Word has it the third wife of a blockbuster star is getting the jitters over having signed a pre-nuptial and several nondisclosure agreements. Beyond the obvious disparity in the sparring couple’s age there is word the Mrs. has discovered, among other things, her husband has extensive hair implants, is addicted to liposuction, and has a penchant for French kissing dark handsome men who work in the wardrobe department.

Not to mention the fact last week’s ingénue, and now Hollywood royalty, was recently overheard at the Starbucks on San Vincente dismissing the doctrines of Scientology. “Xenu my ass. The only Galactic Overlord I’m worried about is the one I’m married to.”

Last seen on a flight to Manhattan with her youngest son the agitated wife referred all questions to her publicist.

1. She never saw a script, but at her audition, she was given a page of thoughts. “Of things,” she says. “All I knew was that my character is connected to nature, that my character loved nature, is amazed by nature, is very intuitive, she’s someone who loves children and nature. And that she’s a pure soul. And that was it.”
2. She did some of the voice-over narration that forms the bulk of the dialogue in the movie. She says she read 400 pages of it.
3. Malick asked her to read, or re-read, three large and philosophical Russian novels: Fyodor Dostoyevsky’s The Idiot and The Brothers Karamazov, and Leo Tolstoy’s Anna Karenina. “That was the preparation,” Kurylenko says. “He doesn’t give you the script, but he asks you to read three novels. At first I didn’t know why. He said read them. And then we spoke about it. And I was on set and I saw why. And now I saw the movie and I know even more why.”

Not that she is complaining.

“It’s a miracle I was in this movie,” says the actress, who is a former model and a famous beauty (she was the Bond girl in Quantum of Solace). Two years after working with the reclusive and cerebral director, she is still in awe. Malick is a former professor of philosophy, and Kurylenko says, “He doesn’t talk about philosophy, but his thoughts and his writing are pure philosophy. Every page has so much depth in it, and so many true things. I told him, I said ‘Every page of your writing deserves to be framed and put on a wall.’ One page contains so much, and I would have stacks of those pages. It’s like gold.”

Did she save them? “I was instructed to burn it all,” she says.

It’s all part of the unique vision of Malick’s cinema. To the Wonder is a love story in the vein of The Tree of Life, his poetic 2011 movie with Brad Pitt about a family growing up in rural Texas. The new movie, made with un-Malick-like speed — previously he took 20 years between Days of Heaven and The Thin Red Line — is a similarly pensive meditation on love. Kurylenko plays Marina, a French woman who falls in love with Neil (Ben Affleck) and moves with him to Oklahoma, where, on the open plains, there is much voice-over musing about the meaning of life. Rachel McAdams co-stars as Neil’s childhood sweetheart, and Javier Bardem plays a priest who is losing his faith.

The story is believed to have been inspired, at least in part, by real life. Malick was once married to a French woman.

Ben Affleck, left, and Olga Kurylenko in To the Wonder.

It’s an elusive, non-linear film, made with Malick’s characteristic style. For one thing, the cast must immerse themselves in their characters. Speaking at the Toronto International Film Festival, where To the Wonder had its premiere, Kurylenko recalled that she had to become Marina all day, every day, for the two-and-a-half months of filming. She was told that she may be awakened and told to start acting immediately, without having her hair done or makeup applied.

“They never did that, but it’s a metaphor for his way of working,” she says. “You have to be there all the time, even when you don’t think you’re filmed, he’s filmed. You become the character. You live it.”

She says it frightened her slightly, because Marina is slightly unhinged: she a woman who has been driven into a state of melancholy by love. “It’s kind of disturbing because my character isn’t stable. If she was a happy person it would be wonderful, but I lived in pain for two months and a half, because my character’s in pain.”

Working with Malick is the high point of a long journey. She was born 34 years ago in Ukraine and spent the first part of her life in dire poverty. When she was 13, she was spotted by an agent who offered her a job as a model, and by 18 she was on the cover of fashion magazines. Her film career is notable for its speed: she is now co-starring with Tom Cruise in the sci-fi epic Oblivion.

Kurylenko says it took her a while to recover from To the Wonder. “I remember just thinking, ‘Oh my God, just don’t let me become like that. I don’t want to be like this. I don’t want to be that person.’”

In many ways, she’s reacting to a character we don’t see on screen. Malick is famous for shooting much more film than he uses; indeed, Rachel Weisz, Jessica Chastain, Amanda Peet, Michael Sheen and Barry Pepper had their entire performances removed from To the Wonder.

Kurylenko says a lot of darker scenes are not in the finished movie: violent scenes, fights, sequences in which her character speaks in a devilish voice. “I guess in the end it was too dark and too heavy,” she says. “We shot scenes where I was on the floor in tears screaming, hysterical. You don’t see any of that footage.”

And although it was tough, she says it was also a pleasure.

“I would go through it again and again. You do this for art and for Terrence. He’s such a master.”

Missing from the lineup, which was announced Thursday, is anything from Canada. Two upcoming dramas — Tom at the Farm from Quebec wunderkind Xavier Dolan and Devil’s Knot, a ripped-from-the-headlines mystery directed by Cannes favourite Atom Egoyan — were thought to be in line for selection.

The Canadian connection will rest on actor Ryan Gosling, the star of Only God Forgives, a crime thriller about a man hiding out in the world of Thai boxing who must now avenge the murder of his brother.

It’s directed by Danish filmmaker Nicolas Winding Refn, who was named best director at Cannes two years ago for the crime drama Drive, also starring Gosling.

The Coen Brothers film, Inside Llewyn Davis, stars Carey Mulligan and Justin Timberlake. It’s loosely based on the memoirs of folksinger Dave Von Ronk, a fixture in Greenwich Village in the 1960s.

Soderbergh’s film, Behind the Candelabra, was made for television — the director has announced his retirement from feature films — and co-stars Matt Damon as Scott Thorson, Liberace’s younger lover.

Polanski returns to the Croisette with Venus In Furs, based on the play by David Ives. It stars Polanski’s wife, Emmanuelle Seigner. Another Polanski film, Weekend of a Champion — a rarely seen documentary about racecar driver Jackie Stewart — will have a special screening.

After a controversy last year over the fact that no female directors had movies in competition, there is one this year.

Also in competition this year is Nebraska, the new film from Alexander Payne (The Descendants), who was on last year’s competition jury. Nebraska stars veteran actor Bruce Dern as an old alcoholic who talks his son into driving him from Montana to Nebraska so he can cash a winning lottery ticket.

Another highlight is The Immigrant, the first new movie in five years from American director James Gray. It stars Marion Cotillard, Joaquin Phoenix and Jeremy Renner in a story about an immigrant woman who is tricked into a life of burlesque until a magician tries to save her.

Festival director Thierry Fremaux, who announced the lineup, said the films were chosen from 1,858 entries. After a controversy last year over the fact that no female directors had movies in competition, there is one this year: Italy’s Valeria Bruni Tedeschi with Un Chateau En Italie .

It was previously announced that Baz Luhrmann’s The Great Gatsby will be the opening night film and Jerome Salle’s Zulu will close the festival. On Wednesday, Cannes said that Sofia Coppola’s true-crime drama The Bling Ring would open its Un Certain Regard section.

The competition jury is headed by Steven Spielberg, who is heading to the Riviera on his yacht and will apparently reside there during the festival.

The other films in competition are: Michael Kohlhaas, Arnaud Des Pallieres (France); Psychotherapy of a Plains Indian, Arnaud Desplechin (France); Heli, Amat Escalante (Mexico); The Past, Asghar Farhadi (Iran); Grisgris, Mahamat Saleh Haroun (Chad); A Touch of Sin, Jia Zhangke (China); Like Father Like Son, Hirokazu Kore-eda (Japan); La Vie d’Adele, Abdellatif Kechiche (Tunisia); Shield of Straw, Takashi Miike (Japan); Jeune et Jolie, Francois Ozon (France); The Great Beauty, Paolo Sorrentino (Italy); Borgman, Alex Van Warmerdam (Netherlands.)

Two other films will be screened out of competition: All Is Lost, starring Robert Redford as a man lost at sea and directed by J.C. Chandor (Margin Call) and Blood Ties, a thriller with Clive Owen, Billy Crudup, Marion Cotillard and Mila Kunis and directed by Guillaume Canet of France.

There will also be an homage to Jerry Lewis, the American actor and director who is well loved in France. His new movie Max Rose, directed by Daniel Noah and starring Lewis as an old jazz pianist looking back on his life, will be screened as well.

The festival runs from May 15 to 26.

6603 W Sunset Blvd, Hollywood, CA 90028

(323) 466-3696

http://www.dearlydepartedtours.com

We may not know where our favorite stars go after the final curtain falls. But thanks to Dearly Departed Tours, we can see where some of them were when they took their final bow. Founded in 2005 by Scott Michaels, who has been interested in death since attending a funeral at the age of three, Dearly Departed delivers. In two-and-a-half information-packed hours you’ll see where some shining stars twinkled away, and where others got taken away. I recently hopped on one of the tours and had a great time.

One thing was clear from the start. Richard wasn’t one of those part-time tour guides who blankly recite a canned speech while waiting for their “big break.” His movie knowledge was impressive, he had a passion for Hollywood history and was an entertaining speaker.

One of the tour’s first stops was the Knickerbocker Hotel. It’s where William Frawley, who played Fred Mertz in the 1950s TV show I Love Lucy, expired. He had actually collapsed from a heart attack on the sidewalk outside, and was then carried into the hotel’s lobby. We paused in silence for a moment in front of the hotel, and then (like Frawley I hope) moved on.

Under bright and cheery Spring  skies, our dark tour continued, turning and twisting through quiet, wealthy neighborhoods that secreted the uneasy allure of celebrity death. We paid our respects to the last residence of Michael Jackson. Stopping near the gate of the $100,000 a month rental in Holmby Hills, Richard played a recording of the actual 9-1-1 call for us.

After that, we swung up and around the Chateau Marmont. Passing its entrance, we stopped along a long wooden fence that hid the hotel’s property. To our right was a little gate and a metal number 3. “Past this gate in Bungalow 3 is where John Belushi overdosed,” Richard announced. He then held up a dated photo. In it a van marked “Coroner,” surrounded by paparazzi, was in the same spot we were now.

As our tour continued, so did the death toll. It began to seem like every building, every corner was growing darker. Was it the shadows of mortality mixing with the bright April sunshine? Or maybe it was just getting later in the day. At any rate, I began to think that Hollywood was a dangerous place for celebrities, a Bermuda Triangle for the cinematically charismatic.

For years, Hollywood had been a factory town, producing dreams, escapism and hope for the world. And it also rocketed otherwise ordinary people into mythical gods and goddesses. Although some of these celebrities simply faded away, others exploded like starbursts. And Dearly Departed Tours does a great job of keeping those echoes alive.

The Bling Ring, which stars Emma Watson, Taissa Farmiga, Leslie Mann and Kirsten Dunst, is about a group of adolescents who track the whereabouts of celebrities online so that they can rob their homes. They stole more than $3 million in jewellery and clothing from such stars as Paris Hilton and Orlando Bloom.

Un Certain Regard is a section of the Cannes festival that showcases movies with “original and different” styles. The official selection of Cannes movies — those eligible for the Palme d’Or — is to be announced Thursday.

Coppola was in Cannes in 2006 with her film Marie-Antoinette, and her first film, Virgin Suicides, had its debut there.

The festival also announced that Danish director Thomas Vinterberg will be president of this year’s Un Certain Regard jury. The festival runs from May 15 to 26.

]]> http://o.canada.com/2013/04/16/amanda-bynes-is-still-a-hot-mess-this-time-on-video-sigh/ Tue, 16 Apr 2013 15:09:29 +0000 Miranda Furtado http://o.canada.com/2013/04/16/amanda-bynes-is-still-a-hot-mess-this-time-on-video-sigh/ In case the countless selfies weren’t enough for you, Amanda Bynes has taken to her twitter (yet again) to release a short video of her making all sorts of duck faces while clutching her beloved iPhone.

We’re pretty tired of reporting about Amanda Bynes, so here’s the video for you to check out yourself.

’nuff said.

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Judy has gotten a bad rap as time goes by. She has, and always will be one of the most potent cult figures in Gay history, a fact that has cast over gay culture, and all American pop culture, like a long and sinister statue. Saint Judy, we think we know her all too well, tears streaming down her tragic baby doll face, an altar made of barbituates, broken dreams, roses and rainbow flags. Judy herself claimed she’d die with a boat load of fags saluting a flag singing ‘Over the Rainbow’ in gleeful chorus. For most, she is a stereotype even more eye-roll inducing than Cher, Madonna, or Lady Gaga combined. But what exactly about her leaves us with a twinge of revulsion and resentment? Is it the prejudiced assumption that because Judy Garland is a tragic figure, that all those of the LGBTQ community are inherently tragic? That our lives are torrid, unseemly, prone to scrutiny, that our mothers didn’t love us enough? That those in power, be it the society we live in  our the culture we are born into, is as harsh and judgmental as Judy’s damning film studio, Metro Goldwyn Mayer? But Judy, like it or not, is tied seamlessly into the culture of the Gay Rights Movement, all because of a hot summers night on June 28th, 1969, the day after Judy Garland’s funeral at Campbell’s. Thousands of on lookers passed in toe to see their beloved Judy in an open casket. Stonewall was a hole in the wall bar with no liquor license and prone to police raids. But that night, the patrons had had enough when the cops came in that night. What would occur were the Stonewall Riots, which would change the face of what Gay Rights truly meant to the outside world, forever. While Judy certainly can’t take all the credit, it can only be said it was more than appropriate. But what is so maddening about Judy’s damning legacy, is that unlike so many recent gay icons in the past decades since her untimely death to an overdose at the age of 47, is how truly talented and versatile she was. Judy is, and always will remain the queen of Movie Musicals, and her legacy as Dorothy Gale will continue to endear generations of children as long as the earth continues to spin. But while she is known merely as Dorothy to the outside world, her filmography is not only filled with variety, but with a consistency through even her worst years that makes her shine like a diamond. Take a deep breath, put on your ruby slippers and stroll down a list that shows a truly breath-taking career that should be given more attention in the passing years…

5. Meet Me in St Louis (1944) Dir: Vincent Minnelli

‘My favorite musical’, said Gene Kelly wistfully when asked about the film, and one doesn’t have to look hard to see why. Though devoid of any breath taking dancing, show stopping numbers or bold flashy colors, no film captures a sense of nostalgic Americana, an America that never truly existed, quite like Minnelli’s Meet Me in St Louis. As though the quietest Ozu film were transposed to the 1940′s dream factory of MGM, Meet Me in St Louis is a small plot with quiet, modest scenes centering around a year in the life of  a large family in St Louis, Missouri 1904. Judy was initially furious about the idea of playing Esther Smith, a goofy teenage girl in love with John Truett, the boy next door. Resentful at having been damned to roles of young ingenues for so many years, struggling to maintain an new, adult image, even Judy’s Mother tried to convince Papa Mayer, head honcho of MGM to give it to someone else. But the Freed unit, responsible for almost all of the quality musicals the studio produced, insisted. Known as the one take girl on the lot, Minnelli infuriated Judy from day one when he insisted on one take after another, going as far as requesting rehearsals for the tiny yet deliriously intricate scene involving a mere telephone call at dinner one Afternoon, taking days to shoot. But what would occur for Judy throughout the long and grueling shoot of Meet Me in St Louis would be a turning point that proved bittersweet. Judy’s make up artist, Dorothy Ponedel took one look at Judy, demanding she take the cosmetic plugs stuck in her nose to ‘correct’ her face since her Oz days in 1939, insisting that Judy was simply beautiful the way she was, giving her a modest layer of make up. How right Dorothy was, for Judy never quite glowed as a beautifully as she does on screen for Meet Me in St. Louis. Though Judy plays a teenage girl in love, her performance as Esther is a haunting, heavenly portrait of young girlhood.

Though Judy initially despised her young ambitious director, Vincent Minnelli, they would both fall in love and marry, eventually starting a family with the birth of their child, Oscar winning singer and actress, Liza Minnelli. But problems occurred continuously throughout production. Many were less than thrilled with the marriage of Minnelli and Garland, especially a manipulative Papa Mayer and  those aware of the long standing rumors of Minnelli’s homosexuality before his move to Hollywood. Meet Me in St Louis was, for Judy, another turning point for the erratic, unpredictable behavior that would eventually taint her career until her death. Here, Judy begins to come to the studio late, making one excuse after another, sometimes not even showing up to work at all. Years of pill addiction thanks to the powers that be at MGM began to take their toll on the young Judy, who would eventually be fired in 1950, after a failed attempt at starring in Annie Get Your Gun (1950), replaced by Betty Hutton.

4. Easter Parade (1948) Dir: Charles Walters

Though 20th Century Fox would offer the famous composer Irving Berlin ungodly sums of money to produce a musical using his immortal music, Berlin insisted the only woman who could sing his songs was Miss Judy Garland. Fred Astaire even stepped out of retirement, just so he could sing and dance with her. Easter Parade is the height of MGM’s powers for both its cast and crew, Garland musing before her death in her last interview, that it was her favorite film she ever did. In a grand tradition of movie musicals, Easter Parade surrounds itself in a lush, consistent catalogue of tunes, centering around a pedestrian, though unimportant plot, for the mere magic is not in any sense of immaculate film structure or narrative, but by the pure magic of seeing a group of talented stars strut their stuff. Unlike the star-studded yawn-fests filled with untalented or horrifically mis-cast celebrities of today (cough, cough, Les Miserables, cough, cough), one would have to be made of stone to not melt when Judy croons to Fred ‘In Your Easter Bonnet’ on that mesmerizing MGM back lot street, furnished with period costumed extras and carriages, a furnished universe like a Victorian holiday card. It is hard to believe such wellsprings of talent could ever have existed at one time, and that Judy provided such a prolific and massive contribution to one film alone. Nothing proves her endless well-spring of talent than the thankfully surviving cut number from the picture, Mr. Monotony:

Just look at her. Sexy, happy, radiant in her one piece suit and heels, the camera loves her as she loves it in return.

3. The Clock (1945) Dir: Vincent Minnelli

The Clock is perhaps, one of the greatest love stories ever filmed, and definitely one of  the most over-looked films of all time. Here, is Judy Garland in her first non-musical role, playing Alice Maybery, a girl living in New York during World War II, where she meets a handsome soldier at a train station. After spending an entire day together, they both realize they are falling in love, and vow to marry before Joe has to leave for Military Camp. What makes The Clock so astounding is the realism that occurs on the screen, revealing itself to be a fascinating time capsule into a particular time and place, New York City in the 1940′s. Though filmed entirely on the MGM lot, one can feel the busyness of a wild, bustling New York, contrasting with the delicate, tender romance between Judy Garland and Robert Walker. While hundreds of films were produced during and after WWII in the 1940′s concerning current affairs, The Clock proves itself to be one of the most delicate, unbiased looks into American life at the time, second only to Willam Wyler’s The Best Years of Our Lives (1946). Further fascination occurs with Judy’s character, Alice, living with another room-mate independently in an apartment, a startling and new phenomena during the 1940′s, when women were allowed an independence unseen in the burgeoning 20th century. Girls from all walks of life all over the United States were attracted to the glistening meccas of America, securing independence in nearly all assets whether it be jobs, a steady income and a freedom that would quickly be taken away when the boys came home from War. Perhaps, a gentle irony occurs for the independent Alice when Joe sweeps her off her feet, dreams of love, marriage and children becoming inevitable as the films narrative progresses. But Judy makes her character so utterly believable and sincere, you root loudly for the romance between her and her soldier Joe when they are reunited, parted, and reunited again through a bustling New York. Here, Judy proves her potential career as a great, dramatic actress was sadly too overlooked in her own lifetime.

2. A Child is Waiting (1963)

One person who saw Judy’s potential as a dramatic actress was producer/director Stanley Kramer. Her brief performance as a Jewish Holocaust survivor in his star studded opus Judgement at Nuremberg (1961) would earn her a second Oscar Nomination. Kramer cast her in yet another film, producing A Child is Waiting, with a last minute replacement in none other than director John Cassavetes, one of the most important, and original Independent Film Directors of the 20th Century, who happened to be on loan from Paramount early in his career. Starring alongside Burt Lancaster, Judy plays Jane Hansen, a Julliard graduate looking for a job, who finds herself becoming the music teacher in a Mental Hospital, working with mentally challenged children. Harsh realities  constantly surround her in the hoards of abandoned children, left to fester in a State Hospital by misinformed parents. Jane struggles with the demanding, strict staff, bonding with many of the children who have found their way there, and will more than likely, be stuck there for the rest of their lives. A Child is Waiting is unfortunately, the most understandable case of a film forgotten by time. Kramer was by all means, a timely and topical producer of films, an asset that would cause him trouble more than once during the McCarthy witch hunts of the Cold War. The topic addressed by A Child is Waiting is an unfortunate and deeply disturbing issue that haunts a generation of Americas to this day, where the inherent Medievalism of Psychology through out the 20th century reared its head too often. Parents of children who showed signs of developmental problems were consistently assured by doctors to put their children away in Mental Hospitals, since the care and upkeep of them in the home would be too costly and demanding. Many were assured to merely try at having children again, and to forget them, if they could. Children from the 1950′s and 60′s have discovered in adulthood, long lost siblings and relatives hoarded away in State Hospitals, frequently appearing in the media as hot topic news stories to this day. This is by far, Judy’s most harrowing and realistic role. Garland knows all too well the inherent torment and vulnerability of the children, and herself. The scenes she performs with real children with disabilities, are some of the most touching examples of acting ever put to film. As we watch the film, it demands us not to fall apart, like Garland, who can barely keep composure when confronted with the human tragedy that surrounds her.

1. A Star is Born (1954) Dir: George Cukor

It was to be, the most momentous come-back in American Film History. Garland had not starred in a film since her firing from MGM in 1950, and what her and her producer husband, Syd Luft planned, was a show-stopper with songs by Harold Arlen and Ira Gershwin, a script by writer Moss Hart, and a director in the genius, George Cukor. But what occurred was yet another tragedy that would scar the brief life of Judy Garland. But what little is left behind of this battered film, is proof that if ever fully restored to its brief, former glory, would be perhaps the most important and revolutionary movie musical ever made. While the zeitgeist of The Wizard of Oz will forever immortalize Judy Garland in the heart of millions, perhaps billions, A Star is Born is the ultimate testament to one of the greatest, if not the greatest, vocal talents of the 20th century. A Star is Born was already an oft-remade vehicle originally made in 1937, a film that famously plagiarized the 1933 film What Price, Hollywood? directed yet again, by George Cukor. The film’s plot remains Hollywood’s most potent myth, one still cannibalized every few decades. Vicky Lester is discovered singing by Movie Star Norman Maine, who helps spearhead her career. While her star rises, his own fades, devoured by his own alcoholism and the cruelty of a fleeting Hollywood. Garland must have seen much of her own life in the tragedy that befalls the plot of A Star is Born, and could easily guessed life imitating art in the cruel Hollywood depicted in the film. Nominated for an Academy Award that critics were positive she would win, Garland would lose the award to upstart Grace Kelly, for the pathetically forgettable film The Country Girl. While Garland couldn’t attend the awards due to the birth of her son, cameras were put in the hospital in anticipation. Soon, they would vanish when she lost. Later in the night, Garland received a telegram from none other than Groucho Marx stating it was “The biggest Robbery since Brinks.”

One of the great, if not the greatest tragedies in American film history was Warner Bros. butchering of George Cukor’s film. What many claimed was one of the greatest musicals ever made and un-contestedly the best film of the year, was edited to oblivion by the studios when they felt it played too long and wouldn’t make enough money. Some felt it was the studios revenge for having dealt with a frail, mentally ill Garland after the film went over-budget. Regardless, out went the footage, of which has been reportedly lost forever. Nothing but stills, subplots left only to the script, and utter compromise in its wake. Rumors have abounded for years the uncut version has been in the hands of wealthy collectors. Only time will tell…

Opening Scene:

It seems as though James Franco is everywhere these days, so it’s no surprise that he took a “trip” down under to tell Wilson that she was the “chosen one” — no, not Tom Cruise’s next wife, but the host of this year’s MTV Movie Awards.

Pitch Perfect Reunion:

Wilson was a key factor in the hilarious moments that took place in Pitch Perfect, so it only made sense that she invited some of her cast members back to help her out in her opening monologue — which was made up of a medley of Eminem’s “Lose Yourself” and Alicia Keys’ “Girl on Fire.”

Catching Fire Trailer:

No surprise here; people have been talking about the release of the latest installment of the Hunger Games franchise, so it only seemed fitting to be released during this year’s MTV Movie Awards.

Emma Watson:

Our favourite Brit won the honour of MTV’s Trailblazer Award and in classic Emma Watson style; the actress gave the most heartfelt acceptance speech. She told the audience, “You have supported me in all of my awkwardness and allowed me to grow into the kind of actress and the kind of person that I hope to be so thank you very much for that,” she said. “If you truly put your heart into what you believe in, even if it makes you vulnerable, amazing things can and will happen.”

Emma Watson in 50 Shades of Grey:

Speaking of Emma Watson, even when she wasn’t on stage, she was still the talk of the award show. Funnyman Jonah Hill joked that he and Watson would be staring in the new adaptation of the surprise-hit novel.

Aubrey Plaza gets kicked out:

Aubrey Plaza, from Parks and Recreation, tried to promote her movie in the most awkward way possible: by pulling a Kanye West on Will Ferrell. The actress, who was barefoot and had the name of her latest project scrawled on her chest in black marker, attempted to steal Ferrell’s golden popcorn statue for the Comedic Genius Award. The actress left the stage empty-handed and managed to spill her drink after returning to the seat. According to reports, MYV wasn’t happy with her unscripted antics and she was promptly asked to leave.

So we get in to the theater and to our surprise there are only 2 other people in there.. cool.. I like it when the theater is empty.. sadly however that didn’t last.  More and more people showed up, first we had this prick behind us who was talking on his phone.  Then there were these 2 heavy set ladies who would not shut up.. at one point during the previews one of these ladies answered the phone and said, and I quote.. “Ion give a fuck.. it’s only previews, I’m gunna answer my fucking phone”.. and proceeds to answer and chat it up.  I lready knew  when they first came in that they were going to talk non-stop and I was right.  Every single thing that happened in the movie they had to comment on!  But, before then.. the prick behind us.. well about 10 minutes into the movie this prick gets up and starts to head out and yells “The girl dies”… asshole..

Okay.. now to the movie..

The beginning of the movie has a young girl walking through the woods being chased/stalked by someone.. she’s covered in blood.. she’s scared.. at first your hoping she gets away.. but she doesn’t… she gets knocked out and then awakens tied to a wooden post.. she’s begging to go home.. there’s an old woman speaking in a foreign language… telling someone that she must be killed now.. in walks her dad.. WTF??? Her dad??? he’s telling her that he’s sorry, but he has to kill her for killing her mother… then the truth comes out.. she starts speaking in this strange possessed voice.. “I’ll consume your soul…like I did your whore”… and he sets her on fire….

Now the movie goes to  a group of young people going into the woods to stay at a cabin in the middle of nowhere.. now what could possibly go wrong there???  Hmmmm.. Well the youngest of them all is a junkie who has called this group of people together to help her quit cold turkey.. so the fun begins..  The girl, Mia keeps talking about a smell in the cabin, she’s apparently the only one who can smell it.  After the DT’s kick in she is complaining even more about the smell.. then the dog starts digging at the carpet on the floor.. to which they pull it away to discover blood under it all over the cellar door.. and of course they go down stairs where they find a whole bunch of dead cats hanging from the ceiling and a book that’s wrapped up and tied up in barbed wire.. a really good sign to leave it the fuck alone.. but do they?? nope… one of the stupid people not only get the book, and open the book but despite all the warnings reads OUTLOUD from the book.. and incantation or prayer..of course this is at the same time that Mia is at her worst.. she escapes and takes off in one of the cars.. crashes it and then is attacked by something in the woods.. This demon traps her in some vines that tie her up, arms and legs spread wide open where this black goo thing slithers up her legs and into her woohoo… my first thought.. no man will ever be able to satisfy her again after that!  Yeah, I’m sick and twisted…

From there we go into GORE GALORE… I won’t give away the rest of the movie.. but I will say this was over the top blood, guts and gore.  I was literally disgusted by the amount of gore.  It was bad enough being subjected to the second rate acting, but then the gazillion disgusting things they showed with the hope of “scaring” the audience.  This movie was anything but scary.  It was predictable, it relied on cheap tactics to try to scare you.  I only jumped once and that was at the very loud bang.. not because I was scared.  This movie was billed as “the scariest movie ever made”.. well dear Hollywood advertisers and promoters.. you effin lied to me!!  I want my money back dammit!

I liked the older B rated movies so much better then this one!  If your squimish and don’t like blood and gore.. don’t go see this.. if your like my husband however.. go enjoy the hell out of it.

So many amazing people! So much to do, so much to learn!!!

One day, maybe I might be the one on the other side, promoting my movie, my job, my life.

But for now, I will do my best to BE my best on the other side of the carpet.

Still, I love it. I guess it’s the best of both world. After all its all entertainment. When I do acting, and when I do red carpets as a TV-reporter.

And I can’t explain to you the feeling it gives me.

Its my drug! My job is my drug.

And when I don’t get to be on stage, or in front of the camera, I feel like a trapped bird, just waiting to fly again.

Wow, so poetic. I’ll get to the point.

Today I have been working on the Pre-MTV Movie Awards, if we can call it that.

We got to see the stage, interview the producer Jess Ignjatovic, and the three stars Ashley Rickards, Jillian Rose Reed and Brett Davern from the series “Awkward!”

So much fun!

And I got to see where all the stars will be sitting.

I found my seat! (I wish)

And best part of it all, you will soon be able to see it all online on tv2.no

On sunday it all goes down, and I’m sooo ready!

Are you?

Here are the nominees for this years MTV Movie Awards:

MOVIE OF THE YEAR
“Django Unchained”
“Silver Linings Playbook”
“Ted”
“Marvel’s The Avengers”
“The Dark Knight Rises”

BEST FEMALE PERFORMANCE
Anne Hathaway — “Les Misérables”
Mila Kunis — “Ted”
Jennifer Lawrence — “Silver Linings Playbook”
Emma Watson — “The Perks of Being a Wallflower”
Rebel Wilson — “Pitch Perfect”

BEST MALE PERFORMANCE
Ben Affleck — “Argo”
Bradley Cooper — “Silver Linings Playbook”
Daniel Day-Lewis — “Lincoln”
Jamie Foxx — “Django Unchained”
Channing Tatum — “Magic Mike”

BREAKTHROUGH PERFORMANCE
Ezra Miller — “The Perks of Being a Wallflower”
Eddie Redmayne — “Les Misérables”
Suraj Sharma — “Life of Pi”
Quvenzhané Wallis — “Beasts of the Southern Wild”
Rebel Wilson — “Pitch Perfect”

BEST SCARED-AS-S**T PERFORMANCE
Jessica Chastain — “Zero Dark Thirty”
Alexandra Daddario — “Texas Chainsaw 3D”
Martin Freeman — “The Hobbit: An Unexpected Journey”
Jennifer Lawrence — “House at the End of the Street”
Suraj Sharma — “Life of Pi”

BEST ON-SCREEN DUO
Leonardo DiCaprio and Samuel L. Jackson — “Django Unchained”
Bradley Cooper and Jennifer Lawrence — “Silver Linings Playbook”
Mark Wahlberg and Seth MacFarlane as Ted — “Ted”
Robert Downey Jr. and Mark Ruffalo — “Marvel’s The Avengers”
Will Ferrell and Zach Galifianakis — “The Campaign”

BEST SHIRTLESS PERFORMANCE
Christian Bale — “The Dark Knight Rises”
Daniel Craig — “Skyfall”
Taylor Lautner — “The Twilight Saga: Breaking Dawn — Part 2″
Seth MacFarlane as Ted — “Ted”
Channing Tatum — “Magic Mike”

BEST FIGHT
Jamie Foxx vs. Candieland Henchmen — “Django Unchained”
Daniel Craig vs. Ola Rapace — “Skyfall”
Mark Wahlberg vs. Seth MacFarlane as Ted — “Ted”
Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson and Jeremy Renner vs. Tom Hiddleston — “Marvel’s The Avengers”
Christian Bale vs. Tom Hardy — “The Dark Knight Rises”

BEST KISS
Kerry Washington and Jamie Foxx — “Django Unchained”
Kara Hayward and Jared Gilman — “Moonrise Kingdom”
Jennifer Lawrence and Bradley Cooper — “Silver Linings Playbook”
Mila Kunis and Mark Wahlberg — “Ted”
Emma Watson and Logan Lerman — “The Perks of Being a Wallflower”

BEST WTF MOMENT
Jamie Foxx and Samuel L. Jackson — “Candieland Gets Smoked” in “Django Unchained”
Denzel Washington — “Final Descent” in Flight”
Anna Camp — “Hack-Appella” in Pitch Perfect”
Javier Bardem — “Oops… There Goes His Face” in Skyfall”
Seth MacFarlane as Ted — “Ted Gets Saucy” in Ted”

BEST VILLAIN
Javier Bardem — “Skyfall”
Leonardo DiCaprio — “Django Unchained”
Marion Cotillard — “The Dark Knight Rises”
Tom Hardy — “The Dark Knight Rises”
Tom Hiddleston — “Marvel’s The Avengers

BEST MUSICAL MOMENT
Anne Hathaway — “Les Misérables”
Channing Tatum, Matt Bomer, Joe Manganiello, Kevin Nash and Adam Rodriguez — “Magic Mike”
Anna Kendrick, Rebel Wilson, Anna Camp, Brittany Snow, Alexis Knapp, Ester Dean and Hana Mae Lee — “Pitch Perfect”
Bradley Cooper and Jennifer Lawrence — “Silver Linings Playbook”
Emma Watson, Logan Lerman and Ezra Miller — “The Perks of Being a Wallflower”

2013 MTV Movie Awards: Total Number of Combined Category Nominations
“Django Unchained”: 7
“Ted”: 7
“Silver Linings Playbook”: 6
“The Dark Knight Rises”: 5
“Marvel’s The Avengers”: 4
“The Perks of Being a Wallflower”: 4
“Pitch Perfect”: 4
“Skyfall”: 4
“Magic Mike”: 3
“Les Misérables”: 3
“Life of Pi”: 2
“Argo”: 1
“Beasts of the Southern Wild”: 1
“Flight”: 1
“House at the End of the Street”: 1
“Lincoln”: 1
“Moonrise Kingdom”: 1
“Texas Chainsaw 3D”: 1
“The Campaign”: 1
“The Hobbit: An Unexpected Journey”: 1
“The Twilight Saga: Breaking Dawn — Part 2″: 1
“Zero Dark Thirty”: 1

Credits: Lionsgate

New photo of Katniss in ‘The Hunger Games: Catching Fire’ revealed

A new photo of Katniss in The Hunger Games: Catching Fire is the second image to be revealed on the Hunger Games Explorer website.

The photo is a close-up, showing Jennifer Lawrence as Katniss in what appears to be a heavy knit sweater or scarf, with a leather jacket. Some trees are visible in the background behind her, perhaps the outskirts of District 12?

Since Wednesday, Lionsgate has been asking fans to Tweet #HungerGamesExplorer to help unveil five new images. The first image, revealed yesterday, showed Katniss (Lawrence) embracing her sister Prim (Willow Shields).

Three more mystery images remain to be unlocked, leading up to Sunday’s reveal of the Catching Fire trailer during the MTV Movie Awards.

Read More by Sara Gundell

My friend Sheila send me this link this morning, with the subject header “this is kinda fascinating (a TINY bit)”.

It’s a “news” clip that attempts to make a story about a rivalry between two serious young female movie stars.

Then she sent me another one with the subject header “and then this”.

It made me think of the end of the television series Buffy the Vampire Slayer. Knowing my friend hadn’t seen the show and probably never would, I emailed her a summary which I’ll post below. If you are saving Buffy the Vampire Slayer television for the future,  NOTHING BUT SPOILERS AHEAD.
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The hole of Hell (in California) is getting too big and all the hell creatures are coming out. It’s too much for Buffy (the vampire slayer) to handle alone. If she can’t handle it, the Earth will turn to Hell.

She uses a magical device to meet with the ancient men who gave the first young girl (the first One True Slayer) all the power to fight evil. The ancient men initiate a ritual that will give Buffy more demonic power. She’s in chains I think. She’s so mad at the men. She’s mad that they made her the slayer, ’cause she never wanted to be. She’s mad that she has to fight and that she’s lonely ’cause no one’s like her. She’s distrustful of the men. She doesn’t want to lose more of her humanity. Her temper makes her lose the vision and abruptly stop the ritual.

Back at home, her and her friends try to be positive: “It’s okay, Buffy, we’ll find another way.” But everyone, including herself, suspects they blew the one chance of  getting enough power. A few episodes go by. People are miserable, there’s fighting, no one’s trusting Buffy and she’s starting to hate everyone.

During this time, they have gathered as many of the “potential slayers” together that they could find (15 year old girls who are not powerful but could be someday if Buffy dies) and they’re all (with Buffy’s crew) staying at Buffy’s house. The “potential slayers” are there because the people who want hell on earth had started to kill them one by one to ensure the end of the line for these ONE TRUE SLAYERs that keep the earth from turning into hell. The potential slayers are kind of useless and they don’t like Buffy since she’s never around and is kind of miserable and bossy.

The Hellmouth is getting bigger and will open fully in two days. Buffy and her friend Willow, who is a witch, have a plan. Willow will override the original spell that the ancient men cast and attempt to give the power to all the latent slayers. They don’t think about it too much other than that if those girls also have power, they might be able to stop hell. No one wants them to do this, to override the ancient laws laid down by these men, but it’s their  only chance and they have nothing to lose. Everyone is leaving town, normal people and demons alike. No one wants to be near the Hellmouth.

Willow casts the spell just as Buffy and the potential slayers and their friends all enter the Hellmouth. It works: the potential slayers become powerful and strong enough together to fight the Hellmouth and stop it from becoming big enough to devour Earth.

Greta Garbo enjoyed one of her greatest triumphs in this glossy adaptation of Alexandre Dumas’ oft-filmed romantic tragedy. Here, Garbo stars as Marguerite Gauthier, who is born into humble circumstances but in time becomes Dame aux Camille, one of the most glamorous courtesans in Paris. Camille is kept by the wealthy and powerful Baron de Varville (Henry Daniell), but after many years of earning a good living from her beauty without finding true love, Camille’s heart is stolen by Armand (Robert Taylor), a handsome but slightly naive young man who doesn’t know how she came by her fortune. Armand is just as attracted to Camille as she is to him, and she’s prepared to give up the Baron and his stipend to be with Armand. However, Armand’s father (Lionel Barrymore) begs Camille to turn away from his son, knowing her scandalous past could ruin his future. Realizing the painful wisdom of this, Camille rejects Armand, who continues to pursue her even as Camille contracts a potentially fatal case of tuberculosis.  This is one of the great romantic films of all time.

Welcome to the two worlds of Elysium, Vancouver director Neill Blomkamp’s much-anticipated follow-up to his Oscar-nominated sci-fi hit District 9.

Matt Damon stars as a sickly denizen of the ruined Earth, who gets hold of a turbo-charged mechanical suit that gives him a chance to fight his way up to that orbiting paradise. Up in Elysium, a cool, well-groomed Jodie Foster seems to be running things.

Elysium filmed in B.C. and Mexico in the summer and fall of 2011, and the finished film makes substantial use of computer-generated landscapes to create its future look. As well there are realistic-looking flying ships and Terminator-style robots.

This isn’t the kind of B.C.-filmed movie where you’ll say “Hey, there’s the Marine Building.” Exteriors filmed in Mexico are the movie’s only ones not augmented by CGI.

Also in the Elysium cast are District 9′s South African star Sharlto Copley, William Fichtner, Diego Luna, alongside Vancouver players Ona Grauer, Michael Shanks, Terry Chen and Carly Pope.

The 33-year-old Blomkamp moved to Vancouver as a teen with his family from South Africa, and quickly earned a reputation as a digital effects prodigy in Vancouver’s busy effects scene.

His debut feature, 2009’s District 9, catapulted him to the front ranks of feature directors. The movie about an alien ghetto was filmed in Johannesburg, but  extensive post-production was handled in Vancouver.

All eyes were on Blomkamp in the summer of 2011 when filming started here on Elysium. Many of the same collaborators were back. Filming continued under tight secrecy until that September, when the show moved to Mexico City.

Then came more than a year of post-production work in Vancouver, that is just finishing now.

“Elysium is basically done at the end of February,” Blomkamp told me earlier this year. “I have some straggling VFX shots that go into April but it’s almost done. The stuff looks absolutely amazing.”

The director has already begun prep work on a third sci-fi feature that will take him back to Johannesburg for principal photography. He reteamed with his screenwriter wife — and District 9 writing partner — Terri Tatchell to co-write that film, a sci-fi comedy called Chappie.

Elysium opens Aug. 9.

Now, I’ve been known to refer to myself as a “Girl Friday” around these parts, as a testament to both my stellar  journalistic skills  and to the screwball comedy that is my life, but today we’re talking about the genuine article: the Oscar-nominated actress Ms. Rosalind Russell.

Rosalind was born in the nautical-sounding Waterbury, Connecticut, and was

Roz’s namesake. (Probably not, but would that have been cool, or what?)

named, appropriately enough, after a ship that her parents had sailed on, called The S.S Rosalind.

According to my sources, this means that she was not, in fact, named after the character “Rosalind” in Shakespeare’s famed comedy “As You Like It”… which is just as well, because that means I can write about the fictional Rosalind some other time. She is amazing, you guys, and I’m not just saying that because she ends up with some funny-named guy called Orlando.

But back to Ms. Russell. Proving herself to be as clever and quick witted as the characters she played onscreen, Roz was able to attend the American Academy of Dramatic Arts in New York City, after convincing her mother that she intended to *cough* teach*cough* acting. Well played, madam, well played!

In 1934, after having done a little theatre work, she was given a screen test and signed a contract with Universal Studios. In a madcap plot twist straight out of one of her films, MGM tested her at the same time, and Benny Thau and Ben Piazza also made her an offer. Unable to resist a deal from such a delightfully named duo (and really, who can blame her?) our heroine hatched a plan to get out of her agreement with Universal.

Clearly, Roz can take on Cary Grant. I could probably take on Cary Grant too, if I had a hat like that.

A little birdie tells me that she showed up to her first day at Universal claiming that she really had no idea what this “Hollywood” hullabaloo was all about … while slouching around set wearing her worst-fitting clothes. Now, while the idea of an unattractive Rosalind is about as preposterous as the idea of a shy and demure Amber, it was enough to fool Universal, who released her from her contract.

Roz promptly signed a seven year deal with MGM and had all sorts of success there, including landing the iconic role of Hildegard “Hildy” Johnson in the film “His Girl Friday”. Roz’s performance as the fabulously fast-talking Hildy was ranked #28 on Premiere Magazine’s “100 Greatest Performances of All Time” list. There are too many amazing lines from that movie to count, but this is one of my favourites:

Bruce (talking about Hildy’s ex-husband): He’s not the man for you. I can see that. But I sort of like him. He’s got a lot of charm.
Hildy: Well, he comes by it naturally. His grandfather was a snake.

And since you all know I love a good romance (and good showbiz gossip) I have to tell you that the role of Hildy Johnson improved more than just Roz’s career. Her co-star, Cary Grant, introduced her to a friend of his, the fabulously named Frederick Brisson, during the shoot. The couple were married a year later, and  Grant was the best man at their wedding. Now there’s a Hollywood ending for you!

Any men have a possibility to acquire this disorder; whether you are a teen, a full-grown adult, an average person or a popular Hollywood celebrity. Speaking of the latter, they are not immune with this kind of condition too. It isn’t new to all of us that a lot of major actors we look up to already have a receding hair line or a bald head. There are some which ignore its occurrence and some that readily accept it while there are those who have allegedly undergone hair restoration surgeries to hide the balding areas of their hair.

In an industry like show business, baldness is considered a proscription. Once an actor admits that he has a hair thinning problem, it might possibly affect his career. They might possibly end up portraying stereotypical roles such as a villain, a sidekick or perhaps roles which can be easily forgotten by viewers. Although this circumstance may induce a negative image to most actors, still, there are some who have retained their status in showbiz despite having a glossy, marble-like head.

Frankly speaking, there are some bald actors which possess a charismatic nature that makes their image even more masculine.  Perfect examples include Sean Connery, Samuel L. Jackson, Bruce Willis, John Travolta, Nicolas Cage, Jason Statham and Vin Diesel. A hairless head adds to their “bad boy” appeal, thus, making them the perfect leading man in action films. On the other hand, dramatic actors such as Jack Nicholson, Patrick Stewart, Stanley Tucci, Vince Vaughn, Matthew McConaughey and Jude Law have also managed to have local and international followers with their films regardless of their hair condition.

We never know if there are other Hollywood actors who also belong to this list. Some of them may just wear headpieces or perhaps had a hair recovery operation. The instances above remind these artists that even if they partially or fully lose their crowning glory, the admiration and respect of their fans to them still prevail. The hair does not solely lessen their overall appeal; it is the way they carry themselves which truly makes them successful.

Don’t be Mean, Girls

A rather arrogant goddess wants to skin the face off the most adorable warlock you could ever imagine. YOU can save him for only $0.99. Click HERE.

AT ISSUE: Lindsay Lohan and the Repulsive Ghoulishness of American Society

CASE IN POINT: Actress, universal laughing-stock and young woman Lindsay Lohan took to the David Letterman set the other night and more than held her own in the face of abject humiliation and ghoul-suckage on the part of David Letterman. See for yourself.

HERE ME AS I SPEAK TO YOU: Look. Lohan was certainly declaring herself “fair game” by occupying a chair next to a snotty old beaver like David Letterman, but at least she did it. And she did it with some pizazz. One of the things that makes me want to puke daily is this American fascination with killing talent.

Lohan came from a family that I personally wouldn’t trade for a dead hermaphrodite donkey and the last glass of water on the planet, but she has always had talent. I don’t give a rat’s glutes about her personal Bag of Crazy. I don’t.

This is a young woman who obviously has some problems that are frankly not to be lampooned while she’s actually sitting in front of your face. I am so freakin’ sick of the way Oughtta-Know-Better Americans are treating each other. Clearly, I love to satirize and put a wry spin on the world’s nonsense. I will not, however, use a young woman (famous, infamous, or otherwise) as a scratching-post/dumping-ground/dart-board for my own Feelings of Inadequacy.

Real MEN don’t treat women like garbage. Ever. Ever ever ever ever.

Lindsay was funny, wry, and witty, even if her personal life is a total Trainwreck that Jumped the Tracks of Hell and Careened into the Village of Damnation.

I … I … can handle everything in this world except cruelty. Cruelty cannot be countenanced. If you ever do something truly cruel to someone else, you had better hide under the stairs, cover your head with ashes and BEG the Virgin Mary to spare you from an eternity of Searing PAIN. Yeah, you heard me. Screw-up six proverbial ways to Sunday in your life (we all do) but DON’T be cruel.

Cruelty? I don’t want to know you, whether it’s doled-out to the famous or the forgotten. Damn this world.

(Oh, golly … I think I need a pill. Pray for me, Lindsay)

_________________________________________________________________________________________________________________

Escape the Imminent Collapse of Civilization, Friends, if Only for a Few Hours. Get acquainted with the comparatively sane world of Rowan Blaize …

One witty 2,800 year-old warlock. A suspicious storm that hurls him to earth near London. A goddess who wants to destroy the world. The catch? She needs Rowan’s face. REMOVED.

A deliciously twisted magical adventure is born with Rowan Blaize and the Enchanted Heritage Chronicles. Use any of the Rowan Blaize book icons on the upper-right (or use the links below) to learn more or purchase with an enchanted click.

Amazon Kindle Version (Only $0.99 Each!)
Book One
Book Two
Book Three
Amazon Author Page (Kindle and Paperback versions)
Barnes and Noble
IndieBound
Books-A-Million
Rowan Blaize Official Website
Goodreads

For my practicum, I worked in one of the riches areas of L.A. My very first patient was a well-known comedian turned movie star. I helped him in ways that are not very clear to me now, but on his recommendation, after getting my degree, I began seeing movie stars and other public personalities on a regular basis. Nothing so crazy as that first auditory hallucination happened to me. I was too busy and when not busy, I was too busy self-medicating. My life became a constant clash of stimulants and depressants, characterized by bouts of deep-drooling sleep punctuated by throw-me-from-bed panic attacks. I was, if not happy, happy enough.

But then one night I was watching a movie, a French film. I couldn’t sleep. The movie itself was about a psychologist who was hearing auditory hallucinations. I only realized what was going on in the film when the psychologist himself realized what was happening. He had this epiphany while himself unable to sleep, while watching a movie, furthermore, an American film. No big deal, really, I suggested (to myself). Coincidences—only coincidences—all of these could be.

Strangely, though, cut right into the middle of the film, in a thirty-five second clip, was an image of me from earlier that evening. I had ripped off a hangnail while cooking dinner, and it turned out to be one of those bleeders. The whole thing was in the film, from me ripping off the hangnail, to realizing from where the blood was coming, to washing my finger under the faucet.

This, of course, freaked me out. I started seeing an analyst twice a week and, on his recommendation, bought a journal. During my lunch break while at work on a Wednesday, I began writing in this journal. It was pretty innocuous, play-by-play type stuff about my week. When I turned to page two, however, I read the following, written in what appeared to my handwriting, although I can say truthfully that I—as in me, the one telling this story—had never been to page two. It said:

When turning up the wrong street, don’t turn around. Keep going. Though so-called wrong, you may still be heading in the right direction.

Just then my receptionist buzzed me, causing me to jump in my seat. She wanted to let me know that my next patient was here. I told her to send him in. It turned out to be the foreign actor from the film. Of course this greatly surprised me, but before we could even take our seats, I said, “You’re bleeding.”

He had a round drop of blood in the middle of his shirt. He looked around at his hands and his arms, but could not find it. I then saw that it was from me, from another torn off hangnail. I took a tissue from the box next to my desk and wrapped it around my finger. After the actor returned from the restroom where he had dabbed my blood from his shirt, I asked him, “Why are you here?”

“I can’t say that I know,” he said and shrugged. “My agent sent me.”

I waited for him to go on, and he waited for me to ask another question, and thus we sat, in silence, staring at each other, until the end of the session, when the timer dinged.

via ‘The Lost Daughter’: Jane Fonda’s Adopted Daughter Says Star Saved Her Life.

Balboa   24 in by 24 in   acrylic on gallery wrap birch panel        ***sale   $ 495