish, but it was Roberts, as a waitress who falls for a guy from the right side of the tracks, who emerged as the dazzling discovery.
"I have a feeling that 'Mystic Pizza' may someday become known for the movie stars it showcased back before they became stars," critic Roger Ebert wrote presciently at the time, continuing, "Roberts is a major beauty with a fierce energy." A star is born, indeed.
In the intervening years, Roberts has built a career on that fierce energy -- becoming the biggest female movie star in the world. She was the first actress to command a $20 million paycheck, and that was before she picked up an Academy Award for her turn as a crusading single mother in Steven Soderbergh's "Erin Brockovich" (2000). In the last decade, she has built on that success, branching out as a producer and Broadway performer, not to mention possibly her most challenging role of all, mother to three young children.
"She's one of those people who can do anything, and she's never been afraid to take risks," says P.J. Hogan, who directed Roberts in 1997's "My Best Friend's Wedding." "There are a lot of roles she's played that other actors wouldn't have had the courage to."
In some ways, it seems that Roberts was destined for success. While many actors seem diminished in ensemble movies, being surrounded by other actors only made Roberts' star power all the more apparent: For 1989's "Steel Magnolias," directed by Herbert Ross, she played a Southern belle opposite the likes of Sally Field, Dolly Parton, Shirley MacLaine and Daryl Hannah. It was the perfect part for the young star, proving she could evoke vulnerability, humor and tenderness all with the same ease -- and throw in a wicked death scene to boot. The result, only two years into her movie career, was an Oscar nomination and a Golden Globe win.
Roberts didn't take her newfound fame sitting down, however. Garry Marshall, who directed 1990's "Pretty Woman," remembers that when he first met the actress, she couldn't contain her nervous energy. "She leaned against things. She jumped around. But she never sat," says Marshall, who would go on to incorporate the tic into Roberts' character. Oddly enough, she seemed just as uncomfortable during her initial screen tests for the unlikely role of a prostitute with a heart of gold searching for her Prince Charming.
Marshall recalls that none of the potential leading men managed to ignite any chemistry with Roberts. "It's not like she said, 'Hello, my name is Julia Roberts' and then did three jokes, and I just didn't know her," he explains. After two screen tests fell flat, the director called in a favor from his friend Charles Grodin. "I said to her, 'He's not going to stick to the script, so just try to follow along in character.' And she was marvelous. She has a certain free spirit, and when she laughs naturally, she just lights up the screen. I remember calling Jeffrey Katzenberg and saying, 'Cast the guy, because I've got a movie. I know how to make her work, and she's a champion.'"
Ultimately, the film would become a pop culture touchstone, earning $178 million domestically on a budget of $14 million and yielding a Golden Globe win and an Oscar nomination for Roberts. Of course, "Woman" also launched her into that rare stratosphere of celebrity reserved for only the industry's biggest stars. "We used to go out and grab something to eat during filming," Marshall remembers. "But after the picture came out, we'd go to the same restaurants, and we'd have to enter and leave through the kitchen while another car that looked like hers went in one direction to throw people off while she got in another. She was the same girl, but life had changed on her."
As Roberts' audience allure continued to rise, so did her salary. She earned $300,000 for "Woman," $500,000 for Joel Schumacher's 1990 thriller "Flatliners" and $1 million for her role as a woman on the run from her abusive husband in Joseph Ruben's 1991 hit "Sleeping With the Enemy." That same year, Roberts appeared in two somewhat less successful ventures -- Schumacher's tragic love story "Dying Young" and Steven Spielberg's $70 million production "Hook" -- but she did manage to bring home $7 million for the latter film.
Choosing roles that interested her and keeping her focus on the job at hand helped Roberts ride out the doldrums, according to those closest to her. Director Hogan remembers being especially impressed by the way Roberts could block out a host of onlookers screaming her name in order to nail a scene in "My Best Friend's Wedding."
Hogan remembers how nervous he was during his first meeting with the actress. "I remember being sure she'd see I had no idea what I was doing," says the director, whose only credit at the time was 1994's Australian import "Muriel's Wedding." "But she's such an enormously generous person, she went out of her way to make me feel comfortable. I remember looking up and thinking it was Julia Roberts, but somebody fun and normal was inhabiting her body."
As for any fears he might have directing her, they quickly dissipated when he realized he just had to "turn the camera on and see what happened," he says. "She'd throw curveballs, and when they connected, they were hilarious. I know this may sound strange, but I didn't understand what a movie star was at the time. Then I saw the first few days of dailies, and I knew. There's something that happens between Julia's face and the camera, and you're entirely unaware of it on set, but there it is. There's a magic that takes place that you just can't account for."
Roger Michell, who directed Roberts in 1999's "Notting Hill," recalls a similar experience. "When you say 'action,' something very odd happens," he says. "She comes alive in the lens in the most extraordinary way. It's not quite like life itself, but a sort of superconcentrated superlife. I've never known an actor like it. She does spontaneity better than anyone else, and she does it take after take."
Her natural screen presence certainly contributed to the boxoffice prospects of her films, with "Notting Hill" taking in more than $116 million and 1999's "Runaway Bride," her reteaming with Marshall and "Pretty Woman" co-star Richard Gere, raking in more than $152 million at the boxoffice.
It was that back-to-back success that would push Roberts' salary to $20 million when she signed on to play the lead in "Erin Brockovich," the story of a real-life crusader. The role cast Roberts in a new dramatic light and earned her an Oscar. "I remember thinking Julia would get an Oscar," Hogan says. "I was just so glad it was so quick."
Just as quickly, Roberts returned to choosing roles on her own terms, taking parts in Soderbergh's 2001 heist flick "Ocean's Eleven" and its 2004 follow-up, "Ocean's Twelve," as well as a small part in her "Ocean's" co-star George Clooney's 2002 feature directorial debut, "Confessions of a Dangerous Mind." She also began upping her power as a producer through her company, Red Om Films, which is behind the "American Girl" series of TV movies and a feature film now in production, "Kitt Kittredge: An American Girl Mystery," which is set to release next summer. As for more adult-minded fare, Red Om is developing the film adaptation of Kathleen Jacobs' novel, "The Friday Night Knitting Club," to which Roberts is attached to star.
Even though she's chosen to step out of the spotlight for the last several years -- in order to raise a family with cinematographer Danny Moder and to try her luck on Broadway with a revival of Richard Greenberg's "Three Days of Rain" last year -- Roberts hasn't exactly left Hollywood behind. In December, she'll appear opposite Tom Hanks in Universal's anticipated release "Charlie Wilson's War," directed by Mike Nichols and based on Texas congressman Wilson's covert dealings in Afghanistan. She's also set to take a part in Dennis Lee's autobiographical drama "Fireflies in the Garden," due out next year.
Lee believes that Roberts' experience as a mother might have added more depth to her as an actress, but it clearly hasn't dampened her spontaneity. The writer-director remembers that while he was interviewing Moder -- who has since signed on to be his director of cinematography -- he mentioned that he had given the script to Roberts. The following day, Roberts asked the director to meet her at a cafe near her home in Venice, Calif.
"Her agents didn't know we were meeting, and neither did mine," Lee says. "We talked about the script, and at the end of the meeting, she said, 'Well, I think it's time to call my agents and let them know I'm going to be a part of it.'"
According to Lee, she sat still the whole time.
link
QUOTE(wirewalker @ Oct 17 2007, 06:17 PM) [snapback]113116[/snapback]
a old time american supermodel from texas
jerry hall
I would never have left Bryan Ferry if I were her...especially for Mick...
cindy margolis.
ellen degeneres
for her lunatic sobbing about a dog
QUOTE(wooden and alone @ Oct 18 2007, 10:14 PM) [snapback]113270[/snapback]
ellen degeneres
for her lunatic sobbing about a dog
That came up over at camp. (ie, the whole bruhaha about her sobbing and giving away a pet that was rescued that was supposed to be returned to the rescue place if there were problems).
It's just too weird...
she's lost a lot respect from me over that. seriously. she thinks because she is a celebrity she can break the rules. i'm actually tired of this kind of crap.
I am sure she is heart broken to hear that.
i shit on the emotional, delusional lesbot
Oh Marlon, you’re such a cooz.
I know nothing about this women, but it's so obsessed with my head, maybe her
lee miller
lee miller
probably became the enormous muse of so many fucked up fashion designer, courtney rules!!!
courtney love
courtney love
Good choice WW – I love her.
For WW, my Top 5 Hole/Courtney tunes...
1. Plump
2. Miss World
3. Celebrity Skin
4. Malibu
5. Asking For It
1. Plump
2. Miss World
3. Celebrity Skin
4. Malibu
5. Asking For It
courtney is looking kinda nice nowadays. too bad she's still a starfucker.
my fave hole songs (i say Hole because i don't think much about her solo album) are Doll Parts, Violet, Northern Star, Malibu, Petals.
my fave hole songs (i say Hole because i don't think much about her solo album) are Doll Parts, Violet, Northern Star, Malibu, Petals.
outside of debut album, the second hole and the third hole album is my absolutely favorite, how can grunge music without courtney?
my favorite song: all
god's creative son
my favorite song: all
god's creative son
a leo german boy who's 27th who I meet yesterday
because he's very talkative!
and
lisa germano
because he's very talkative!
and
lisa germano
Don't know if I love her, but she is still amazing.
Her name is Laura, and I care about her more than anything.
And I don't know if she feels the same, but whatever makes her happy is all that matters.
Her name is Laura, and I care about her more than anything.
And I don't know if she feels the same, but whatever makes her happy is all that matters.
My person of the day is the great Ms. Elizabeth Taylor-one of my very fav actresses of all time. While Elizabeth was always beautiful & gorgeous, she really hit her artistic peak in the 60's-I have been having a very Liz 60's day today & she has been totally on my mind.
Her Greatest Role-"Who's Afraid of Virginia Woolf"-a Classic Performance for which she won her second Oscar!
"Secret Ceremony"-a wonderfully bizarre film she is in with young Mia Farrow. I love it when you hear Liz snap "GET OFF MY BACK YOU LITTLE BITCH!" to Mia...
I think Liz is the most beautiful in "Reflections in A Golden Eye," another bizarre 60's film. Based on Carson McCullers' novel it concerns the homosexuality of Liz's army colonel husband played by Marlon Brando. My grandmother always remembers the male bare butt scene from when she it on the big screen the first time around. Twisted movie!! Liz refers to MArlon as "Prissy" & goes after him with a riding crop when he does not treat her horse properly.
Another fav film-"Boom!"-Liz portrays Flora Goforth. Tennessee Williams considers this his fav of his movie versions, though critics & the public hated it at the time. Liz is just beyond fab in this one!
Her Greatest Role-"Who's Afraid of Virginia Woolf"-a Classic Performance for which she won her second Oscar!
"Secret Ceremony"-a wonderfully bizarre film she is in with young Mia Farrow. I love it when you hear Liz snap "GET OFF MY BACK YOU LITTLE BITCH!" to Mia...
I think Liz is the most beautiful in "Reflections in A Golden Eye," another bizarre 60's film. Based on Carson McCullers' novel it concerns the homosexuality of Liz's army colonel husband played by Marlon Brando. My grandmother always remembers the male bare butt scene from when she it on the big screen the first time around. Twisted movie!! Liz refers to MArlon as "Prissy" & goes after him with a riding crop when he does not treat her horse properly.
Another fav film-"Boom!"-Liz portrays Flora Goforth. Tennessee Williams considers this his fav of his movie versions, though critics & the public hated it at the time. Liz is just beyond fab in this one!
The wonderful Sylvia Plath.
I've really been into her stuff lately
My Person of the Day is my favorite classic film actress-Joan Crawford
I spent a lot of my twenties obsessed with Ms. Crawford & her films. Say what you will about her, she was still probably the most hypnotizing woman to appear on film. While I love Bette Davis, too, I almost find Joan's performances to be less mannered & melodramatic. I can understand why a lot of modern actresses cite her as a real influence.
I know Joan was far from being a "nice" person. I used to vilify Christina, but think, in many ways, she was being brutally honest about her mother-I think the film version of Mommie Dearest, though, is totally camp & quite unrealistic, unlike the book version.
Joan is also an example of how the hand of abuse to one generation (Joan had a Dickens like childhood herself ripe with beatings, incest, etc.) is carried forward to the next (her often harsh treatment of her own children).
But for all that can be said negatively of Joan, she also could be warm, generous, and her films are totally worth discovering if you have not already.
Joan in Mildred Pierce-One of my very fav films & for which she won her Oscar.
I consider Possessed (1947) to be Joan's finest performance-she won the second of her three Oscar nominations.
^ The Movie "Whatever Happened to Baby Jane". Joan and Bette Davis. Disturbing, but a must see.
dora marr
one of the women of picasso but maybe the most famous one, dora`s tears inspired me alot, she inspired me to drawing é picture, thinking about to go to the musee picasson to viist dora, I hope dora is there
one of the women of picasso but maybe the most famous one, dora`s tears inspired me alot, she inspired me to drawing é picture, thinking about to go to the musee picasson to viist dora, I hope dora is there
Lucky
a professional spammer
a professional spammer
My Person of the Day is Virginia Woolf.
My personal favs of her novels:
Mrs. Dalloway
To The Lighthouse
The Waves
Between the Acts
Her writing can be difficult to get into, I admit, but the rewards are worth it.
my person of the day is Toni Halliday
myspace
QUOTE
Antoinette "Toni" Halliday is a British musician best known as the lead vocalist, lyricist, and occasional guitarist of the band Curve.
Halliday was born on 5 July 1964 in Parsons Green, Fulham, and brought up in various locations across Europe. When her father abandoned his wife and children following a run-in with the law in Greece, the Halliday family returned to the UK, and eventually settled in Washington New Town, Tyne and Wear.
From 1978 to 1980, Halliday was the lead vocalist in a punk rock band initially named The Incest, which - for obvious reasons - was quickly renamed Photofitz. The band's other members were lead guitarist Ian "Kent" Mckinnell, drummer Graham "Pro" Littlewood, and bassist Dale Smith.
The first commercially-released recording to feature Toni Halliday was the single "The Smile and the Kiss" (1983) by the group Bonk, on which she performed uncredited backing vocals. The following year, Halliday's new band The Uncles released the single "What's the Use of Pretending"; the singer then returned to performing backing vocals for other artists, and was featured on the Robert Plant album Shaken 'n' Stirred (1985), and its follow-up Now and Zen (1988).
In 1985, Halliday and multi-instrumentalist Dean Garcia formed the band State Of Play together with Garcia's wife and Eurythmics drummer Olle Romö. The following year, State Of Play released an LP on Virgin Records titled "Balancing the Scales" - a non-hit album that spawned two non-hit singles: "Natural Colour" and "Rock-a-bye Baby".
After the subsequent demise of State Of Play, Halliday launched an only marginally more successful solo career. Her album Hearts And Handshakes (produced by the singer with Alan Moulder) was released in 1989, and four singles were taken from it: "Weekday", "Love Attaction", "Time Turns Around", and "Woman In Mind". Dean Garcia also played on the album, even though he and Halliday were not on speaking terms during this period.
Collaborating once again with Dean Garcia following the reconciliation of their differences, Halliday served as the lead singer of Curve from 1990 to 31 January 2005. The group released a number of singles, EPs, and full-length albums; the latter include the following: Doppelgänger (1992), Cuckoo (1993), Come Clean (1998), Open Day at the Hate Fest (2001), Gift (2001), The New Adventures of Curve (2002), and the compilation The Way of Curve (2004).
Toni Halliday's style of singing on the recordings released by Curve — influenced at the same time by the deep, warm tone of The Pretenders' Chrissie Hynde and the more exotic neo-Goth warble of the Cocteau Twins' Elizabeth Fraser — could be argued to have been an influence on Shirley Manson, vocalist of post-grunge pop-rockers Garbage.
Halliday was born on 5 July 1964 in Parsons Green, Fulham, and brought up in various locations across Europe. When her father abandoned his wife and children following a run-in with the law in Greece, the Halliday family returned to the UK, and eventually settled in Washington New Town, Tyne and Wear.
From 1978 to 1980, Halliday was the lead vocalist in a punk rock band initially named The Incest, which - for obvious reasons - was quickly renamed Photofitz. The band's other members were lead guitarist Ian "Kent" Mckinnell, drummer Graham "Pro" Littlewood, and bassist Dale Smith.
The first commercially-released recording to feature Toni Halliday was the single "The Smile and the Kiss" (1983) by the group Bonk, on which she performed uncredited backing vocals. The following year, Halliday's new band The Uncles released the single "What's the Use of Pretending"; the singer then returned to performing backing vocals for other artists, and was featured on the Robert Plant album Shaken 'n' Stirred (1985), and its follow-up Now and Zen (1988).
In 1985, Halliday and multi-instrumentalist Dean Garcia formed the band State Of Play together with Garcia's wife and Eurythmics drummer Olle Romö. The following year, State Of Play released an LP on Virgin Records titled "Balancing the Scales" - a non-hit album that spawned two non-hit singles: "Natural Colour" and "Rock-a-bye Baby".
After the subsequent demise of State Of Play, Halliday launched an only marginally more successful solo career. Her album Hearts And Handshakes (produced by the singer with Alan Moulder) was released in 1989, and four singles were taken from it: "Weekday", "Love Attaction", "Time Turns Around", and "Woman In Mind". Dean Garcia also played on the album, even though he and Halliday were not on speaking terms during this period.
Collaborating once again with Dean Garcia following the reconciliation of their differences, Halliday served as the lead singer of Curve from 1990 to 31 January 2005. The group released a number of singles, EPs, and full-length albums; the latter include the following: Doppelgänger (1992), Cuckoo (1993), Come Clean (1998), Open Day at the Hate Fest (2001), Gift (2001), The New Adventures of Curve (2002), and the compilation The Way of Curve (2004).
Toni Halliday's style of singing on the recordings released by Curve — influenced at the same time by the deep, warm tone of The Pretenders' Chrissie Hynde and the more exotic neo-Goth warble of the Cocteau Twins' Elizabeth Fraser — could be argued to have been an influence on Shirley Manson, vocalist of post-grunge pop-rockers Garbage.
myspace
Pretty picture of Toni!!
I wish she would come back! I don't think she wants to, but I wish she would!
I wish she would come back! I don't think she wants to, but I wish she would!
lisa cant
one of the top model all the time, I saw her the other day in paris, after I went to visit the east train station ( gare de l`est), she`s taking a bike and ran so fast, her eyes were so big, very stunning model, it`s so obsessed in my head, I`m so happy to see her, really
people could be search her name in youtube.com
one of the top model all the time, I saw her the other day in paris, after I went to visit the east train station ( gare de l`est), she`s taking a bike and ran so fast, her eyes were so big, very stunning model, it`s so obsessed in my head, I`m so happy to see her, really
people could be search her name in youtube.com
lovely face
almost freakishly big eyes
mine is Ian Curtis
almost freakishly big eyes
mine is Ian Curtis
I love one song
oh love
love will tears us apart again..............
oh love
love will tears us apart again..............
QUOTE(wooden and alone @ Nov 24 2007, 06:15 AM) [snapback]116509[/snapback]
lovely face
almost freakishly big eyes
mine is Ian Curtis
I still love & respect him, but have had several friends of mine through the years practically get close to suicide themselves they were so deep in their emulation. I will always love him-but with caution & always remember he didn't really find the answer...
he was 23 when he died, right
how sad
he was an epileptic, it seemed
how sad
he was an epileptic, it seemed
For Fub-
My personal fav Joy Division
Confusion in her eyes that says it all -
She's lost control
And she's clinging to the nearest passer-by
She's lost control
And she gave away the secrets of her past
And said "I've lost control again."
And she turned to me
and took me by the hand
and said "I've lost control again"
and how I'll never know just why
or understand
She said "I've lost control again"
And she screamed out, kicking on her side
And seized up on the floor -
I thought she'd died
She said "I've lost control again"
She's lost control again -
she's lost control
Well I had to phone her friend
to state her case and say
she's lost control again
And she showed up all the errors
and mistakes
and said "I've lost control again"
But she expressed herself in many
different ways
until she'd control again
And walked upon the edge of no escape
and laughed "I've lost control again"
She's lost control again,
she's lost control...
My personal fav Joy Division
Confusion in her eyes that says it all -
She's lost control
And she's clinging to the nearest passer-by
She's lost control
And she gave away the secrets of her past
And said "I've lost control again."
And she turned to me
and took me by the hand
and said "I've lost control again"
and how I'll never know just why
or understand
She said "I've lost control again"
And she screamed out, kicking on her side
And seized up on the floor -
I thought she'd died
She said "I've lost control again"
She's lost control again -
she's lost control
Well I had to phone her friend
to state her case and say
she's lost control again
And she showed up all the errors
and mistakes
and said "I've lost control again"
But she expressed herself in many
different ways
until she'd control again
And walked upon the edge of no escape
and laughed "I've lost control again"
She's lost control again,
she's lost control...
QUOTE(wooden and alone @ Oct 18 2007, 07:14 PM) [snapback]113270[/snapback]
ellen degeneres
for her lunatic sobbing about a dog
I just reread this post & am just CRACKING up...
I HATE that woman for being SO MEDIOCRE & making mega money-life is just so unfair...
true
she's so vanilla
hate it
she seems to steer clear of any kind of thing that will stir a controversy
when she decides to be a wacko, it's for the silliest shit
oh and that song by JOY DIV was in the movie too. it was kind of a musical actually. very affecting movie. grim, gloomy but really good.
she's so vanilla
hate it
she seems to steer clear of any kind of thing that will stir a controversy
when she decides to be a wacko, it's for the silliest shit
oh and that song by JOY DIV was in the movie too. it was kind of a musical actually. very affecting movie. grim, gloomy but really good.
You a-holes! Ellen is joy and love and peace. You don't have to be a hateful bitter old pill like Margaret Cho to be funny.
pp likes all the wrong people
sad
sad
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