Vote ‘em! Yay or Nay to Sharon Stone’s look by Dior Haute Couture worn to the Elton John AIDS Benefit?

Yay or Nay: Sharon Stone wears Dior Haute Couture

Da Miklos Gimes einen Film über Tom Kummer gedreht hat und der wohl bald zu sehen sein wird (»Kummer« wird er heißen) – darf man vielleicht noch einmal kurz auf Tom Kummers Interviews zurückkommen. Der Mann war Tennisprofi, dann in Berlin, als Berlin noch total krass war, also vor 1989, und Borderline-Journalist, hat auf Reportagen Drogen gekauft, war im Irak und so weiter – und dann in Hollywood. Als er, so beschreibt er es in seinem Buch Blow-Up, bei einem Pressjunket mit Pamela Anderson sass, konnte er mit seinen Fragen ein eine Reihe idiotischer Fragen anderer Journlisten anschließen, und das Masseninterview endete wie folgt:

Du musst doch zugeben, Pamela, die Grenzen zwischen Körper und Technologie, Realität und Fiktion sind ziemlich durchlässig geworden, oder? Eine tolle Frage, ich klopfe mir fast selbst auf die Schulter. Und Pamela sagt dann: »Die Frage verstehe ich nicht.« Und damit ist das Gespräch vorbei.

Als er dann an seinem Schreibtisch sass, wurde ihm klar: »So muss Pamela dann – die Welt erwartet das von mir – etwas so antworten:

Ich kapiere zwar nicht ganu, wovon du sprichst, aber eines weiß ich: Ich muss nicht unbedingt nach einem Sinn im Leben suchen, um glücklich zu sein. Sexsymbole zu hassen ist schick geworden, weil ja fast alle Mädchen neidisch snd und weil mich außer Tommy kein Mann bekommen kann.

Die Frage ist nun einfach: Ist das einfach ein Journalist, der auf die schiefe Bahn geraten ist, was namhafte Redaktionsleiter, unter anderem Roger Köppel, nicht bemerkt oder vielleicht doch bemerkt haben (aber nichts dagegen unternommen haben), und aus Bequemlichkeit Interviews zusammengeschrieben hat und zufällig den Effekt erzeugt, die Artifizialität von Stars und den medialen Inszenierungen von Stars überdeutlich zu machen – oder liegt da mehr vor? Sowas wie eine grundsätzliche Frage zum Verhältnis von Fiktion und Authentizität, zum Schreiben etc. (Ich tendiere eher zum ersten Ansatz: Da passiert nichts, was Baudrillard und Konsorten mit den Begrifflichkeiten Hyperrealität und Simulacrum nicht schon durchdacht hätten…)

Zurück aber zu den Interviews. Wie man sehen kann, besitze ich eine Kopie des Buches. Ich hatte es schon einmal in der ZB ausgeliehen, aber offenbar ist der Band dort verschwunden. Über AbeBooks, den besten Suchdienst für antiquarische Bücher, habe ich mir dieses Exemplar aus Los Angeles (wie treffend, ich bestelle einen dtv Band aus dem Ort, an dem Tom Kummer ihn geschrieben hat) kommen lassen:

Eigentlich sollte man es scannen und online verfügbar machen, aber eigentlich habe ich weder einen Scanner, der Bücher automatisch einscannen kann, noch die Musse, das zu tun, auch wenn ich es für richtig halten würde. Wer aber unbedingt eines der Interviews braucht, kann mich per Mail erreichen und ich kann ein pdf anfertigen.

Nun zu den besten Fragen Tom Kummers, also den Fragen, die man leider den Stars nicht stellen kann, aber gerne würde. Ein Auszug aus einem der Interviews hab ich auf dem Netz gefunden:

Stone: In archaischen und antiken Kulturen gab es nur die Verführung, keine Liebe, keine Gefühlsströmungen und auch keinen Bedarf an Psychoanalyse, die ja diesen stumpfsinnigen Mythos der Liebe lebendig hält. SZ-Magazin: Hat Verführung nicht auch immer etwas Kaltes, Berechnendes?
Stone: Ja, möglicherweise. Ich stelle den anderen Fallen, und dahinter verbirgt sich sicher ein böser Geist. Der ist aber im Kern aller leidenschaftlicher Regungen zu finden. SZ-Magazin:    ? Stone: Vielleicht die Illusion. Das Kino. Das ist die Steigerung der Verführung. Ich spreche jetzt von der List, Sehnsucht nach Idealen zu provozieren und gleichzeitig zu vereiteln. Das gilt auch für eine Partnerschaft. Gibt es etwas Besseres, als immer wieder von neuem anzufangen? Wir wissen doch alle, daß das ideale Objekt sowieso nur zum Ideal werden kann, wenn es tot ist.
SZ-Magazin: Können Siegerinnen wie Sie überhaupt lieben? Stone: Diese Frage unterstellt, daß ich als Verführerin ein oberflächliches Spiel betreibe. Die Liebe wird dabei immer so furchtbar romantisch gesehen, als besonders leidenschaftlich und wahrhaftig. Ich aber halte das Ritual der Verführung für viel wahrhaftiger und viel leidenschaftlicher. SZ-Magazin: Sex als Waffe setzen Sie also nur auf der Leinwand ein, nicht in den Machtkämpfen des wirklichen Lebens? Stone: Nie! Ich ziehe die duellartige Form der Verführung vor. SZ-Magazin: Warum bloß? Stone: Weil Liebe und Sexualität auch Metaphern für Niederlagen sind. Wer siegen will, darf nicht lieben. Miß Stone sagt: “Verführet einander!” [Quelle: Google Cache von http://www.hdbg.de/t96kauf.htm]

Weitere Fragen und Antworten, die ich mag:

[Sean Penn] Ich habe wegen Dingen rebelliert, die den meisten Menschen ziemlich egal sind. Zum Beispiel, wie man eine Zigarette absolut cool in der Hand hält.

[Sean Penn] Die politische Realität der Gegenwart interessiert mich nicht. Nur soviel: Die Waffe ist Teil der amerikanischen Kultur. Keine andere Gesellschaft ist grausamer als die amerikanische. Schauen Sie doch mal CNN. Die verzweifeln fast daran, dass in der Welt kein anständiger Krieg ausbricht.

[Pamela Anderson] Du sagst doch selber, deine Hobbys sind Tanzen und Sex? – Das stimmt nicht ganz. Ich schneide auch ab und zu die Sträucher in unserem Garten.

[Snoop Doggy Dogg] Mich interessiert nicht die Wahrheit, ich inszeniere meine Wahrheit.

[Snoop Doggy Dogg] KFC und Snoop sind das Beste, was Afro-Amerika seit der Erfindung des Kamms passiert ist. – Warum der Kamm? – Seit es den Kamm gibt, können wir unsere Haare glätten. – Und warum KFC? – Grute Kruste, sehr billig […]  – Hat aber einen äußerst geringen Nährwert… – Daran denken wir nicht, wenn wir die Knöchlein sauberlecken.

[Courtney Love] Tut mir Leid, ich fühle mich deprimiert, leer, blöd. Alle meine Gedichte brennen. Minotauren fressen die Genitalien des Mondes.

[Courtney Love] Ich war acht Jahre als, als mir mein Vater LSD gegeben hat. Das war seine größte erzieherische Leistung.

[Phil Collins] Aber die Wahrheit ist doch, dass es kein solches Ding namens Liebe gibt. oder sehen Sie das anders? – Mein Herz spürt die Liebe sofot, das ist bei mir kein langwieriger Prozess. Ich kann sofort erkennen, wer mich liebt. Und ich weiss, wie ich lieben muss. Da habe ich die totale Kontrolle.

[Nicolas Cage] Tarantino hat vom wahren Leben doch keine Ahnung. Seine besten Jahre verbrachte er in einer Videothek. – Das wahre Leben findet heute im Kopf statt.

[Quentin Tarantino] Sie gelten als Realist, weil Sie so unwirkliche Filme machen. Erklären Sie doch bitte mal diesen Widerspruch. – Wir leben in einer Welt, die uns verunsichert. Weil die Wirklichkeit abgeschafft ist.

George Clooney isn’t happy just being rich and handsome. He also wants to stop the Iraq War and prevent genocide in Darfur. Sharon Stone, who became famous for wearing no knickers in 1992’s Basic Instinct, can now be found wearing sensible trousers and visiting Israel to promote peace.

But these people are actors, not politicians. They’re paid a truckload of money to look good under strong light. Why are they lecturing us on social issues?

Of course, Hollywood actors live in a democracy and have the right to speak their mind. It’s just that some actors are flakes, and there’s a suspicion they’re just adopting fashionable causes to appear smarter.

And let’s face it. Some actors seem as thick as bricks. For every scholarly type like John Malkovich, who gives the impression he’s wandered onto a movie set on his way back from a Mensa conference, there’s a knucklehead like Ashton Kutcher.

CONTINUE…

Espero que hayan cumplido el reto de ver tooodas las películas de Halloween llenas de sangre, violencia, adolescentes estúpidos…mmm, confio en que algunos de mis lectores son psicópatas y vaya que disfrutaron verlas y leer las palabras anteriores; y algunos que si no lo eran descubrieron que lo son por amar ver tanta SANGRE, VIOLENCIA, ADOLESCENTES ESTÚPIDOS (se que les gustan esas palabras…o mejor dicho, que les valen). Yo? Si, si disfruto verlas…porque me puedo reír de ellas, aunque desgraciadamente no las pude ver todas este año porque muchas personas se volaron las películas del Blockbuster…no los culpo. En fin: psicopátas. Son las personas más geniales que he visto en el cine. Son manipuladores, agresivos, calculadores, inteligentes…ahhh. Eso según los psicólogos. Pero según yo, aquí va un recuento de las personas geniales -y malvadas- del mundo del cine con patología imprecisa:
Jean-Baptiste Grenouille
Nuestro chico francés que tiene un gusto especial al aroma de las mujeres jovénes y hará todo para obtenerlo…en especial matar.

Catherine Tramell

La mujer que arrancó…suspiros a muchos hombres en Bajos Instintos y que encontraba un placer mayor en matar a los hombres que …estar con ellos. (No la culpo…sólo vean el Espacio de Keso y díganme si no se convertirian en asesinos al leer lo que dicen…haha)

Earl Brooks

Pues, este Mr. Brooks es un psicópata agradable (en los estándares comunes) y muestra bien a sus …amiguitos que viven en su cabeza.

SWEENY TODD

Ohh, me gusta mucho la película! Mrs. Lovett quién ama a un psicópata asesino y él la mata al final lanzandola en una caldera…Que hermosa historia! Esperen…me suena conocida…Oh…

Anton Chigurh

Bueno…pues me sonó a Harvey Dent lo de su moneda esa, pero aún así la escena final es genial y más aún la cara de “que más da” de Javier Berdam.

LEATHERFACE

El sonido de la sierra + una chica gritando horrible durante toda la película= Boo! Hasta a mi me asustó por sus gritos y aún peor cuando esta en la hermosa reunión familiar de psicópatas: oh, que honor! El abuelo de 150 años va a partirle la cabeza para la cena! Llena de miedo psicológico tiene la cinta ” La masacre en Texas” y quién no? Con un carnícero con una máscara de pieles humanas. Me llevo dos!

Hannibal lecter

El ex psiquiatra Dr. Hannibal cuyo plato favorito somos tú y yo. Bastante culto e inteligente y con diálogos llenos de ingenio hacen que entre en la categoría de psicópatas refinados. Pase usted, es hora de la cena!

JIGSAW

Vaya lecciones de vida nos da! Acosado por una enfermedad terminal, busca enseñar a todo aquél que no disfrute su vida a cómo “Vivir la vida” con unos simples y divertidos juegos: No pierdes nada al jugar! Sólo que si pierdes, mueres de una forma horrible y dolorosa. ¿Quieres jugar?

ESTHER

Una “niña” completamente diabólica!!!! Ok, es una psicópata. Basta ver los lindos dibujos que tiene pegados en su cuarto, bueno, ya sabemos porque no quisieron ponerlos en la puerta del refrigerador. Sabe mostrar muy bien lo psicópata y más aún con la escena de la paloma. Bueno, claramente con una pedrada en el cráneo dejara de sufrir.

NORMAN BATES
Creación de Hitchcook de un hombre que se disfraza de su madre para asesinar. Es prota de la famosa escena de la ducha. Usa frases cortas como estas. Muy buena actuación. Vaya madre debió ser esa. Han de oirse raras estas frases. Diablos.

PATRICK BATEMAN

A poco? Por algo se llama Psicópata Americano, no? Ohh, muy buenas escenas hay en la película. Desde el vago asesinado, la chica asesinada con la sierra desde las escaleras, su crisis mientras confiesa sus crímenes. Vaya que vale la pena y Christian Bale aquí es muy genial!

Alex McDowell

El ultraviolento Alex es sumamente genial en Naranja Mecánica y un claro ejemplo de psicópata…un psicópata fanático de Beethoven y de Gene Kelly, cabría suponer.

Y AHORA…EL NÚMERO UNO!!!!

THE JOKER!!!

El de Heath, claro. Bueno, bueno…él no es un psicópata. Más bien es un sociópata (simplemente Joker <3), pero no importa. Ya no falta decir POR QUÉ, verdad? Creo que ya lo he dejado claro. Ohhhhhh…<3 <3

I don’t think anything will top the Most Beautiful TV News Women of 2008 blog, but this’ll have to do for now.

So this is my list of the 20 most attractive actresses in movies.   I list them as the most “attractive” instead of “beautiful,” because though most of them are beautiful, “attractive” implies personality traits and other intangibles.  The roles are also important, though this isn’t a list of great actresses – it’s a list of the most attractive women in my opinion based on their roles in these movies.  So it’s sort of more the character than the person, since obviously I don’t know them.

Without going through the whole list, this competition was over before it began.  Linda Hamilton has the nice girl, innocent look in “Terminator” and she shows she has a lot of heart.  Then in “Terminator II” she becomes a bad ass.  Franka Potente in “Bourne Identity” has moxie and style.  If I had just seen her without her being in the role, she might not make the top 100, but she is pretty phenomenal in the role of Marie.

Sometimes it’s a particular scene that leaves the impression, like when Sigourney Weaver is possessed by a ghost in “Ghostbusters,” or when Phoebe Cates walks by the pool in “Fast Times at Ridgemont High” with an assist by the song “Moving in Stereo” by the Cars (one of the most underappreciated rock bands of all time).  Then there’s the woman as authority figure, like P.J. Soles who played an MP in “Stripes,” a variation on the teacher theme.  In “Silver Streak,” Jill Clayburgh looked wholesome; in “Basic Instinct” Sharon Stone did not.

Back before older women were called cougars, you had Jacqueline Bisset (“Class”), Anne Archer (“Patriot Games”) and of course, Anne Bancroft in “The Graduate,” who just edges out Katherine Ross from the same movie.  Believe it or not, Linda Fiorentino of “Vision Quest” was also an older woman although she played someone who was only 21 in the movie.  Her suitor in Vision Quest was 17.  I always thought her character was more like 25 until I saw the movie again.  Cheesy movie but great.

The mention of Sandra Bullock reminds me that I saw her twice in bars in Washington, D.C. about 10 years ago.  Each time she had her hair colored blond (or was wearing a wig) like she has it in her new movie “The Blind Side.”  It was definitely her.  Once was in Atomic Billiards in Cleveland Park.  I honestly can’t remember where the other time was.  Anyway, I went up to her to talk.   I didn’t mention anything about her looking like (or being) Sandra Bullock – just tried to talk with her but I have to say she was pretty underwhelmed.  She blew me off both times.  Then after that I told her I knew who she was.  Again, she was a little bit unimpressed.  Oh well.

So here you have it.  I’m going to add pictures later.

1. Linda Hamilton, Terminator
2. Linda Hamilton, Terminator II
3. Franka Potente, Bourne Identity and Bourne Supremacy
4. P.J. Soles, Stripes
5. Jacqueline Bisset, Class
6. Sigourney Weaver, Ghostbusters
7. Jill Clayburgh, Silver Streak
8. Linda Fiorentino, Vision Quest
9. Sharon Stone, Basic Instinct
10. Anne Bancroft, The Graduate
11. Katherine Ross, The Graduate
12. Anne Archer, Patriot Games
13. Julia Roberts, Ocean’s Eleven
14. Sandra Bullock, Speed
15. Lucy Liu, Charlie’s Angels
16. Jessica Lange, King Kong
17. Debra Winger, Officer and a Gentleman
18. Halle Berry, Swordfish
19. Robin Wright Penn, Forrest Gump
20. Ashley Judd, Double Jeopardy
21. Phoebe Cates, Fast Times at Ridgemont High

Honorable Mention:  Lynda Carter.  I know she was a TV actress and hardly did any movies, but I had to include her on the list. She can occasionally be spotted in Bethesda, MD and looks as great as ever.

Anyway, I’m sure I’ve missed a ton of attractive actresses but this is the list.  It was almost a year ago that I did the list of the most beautiful newswomen of 2008, and that blog entry has gotten more traffic than all my other blog posts combined.

So as I put this one up, and the previous one just below this, part of the hope is that more people will read the other parts of my blog that deal with www.mikeneedsakidney.com, which by the way, isn’t just for me but is designed to raise awareness for all people who need kidneys.  While I’m on the topic, check out the song that the Dirtbags, the Redskins Appreciation Club band did for me.

The “Basic Instinct” actress has chosen a gangster style, with hat and black leather coat. And she made a stir, the outfit adopted being admired by everyone, even if just for the novelty of the combination. A see-thru dress, with the bottom made from black veil and leaving to be seen about everything. But she didn’t nailed it perfectly.

As the German press writes, the Diva had a problem with lipstick. In detail, it is seen as the lipstick is “invading” the wrinkles around her mouth. Boris Entrup, makeup expert, believes that such moments can easily be avoided: “If she powder her mouth before applying lipstick, the outline will be a remarkable clarity.

Sharon Stone should really sack her stylist if she has one. She is one hot mama at her age and she often looked fresh and clean off duty but, always managed to look ‘old’ and ‘Cougar’ like at major functions. Anyone who makes you age and look pregnant should definitely find another job.

A word of caution to anyone who have bought into the whole loose dress, with a baloony feel trend should be aware of its effect on your mid area. If you are a newly wed and is not pregnant, I don’t recommend wearing one, unless, you’ve salvaged it with a tight belt around the waist! Just looking out for you!

Martin Marcantonio Luciano Scorsese (born November 17, 1942) is an American film director, screenwriter, producer, actor, and film historian. He is the founder of the World Cinema Foundation, a recipient of the AFI Life Achievement Award for his contributions to the cinema and has won awards from the Oscars, Golden Globe, BAFTA, and Directors Guild of America. Scorsese is president of the Film Foundation, a non-profit organization dedicated to film preservation and the prevention of the decaying of motion picture film stock.

Scorsese’s body of work addresses such themes as Italian American identity, Roman Catholic concepts of guilt and redemption, machismo, and violence. Scorsese is widely considered to be one of the most significant and influential American filmmakers of his era, directing landmark films such as Taxi Driver, Raging Bull and Goodfellas; all of which he collaborated on with actor Robert De Niro. He won the Academy Award for Best Director for The Departed and earned an MFA in film directing from the New York University Tisch School of the Arts.

Trivia:

Listed as one of 50 people barred from entering Tibet. Disney clashed with Chinese officials over the film Kundun (1997), which Scorsese directed. [19 December 1996]

Awarded third annual John Huston Award for Artists Rights by the Artists Rights Foundation. [1995]

Presented with a special tribute at the 1976 Telluride Film Festival. It was presented by Michael Powell. [1976]

He is a longtime friend and was once a housemate of The Band’s Robbie Robertson. He directed The Last Waltz (1978), the documentary of their supposedly last gig which Robertson produced. Robertson later produced the soundtrack for Scorsese’s The Color of Money (1986).

Good friends with editor Thelma Schoonmaker & cinematographer Michael Ballhaus. Scorsese introduced Thelma to her husband Michael Powell and he often quotes Powell as an influence.

His name is pronounced “Scor-sez-see”.

He directed Michael Jackson’s Bad (1987) (V) music video. The full length video runs 16 minutes and is in both black & white and color. It is usually shortened down to just the color segment for television.

He appears as attached to his pet white Bichon Frise Zoe as he was to his beloved parents – except Zoe is right beside Marty every day in the office.

Daughter Francesca Scorsese born. [16 November 1999]

John Woo dedicated his action film Dip huet seung hung (1989) (“The Killer”) to Scorsese on a commentary he did for the movie’s DVD.

Daughter Domenica Cameron-Scorsese with Julia Cameron.

Taught both Oliver Stone and Spike Lee at NYU.

Was at one point going to make a movie about the life of comedian Richard Pryor.

He was an altar boy at Old St. Patrick’s Cathedral, which was used in his early films I Call First (1967) and Mean Streets (1973). Old St. Patrick’s is also where the baptism scene in The Godfather (1972) took place.

Was at one point slated to direct Clockers (1995), but for reasons that are not entirely clear, handed the directing chores to his onetime NYU student Spike Lee, while staying on as producer. He was also at one point going to direct Little Shop of Horrors (1986) for David Geffen, with Steven Spielberg as the executive producer. He was ultimately uninvolved, but claims that he wanted to shoot the movie in 3-D. It no doubt would have been a loving homage to Roger Corman, for whom he directed Boxcar Bertha (1972).

He took a cameo in his film Taxi Driver (1976) (as a man about to kill his wife) only because the actor who was supposed to play the role was sick on the day the scene was to be shot. Says he is generally uncomfortable in front of the camera.

Has a dog named Silas.

Is the subject of the song “Martin Scorsese” by alternative band King Missile.

Father of actress Cathy Scorsese from his first marriage.

Is of Italian-Sicilian descent.

Has asthma.

Of the three films he’s been trying to make since the mid-1970s, he has done two: The Last Temptation of Christ (1988) and Gangs of New York (2002). The third film, a biopic of Dean Martin called “Dino”, has been on hiatus at Warner Brothers since the late 1990s. Scorsese has a very specific all A-list cast in mind, probably why it has yet to be produced. He wants Tom Hanks to star as Martin, Jim Carrey to play Jerry Lewis, John Travolta to play Frank Sinatra, Hugh Grant to play Peter Lawford, and Adam Sandler to play Joey Bishop.

Was voted the 4th greatest director of all time by Entertainment Weekly, making him the only living person in the top 5 and the only working film director in the top 10 (Ingmar Bergman being retired as a filmmaker).

Appeared on “Curb Your Enthusiasm” (2000) as a shrill version of himself who comes to regret his decision to cast Larry David as a violent gangster in a movie after David repeatedly ruins the suit he needs to wear as the character.

Several characters in his films refer to the legendary (noir) actor John Garfield, star of the original The Postman Always Rings Twice (1946), which is also mentioned.

He was one of three major directors to have been offered the opportunity to direct Schindler’s List (1993) by producer Steven Spielberg, the other two being Roman Polanski and Billy Wilder. Scorsese thought a Jewish filmmaker should direct it; Polanski wasn’t yet ready to deal with the painful subject (having lost his mother in the Holocaust); and Wilder (who was retired and who lost his mother and grandmother in the Holocaust) finally told Spielberg that he should do it himself.

Because so many of his actors win or are nominated for awards, actors are dying to work with him. The film With Friends Like These… (1998) pokes fun at this very real desire.

Both The Last Temptation of Christ (1988) and Gangs of New York (2002) were personal passions of his that he had wanted to make since the 1970s. When he first starting considering them, Robert De Niro was in his mind to play the lead characters in both (Jesus Christ in “Temptation” and Bill Cutting in “Gangs”). De Niro ultimately turned down the part in “Temptation” and it was decided he was too old to play Cutting by the time that “Gangs” finally went into production.

He has famously collaborated with Robert De Niro in 8 films. Scorsese has said that his creative collaboration with De Niro is very deep and that they can often understand each other without even talking. Their collaboration has had many dry spells (including recently), but Scorsese says he shows almost every script he writes or considers directing to De Niro to see what the actor’s thoughts on them are even when De Niro ultimately has no involvement the film.

Appeared in an “American Express” ad where he goes to pick up photos of his nephew’s birthday party at a drug store, and then proceeds to nervously pick through what’s wrong with each picture while trying to get the clueless photo-lab clerk’s opinion on them. He proceeds to buy more film with an American Express card and calls the people on the pictures saying they need to reshoot. Scorsese says this funny ad is probably the closest he’s come to accurately “playing” himself.

Apart from his legendary work as a filmmaker, he has been a vocal supporter of film preservation for almost three decades. His efforts to create a strong public awareness for the work of film archives include The Film Foundation, a non-profit organisation which he started together with other filmmakers. The Film Foundation regularly partners with the American film archives on the restoration of “lost” or endangered films. With this background he has agreed to serve as Honorary President of the Austrian Film Museum in Vienna.

Personally spurns the notion of the “director’s cut” feeling that once a film has been completed, it should not be further altered in any way.

He lost three best director – and best picture – Oscars to leading-man actors turned directors: Robert Redford, Kevin Costner, and Clint Eastwood (Raging Bull (1980) lost to Redford’s Ordinary People (1980); Goodfellas (1990) to Costner’s Dances with Wolves (1990); The Aviator (2004) to Eastwood’s Million Dollar Baby (2004)). On the only two occasions when he was Oscar-nominated as Best Director in years ending in zero, he was beaten by actors making their directorial debuts (Redford and Costner).

In 1975, he accepted the Oscar for “Best Actress in a Leading Role” on behalf of Ellen Burstyn, who wasn’t present at the awards ceremony. She won for her performance in Scorsese’s Alice Doesn’t Live Here Anymore (1974)

President of jury at the Cannes Film Festival in 1998.

Has mentioned that he thought Robert De Niro’s best performance under his direction was as Rupert Pupkin in The King of Comedy (1982).

Ranked #3 in Empire (UK) magazine’s “The Greatest directors ever!” [2005]

His favorite films include: Citizen Kane (1941), The Red Shoes (1948) and Il gattopardo (1963) (“The Leopard”).

Was friend, protégé, and employee of actor-director John Cassavetes.

When asked where audiences would find the next Martin Scorsese, he said to look to Wes Anderson, the young director of Rushmore (1998).

Has directed, as of 2008, 6 biopics: Raging Bull (1980), The Last Temptation of Christ (1988), Goodfellas (1990), Casino (1995), Kundun (1997) and The Aviator (2004).

He received a Degree ad honorem in “Cinema, TV and Multimedia Production” from the University of Bologna on 26 November 2005.

Served as mentor to Georgia Lee and invited her to apprentice for Gangs of New York (2002) in Europe.

The 1912 American Mutoscope & Biograph Company short The Musketeers of Pig Alley (1912) heavily influenced Scorsese in the making of his own gangster films Goodfellas (1990), and Gangs of New York (2002). The film was picked by Scorcese for his 2005 tribute at Beaubourg, centre d’art et de culture Georges Pompidou (1977) in Paris, France. Biograph is the oldest movie company in America and in existence today, headed by producer/director Thomas R. Bond II.

Scorsese and Taxi Driver (1976) are, among others, named as inspiration for the Massive Attack debut “Blue Lines”.

He signed a four-year, first-look deal to develop projects with studio executives of Paramount. [November 2006]

The Departed (2006) is the highest-grossing movie of his 40-year career ($132,373,442 (USA)).

The Aviator (2004) was his first movie to gross over $100 million in the U.S.

He has worked with big names of music business: Elvis Presley, Bob Dylan, Jimi Hendrix, The Rolling Stones, ‘Michael Jackson (I)’ and David Bowie.

Directed 17 different actors in Oscar nominated performances: Jodie Foster, Robert De Niro, Joe Pesci, Leonardo DiCaprio, Daniel Day-Lewis , Cate Blanchett, Winona Ryder, Ellen Burstyn, Sharon Stone, Diane Ladd,Cathy Moriarty, Juliette Lewis, Lorraine Bracco, Paul Newman, Mary Elizabeth Mastrantonio, Alan Alda and Mark Wahlberg. (Burstyn, De Niro, Newman, Pesci and Blanchett won Oscars for their roles in one of Scorsese’s movies).

When he won his Best Director Oscar for The Departed (2006), he received the award from legendary directors, George Lucas, Francis Ford Coppola, and Steven Spielberg. The four were part of the “New Hollywood” movement of the 1970s and combined have 9 Academy Awards and 38 Nominations.

As a teenager in the Bronx, Scorsese frequently rented Michael Powell’s The Tales of Hoffmann (1951) from a store that only had one copy of the reels. When it wasn’t available the owner told him, “that Romero kid has it,” referring to George A. Romero who was also a big fan of the film. Today, both directors cite the film as a major influence.

Says he was happy with the fact that it took so long for him to win Best Director, because if he had won it earlier, it would have affected his directing and films.

Recipient of the 2007 Kennedy Center Honors. Other recipients that year were Leon Fleisher, Steve Martin, Diana Ross, and Brian Wilson.

Says the only thing he regrets in his career is that he was only able to make The Last Temptation of Christ (1988) on a small budget although he imagined it to be a grand version.

Was originally going to direct The Honeymoon Killers (1969), but was replaced after a week of shooting.

Served as a guest critic on “Siskel & Ebert & the Movies” (1986) following the death of ‘Gene Siskel’. The episode was “The Best Films of the 90s” in which Roger Ebert cited Scorsese’s Goodfellas (1990) as one of the best films of the 90s (#3). Scorsese’s full list of his favorite films of the 1990s: 10.) Tie: Malcolm X (1992) and Heat (1995), 9.) Fargo (1996), 8.) Crash (1996), 7.) Bottle Rocket (1994), 6.) Breaking the Waves (1996), 5.) Bad Lieutenant (1992), 4.) Eyes Wide Shut (1999), 3.) Duo sang (1994) (“A Borrowed Life”), 2.) The Thin Red Line (1998), 1.) Dao ma zei (1986) (“Horse Thief”).

He was made a Fellow of the British Film Institute in recognition of his outstanding contribution to film culture.

Resides in New York City. His production offices are located on W. 57th Street in Manhattan.

Attended Cardinal Hayes high school in the Bronx as a young man. Fellow alumni included George Carlin, George Dzundza, Regis Philbin and Jamal Mashburn.

Is a fan of the British Hammer Films series.

A huge fan of Fawlty Towers (1975). He describes the episode “The Germans” as “so tasteless, its hilarious.”.

In the 5th edition of 1001 Movies You Must See Before You Die (edited by Steven Jay Schneider), 7 of Scorsese’s films are listed: Mean Streets (1973), Taxi Driver (1976), Raging Bull (1980), The King of Comedy (1982), Goodfellas (1990), Casino (1995) and The Departed (2006).

Haig Manoogian was Scorsese’s mentor at NYU. He eventually produced Scorsese’s first film (I Call First (1967)) and when he died in 1980, Scorsese dedicated Raging Bull (1980) to Manoogian.

Roger Ebert is a great admirer of Scorsese’s work. 14 of Scorsese’s films were given four stars by Ebert (Mean Streets (1973), Alice Doesn’t Live Here Anymore (1974), Taxi Driver (1976), Raging Bull (1980), After Hours (1985), The Last Temptation of Christ (1988), Goodfellas (1990), The Age of Innocence (1993), Casino (1995), Kundun (1997), Bringing Out the Dead (1999), The Aviator (2004), The Departed (2006), Shine a Light (2008)), seven of his films are in Ebert’s Great Movies list (“Mean Streets”, “Taxi Driver”, “Raging Bull”, “After Hours”, “The Last Temptation Of Christ”, “Goodfellas”, and “The Age of Innocence”), and Ebert has written an entire book of his reviews, interviews and essays on Scorsese’s work simply titled “Scorsese By Ebert”.

As of November 10th 2009, five of his films are on the IMDb’s Top 250 Films list: Goodfellas (1990), Taxi Driver (1976), Raging Bull (1980), The Departed (2006), and Casino (1995).

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Sharon Stone is definitely quite an individual. Here’s the outfit Sharon rocked out in with Courtney Cox who attended the 8th Annual Elton John AIDS Foundation’s ‘An Enduring Vision’ benefit at Cipriani, Wall Street in New York City.

At least Sharon went Over The Top in leather and lace for a good cause. One has got to give her that. She’s very Lady Gaga’s Bad Romance lyrics, personified here.

But I do like the Angelina Jolie, snake earrings Stone is rocking. Not bad for 51!

~Posted by Horiwood.Com, Hollywood California USA. 11.17.09~

Acabo de tornar a veure aquesta obra mestra, que feia vint anys llargs que no revisava.

Basic Instinct va beneficiar-se en les recaptacions d’escenes sexuals aleshores inusualment explícites, que alhora la van perjudicar davant la crítica, que va classificar el film com un thriller eròtic, movent l’epicentre d’un guió perfecte cap a detalls absolutament secundaris.

El guió de Joe Eszterhas és una maravellosa obra d’orfebreria. La narració és lineal i senzilla, tots els detalls es van explicant pas a pas des d’un únic punt de vista i oferint tots els detalls, i alhora l’espectador està tota l’estona debatint-se entre les dues explicacions possibles del cas, sense tenir ni idea de quina és la bona, perdut enmig d’un misteri captivador.

A partir d’aquest guió, Paul Verhoeven li dóna ritme i magnetisme a la trama, amb un montatge viu i que no deixa que el ritme decaigui en cap moment, mereixedor d’una de les dues nominacions a l’Oscar que va obtenir Basic Instinct. Fixeu-vos en les interpretacions: els personatges es van posant més i més nerviosos a mesura que avança la pel·lícula, acompanyant l’espectador en el seu desfici per descobrir què està passant.

Basic Instinct es beneficia d’una Sharon Stone en estat de gràcia, amb una interpretació fascinant, i d’uns eficaços Michael Douglas i George Dzundza, que encaixen perfectament en els seus rols. A més, els fans de X Files podeu provar de localitzar un jove Mitch Pileggi en un dels papers secundaris.

Com tota pel·lícula mítica, Basic Instinct té més d’una escena memorable. La que tothom recorda és la de l’interrogatori, on la interrogada Catherine Trimmell domina totalment un munt de policies que es queden amb les ganes de veure-li el perrús (igual que els espectadors). Però podem afegir la primera aparició de la Stone, la persecució a la carretera, el primer moment en que Catherine i Roxy apareixen juntes, o la de la discoteca.

També s’ha d’alabar l’enèssima banda sonora magistral de Jerry Goldsmith, amb una melodia dramàtica i un ambient inquietant difícilment superables, i que va ser la segona nominació a l’Oscar, una de les divuit que va collir Goldsmith en la seva monumental carrera. L’acompanyament musical és emprat amb mestratge per a crear clímax d’intriga i per a puntuar l’estat d’ànim dels personatges. La darrera escena és el millor exemple.

I és que per acabar, Paul Verhoeven ens regala un doble final per acabar d’encantar l’espectador i rematant de manera genial un joc d’amagat que deixa el que els enólegs anomenen un final llarg i intens. (Jo crec que aquest doble final haurien d’haver-lo col·locat darrera dels títols de crèdit.)

Adient pels aficionats als trencaclosques. Contraindicat per a puritans i ànimes sensibles.

Salut i sort,
Ivan.

A friend lent me the memoirs of Basic Instinct writer Joe Estahaus, they are aptly titled “Hollywood Animal.” I found it fascinating and at the same time extremely disturbing to read about the darker side of Hollywood. It’s pretty much all about money, sex and power… those three chestnuts that continue to come back and haunt the human race. If I’m honest the Hollywood he describes is not something I ever care to be apart of…

The Hollywood he describes is a Hollywood that has forgotten that holiness can easily be found in the mundane and ordinary every day life… things like friendship, intimacy and loyalty are not easily found in Joe’s Hollywood. Funnily enough these character traits are often highlighted in truly great human stories… even those that originate in Hollywood.

Everyone is searching for something, if you are hungry you search for food, if you are thirsty you look for a drink, if you are lonely you look for a friend; the stars are brightest when even the moon is hiding from the night.

Un film del 2009, regia di Charles Winkler, con Val Kilmer / Sharon Stone / Michael Biehn / 50 Cent. Prodotto da ()

Azione / Drammatico / Thriller

Un agente di polizia ha perso il partner durante l’Uragano Katrina. L’uomo scopre, però, che il collega potrebbe essere stato ucciso e decide di dare il via a un’indagine che condurrà il poliziotto e il suo nuovo partner nei meandri della criminalità organizzata di New Orleans.

If I am not me, then who the hell am I?

– Douglas Quaid

Here is another movie that I was embarrassed that I have never seen, Total Recall. People bragged how cool the movie is. I have to admit that it’s freaking awesome.

In the not too distant future, Earth has colonized some of the planets in the solar system including Saturn and Mars. An unhappy construction worker, Doug Quaid (Arnold Schwarzenegger) has strange dreams about the struggle between the rebels and the corporation, led by Cohaagan (Ronny Cox) control the action on the red planet.

His wife, Lori (Sharon Stone) is worried that he is becoming obsessed with vacationing on Mars. He finds an alternative from a co-worker about a company called Recall, Incorporated who implants fake memories into their clients.

A smooth salesman Bob McClane (Ray Baker) persuades Doug to upgrade to an “ego trip”, which is essentially a vacation from themselves. Doug wants to be a secret agent.

There is a malfunction in the machine when he goes into the schizophrenic state, instead of a medically induced coma. Consequently, his memories are erased. The agency wants to cover its tracks.

After he comes back to the city, his life is turned upside down. His whole life is not real. He’s name is not Doug Quaid. He was implanted by the Agency. Everybody in his life is a double agent that tries to extract vital information from his brain.

He is chased by Richter (Michael Ironside) and Helm (Michael Champion) that wants to kill him. An unknown guy phones Doug to pick up a suitcase that contains a video message from himself. He learns that his is not what he thinks he is. The message says that he needs to get himself to Mars. Find Kuato that is the savior of the Mars colony. He wants what is in Quaid’s head. He has to reconnect with a woman from The Last Resort, Melina (Rachel Ticotin).

The movie left me wondering, was the world real or imaginary? Two or three times in the movie, it seems like the life of Quaid is not his. This movie was made in 1990. The “futuristic” elements like the videophones and guns felt dated. The vehicles looked like the Delorean on crack. The dialogue is hilarious at times. I don’t know if that the director, Paul Verhoeven intended for that to happen.

Judgment: A solid sci-fi thriller that makes you think what is real and what is not.

Rating: ****

Para quem não sabe, o Pense Moda é um seminário anual que promove encontros de profissionais nacionais e internacionais nas áreas de fotografia, styling, direção de arte, beleza, jornalismo de moda, novas mídias, cultura e comportamento, cuja 3ª edição está acontecendo em São Paulo desde ontem e vai até o dia 5 de novembro.

Quem abriu o evento foi David Mallett, expert que tem um salão há sete anos em Paris e cuida de cabelos de famosas como Penelope Cruz, Demi Moore, Sharon Stone e Charlotte Gainsbourg. Depois de contar sua tragetória, falou sobre o que está acontecendo na moda dos cabelos agora: as tendências para os próximos meses: a volta dos cachos, dos cabelos curtos e de cores quentes, em especial o vermelho.

A seguir, Cecilia Dean (vestido Marc Jacobs e sapatos Calvin Klein!) conversou com Camila Yahn sobre a revista “Visionaire”, que tem caráter absolutamente independente .

Teve, ainda, uma mesa de debates sobre o Futuro da Mídia, com Alexandra Farah (jornalista), Andréa Bisker (WGSN), Paulo Caruso (O2), Fernand Alphen (F/Nazca) e Sebastian Orth (da Surface to Air), mediada por Alexandre Matias (editor do Link/O Estado de SãoPaulo), sobre a publicidade em sites.

Para encerrar a noite, sabatina com Gloria Kalil, falou sobre o conceito de rumos, que, segundo ela, são “grandes linhas da moda”, em que é possível apontar caminhos (peças-chave) para a temporada, mas não com precisão. Falou também sobre o fast fashion nacional, que se baseia em macrotendências e mostra ao cliente o que “está na moda”. Por fim, Gloria afirmou que os estilistas brasileiros não copiam mais a moda do exterior e que “moda brasileira não é traje típico”, e que ainda falta fazer da moda o que a música conseguiu: “é brasileira sem ser folclórica, é sofisticada e tem uma graça”.

Elas aparecem sempre lindas e deslumbrantes na frente das câmeras, mas quando as vemos nas ruas, sem maquiagem, nem parecem as mesmas! Confira nossa galeria de fotos e não se assute!

Kate Hudson e Lindsay Lohan.

Marisa Tomei e Reese Witherspoon.

Sharon Stone e Sienna Miller.

Jessica Alba e Penélope Cruz.

Halle Berry e Jenny McCarthy.

Kate Winslet e Hillary Swank.

Kate Moss e Melanie Griffith.

Vanessa Hudgens e Angelina Jolie.

Miley Cyrus e Jennifer Lopez.

Madonna e Gwyneth Paltrow.

Brooke Shields e Kim Kardashian.

Jennifer Garner e Adriana Lima.

Katherine Heigl e America Ferrera.

Jessica Biel e Drew Barrymore.

Alicia Silverstone e Beyoncé.

Eva Longoria e Salma Hayek.

Rosario Dawson e Cameron Diaz.

Gisele Bündchen e Eva Mendes.

Hilary Duff e Jessica Simpson.

Britney Spears e Pamela Anderson.

Nicole Kidman e Heidi Klum.

Debra Messing e Courteney Cox.

Kristen Stewart e Rihanna.

Todas elas podem ser lindas de morrer, mas sem maquiagem são tão mortais como nós, ainda nos resta uma esperança! =P

By Eumaquio

Roma Fino al 15 novembre ‘09 Via de’ Filippini 17/a Teatro Dell’orologio – Sala Artaud  Da martedi a sabato ore 21.30 – domenica ore 18.00  di e con Donatella Mei. È  uno spettacolo comico molto al femminile, una sintesi riuscita di più generi stilistici: il teatro d’autore, il cabaret e la poesia, comica naturalmente. Partendo da un’improbabile e quanto mai burlesca identificazione con la famosa attrice, una donna racconta gli uomini e se stessa  e lo fa prendendo in prestito i titoli di un giornale, legge gli articoli che somigliano alla sua vita, gioca abilmente con i suoi limiti fisici e con le storie finite dei suoi amori infiniti.  Una ballerina sulle note di Mamma mia degli Abba irrompe nello spazio del dilatato e surreale provino, dove non manca un immaginario regista:  “è qui il provino? “ Si si, è qui, il provino di un originale spettacolo comico, che sa lanciare lontano uno sguardo ironico e tagliente sull’universo maschile, non risparmiando in una sorniona par condicio, le debolezze del gentil sesso.  Il ritmo sale, incalza e gioca con le parole, come in un musical, in cui le rime rubano il posto alle note.  Costo Biglietti: ingresso € 10,00 – ridotto € 8,00 – tessera associativa € 2,00. (donatella)

L’intellectuel germanopratin par excellence

“Sorte de croisement entre Yves Montand et Jean-Paul Sartre“, BHL est résumé en trois mots par l’américaine Marianne Wiggins (1) : “grand, riche, beau et marié à un ancien mannequin. Selon elle, “son aura de philosophe a fait de lui un habitué des plateaux de télévision, mais il est aussi un journaliste accompli doublé d’un réalisateur de documentaires. Il n’est donc pas étonnant que le mensuel américain The Atlantic Monthly ait eu l’idée de génie d’engager M. Lévy pour marcher sur les traces d’Alexis de Tocqueville, qui, au XIXe siècle, avait parcouru notre jeune nation, puis rédigé son grand classique De la démocratie en Amérique (…) Tocqueville était un magistrat, un juriste imprégné de pragmatisme et d’idéaux moraux. M. Lévy est un intellectuel à paillettes, un beau parleur un peu snob (…) Même s’il reconnaît avoir eu pour compagnon de voyage Sur la route, l’ouvrage de Jack Kerouac, il devait également avoir sous la main la collection complète des Vanity Fair. Les Américains typiques sont pour lui rien moins que Barry Diller, Norman Mailer, Woody Allen, Warren Beatty. Tocqueville avait certes rencontré John Quincy Adams, Sam Houston, Daniel Webster et Andrew Jackson, mais aussi des fermiers, des artisans et des petits commerçants, et il avait débattu avec passion du système éducatif américain, de la poésie du pays, de sa langue et même de sa conception du mariage (…) La méthode de travail de Bernard-Henri Lévy consiste à faire jouer à des célébrités le rôle d’oracle local. Jim Harrison pour le Montana, Charlie Rose pour la Caroline du Nord, Sharon Stone pour Los Angeles. Parsemer un article de noms de célébrités rend sa lecture plus aisée et plus agréable, le problème, c’est qu’American Vertigo aurait pu s’appeler “Célébrités en Amérique” ou “Dans l’intimité des stars”. 

Encore plus sévère, l’Allemand Johannes Willms – qui s’appuie sur la lecture de Le b.a.-ba du BHL, enquête sur le plus grand intellectuel français, de Jade Lindgaard et Xavier de La Porte – trace un portrait au vitriol de notre BHL : “L’homme est une icône ambulante. Il est aussi connu en France que cette femme à la poitrine opulente par laquelle le peintre Eugène Delacroix a symbolisé la Liberté, celle au chemisier grand ouvert, qui franchit une barricade le drapeau tricolore à la main. Bernard-Henry Lévy – qu’en France on appelle BHL – a deux choses en commun avec cette créature emblématique : l’attitude narcissique et la chemise blanche ouverte jusqu’au nombril (qu’il porte sous un costume sombre). La tenue, qui met en valeur son torse de héros au bronzage permanent, fait son petit effet. C’est un élément non négligeable car, à l’âge de la télévision, l’apparence est le message. Le narcissisme et la chemise blanche ne sont donc pas une marotte mais un logo. Or l’effet que BHL a habilement construit pour accroître son prestige d’unique star des intellectuels français semble s’être épuisé. Une biographie vient de paraître, quatre autres sont en cours d’élaboration et toutes entendent détruire la magie, dépouiller BHL de sa chemise déjà grande ouverte et le présenter dans la “vérité” de sa nudité (…) [Son] réseau de connexions diverses si typique de l’“exception culturelle” française explique également pourquoi BHL reste toujours la star des intellectuels français : tous les médias d’une certaine importance, ou presque, sont à ses pieds, et ses rares détracteurs ont du mal à se faire entendre (…) Reste à voir si tout cela suffira à lui faire passer sans dommages la tempête qui se prépare avec les autres ouvrages, en particulier ceux de Philippe Cohen et Nicolas Beau, deux journalistes connus pour leur pertinence et pour leur virulence. Il serait de toute façon grand temps de démythifier ce comédien qui, en se faisant passer pour un intellectuel, ridiculise l’ensemble de cette corporation.”

Dans un article consacré à un ouvrage de BHL, Comédie, un autre journaliste allemand, Rudolf Walther (3), n’y va pas de main morte : “le cœur du livre est en réalité un monologue que mène BHL, le médiatique, avec un Lévy prétendument authentique et purifié. Inutile de souligner que ce dernier n’a pas souvent droit à la parole. Dès les premières phrases, la catharsis est annoncée : “Je les connais bien. Le théâtre. La bassesse. Ces gens qui vous tendent la main comme pour vous prendre le pouls.” Ce que l’auteur ne dit pas, c’est qu’il s’est précisément servi pendant vingt ans de ces gens-là pour sa propre mise en scène. Les “nouveaux philosophes”, tant dans leurs propos que dans leurs publications, n’ont jamais atteint un niveau d’élaboration critique ou théorique très élevé. Devant les caméras en marche, ils dictaient leurs commentaires sur les émissions de la veille, un “dialogue” avec les médias qui a fini par se tarir. Aujourd’hui, ils se contentent donc de soliloquer.” Ce qui ne l’empêche pas que “BHL ne travaille que là où le sang coule ou, du moins, là où tourne une caméra.” Fermez les guillemets !

Il serait toutefois faux de faire des journalistes allemands les critiques les plus sévères de BHL. Introduisant une traduction d’un article de l’écrivain consacré à l’Allemagne, Jürg Altwegg (4) rappelle l’apport du philosophe français : “il s’est fait connaître du grand public par sa mise en scène de la “nouvelle philosophie”, qui, dix ans après Mai 68, allait entraîner la fin de l’hégémonie marxiste dans la culture française et marquer le déclin du communisme. La contribution de Lévy à la critique du stalinisme et du marxisme a paru sous le titre la Barbarie à visage humain [Grasset]. Dans la foulée d’André Glucksmann, qui, dans les Maîtres penseurs [Grasset], revisitait les précurseurs du national-socialisme dans la pensée allemande, Lévy élargissait, dans l’Idéologie française [Grasset], l’approche antitotalitaire à l’analyse du terreau dont s’était nourri le régime de Pétain. A sa parution, en 1981, le livre souleva de fortes vagues et ouvrit les yeux sur la France de Vichy.” Faisant allusion à l’article de Lévy sur l’Allemagne d’après la chute du mur, le journaliste écrit : “Pour les lecteurs allemands, l’article de Bernard-Henri Lévy est plus qu’un résumé des récents débats : c’est un miroir français, un regard extérieur, plein de sympathie, plein d’injustice aussi, et non dépourvu de sens critique. Il montre qu’il existe un débat politique transnational sur le passé. Et qu’une sorte de conscience intellectuelle européenne est en train de voir le jour.”(1) Marianne Wiggins – Los Angeles Times – 02-02-06

(2) Johannes Willms – Süddeutsche Zeitung – 09-12-04

(3) Rudolf Walther – Tages-Anzeiger – 22-01-98

(4) Jürg Altwegg – Frankfurter Allgemeine Sonntagszeitung – 25-02-99

An Enduring Vision will raise funds and awareness for the Elton John AIDS Foundation.

The event will honor Sharon Stone (pictured), Bill Clinton, Evelyn and Leonard Lauder and Lily Safra.

An Enduring Vision, for the Elton John AIDS Foundation, is on 16 November at Cipriani.