Archive for the Film Category


Posted in Film, Fun on October 29, 2011 by Miranda Wilding


If there’s one thing JOHNNY DEPP’S film characters love, it’s their rum.

First there was CAPTAIN JACK SPARROW from PIRATES OF THE CARIBBEAN, quotably wondering where all the rum went. Now JOHNNY stars in THE RUM DIARY, which opens today.

Based on the novel of the same name by HUNTER S. THOMPSON, the movie tells the story of journalist PAUL KEMP (played by JOHNNY), who moves to Puerto Rico and has a series of alcohol fueled adventures.

For fans looking to get into the spirit of THE RUM DIARY – literally – here’s a recipe for the CARIBBEAN KISS specialty drink from BRUGAL RUM:

.5 oz. Amaretto
1 oz. Simple Syrup
1 oz. Pineapple Juice

In a shaker with ice, combine ingredients, shake well and strain into a martini glass.

Garnish with a maraschino cherry.


Posted in Film on October 28, 2011 by Miranda Wilding

She left the big screen for good in 1956, going from the cinematic version of HIGH SOCIETY to the actual upper echelons of wealth and privilege…and now, nearly 30 years after her death, the late PRINCESS OF MONACO will take another turn in the movies.

According to THE HOLLYWOOD REPORTER, European producer PIERRE ANGE LE POGAM has won the rights to an in demand spec script about one of OSCAR winner GRACE KELLY’S greatest triumphs in her second life as treasured royalty. The film will focus on the six month period in 1962 in which PRINCESS GRACE used her smarts and charms to save the small nation’s government from being overthrown by the French.

The basic history goes like this: French President Charles de Gaulle was unhappy that Monaco was a prime tax shelter for his citizens and told PRINCE RAINIER III that if they didn’t change their laws in half a year’s time, there would be repercussions. That’s when the Princess sprung into action, using her smarts and charm on the European political system in much the same way she did in Hollywood.

GRACE KELLY was 33 years old at the time, a former Hollywood beauty who set the international stage alight with her smile and regality. She had starred in a long string of Hollywood hits, including three films for ALFRED HITCHCOCK, HIGH NOON, MOGAMBO – for which she was nominated for a BEST SUPPORTING ACTRESS ACADEMY AWARD – and THE COUNTRY GIRL, which netted her the golden statue for BEST ACTRESS.

For more on the film, click over to THE HOLLYWOOD REPORTER


Posted in Film, Film Festivals on October 28, 2011 by Miranda Wilding


PEDRO ALMODOVAR’S THE SKIN I LIVE IN contains some gruesome plot twists that will have many moviegoers squirming in their seats, but star ANTONIO BANDERAS has some advice for them: Give it time.

“Pedro needs to be metabolized, he needs to be digested,” ANTONIO said during an interview at last month’s TORONTO INTERNATIONAL FILM FESTIVAL.

The actor, of course, knows of what he speaks.

PEDRO ALMODOVAR is widely credited with launching the Spanish hearthrob’s career in the early 80s.

“Those were movies that were unbelievably controversial,” recalled ANTONIO.

“I remember when Law Of Desire came out some people wanted to literally kill us, you know. It was unbelievable. But nevertheless, those movies 20 years after became classics of the Spanish cinema.”

THE SKIN I LIVE IN, about an obsessed plastic surgeon with a mysterious past, marks the first time in more than 20 years that ANTONIO has collaborated with his old friend.

The project, he said, had its genesis about a decade ago when the director mentioned he’d been inspired by the THIERRY JONQUET novel TARANTULA, on which the film is based.

Then, about two years ago, ANTONIO was in New York doing a workshop for a musical when he got the call.

“I came out and I answered the phone and literally, even without saying hello, he says: ‘It’s about time.’ And I said: ‘OK. Do you have a script all ready?’ And he said, ‘Yes.’…Two days after that he sent the script and I read it and it was quite extraordinary.”

ANTONIO, who has earned a reputation for wildly diverse roles, is very careful about that crucial first read through of a script.

“It is the only time that you are a spectator of your own work. Once you have read the script…you are contaminated, all ready in the process of creating whatever you are going to do. And it (initially) produced pretty much the same impact (in me) that I can observe now in people that are coming out of the movie theatre.”

ANTONIO was captivated by the structure of the movie. The first half raises multiple questions (why is the surgeon keeping a beautiful woman captive in his house?) which are slowly answered as his back story is revealed.

“It positions the people in terms of morality. Little by little…the story starts being developed, you reposition the whole entire movie and it’s like ‘Oh, my God.'”

PEDRO ALMODOVAR allowed his actors almost a month and a half of rehearsal and ANTONIO said the filmmaker helped him reach new heights as a performer.

“He made me play some notes that I didn’t even know I had. For me, the first tendency when you read on paper a character that is actually bigger than life is to show some acting muscles and go more Caligula, if you will. And he said: ‘No, we have to take (this character) down and make him very economical and minimalist.'”

THE SKIN I LIVE IN is by turns dark, campy and sometimes downright outrageous. ANTONIO acknowledges that audiences may have to sit with the material for awhile, reaching for a colourful comparison to describe the effect of PEDRO ALMODOVAR’S work.

“(It’s like when) they serve you a dish that is very edible and in a package you recognize and a flavour you recognize. When somebody gives you a complicated dish you may have a reticence, you put yourself immediately in a defensive way.”

“What is happening? I don’t understand this…You start a game with yourself….In a way, time is the best friend for (Pedro).”

“When you think you catch him he just takes a leap that is bigger than you think it’s going to be.”


Posted in Film, Glamour on October 19, 2011 by Miranda Wilding

LEONARDO DICAPRIO and ISLA FISHER will shine even more on the big screen next year thanks to TIFFANY & COMPANY.

The storied jeweller is partnering with WARNER BROTHERS PICTURES and BAZMARK as the exclusive fine jeweller for THE GREAT GATSBY, a new film starring LEONARDO, ISLA, CAREY MULLIGAN and TOBEY MAGUIRE.

The cast will glimmer in period jewels inspired by TIFFANY’S archives, including one of a kind platinum and diamond encrusted bracelets, rings, headpieces and long pearl necklaces created especially for the film.

“The Tiffany & Company archives have proven to be an invaluable resource in looking back at this Golden Era of affluence and fine jewelry,” GATSBY costume designer CATHERINE MARTIN said in a release.

“The continuing tradition of excellence and exquisite craftship has allowed us to both create and recreate pieces that we hope will do justice to this extraordinary novel.”

THE GREAT GATSBY hits theatres on DECEMBER 25, 2012.


Posted in Film on October 19, 2011 by Miranda Wilding

This article is written by MARSHALL FINE at THE HUFFINGTON POST

MARSHALL FINE is a distinguished film critic with his own website: HOLLYWOOD & FINE

The question to actor ANTONIO BANDERAS, “How crazy is this guy?” referred to his character DR. ROBERT LEDGARD in his new film THE SKIN I LIVE IN.

But ANTONIO assumed it referred to his long time friend and the director of the film PEDRO ALMODOVAR and happily launched into an answer.

“He’s enough crazy to break all Spanish strictures of movies in the 1980s,” ANTONIO said, sitting in a Manhattan hotel room.

“My memory goes back to the decade of craziness in a country that was growing from a dictatorship to democracy. It was not as crazy as people think. But let’s just say his mental health is perfect in its craziness.”

When corrected and told the question referred to his character in his new film, ANTONIO quickly said, “Oh, he’s a monster, a psychopath. But he’s deceptive because he has such wonderful behaviour in society. He’s like one of those serial killers who, after they’re caught, people say, ‘Oh, he was so charming, so nice.’ He leads a double life.”

In the film, the doctor is a plastic surgeon still recovering from the death of his wife. When his daughter is raped and loses her mind, he begins a very calculated plan to take revenge. At the same time, he is developing a new synthetic skin that blends human and porcine DNA, to create a skin that is impervious to flame (because his wife committed suicide after being badly burned and seeing herself in a mirror).

“But the character is also a metaphor,” ANTONIO said.

“He is a monster but he is also an artist. Life gives him the ability to create identities, to change identities. I’d say he’s a little bit like Pedro.”

When he first read the script, “I had the same relationship to it as the audience does when it sees the film. I laughed, I was scared – the whole thing is like travelling on the edge of a cliff.”

ANTONIO worked several times for PEDRO ALMODOVAR in the 1980s, when the director was exploding on to both the Spanish and the international scene, in films such as WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN. The last time was the censor baiting TIE ME UP! TIE ME DOWN! in 1990 – but when ANTONIO reunited with his old mentor, he found that much of what he remembered about the director had not changed.

“He’s very difficult to work with because he’s unbelievably precise in what he wants. He’s not the type of director who lets you put in your ideas. He’ll listen and say, ‘I understand but my idea is to do it this way and I am the director, so you should do exactly what I want.’

For this role, ANTONIO was required to maintain an almost flat affect, without emotional outbursts of any kind. His character is completely serious at all times: “It was almost like quantum physics acting because he was precise in a kind of micro world: how I moved my finger, how I moved my face. These are the kind of things that actors coming from the Method would reject.”

“But it’s fantastic, in a way. Because, when I saw the finished film, I realized he was right. He made me play it with only my instrument, my body and my face and I found notes I didn’t know I had. It was painful because when you discover a new space, you feel naked and insecure. Your instinct is to let the horses go; when you read it, the character seems larger than life and you want to go big. The difficult thing is to contain that.”

PEDRO ALMODOVAR’S film touches on issues dealing with identity: Who are you if you no longer have your own face? How big a role does gender play in a person’s identity? One character undergoes involuntary transformation through cosmetic surgery, an idea that horrifies ANTONIO.

“If I woke up and looked in the mirror and saw someone else’s face, I would jump out a window. That would freak me out beyond my experience.”

“On the other hand, if I could wear someone else’s face by choice – well, this will sound weird, but I would like to be what I am not, to be in the body of the thing I love but can’t be: I would like to be a woman, but for no longer than a week. I’d like to experience how it feels from the inside out. I love that idea of seeing it from the inside out.”

But ANTONIO is quick to note that he has no interest in cosmetic surgery for himself: “I’d never do it,” he said.

“It has taken me years to accomplish this,” he remarked, gesturing to his face and physique. “Human beings have to work with what we are. Our experience is reflected in our faces.”

“For other people who feel different, I make no judgment. Hollywood – and society – put a lot of pressure on people to be more beautiful, to be younger all the time, which is totally against nature. Beauty, of course, is subjective for everybody. But I like the fact that I have gray hair now. It gives me some kind of degree, I think. Age is good. I take it like a man.”


Posted in Film on October 13, 2011 by Miranda Wilding

This article is written by JORDAN ZAKARIN at THE HUFFINGTON POST

When the calendar turns to January, she’ll have starred in seven major films in 2011, which is more than three times her previous career output. And as the first of those films heads to DVD and Bluray, JESSICA CHASTAIN still is in awe of the experience, from first audition to final product.

In June, the actor starred as the angelic mother of three young boys in TERRENCE MALICK’S THE TREE OF LIFE. It’s a meditation on life that uses the juxtaposition of tough and tender love in a 1950s Texas family to frame the story of earth’s creation: JESSICA CHASTAIN the mother, BRAD PITT the father. Gorgeously shot and expressive in emotion conveyed by visuals more than words, the film is in no way conventional and the initial audition process gave JESSICA just a hint of what the enigmatic THIN RED LINE director had in mind.

“I got something sent to me, which was just this small, small piece of text and then these different behaviours that they wanted to see me audition,” she said in a phone conversation with THE HUFFINGTON POST.

“Like putting a baby to sleep, looking at someone with love and respect and then there was text from a Eugene O’Neill play.”

She gave in entirely to the material in her first go round, channeling all the improv work she did as a student at JUILLIARD. It worked, as the soft skinned redheaded stage veteran was called to meet with TERRENCE MALICK the next day. Having watched all of his movies the weekend prior, she felt comfortable enough to run lines with him right then and there. It was once she got the part that the hard work really started, though perhaps not in the way one who has seen the film might surmise.

“Actually it’s the best script I ever read,” she said, admitting it’s counter intuitive to what one would expect of a film that has such little dialogue.

“It’s very similar to what the movie is – the whole section, the whole creation, is absolutely written. It’s like 20 pages in the script. It’s so beautiful. It’s so emotional. For me, when I first read the script, I was like, ‘Oh my goodness, my part is amazing.‘ I couldn’t believe it. I was like, ‘How is it possible that I got this lucky, that I got this opportunity to play this role?”’

After all, no amount of schooling or training can truly prepare someone to play modest perfection in its human form.

“It was a lot of pressure. I first read it and I thought, ‘How do I do this?”’ she laughed.

“She symbolizes grace and the spirit world and how do you play that?”

As any mother might tell you, her answer came from an obvious place.

“For me it’s all about the children,” JESSICA revealed. She established a close bond with the three young boys who played her sons, sharing lunches and off camera time on a daily basis.

“It’s about inspiring them and protecting them and loving them and encouraging them.”

JESSICA, in fact, grew close with everyone on the production team and decided to swing by the set of TERRENCE MALICK’S next, untitled film to visit a crew she calls her extended family. That’s how she may or may not have earned a part in that next feature – while she did get in front of the camera for a few days, she can’t quite be sure whether it’ll make the cut. Which is what happens when you’re not really sure what the film is in the first place.

“I think it’s a completely different film,” she guessed, unsure about speculation that it may be a sequel or follow up to THE TREE OF LIFE.

“I haven’t read the script to be honest. I don’t even know if I’m in the film.”

Of course, she isn’t pushing for screen time either way.

“You’d have to go out of your way – put in a big big effort – to not see a movie I’m in,” she sheepishly laughed, reminded that she is filling multiple screens at a time in theatres this fall. By this weekend, she’ll be taking up screen real estate in THE HELP, TAKE SHELTER, TEXAS KILLING FIELDS and THE DEBT. But she’s definitely not bragging; she seems almost embarrassed by her ubiquity.

She’ll have to get used to it, though, as her film streak continues into 2012.

JESSICA has a whole docket of films on the way. She costars in AL PACINO’S indie drama SALOME, THE WETTEST COUNTY IN THE WORLD and the TOM CRUISE sci fi flick HORIZONS, which she said has a budget 10 times the amount of any film she’s ever been in. It’s a lot to take on, both commitment wise and emotionally.

“I love every character I play, especially if I’m with them for a while. To me I don’t see them as me. I see them as realized women. So when I leave them, I feel sad because I’m not going to meet that woman any more,” she confessed.

“And I’m not a crazy method person who always needs to be called by the character’s name. But there’s a feeling like I’m saying goodbye to someone I really really liked to get to know.”

But while she’ll be getting to know a lot of new fully realized women, there’s something about THE TREE OF LIFE that will stick with her no matter how many films she makes.

“It changed my life and my career but it also made me change my life in making me focus on what’s important in life and how I want to treat people and how people should be treated. It was created with this loving energy that will always be incredibly special to me.”


Posted in Film, James Bond on October 13, 2011 by Miranda Wilding

He won an OSCAR for portraying one of the most chillingly psychopathic villains in recent film history…and now JAVIER BARDEM is set to go bad in perhaps the most iconic film franchise of all time.

Long rumoured to be in talks for the part, JAVIER confirmed to ABC’S NIGHTLINE that he would be playing the villain in the next JAMES BOND film, a SAM MENDES directed feature with the current working title of BOND 23.

“I am very excited. My parents took me to watch the movies and I saw all of them…and to play that is going to be fun,” he told the news magazine.

“They chose me to play this man, but I cannot give you many details.”

The cast for the film has begun to assemble around returning 007 DANIEL CRAIG; French actor BERENICE MARLOHE is rumoured to be the next Bond Girl, while NAOMI HARRIS will play MONEYPENNY.

RALPH FIENNES is also rumoured to be joining the cast. The film is rumoured to be called SKYFALL.