Q & LA: THE TOUGH & EXTRAORDINARILY TALENTED ELLEN BARKIN

Posted in Film on November 9, 2011 by Miranda Wilding


This article is written by ROBIN SAYERS at LA TIMES MAGAZINE

Hearing that I’ve met with ELLEN BARKIN inquiring minds want to know: “Is she as gorgeous as she is on screen?” Definitely.

“What’s that voice like in person?” Imagine a recently awoken Rip Van Winkle but much sexier.

“Does she curse like a sailor?” Sort of. She drops only variations on the F bomb but freely and with aplomb — as anyone who frequents her new but headline grabbing Twitter feed will attest.

“Was she wearing stunning jewelry?” Actually, less than most women.

And lastly, “Is she really dating a guy in his twenties?” ELLEN doesn’t comment on her romantic life, but the short answer is this: Probably. The long answer, were it in a movie, would be too strange for fiction.

ELLEN BARKIN’S career was launched in BARRY LEVINSON’S directorial debut, the 1982 dramedy DINER. This month, she stars in the dramedy ANOTHER HAPPY DAY, written and directed by BARRY LEVINSON’S son SAM. Reportedly, ELLEN BARKIN and SAM LEVINSON have been dating for three years and share her West Village townhouse. He has all but confirmed this in the press and the handsome auteur was with her when she picked up this year’s BEST FEATURED ACTRESS TONY for THE NORMAL HEART. (Surprisingly, the first turn on Broadway for the New Yorker.)

Back in 2006, when she unloaded $20.3 million worth of baubles from her ex husband billionaire financier RON PERELMAN she told journalists, in a twist on Hollywood parlance, that what she really wanted to do was produce. On ANOTHER HAPPY DAY, which scored SAM LEVINSON the WALDO SALT SCREENWRITING AWARD at SUNDANCE, she does just that. Considering the epic saga that was her divorce and the fact that this searing performance is arguably her finest work on film, it seems unlikely that ELLEN could have scripted this latest act any better…

ROBIN SAYERS: Let’s start at the beginning of your career. Is it true you studied acting for seven years before you landed a big audition?

ELLEN BARKIN: Ten years. Ten years before any audition, not [just] big. I wasn’t looking for auditions. It wasn’t as if I was trying to get auditions and couldn’t. No, I studied acting from when I was a first year student in high school to maybe 26, then I went on my very first audition by choice.

RS: Where did you go to college?

EB: I went to Hunter because there was a brilliant director named LLOYD RICHARDS – he directed all those plays on Broadway, but this was before most of them. It was hard to be a theatre major, because there weren’t that many courses, so I had to be, like, theatre/slash/something. And when I finished every theatre or English or history course, I left, like, 16 credits shy of graduating. [Laughs.]

RS: Do you have a rigid process when you build a character?

EB: I’m Method trained. How is this character like me? What does she think of her mother? What does her mother think of her? It’s like construction…and then, yes, you hope you’re talented and that the universe aligns and captures the kind of laborer’s work you’ve done and whatever else sprinkles down on you and it’s all caught on film or on stage. There’s a craft involved, like there is in building a table. And there are rules you have to follow and laws of gravity, of motion. Actors need equipment, but unlike a carpenter, your tools are not outside of you.

RS: You were both a producer and actress on ANOTHER HAPPY DAY. What initially drew you to the movie?

EB: The minute I read the first scene, I’d all ready committed in my head. And it just got better from there. The character is very, very different from me at her core. I never played — what’s that cliché? — a people pleaser. I never played a character who was always aware of being judged and afraid of being judged and always questioning her actions. She’s such a complicated character, because she’s so fragile and aggressive at the same time. I feel proud saying it’s an extraordinary film. As an actor, it’s a piece of work that — I know everybody says this with every last movie they make — I am so proud of just having tackled.

I didn’t say, “Uh, nobody’s really going to relate to this,” or “Ok, wait. We’re moving into some unsympathetic territory here.” Look, I’m 57 years old. I don’t have to be coy any more.

RS: And the director?

EB: He’s a brilliantly nonjudgmental filmmaker, which I find fabulous and refreshing. I love a filmmaker with an axe to grind as well, but SAM is just kind of like, You are the camera” — not I am the camera,” as the director. I don’t ever want to be a director. I just can’t have a first idea. I never have, [even] as a child. I just don’t see things visually.

RS: But you seem to have an innate understanding for what directors are after.

EB: I have enormous respect for them. I have to say, I haven’t worked with a lot of directors who have mistreated me. I’ve been extremely lucky, even in terms of the final movie and how it compares to what I brought to the table. I went to see THE IDES OF MARCH. I am in awe of GEORGE CLOONEY — as an actor, writer and director. And I overheard a very humorous thing, but quite telling.

There’s a dramatic moment where something big is about to happen. A window in an SUV comes down and GEORGE — you can barely see his eyes — says, “You got a couple minutes?” to PHILIP SEYMOUR HOFFMAN. PHIL gets in the car and the doors close. And I said, “I know my friend George. He’s shooting this scene, like, fill in the blank.” So the camera just stays on the car for what was going on to play out in real time. PHILIP gets out, the car drives away and you’re just looking at him. Then I overheard someone say, “Why wouldn’t he shoot the scene in the car?” And I thought, “So you could shoot it in your head! Like, don’t you want to fill in that blank?”

RS: You’re certainly not shy about speaking your mind and you’ve even put your money behind what you believe politically.

EB: Well, we’re experiencing divisiveness in terms of our politics. Like, the Religious Right has identified themselves because of the propagandizing and illiteracy of…I don’t know…News Corporation, maybe? They have identified themselves with this extremist, right wing insurgency of a party — this Tea Party. They call it a grassroots movement. Grassroots? You’re attached to the wrong ship. And that just shows you the enormous — and don’t misquote me here! — the enormous success that has killed us in terms of FOX NEWS. The blatant lying that passes itself off as journalism. I don’t even need to get there to go mental.

Can you imagine a legitimate newsperson — WALTER CRONKITE, DAN RATHER, TOM BROKAW — just lying on the news? Let alone the entertainment factor — you know, news as entertainment. And because of the enormity of the money behind that machine, they have convinced this ever-growing group of really struggling, working class people, that these fuckers can somehow, in some way, represent them. They do not. I mean, let’s not even start, because that’ll take up a whole month if I go down that road.

RS: OK, we’ll swap topics. Beauty magazines have written about how women have to decide which is more important — their ass or their face. Because when your ass is smaller, your wrinkles show more and vice versa.

EB: Yeah…and you know it’s your face — a lot more people see your face, unless you’re a stripper. And by the way, whoever sees my ass all ready likes me enough that they don’t care if it’s a little flat and skinny. Skinniness is not your friend when you’re over 40. I’d like to gain a good 10 pounds, but I did always have a fat round face that plagued me when I was young. When I started to make movies, I couldn’t look at myself. My mother would say, “I had that same moon face and you’re going to like it when…” I’d say, “Yeah, but I don’t have your cheekbones,” and she’d say, “You do — you just can’t see them yet.”

It is clear I was never the Pretty Girl. I had my two front teeth knocked out when I was 10 and didn’t fix them until I was 19. I have a crooked smile and a nose that looks like it’s been broken 12 times but never has been. My nose was always red, so people called me Rudolph. My whole face is off centre. My nickname was Skinabo – skin and bones. And I have, you know, squinty, slitty eyes.

RS: Do you appreciate now how cool your eyes are?

EB: You know, when the conversation went from like, slitty eyes to bedroom eyes, I thought, “What are bedroom eyes? Do I really have them?” But I always talk about this, because if you are the beautiful girl, every door in the world is open to you immediately. When you’re that pretty, you don’t develop fuckin’ anything else. When I’d meet those girls, even decades ago, I would always say, “Listen, this is only gonna take you so far, so read a fuckin’ book. Make a fuckin’ friend. Have a conversation. And stay in school.”

RS: Did you like living in L.A.?

EB: I loved it. It was the smell. I’d just think, “This is so different than anything I’ve smelled before.” I moved to L.A. when I was 40 and lived there for five years, because my son was going into first grade and I was spending so much time — like, literally half the year — doing movies in L.A. I just thought, like the cliché, if I lived here, I’d be home. I lived above Coldwater, in a kind of East Coast style shingled country house. We had beautiful trees, a gorgeous front lawn, a tree house for my kids, pool in the backyard, a beautiful picket fence.

There had been so many brutal winters in a row with the kids in New York — on with the snowsuit, off with the snowsuit, feed them, change them — I just said, “I’m done! I gotta get the fuck outta here. I can’t roll the stroller over the icy snow and then have to go back home because someone needs to have their diaper changed. There’s gotta be a better way.” In L.A., you just open your door and out they go. [But] I did not know how to drive a car, being a true New Yorker.

RS: Yeah, that could be a problem in Los Angeles.

EB: The only thing I could do was movie drive, which I did very unsuccessfully, having taken out several cameras, camera operators and mailboxes. I took driving lessons and I got a license. Oh my God — the world’s worst! When I passed my test, I didn’t understand why there wasn’t a major ceremony at the DMV. I was like, “Do you people get it?! I couldn’t drive! I’m 40 — four zero! And I just passed my driving test!”

RS: Did you buy yourself a nice car — a convertible, maybe?

EB: No, an Audi — I had children. But I was always a terrible driver. I was never on a freeway. I mean, never. I had a friend who moved up to Mulholland. We were best friends, our kids were best friends and before she bought her house, I was like, “Do not buy that house! I can’t drive up Mulholland. I’m never going to be able to come home at night.” And I could never do carpool. I’d just say to the other mothers, “I’m not your girl. I’ll make the sandwiches, I’ll cook for the lunch, I’ll go on the class trips…but you do not want me driving your children. In fact, I’d like you to drive my children.”

RS: When you go out to L.A. now, do you drive or are you driven?

EB: I rent a car, but I’m still not good at it.

RS: So if readers see you on the road, they should know to leave a wide berth.

EB: [Smiles.]

JOHNNY DEPP: WHAT BECOMES A LEGEND MOST

Posted in Film on November 9, 2011 by Miranda Wilding



This article is written by DECCA AITKENHEAD at THE GUARDIAN

In the weeks leading up to this interview, I began to think there must be some law that makes it illegal not to love JOHNNY DEPP.

Everyone melts into a puddle at the mention of his name. Men go even loopier than women – and the higher men rank on the coolometer of fame, the more in love with him they seem to be.

KEITH RICHARDS, BRAD PITT, the GALLAGHER brothers – the dudes all adore JOHNNY – while this month’s GQ anoints him the world’s coolest actor.

The director of WITHNAIL & I was only talked out of retirement to make Mr. Depp’s latest movie “because it was for Johnny” and recently RICKY GERVAIS was swooning in this paper: “His emails are like poetry. He’s made of bohemia.”

What can JOHNNY do to inspire all of this? I wasn’t sure that the chance to try to find out would ever actually happen. The mythology surrounding him casts him as a sort of Scarlet Pimpernel of Hollywood, so notoriously elusive that one director who flew to London and spent days searching for him observed that the secret to signing the ultrastylish actor “is finding him.”

JOHNNY loathes the media, once threatened the paparazzi with a plank and at one memorable CANNES FILM FESTIVAL cancelled all his interviews and refused to get out of bed. But after a long and involved game of on off, on off, on again ping pong, last Friday the door to a discreet London hotel suite swings open and there he is, hanging out of the window smoking.

He looks like he should be in BON JOVI or behind a stall selling Zippos in Camden market. The shirt is extravagantly ripped, the jewellery is heavily goth, the glasses are tinted and the tattoos wrap around him like climbing ivy. His voice loiters somewhere between a drawl and a growl – a deep Kentucky slurry of mumbles – but punctuated by surprise bursts of Queen’s English, with the odd anglicism (“take a gander at this”) thrown in, making him sound like TOM WAITS auditioning for MY FAIR LADY.

His face remains, if no longer quite ethereal, then still breathtakingly beautiful – creamy smooth, freakishly symmetrical, with a thick chop of chocolate hair untroubled by any trace of grey. The actor has spent most of his career trying to abdicate from the position of Hollywood sex symbol, but there appears to be nothing he can do about the tenacity of his beauty. And yet, the very first thing out of his mouth – once he’s stubbed the cig out – gives a pretty good idea of how he would prefer to be seen and how he sees himself.

“In Los Angeles, the hoity toities, the beautiful people, will sit on the Sunset Strip and have their meal at these kind of fancy restaurants where no one can smoke – but you can inhale car fumes all you like.”

He shakes his head. “I mean…that to me says it all.”

Smoking is a useful metaphor for his self image – renegade, European, rough around the edges. He did manage to give it up for two and a half years and despite having to smoke in almost every scene of his new film THE RUM DIARY – “just fake things, I think they’re made of cured leather or something, they’re really hideous, you light it and it smells like a tyre burning” – it was only on the journey home that nicotine reclaimed him.

“One bang on [the director] Bruce Robinson’s horrible little Café Crème cigar. One bang – yeah, one hit and it was over.”

BRUCE ROBINSON, for his part, fell off the wagon while making THE RUM DIARY and began drinking again.

“Yeah,” the actor grins, “it was the gift we gave each other.”

“I just said: ‘Come on, give me a bang.’ Bruce and I were in the plane and I just said: ‘Oh come on.’ You know, we’d had a bit to drink and…”

He mimes taking a drag. On the plane? “On the plane. Mmmm.” I look puzzled. He looks momentarily bashful.

“Well, it was a private plane. On a private plane you can smoke. It makes it an incredibly expensive habit, of course,” he shrugs, “cos you can only smoke on a private plane.”

Actually, he says, smoking’s not the only reason he only ever flies private. “The commercial flight thing, it just gets a little weird when you’re standing in line and suddenly you’re not just a guy standing in line any more, you become sort of novelty boy.”

Ever since he became a teen idol in the 80s TV series 21 JUMP STREET, the star has been at war with his own fame. An accidental actor, he came to LA in his teens hoping for a record deal for his rock band, but ended up doing telesales until he fell into acting…and before he knew it he was an international pin up. He spent most of the 80s and 90s getting very drunk, going out with KATE MOSS and WINONA RYDER, brawling with photographers and generating more of the very publicity he found so oppressive. No amount of dark or quirky left field roles could get him out of the gossip columns.

“I mean…all those films didn’t do well at the box office. But I still had paparazzi chasing my tail, so it was the weirdest thing in the world. Everywhere you went you were on display. It was always some kind of strange attack on the senses; I was never able to embrace it. So self medication,” meaning drink and drugs, “was just to be able to deal with it.”

That strategy lasted until the birth of his daughter LILY ROSE in 1999, to the French actor and singer VANESSA PARADIS, which he credits with changing – even saving – his life. They retreated behind the walls of homes in Paris, the Bahamas and the south of France, had a son JACK, now nine and devoted themselves to a private family life, growing vegetables and tending vineyards, with JOHNNY resurfacing only to make critically acclaimed, if commercially unspectacular, films. It sounds like an idyll of wholesome simplicity and artistic integrity. The only snag is: “I just don’t go out. I just don’t go anywhere. Just don’t leave home.”

It’s a strange profession where the prize for success is house arrest, isn’t it?

“It’s a very privileged opportunity I’ve been given, obviously. You know, the benefits are certainly very good,” he smiles.

“But there is a trade off, as with anything. Somebody’s always going to bring you the bill. The invoice comes.”

And the bill is his liberty.

He might have been allowed to recover some of his freedom by now, were it not for one choice he made 10 years ago. It didn’t just win him his first OSCAR nomination; it has made him the highest paid movie star of all time, earning $75,000,000 between June 2009 and June 2010 alone.
Award winning performances in CHARLIE & THE CHOCOLATE FACTORY, FINDING NEVERLAND and SWEENEY TODD have secured his metamorphosis into box office gold – and all because of that one performance, as CAPTAIN JACK SPARROW in the first PIRATES OF THE CARIBBEAN film.

Did he anticipate what the part would do to his career?

“Not really, no. Pirates was a film I did just like any other one. I made that choice the same way I made every other choice.”

Knowing what he knows now, I wonder if he’d have thought twice before making it.

“I wouldn’t change anything, no. Because I think I went into it innocently and it became what it became. And now they want to tear me down. Instantly, as soon as I did Pirates II, they say: ‘Oh, he’s selling out.’ What the fuck does that mean, selling out? What if I did Ed Wood II, is that selling out? I mean, it’s not like I was ever looking to become franchise boy, I was never looking to become anything like that. I just latched on to a character I loved.”

Becoming franchise boy has in fact done nothing to diminish his credibility. But I’m not sure any of his films really account for his status as the world’s coolest actor, or make much of a difference either way. It can’t be down to his beauty alone either or men wouldn’t lose their heads around him. I think we get closer to an explanation when JOHNNY talks about THE RUM DIARY and his friendship with HUNTER S. THOMPSON.

The film is based on an unpublished novel JOHNNY found in the writer’s basement in the 90s. Heavily autobiographical, it tells the story of a hard drinking young reporter called PAUL KEMP who goes to work for a paper in Puerto Rico in 1960 and becomes outraged by the corruption and devastation wreaked by American capitalism’s arrival on the island. It turns into a tale of heroic journalistic integrity.

The older LSD addled version of HUNTER S. THOMPSON JOHNNY played in FEAR & LOATHING IN LAS VEGAS was anarchic and funny and clever – whereas the younger incarnation as PAUL KEMP is naive, dreadfully earnest and takes himself and his notion of being a writer so seriously that only the most impressionable student journalist could watch without cringing. Yet to JOHNNY, PAUL is the ultimate romantic hero – uncompromised, irony free – and his idolisation of the writer becomes almost breathless.

“You know Hunter typed The Great Gatsby? He’d look at each page Fitzgerald wrote and he copied it. The entire book. And more than once. Because he wanted to know what it felt like to write a masterpiece. He was so hungry, yeah. Innocent and yearning.”

After the writer saw FEAR & LOATHING, JOHNNY was a bundle of nerves and called him up to ask if he hated it.

“God, no man,” he told him. It was like an eerie trumpet call over a lost battlefield.”

JOHNNY looks awestruck. “Those words just came out and I thought, ‘Fucking hell, what a beautiful sentence.”’ He repeats it slowly, lovingly: An eerie trumpet call over a lost battlefield.

I think it’s JOHNNY DEPP’S own innocence – expressed as indiscriminate adoration for those he admires – that might be what men respond to. It’s an odd thing, but a star with a weakness for public hero worship seems to inspire deliriously wide eyed hero worship in his fans. He is a famous enthusiast, with great taste – he loves WITHNAIL & I, THE FAST SHOW, JACK KEROUAC, gonzo journalism, hard liquor, good wine and rock guitar. But then, so do a lot of the men in my local bar in Hackney.

Only in today’s Hollywood, where most heartthrobs are traditionally either too insecure or undiscerning to share these tastes with boyishly humble enthusiasm, do they confer the status of JEAN PAUL SARTRE crossed with JAMES DEAN.

The star comes across as thoughtful, friendly and good fun. It would be very hard not to like him. But he embodies a collective ideal of cool that touches men.

Early US box office returns suggest THE RUM DIARY may not break even – but he says he couldn’t care less about the money.

“No, God no. No. It’s always a crap shoot and really if you have that in your head while you’re making a movie the process would become something very different. No, I couldn’t give a rat’s arse really, not really.”

The publicity blitz in the past week might make cynics suggest otherwise. But the film is JOHNNY’S homage to HUNTER S. THOMPSON, who died in 2005 and also the first release by the actor’s own production company, which would account for his uncharacteristically energetic media campaign.

“I believe that this film, regardless of what it makes in, you know, Wichita, Kansas this week – which is probably about $13 – it doesn’t make any difference. I believe that this film will have a shelf life. I think it will stick around and people will watch it and enjoy it.”

Does he suspect it will go down better in Europe than the US?

“Most definitely. It’s something that will be more appreciated over here, I think. Cos it’s – well, I think it’s an intelligent film.”

He leaves a meaningful pause. “And a lot of times, outside the big cities in the States, they don’t want that.”

JOHNNY’S well documented love affair with all things European has always had a hint of hero worship about it too. I ask if there’s anything he doesn’t like about Europe and he thinks hard for a while.

“No. Not that I can think of, no. It’s a very old and beautiful culture. People know how to live. You know, here you have Sunday roast or the pub lunch, that kind of thing. It’s comforting. We don’t have that in our culture in the States. Sunday is football day, so it’s chicken wings and pizza.”

He got into hot water in 2003 for describing the US as dumb, having told another interviewer in 2000: “I want to be in the country where life is simple and we don’t have to worry about being mugged or approached by some guy selling crack on the street.”

He has been despairing of America’s trashy culture and violence for as long as I can remember and France is so central to his identity as a discerning sophisticate that I assumed he would never return to the US. So when I ask if he could ever imagine living there again, his reply comes as quite a surprise.

“Well, I kind of do. I’m between wherever I end up on location…and then the States.”

What? Hang on a minute; why did he leave France? He makes a sour noise, part grunt, part hurrumph.

“Cos France wanted a piece of me. They wanted me to become a permanent resident. Permanent residency status – which changes everything. They just want,” and he mimes peeling off notes in his palm, “dough. Money.”

If he spends more than 183 days in France, he explains indignantly, he’d have to start paying income tax.

“I’m certainly not ready to give up my American citizenship. You don’t have to give up your American citizenship,” he adds sarcastically, but then he’d have to pay tax in both countries, “so you essentially work for free.”

And all of a sudden, he sounds exactly like your average corporate Middle America multimillionaire – anti government, anti tax and apparently oblivious to the part these twin monstrous affronts might play in creating a country where he doesn’t have to worry about being mugged by crack dealers on every street.

Maybe nobody – not even the artist himself – could ever live up to the heroic legend of JOHNNY DEPP. So deep is our attachment to the mythology, though, I doubt anything he says or does will ever puncture it.

Before I go, I ask if the celebrated story of him and KATE MOSS ordering a bath filled with champagne in a hip Notting Hill hotel ever actually happened.

“I don’t think we were even in that hotel,” he smiles apologetically.

“No, it’s not true. I wish we had done it. But you know, I’m not the most extrovert person in the world. I’m not particularly…I’m not…I’m not…” and he searches in vain for the word.

“You know, at my very core I’m pretty shy. I just happen to have a weird job.”

AMPAS TO HONOUR VANESSA REDGRAVE & JAMES EARL JONES THIS WEEKEND

Posted in Entertainment News, The Oscars on November 9, 2011 by Miranda Wilding





FROM THE ASSOCIATED PRESS

Decades after her provocative OSCAR acceptance speech, VANESSA REDGRAVE will be honoured at the film academy’s first European tribute to an actor.

THE ACADEMY OF MOTION PICTURE ARTS & SCIENCES said that it will honour Ms. Redgrave this Sunday in London, where she is starring with JAMES EARL JONES in the stage production of DRIVING MISS DAISY.

JAMES EARL JONES, who is to receive an honorary OSCAR Saturday at the ACADEMY’S GOVERNORS AWARDS, will fete his costar in person. The actor is skipping the GOVERNORS AWARDS ceremony in Los Angeles to continue the play’s run without interruption.

He plans to participate by video in the GOVERNORS AWARDS.

Meanwhile, across the pond, the ACADEMY will honour VANESSA REDGRAVE for her five decades in film. The legendary star has been nominated for six ACADEMY AWARDS and won for her supporting role in 1977’s JULIA, playing an anti Nazi activist murdered by the Germans. This latest honour does not involve an OSCAR statuette.

Ms. Redgrave’s win for JULIA led to one of the most startling moments in OSCAR history. The Jewish Defence League had objected to her nomination and picketed the ceremony because Ms. Redgrave had narrated and helped fund a documentary THE PALESTINIAN, which supported a Palestinian state.

In her acceptance speech, Ms. Redgrave praised the ACADEMY for not being intimidated by “a small bunch of Zionist hoodlums whose behaviour is an insult to the stature of Jews all over the world and their great and heroic record of struggle against fascism and oppression.”

Her comments were met by gasps, boos and growing applause.

The ACADEMY honoured producer JEREMY THOMAS in London last year. Previous London honorees include TERRY GILLIAM, HAROLD PINTER and LEWIS GILBERT.

RETALIATING FOR EVERY ATTACK LINE

Posted in Hot Video on November 4, 2011 by Miranda Wilding

My headline is not meant to be incendiary. I’d call it intense exposition.

Our Friday musical highlight is TWENTIETH CENTURY FOX by THE DOORS.

And now it’s time for me to exit. Stage left..

SKYFALL: THE NEXT BOND ADVENTURE

Posted in Film, James Bond on November 4, 2011 by Miranda Wilding

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FROM THE ASSOCIATED PRESS

Screen spy JAMES BOND is returning next year in a new movie called SKYFALL with a star studded cast, producers said Thursday.

DANIEL CRAIG makes his third appearance as the suave secret agent in the film, directed by ACADEMY AWARD winner SAM MENDES.

Spanish star JAVIER BARDEM will play the chief villain in 007’S 23rd screen adventure, producers BARBARA BROCCOLI and MICHAEL G. WILSON said. British actors ALBERT FINNEY, RALPH FIENNES and BEN WHISHAW will play as yet undisclosed roles.

“There’s lots of surprises,” Mr. Mendes told reporters. Filming began yesterday and will take place in London’s government district of Whitehall, at PINEWOOD STUDIOS outside the British capital and on location in Scotland, Istanbul and Shanghai.

“I think this has all the elements of a classic Bond movie, including — to quell any rumours — a lot of action.”

Mr. Mendes said action movies were “a world that’s new to me…and I’ve embraced it. The action needs to coexist with the drama and that’s the balance we’ve got to strike.”

JAVIER BARDEM joked that the hardest part for him was “learning the English vowels.”

English actor NAOMIE HARRIS plays a field agent named Eve and JUDI DENCH reprises her role as spy chief M, while French actor BERNEICE MARLOHE also joins the cast.

Ms. Marlohe said she plays “a glamorous enigmatic character” named Severine.

Bond’s future was thrown into doubt when studio MGM filed for bankruptcy in 2010. But its new management and the producers announced earlier this year that the spy would live to fight another day.

SKYFALL is due to be released on OCTOBER 26, 2012 in Britain and on NOVEMBER 9 in the United States, 50 years since the release of the first 007 film DR. NO.

KATE WINSLET’S LATEST ST. JOHN CAMPAIGN

Posted in Glamour, Style on November 4, 2011 by Miranda Wilding


She’s kept her day job: KATE WINSLET is continuing as the face of ST. JOHN in the brand’s SPRING 2012 campaign.

“It has been a great experience working with St. John,” the actor said in a release.

“I am very excited for this upcoming season — George [Sharp] and St. John have created wonderfully chic and effortless styles for the modern woman.”

The spring campaign features KATE in ST. JOHN’S classic knits and a fitted dress. The photos were shot this week in a penthouse at New York’s CHELSEA ARTS TOWER, a sharp contrast from the fall campaign, staged at a theatre in New Jersey.

KATE’S latest campaign will appear in magazines beginning in February, and a behind the scenes video will be available at discoverstjohn.com.

DONATELLA VERSACE: HER FAVOURITE VERSACE FOR H&M LOOKS

Posted in Glamour, Style on November 4, 2011 by Miranda Wilding


The VERSACE FOR H&M COLLECTION hits stores in just two weeks. With excitement building, designer DONATELLA VERSACE is again speaking out about the line.

In an interview with STYLE.COM/PRINT, the couturier said: “It is amazing how H&M has taken these icons of Versace to make the pieces in this collection.”

One dress that “will always be so special” to DONATELLA is the black leather studded frock (above and below, right).

“It was the dress I wore to take my bow at the Versace menswear show this summer, the day before we announced our collaboration with H&M to the world,” she recalled.

“It was so exciting. Everybody was saying how good I looked and nobody knew it was H&M!”

Another favourite is a printed dress and leggings combo (below, centre) with a Techno Japan print.

“We have used it in different colours and on different designs so that it can be worn in many contrasting ways,” DONATELLA explained.

“We had so much fun designing the print pieces for the collection (below, left), which can be worn individually or mixed and matched as wild as you dare.”

Additional highlights include a metal mesh mini and a darling black dress, but there is one item DONATELLA promises you won’t find in the collection: flat shoes.

“There are only high heels,” she shared.

“I never wear flats. Ever.”