Had to take a break from my CF Marathon. Even the air conditioner isn't cooling me down now and the eyes are getting blurry and the hormones acting up. Have been meaning to mention this for a few days. Watched Billy Elliot for the first time one night last week, for lack of anything else on the tube that I hadn't seen a million times. Ladies I'm giving you a treat to the eyes. If you should get a chance to watch it pay close attention to the man who plays Billy at 25. It's at the end and only for a few minutes BUT WHAT A TREAT TO THE EYES AND SENSES. THE BODY ON HIM IS TOTALLY OUTRAGEOUS. Had to research a little bit. His name is Adam Cooper and apparently is a principal dancer of the Royal Ballet. UN &&&& BELIEVABLE. AMAZING. Has any one else seen him or am I lost in a haze somewhere? I don't usually react to things like this, but this man just knocked me over. I hope you get a chance to see and enjoy him. Of course, no comparison to our man, but a very close second to be sure.

Re: PAL tapes Did you buy them from a place in England or from a seller on eBay. If the latter, it will be a conversion. I remember the ballet dancer at the end very well. He was definitely on way too briefly, but then again, those guys can be rather lovely. I used to adore Baryshnikov and went to the ballet a lot.

I'm more interested in music than dance, but I just recently saw the Baryshnikov/Gelsey Kirkland "Nutcracker" that was first broadcast about 25 years ago. I hadn't seen it for years - my mother got it out to show my niece, who is going to be Clara in her ballet school production this December. His power and magnetism were marvelous. I do recall the dancer at the end of "Billy Elliott", and that he was very nicely sculpted, though actually I remember his make-up more than anything else!

Are other folks still having problems accessing http://www.spring.net Please let me know if I need to make changes!

The make-up of the Swan was interesting. He is indeed well sculptured. Just was a nice interlude. And I'm glad to know there are ladies with exceptional taste in agreement with me.

Anybody see Sex & the City last night? LOL.Paris Theatre was featured.Told you the best part was the outside and the foyer.The seats...ug . Looks like there is going to be a difference in lifestyles. Our gals are maturing...hate to see the old "devil may care" attitude leave. they were funnier when not so philosophical.

Except Charlotte is going in the opposite direction. She's loosening up. Didn't you just love Samantha's revenge (and that cop's response!) and her flashing at the Fleet's In party. She was the highlight of last night's episode, plus the recurrent theme of boobs.

(Karen)Didn't you just love Samantha's revenge (and that cop's response!) Yes.ROTF when she puts the flyer with the boyfriend's pic through the shredder! Loved Carrie's outfit in the rain running down 59th St in front of the Plaza. The sailor was adorable and could they dance...whew!

Combining our previous thread with 162, I guess this should be posted on 161 ;-D From Ananova (source: The Sun) Heather Graham is to make a guest appearance in the new series of Sex And The City. The actress will play herself in the show, which goes out in the UK next January.

Anyone else notice that the unbelieveable Mike Binder is the Tom Cruise character's homicide object in "Minority Report"???? How'd he get that plum job???

(Chris)...Tom Cruise character's homicide object... Well, it's a tough job, but somebody has to slaughter the goats. ;)

Thought I'd add this here rather than sully 162... In re aintitcool...uh, no it's not. Lonely much? BINDER: Are you married at all? Excuse me, it's a legally bound, and therefore binary, state. You either are or you aren't. A goat, I tell you, a goat. Blecch!

My apologies. I had missed the link to the MB interview. Sigh, all is revealed (gag me with a spoon!). http://www.aintitcool.com/display.cgi?id=12805

Interesting article in the LA Times about American actors doing accents. Makes some excellent points that I've always held as well, like:It's a risky move for a marquee name with an established career, says David Alan Stern, a former Hollywood dialect coach, now professor of dramatic arts at the University of Connecticut. "If your career and your public persona is based on a very strong identity, certain elements of which never change, basically you're perceived as a personality more than you're perceived as an actor. It's always a huge risk if the public is going to accept you, regardless of whether it's performed well." Accents spin actors out onto thin ice, but when rendered articulately they can be critical to the story line and add as much atmosphere as location shoots and special effects. For "K-19," the producer, star and dialect coach agreed that Russian accents were necessary because of the film's global casting. "I felt it was the best decision," said dialect coach Howard Samuelsohn. "We had British and Canadian and Icelandic actors and a couple of real Russians, and Liam Neeson's Irish and Harrison is all-American. Kathryn [Bigelow, the director-producer] thought they should all sound like they're from the same world." (As opposed to those old World War II movies in which the Yanks sounded like themselves and the Nazis sounded like Prince Charles' polo team. Or as in last year's "Enemy at the Gates," another military tale in which some of the Russian and German officers had accents but the Red army heroes spoke like Brits--Joseph Fiennes sounded like he went to Oxford; Jude Law sounded like he went to a few pubs.)That Prince Charles' polo team comment is reminiscent of our discussion of Conspiracy's lack of accents. ;-D The entire article can be found here: http://www.calendarlive.com/top/1,1419,L-LATimes-Movies-X!ArticleDetail-66851,00.html

(LA Times)Kathryn [Bigelow, the director-producer] thought they should all sound like they're from the same world. Good point. I do find the variety of accents distracting in Valmont. But if they had all done a French accent while speaking English, it might have sounded funny. Some actors have a good "ear" and can do accents easily and fluently. Others struggle and it shows (anyone see Robin Hood?). Unless an accent can be done so well that it sounds natural, it can be distracting, especially when the actor is an established "personality" with a following that has preconceived notions about him/her.

(Kate) But if they had all done a French accent while speaking English, it might have sounded funny. But don't you see, that is where our American bias emerges. A French person speaking English will sound like that, but we assume an American putting on a French accent, while speaking English, is comical. (Confusing, I know, but I'm sure you get my meaning.)

(Karen) A French person speaking English will sound like that, but we assume an American putting on a French accent, while speaking English, is comical. True, Karen, but how many times has Gerard Depardieu gotten a real role in an English speaking film? In France, he's known as one of the top actors, but in America, he's "My Father the Hero." Oh, and can someone clarify why we hate MB? I'm a little lost...

(Karen)That Prince Charles' polo team comment is reminiscent of our discussion of Conspiracy's lack of accents. ;-D You mean when we said they sounded like a bunch of Brits wearing fancy dress:-D Accents is the new wave.If an actor can't do an accent...don't hire him. That's part of acting. BTW Bruce Cox who won the Emmy played his role in Nurenberg with a perfect German accent.He's British , me thinks ;-)

(Megan) In France, he's known as one of the top actors, but in America, he's "My Father the Hero." Actually, Gerard D came to mind immediately because he has acted in English-language films. Perhaps you may not be aware of what happened when he tried to make the crossover into mainstream American films with Green Card. That (and his looks) had more to do with anything IMO than with his accent, which we have accepted in the past (Maurice Chevalier or Louis Jourdan to name but two). Oh, and can someone clarify why we hate MB? I'm a little lost... Remember, there is no "we" at this place. Each of us has his/her own opinions. :)

Luhrmann, De Laurentiis Launch 'Great' Race Wed Jul 24, 6:46 AM ET By Peter Bart, Variety Editor-in-Chief HOLLYWOOD (Variety) - It will probably be the most expensive picture ever made -- whoever ends up making it. The formidable team of Australian director Baz Luhrmann ("Moulin Rouge") and Italian producer Dino De Laurentiis ("Hannibal") believe they will win the race to make a sweeping epic biopic of Alexander the Great, and they hope to start shooting in January. They have a greenlight from Universal Pictures and Twentieth Century Fox, along with the cooperation of a movie fan named Mohammed VI, who happens to be the 39-year-old king of Morocco and who will contribute some 1,500 members of his army to the production. If the Luhrmann-De Laurentiis team wins the Alexander race, they will have beaten back some imposing competition. Oliver Stone had said he intends to start his Alexander biopic Oct. 16, first starring Heath Ledger, but now with Colin Farrell, with funding coming from Intermedia. Martin Scorsese had announced his Alexander movie starring Leonardo DiCaprio, but now is intent on first making a movie about Howard Hughes with DiCaprio. Yet another Alexander buff, Mel Gibson, had hoped to make a multi-part film for HBO, but his company, Icon, has also put off that project. Gibson and Luhrmann, of course, are fellow Australians. Why the focus on Alexander? Luhrmann, one of the most theatrical of contemporary filmmakers, sees Alexander as "the world's first rock star ... a fantastic freak of nature." Before his death at 32, he ruled over the largest area of the world ever to fall under the control of one man. To Luhrmann, Alexander was a spectacularly charismatic figure, whose battles against the Persians utterly changed the course of world history. While Luhrmann hasn't locked in a budget, he intends to build upon the epic quality of the story. "The poetry of the landscape, as well as the epic battles, will be the stars of the picture," he said. To this end, the Moroccan king has started construction of a studio to house the production, whose final budget may total north of $140 million. Though reminiscent of panoramic productions of old, Luhrmann is persuaded the movie will speak to the present. "At this moment in history when we are desperately trying to figure out what's ahead, it is important to turn to the lessons of the past," he said. Luhrmann considers himself to be in pre-production and is working closely with screenwriter Ted Tally, whose past credits include "Silence of the Lambs." Tally's script is based on novels by Valerio Manfredi. Ridley Scott initially was interested in the Tally script, but shifted to other projects. "Dino and I are completely bonded on this film," said Luhrmann, who is half the age of De Laurentiis. The fabled Italian producer is responsible for a long list of historical sagas, including "War and Peace," but he insists, "This movie will be a different sort of epic. Baz has his own unique vision. He is a complete original." Luhrmann has yet to cast Alexander, but there's speculation that, if the Scorsese and Stone versions are aborted, one of the stars of those projects may surface in his film. Final elements of the deal were completed Sunday at a dinner hosted by De Laurentiis at his house in Bel Air. The arrangement calls for a 50-50 studio partnership with Universal distributing in the U.S. and Fox overseas. "We are completely supportive of Baz's vision," Universal Pictures chairman Stacey Snider said. "For 10 years Baz has nurtured the idea of doing this project. It was consistent with his long-term aim of following his musicals with a series of films that, in his words, would view an epic landscape through a new cinematic vocabulary." "Alexander succeeded in achieving his goals beyond the scope of anyone's imagination," Luhrmann said. "But achieving absolute success brought him absolute failure." "We've been talking about this film with Baz for years," said Tom Rothman, co-chairman at Fox Studios, which backed "Moulin Rouge." "A project of this magnitude needs the support of two studios that are at the top of their game, and we all passionately endorse Baz' vision."

(Terry the disbeliever) Are other folks still having problems accessing http://www.spring.net Please let me know if I need to make changes! Yes, we are, unless you've merged spring into the google search page. :-/

Alexander the Great! OK Colin time to dress like Marc Antony and ride the chariot. How cute those legs would look.

(Karen)A French person speaking English will sound like that, but we assume an American putting on a French accent, while speaking English, is comical. Right. A foreign accent is often used to make something funny. I actually meant funny as in "odd," if the compromise for a group of actors with disparate accents would be to make them all do a French accent. Speaking of accents, does anyone remember "I Claudius"? The upper-class Romans had upper-class Brit accents, and the slaves were cockneys!

Since Gerard was mentioned up above, this appears rather timely. From Reuters: French Actor Depardieu Likes Roles with No Sex Wed Jul 24, 7:19 PM ET MADRID, Spain (Reuters) - French actor Gerard Depardieu, whose film credits range from tragic love stories to children's comedies, thinks roles without sex are "fantastic." Promoting a Spanish version of the French comic Asterix & Obelix: Mission Cleopatra -- in which he plays the pot-bellied, Roman-loathing Gaul Obelix, Depardieu said he liked the film because there was no sex. "It's fantastic...With comics there is never sex, even when there is a love story...they are enormously prudish," said the 53-year-old Depardieu, who has made over 120 films since 1965. "There is no double meaning or misunderstanding or suffering." In Mission Cleopatra, Asterix and Obelix travel to Egypt to help an architect who has to build Queen Cleopatra a palace in three months. Depardieu is not convinced it will take off in the United States. "They don't have the same sense of what a hero is," said the actor, who has tried his gallic charms on Hollywood in films like "Greencard." "I don't like positive heroes," Depardieu said "They bore me." ~~~~~~~~ And, they repulse me. ;-)

I didn't think this warranted mention on 162. From THR: Minnie Driver has set her sights on the telly again. The British actress has been meeting with American TV network executives to explore the possibility of doing a series. Driver starred in several projects on British television at the outset of her career, including the BBC mini "The Politician's Wife" and the series "My Good Friend," but has been entirely focused on features since her Oscar-nominated performance in "Good Will Hunting." She next stars in the romantic comedy "Hope Springs." Driver is repped by ICM and the Firm.

I did a page update today, hope it shows up in Netscape. Let me know.

Nope, still not there. :-(

Darn, will you do a "view source" and tell me what you think I should change?

I had no trouble accessing www.spring.net using IE6. Does the page show differently in Netscape? Liz

From Murph: A&E has put up a site for Armadillo, which will be shown on Saturday, Aug 3. http://www.aande.com/tv/shows/armadillo/index.html Man, oh man, that helmet is just like the one I had at the Bucket. *sniff*

We might have been really fired up about Saturday Aug.3... It should have been Colin's role.*snif*

But it was his choice that it's not, right? *another sniff*

I've been evaluating pictures lately. Seems besides being a B-man he seems to prefer ladies with dark hair. I know JE was an exception, but MT and Wife are dark. IMO he also seems to respond more to the actresses with dark hair he plays opposite, seems to be more of a chemistry with them with the exception of RZ. Good chemistry there. Just a thought.

The Stage Newspaper report that TOM HANKS is in talks with Donmar Warehouse artistic director Sam Mendes to perform at a West End Theatre.

Tom Hanks in the West End would be quite a draw. Any idea of the play? Hope all of us on the East Coast are ready for the heatwave. It's 2:00 a m and 90 degrees. Keep cool everyone.

FanPam, tried to email you, but incomplete address. Can you give me a computer ringy-dingy please! It is unmercifully hot :-(

Just a quick note of thanks to all of you for sharing all of this great CF info and photos as of late. Just wanted to share with you a great website I found just by accident at filmfour.com. I have had a lot of fun there lately viewing a few film shorts which viewers can see in their entirety with a quick no fee registration. I actually found a short that CF's brother had a lead in called Truel (1999) which although only 14 minutes long is a very interesting and intelligent romantic period piece that could have been easily expanded into a feature film. Another cute one is Work Experience with Kathy Burke. Regards and happy viewing.

Thanks Donnamari for the info. Will definitely look into it.

Interesting (though probably futile) development on one of my pet peeves: Hollywood Takes on Ageism Wed Jul 31, 3:28 AM ET By Dave McNary HOLLYWOOD (Variety) - The state is about to take on Hollywood's obsession with youth. The California Commission on Aging has formed a coalition with the Screen Actors Guild (SAG), the American Federation of Television and Radio Artists and Women in Film to battle lack of representation of people over 40 in film and TV. The new organization -- the Industry Coalition for Age Equity in the News Media -- will hold a news conference at 10 a.m. Thursday at the Los Angeles Film School in Hollywood. Former SAG president Ed Asner will be among the attendees. Recently released SAG stats showed only 35% of all SAG roles in features and TV in 2001 went to performers older than 40. The 2000 U.S. Census showed the country's median age was 35.3 years. State Sen. John Vasconcellos, chair of the Senate Subcommittee on Aging and Long-Term Care, will host the event. He has authored Senate Bill 953, which is designed to lay the groundwork for dealing with the doubling of the state's residents over 65 to 6.5 million by 2020. The bill's provisions include a mandate that the state join the coalition "to work with the entertainment industry to change cultural attitudes and perceptions of aging and older adults, with the goal of making the workforce more receptive to older workers."

" The bill's provisions include a mandate that the state join the coalition "to work with the entertainment industry to change cultural attitudes and perceptions of aging and older adults, with the goal of making the workforce more receptive to older workers." Bottom line: "aging and older adults" don't go to movies. Maybe the venerable State Sen. should author a bill mandating older and aging folks to attend movies.

(Evelyn) Bottom line: "aging and older adults" don't go to movies. I'm not convinced and think it has some elements of a 'chicken or egg' theory. Hey, when you get discount rates, you go, but why would any mature person want to see the youth-oriented fare out there??

Read this for a laugh (continuing in same vein): http://story.news.yahoo.com/news?tmpl=story2&cid=680&ncid=680&e=3&u=/usatoday/20020731/en_usatoday/4320626

(Karen) but why would any mature person want to see the youth-oriented fare out there?? Well, not American Pie or Cheech 'n Chong. But I find it refreshing to see young pretty actresses. I'm not a big fan of "On Golden Pond" stuff. Agree that there is an inordinate percentage of ten flicks. But hey several of them are paying my fave actors: RF with J. LO & CF with HG and Amanda.

Hilarious article, Karen. Sounds like something William Safire would write in the NY Times. He missed the most popular one, though: "cool"

(Evelyn) But I find it refreshing to see young pretty actresses. I'm not a big fan of "On Golden Pond" stuff. Why the extremes? Plenty of actors in their 30s and 40s (especially women) who can't get a job, except to be cast as somebody's grandma.

My prerequisite for a good movie is the acting and story. Regardless of age of actors involved. There's just as many more mature-oriented movies that are crap as there are youth-oriented. At first didn't like all the early-twenty syndrome flix, but since this is the majority age-range in my home have learned to watch them, noting many have merit and good acting. Was surprised to find that I was one of the people laughing the most in the theater watching "There's Something About Mary". But definitely agree maybe story lines could be made more mature-frinedly. There's only so many road trips you can go on, or so many cheerleading competitions you can attend. But adored Clueless and Legally Blonde. Good stuff. All depends on what's out there. Oh for the good old days of American Graffitti and Animal House. Now those movies bring back fond memories and are definitely classics in my book. But do you know how lucky we are, because we actually know the difference between quality stuff and crap. The youthful movie goer of today hasn't had the great experiences of being brought up on Gone With the Wind, mine have seen it but I see no identifying with culture from them on it. The first time I saw it was in a theater and a homework assignment from my 10th grade history teacher. It's there ignorance and a sign of the times that they can't identify culture. They don't appreciate Top Hat or anything of that gender. They do however like Cary Grant in Arsenic and Old Lace and James Stewart i Harvey, so maybe there is hope. As I explained to them, in the old days, and before my time I might add, movies were so exceptionally well acted and scripted because other than radio there was no entertainment, so the studios really made great stuff to entertain the public. My mother adored the classics so I was brought up on them. Bette Davis was a daily occurrance, so learned to like and appreciate good entertainment or went to bed very early every night as children did not rule the TV in those days. They do enjoy Broadway however and we go whenever we can and I collect all the musical and stage drama videos I can, we watched Cats Sunday, just to have an alternative for them. This might be a reason we don't attend the more modern movies so much because we know what's good and why waste the money on something thats not good. I agree Hollywood definitely needs to make more attractive vehicles for people of taste and culture, I prefer that to more mature, to get them into the theater. I honestly feel they can't replace the talent of the older actors with whats available now, so often cringe when I hear they are remaking something that was great, always wondering who they are going to get to perform equally to the original and realizing they won't as evidenced by the failure of so many attempted remakes. Ladies we have experienced the best of times as far a movies go because we have had the opportunity to see it all whereas our offspring haven't, unless you actully shove it down their throats as I have. Ye gods, sorry I went on so long and honestly didn't realize I had such passionate feelings about this until I got started. Loved the article. He definitely forgot cool which was awesome and whatever combined. What I started out to post was do you realize if you fall asleep enough times with a CF movie on your phraseology begins to change? It must work like a Berlitz tape. My kids are beginning to look at me funny and I'm even beginning to notice it. I'm all astonishment, quite determined and greatly pleased!!!

Oh dear, am I disagreeing with Pam twice in one day? I'm sorry, but I just had to speak out. I suspect that I'm younger than many of the fabulous Firth fans here (I clock in at 20), but I feel that there are some of us "young people with culture" out there. I've always like theater and good drama, my favorite music is classic rock, and if I have to sit through even one more PREVIEW of a Freddie Prinze Jr. movie I think I'll gag. My parents have never pushed the arts on me, they don't really interest themselves in anything of that nature. My dad did show me Animal House when I was a girl, and I loved it, but most of the other comedies I appreciate were from my own exploration and hearing things of good reputation. I can tell the difference between something that's "awesome" and something that's "whatever." I'll admit that my brother can't, but I have hope for him yet, and I wonder if your parents liked Animal House when it came out...?

(FanPam) What I started out to post was do you realize if you fall asleep enough times with a CF movie on your phraseology begins to change? It must work like a Berlitz tape. My kids are beginning to look at me funny and I'm even beginning to notice it. I'm all astonishment, quite determined and greatly pleased!!! I haven't fallen asleep with one on, but just watching them has had this effect on me. I find myself thinking in an English accent sometimes, too. Bizarre.

Interesting news item about Miramax, which contained this: Weinstein says his brother Bob told him, "I'm carrying the place. Even though you make money. I've been making 65% of the profits, you've been making 35." http://story.news.yahoo.com/news?tmpl=story2&cid=848&ncid=805&e=3&u=/variety/20020801/film_variety/film_miramax_dc_6

From BBC news: Stars 'want to direct' at RSC Kenneth Branagh and Sam Mendes have said they want to work with the Royal Shakespeare Company, according to its new artistic director. Michael Boyd, who takes over the RSC's directorship from Adrian Noble in March 2003, told The Stage newspaper that both had indicated they would consider directing productions in the future. Boyd said that both Branagh and Mendes had been consulted by the selection panel during the search for a replacement for Noble. RSC chairman Bob Alexander spoke to the pair about their interest in directing productions for the company. "I know Bob had conversations with both Kenneth Branagh and Sam Mendes, and I would bite their arms off, no problem," Boyd told The Stage. "I think it's great. I think it is sincere on both their parts and I think its is about an expression of care, although I am sure couched up in 'let's see what you get up to'." Theatre darling Mendes has a strong reputation for directing interesting yet popular plays and has previously directed Troilus and Cressida and Richard III for the RSC. During his spell as artistic director at London's Donmar Warehouse he became the darling of theatreland, attracting Hollywood stars such as Nicole Kidman to appear. Mendes also has a best director Oscar under his belt for the critically acclaimed American Beauty. Kenneth Branagh is one of the most recognisable faces to emerge from the RSC, having joined for a short period in 1984. During his distinguished career he has directed plays and films from diverse genres including Much Ado About Nothing and Peter's Friends. His latest production, The Play What I Wrote, has received rave reviews during its London run. Boyd has been an associate director of the RSC since 1996, winning an Olivier Award for his production of Henry VI. One of his plans once he takes over is to reintroduce the idea of an ensemble cast, which he believes lies in the roots of the RSC. Controversial reforms He sees it as the foundation for bringing through new talent as well as attracting big names. He is reluctant to share his views on pushing through the controversial reforms of his predecessor Noble. Among those was quitting the RSC's London home at the Barbican in favour of touring productions. There are also plans to demolish its Stratford-upon-Avon site to build a Shakespeare village. Amid the changes 100 staff were made redundant and others were put on temporary contracts. Boyd said: "In principle I am in favour of big changes as will be evident with me but I had a different view of how those changes might be brought about."

"Weinstein said the company will generate $22 million-$23 million "on the first round of 'Kate & Leopold' domestically, and we predict we'll do $30 million over the next couple of years. The same thing is true with 'Serendipity."' Thanks Karen. This is where he'll make it on TIOBE. IMO he knows some of these little films will never make budget cost on theatrical release and plans on video. So why bother spending $20M to promote a $16M film?

I hope these few articles are just the tip of the iceberg to sway public opinion: Scott's World -- UPI Arts & Entertainment By Vernon Scott United Press International From the Life & Mind Desk Published 8/1/2002 5:07 PM HOLLYWOOD, Aug. 1 (UPI) -- Nowhere is the chasm between talent and profits more clearly delineated than in Tinseltown, where the bottom line takes precedence over art. Movies employ a throwaway economy where the latest and hottest, no matter how transitory, determine who and what will be seen in major films. Chief victims of filmmakers' revolving-door tactics are actresses propelled to stardom, then all-too-soon consigned to has-been status when the next bare-midriffed damsel slinks on camera. This common policy is a dreadful waste of the industry's most valuable commodity: stars, particularly disposable actresses. A sorry example is the fate of female stars who pass the age of 35 and fall into an abyss of unemployment or who are relegated to insignificant roles. No one exemplifies these victims of the bottom line more than Meryl Streep, perhaps the greatest living actress on the planet. Streep, at 53, remains one the most brilliant performers anywhere, nominated 12 times for Academy Awards, winner of two Oscars. She is a national treasure, perhaps the best performer in America's major popular art form which she has elevated by her presence in some 24 major movies since "Julia" in 1977. Were she an English actress, Streep would be Dame Meryl, an honored national figure accorded as much respect and -- far more importantly -- as many plum roles as she chose. Look at the indefatigable Maggie Smith and Judi Dench, the late Sybil Thorndyke and Edith Evans. Hollywood's preoccupation with youth has produced blatant ageism that turns away enormously talented performers purely for economic reasons. How many stars do we have who are over the age of 60? Count those under 35 and dare to compare their acting competency with Streep and others of her age. Actors can look forward to much longer careers than actresses, a clear bias fostered by box-office receipts. Cases in point are Clint Eastwood and Gene Hackman, both 72 years old. They continue to work in major mainstream movies because they are superlative performers on screen AND at the box office. Streep, 20 years younger than they, has been driven to appear in fewer, lesser roles in inferior scripts. Who is to blame for what appears to be sexist prejudice? There are some who point a finger at screenwriters who fail to write stories dealing with middle-aged women because they aren't big box-office draws. Others offer the explanation that actresses over 35 don't make exciting, promotional news in their private lives as do half-dressed, publicity-viable young exhibitionistic cuties pushing the envelope. In the end, the blame, if such it can be called, may be laid at the feet of the moviegoing public. Apparently the populace prefers to see unlined faces, unthickened waistlines in youthful stories even if the performances are subpar. However, the ever-important bottom line is the genuine culprit for the disappearance of fine, seasoned actresses from major motion pictures. Movies have become entirely a youth-oriented art form because that's where the big bucks lie. When a half-baked comedy like "Austin Powers in Goldmember" earned $73 million in its opening weekend this month with a youthful cast for a youthful audience, why would any producer in his right mind not follow suit? No matter how much a polished drama such as Steven Spielberg's "Road to Perdition" may try to compete in such a market, it didn't earn a third as much in its opening week. Typically these days, neither film included a major role for a leading actress, much less a middle-aged actress. Then there is Julia Roberts, this decade's America's Sweetheart whose fingerprints are on every good script that comes down the pipe. Everybody loves Julia, and properly so, but she, too, will find herself facing professional Armageddon before long. Julia turns 35 this October. Other admired actresses are fully engaged in coping with the stormy latitudes of age burnout: Cher, Meg Ryan, Sally Field, Sissy Spacek, Ellen Burstyn, Jane Fonda, Faye Dunaway, Goldie Hawn, Glenn Close and more. Some Academy Award winners who haven't lost their talent, though their youth may be spent, cannot find any jobs worthy of them: Elizabeth Taylor, Shirley MacLaine, Julie Andrews, Joanne Woodward, Sophia Loren. In the not-too-distant past, Katharine Hepburn and Bette Davis were exceptions. They worked well into their 70s. They were exploitable names with hosts of fans who rushed to see their performances. Today it is different. Streep cannot compete with "Austin Powers," "Stuart Little," "Men in Black" and "Lilo & Stitch." Neither could Hepburn or Davis, for that matter. Movies today are not about soaring drama, inspiring performances and the human equation; they are about spectacle, shock, overwhelming action and special effects. These are not the province of Streep nor any other actress, no matter her age or experience. And that's a downright shame.

The reason these kid films earn so much money is because young kids see them over and over again and then the parents buy the vid. Hepburn and Davis couldn't make it either with this competition. TV has a lot to do with it. How many of these actresses would make Entertainment Tonight or E! channel. I'm not saying it's right, I'm saying it's part of the culture. The only hope for these older actresses is cable; made for TV movies. Older generations watch tv and wait for movies to come to television. No matter how much a polished drama such as Steven Spielberg's "Road to Perdition" may try to compete in such a market, it didn't earn a third as much in its opening week. Sadly, I agree. Correction: it wasn't Steven Spielberg's; it was Sam Mendes

It is Spielberg's in the sense that his company made the film: DreamWorks. However, there was a time when women counted at the boxoffice, when they went in droves, in the '30s and '40s, the days of the matinee idol and the strong female leads, which Bette Davis, Katherine Hepburn, and Joan Crawford are but a few of the many actresses having substantial careers. Sometime in the 50s, this started to change as television spread through America and women seemed to relegate the decision on their leisure activities to their spouses or boyfriends or whoever. They stopped going to movie matinees alone, became afraid of the connotation. They let this happen to themselves. They allow Hollywood to speak condescendingly of "chick flicks" as inferior products. Seems totally bizarre in that several women are very prominent in the studio systems, heading two majors (see Time mag), yet they push the money-making agenda to prove what.....???? That they are "one of the boys." Just my own hare-brain theory.

Megs please don't take offense. I'm just noting what I see in my children and their friends. Not you. I applaud you. We were just saying that they don't make enough movies to cater to people like us. It has nothing to do with age. So please don't be offended. And also in putting out more youth-oriented movies they are ignoring the talents of some very wonderfully, talented actors as evidenced by articles linked by Karen. So I apologise to you if my statements were misconstrued. Certainly not intended. But if these movies were not making money for the studios they wouldn't be made. So they obviously are doing well money-wise, while movies with real artistic value, great acting, and higher intellect don't seem to do as well. Can I adopt you? Evelyn has a good point that we tend to stay home and wait for it on TV. This may be a reason they market what they do and the way they do. But it would be great to see better movies in the market. Did anyone catch the ad for a new show coming in the fall called Brahm and Alice? A daughter moves in with her father whom she has just found. And to boot the father is English, or trying to be. Topical. Karen's so very right. Chick flix have a derogatory connotation, unfairly given and women are not counted on at the box office. But its a viscious circle, if they offered better stuff, women would go. So it's kind of like a stalemate. I'm with you Karen.

Movies have become entirely a youth-oriented art form because that's where the big bucks lie. When a half-baked comedy like "Austin Powers in Goldmember" earned $73 million in its opening weekend this month with a youthful cast for a youthful audience, why would any producer in his right mind not follow suit? Sadly, I think this is true. We often get precisely what we deserve. (Karen) However, there was a time when women counted at the boxoffice, when they went in droves, in the '30s and '40s, the days of the matinee idol and the strong female leads, which Bette Davis, Katherine Hepburn, and Joan Crawford are but a few of the many actresses having substantial careers. Sometime in the 50s, this started to change as television spread through America and women seemed to relegate the decision on their leisure activities to their spouses or boyfriends or whoever. It's been years since I read The Feminine Mystique, but didn't Friedan include an analysis of magazines and movies of the 30's/40's vs. the 50's to show the vast change in images of women in the media?

Re UK Premiere of TIOBE at Edinburgh International Film Festival on 17 August. Attendance of Oliver Parker and Barnaby Thompson confirmed on website. World Premiere of Heather Graham's latest movie 'The Guru' is in same venue immediately thereafter. She is also confirmed. Perhaps ODB may come along just to say hi? (Forlorn hope!!)

Everybody loves Julia, and properly so Not so sure about that. (Evelyn) The reason these kid films earn so much money is because young kids see them over and over again and then the parents buy the vid. Ironic that we were the "kids" with TIOBE and some of us will be the parents buying the DVD/video. (Evelyn) How many of these actresses would make Entertainment Tonight or E! channel. I'm not saying it's right, I'm saying it's part of the culture. It's a vicious cycle. They won't get on ET because they aren't in anything and they aren't in anything because they aren't offered projects as they aren't in the public mind's eye due to no publicity.

Movies have become entirely a youth-oriented art form because that's where the big bucks lie. When a half-baked comedy like "Austin Powers in Goldmember" earned $73 million in its opening weekend this month with a youthful cast for a youthful audience, why would any producer in his right mind not follow suit? If you were a producer would you want to back a film that you would get your money returned (never mind make a profit!) or back an artistic one that no one goes to see. Bottom line: You have to find altruistic producers;-D

There will always be blockbuster films; there always have been (epics of yesteryear). However, it is a chicken and egg thing. The reason the more artistic ones don't make respectable amounts of money, which would produce a decent ROI, is that they don't do any publicity. You gotta spend money to make money. The $100 million blockbusters have marketing budgets of $25+ million. Yes, they ultimately bring in in excess of $200 million worldwide, but start adding up all these costs. What's the return? You can get the same return on smaller pics, but you just can't let them hang out there

I think too often the studios focus on TV advertising and talk show appearances for their films, and they don't look for other ways to reach people. So with their smaller projects, they're stuck because they don't have the budget for TV, the major talk shows may not be interested in the actors if they're not well known, and they don't have any creative ideas for lower-cost methods. By the way, the Austin Powers people earned that $73M opening weekend. They do some creative things to promote their films - in fact, I'm using them as one case study in my Internet Marketing class this fall. I'll be interested to see how HS is promoted. It seems like a classic example of a film that could get decent box office if promoted properly, regardless of the critical reception. And to me that means, first and foremost, targeting all the women who fell in love with Mark Darcy and wondered, "Who is that actor?".

The only British actor who makes it here in starring roles is HG. And Pierce Brosnan , Mel Gibson of course. Austin Powers is a grossed-out film. Folks like that stuff. And FYI for all the publicity about wet shirts and hunk status in the British press Colin -starring movies have tanked in the UK too...including FP. Of course he only does print media over there. Let's see...having cut his teeth over here on the talk shows, he might do some breakfast TV over there this time. TIOBE needs all the help it can get.

(Evelyn) And FYI for all the publicity about wet shirts and hunk status in the British press Colin -starring movies have tanked in the UK too...including FP. I'm aware of that. But the hunk status wasn't particularly useful because he wasn't playing hunk-type romantic lead roles. He didn't do that again until BJD.

EvelynOf course, he only does print media over there I, for one, am hoping that will change with the release of TIOBE -especially since it's the first production from Ealings Studios since the 50's, which should generate a great deal of media interest. Plus he will be here finishing filming AG around the time of its release. I do so hope he finally will do some interviews in the UK. You don't realise how lucky you've been on your side of the pond!!!

(Janet) You don't realise how lucky you've been on your side of the pond!!! We do, Janet, we do.

Hope this isn't a repeat..... From The Write News Thursday June 27, 2002 Movie Stars Latch Onto Cold Mountain Miramax Films and Metro-Goldwyn-Mayer Pictures announced that Donald Sutherland, Jena Malone, Kathy Baker, Ray Winstone, Ethan Suplee, James Gammon and Charles Hunnam have joined the cast of Cold Mountain, which is adapted and being directed by Anthony Minghella, based on Charles Frazier's bestselling and National Book Award winning Civil War novel of the same name. Principal photography on the film is scheduled to begin July 15th on location in Romania. The cast of Cold Mountain already includes Nicole Kidman, Renee Zellweger, Jude Law, Natalie Portman, Philip Seymour Hoffman, Giovanni Ribisi, Brendan Gleeson and Charlie Hunnam. Cold Mountain will reunite Minghella with his Academy Award winning production team from The English Patient. Editor Walter Murch, director of photography John Seale, costume designer Ann Roth and composer Gabriel Yared, who also worked together on the production of Minghella's The Talented Mr. Ripley, will be joined by production designer. In a story in which nature and weather play an integral part, the filmmakers have chosen to combine locations in the United States with the remote mountains and valleys of Transylvania, Romania, to recreate a primitive and unforgiving landscape. The film is a co-production between Miramax and MGM and is being produced by Academy Award winner Sydney Pollack and William Horberg (through Pollack and Minghella's Mirage Enterprises) and Albert Berger and Ron Yerxa (through their Bona Fide Productions). Co-presidents of production Meryl Poster and Bob Osher, Steve Hutensky, evp of business affairs, and Jon Gordon, evp of production, are overseeing the project for Miramax. Cold Mountain tells the story of Inman (Law), a wounded confederate soldier who is on a perilous journey home to his mountain community, hoping to reunite with his pre-war sweetheart, Ada (Kidman). In his absence Ada struggles to survive, and revive her father's farm with the help of intrepid young drifter Ruby (Zellweger).

TV Alert Lorimer Black is on tonight... Saturday. Armadillo A&E Check your schedule for times. Central is 8-10.

Thanks for the reminder, but it's three hours (8-11, with a repeat starting at midnight central time). The TV Guide gave it 8/10 and says it is a "darkly funny British thriller" and "Armadillo shines as a comedy of manners, pitting posh, potbellied toffs against smarter, less well-bred types. Hilarious performances by Stephen Rea and Hugh Bonneville illuminate the class system that gives Armadillo its moral framework."

Thank you for the correction of the time. NY TIMES Review A ROMANTIC INSIDE A SHARKSKIN SUIT, by Julie Salamon "You know you are in expert hands when you find yourself engaged by a story about an insurance man."...... ". This pleasurable three-hour television film, ".... "The film retains much of the book's complexity of plot and richness of character, but it's very much a movie, where interior lives are conveyed with a look or a phrase. It's a romantic film disguised as a thriller, though the main intrigue lies not in the corporate shenanigans but with unraveling the psychology of the main character, the insurance man. He's in his early 30's, darkly handsome and calls himself Lorimer Black." "As Lorimer, or Milo, James Frain brings to the part an attractive mournfulness. He looks like a man who's just holding himself together ? not slick, not like someone trying to help insurance companies weasel out of commitments. You see why he's good at his job. His sad eyes make him seem honest, even when he's lying. Those eyes serve him especially well when he's being compassionate ? when, for example, a blowhard colleague mocks his own son for being a bed-wetter in front of Lorimer. He may work for powerful people, but he can't escape his empathy for the underdog. Lorimer's search for self takes place against the backdrop of business corruption ? and Mr. Boyd didn't skimp on the scoundrels. Hugh Bonneville plays Torquil Helvior-Jayne, the self-important dim bulb with the bed-wetting son, as an oblivious frat boy. Stephen Rea, overacting with enthusiasm, is entertaining as Hogg, Lorimer's boss, a man with a fondness for dramatic pronouncements." WITH: James Frain (Lorimer Black), Catherine McCormack (Flavia), Stephen Rea (Mr. Hogg), Hugh Bonneville (Torquil Helvior-Jayne), James Fox (Sir Simon Sherriffmuir), Neil Pearson (Rintoul), Paterson Joseph (Alan) and Trevor Peacock (Marlobe). entire review: http://www.nytimes.com/2002/08/02/arts/television/02TVWK.html ~~~~~~~~~~~~~~~~~~ There's an interview with JF in today's paper where he says: "You get a part like this every five years, if you're lucky, or once in a lifetime. I was lucky." Frain says of his role in the television movie adaptation. ~~~~~~~~~~~~~~~~~~~~~~ I saw JF in March on stage at the Almeida in London. He played Polonius in King Lear. Has a real presence on the stage.

(FanPam)So please don't be offended. Oh dear, don't worry, I didn't take offense, I just wanted you to know that there are at least a few of us out there that are interested in culture and bettering ourselves. It's one of the reasons that I found myself here, to share ideas with people who have common interests. It doesn't hurt that Colin is so delicious, either. ;-) And hey, consider me open for adoption. :)

Humming away.... Is that Sue B's signature song? Was it Johnny Mathis? A shame she couldn't have fit it into P&P too. LOL! Armadillo was very good and I think Colin would've been better. Frain looked too much like an outsider; Lorimar was capable of being taken for a public school boy. Frain had a common accent. He stood out like an alien. I actually thought they did a better job than the book, dealing with the financial wheeling and dealing. But the ending was different. A happy ending instead of the ambiguous one. OK, I want to know what we lost here. The BBC's was three hours. Ours was 2 hours and about 20 minutes in length without commercials.

Consider yourself adopted, Megs. Was everyone in the New York area ok with that storm last night? It was pretty bad where I am. We lost power for 18 hours. My daughter, returning from Vegas, was grounded in DC as Newark was closed. At least she called me to tell me she was safe as I didn't know what time she was due in and was quite worried. So fears abated collected all my CF videos to watch as I knew cable would go out so was happy as could be when the electric went about 8:00 pm and didn't come back on till about 2:00 pm. I was greatly displeased. Enjoyed Armadillo. Wish it was CF though. Maybe I'm still hearing thunder and lightning, but does anyone else think that the man playing Torquill (sp) sounds alot like CF. I don't know if it's tone of voice, or phraseology, or both. But when I first heard it I was talking to daughter and had to turn to screen as I thought for a minute it was him, even though I knew he wasn't in it. Have taped it and will watch again before I attempt to make any intelligent comments on it.

(Evelyn)I saw JF in March on stage at the Almeida in London. He played Polonius in King Lear. Has a real presence on the stage. Now, you know I disagree with this. I thought he was lifeless. I liked him in Armadillo but did not enjoy his performance in King Lear. Maybe he was having a bad night or was upset by all that water pouring onto the stage ;-)

I thought Armadillo was slow moving. If I hadn't liked the book so much, I might have given up on it after about an hour. IMO, they didn't adequately explore why Lorimer/Milo is ashamed of his background; the "disguises"--so much fun in the book--were barely there; and the Flavia storyline didn't work for me. Didn't care for Cathermine McK in this at all. I did think James Frain did a very good job, though, and was probably a more age-appropriate choice than Colin. Still, I'd love to have seen what CF would do with the role. It's a more complex, multi-layered character than anything CF has done in years, sadly.

(Mari)Still, I'd love to have seen what CF would do with the role. It's a more complex, multi-layered character than anything CF has done in years, sadly. I watched this on and off last night. I could see Colin in this very easily. Maybe it's because I knew he almost was going to do it, that I kept picturing him instead of JF. I missed the beginning and then had a hard time getting into it. --------------------------------------------------------------------------------

(Karen) I actually thought they did a better job than the book, dealing with the financial wheeling and dealing. But the ending was different. A happy ending instead of the ambiguous one. Agree. Wm Boyd did a better job with the script than with the last chapter of the book. I never did figure out the scheme in the book. You know me, I like ambiguous endings.... Thought JF was excellent. Sadly, CF might have been able to do the role a few years ago. A stretch to make him a 32 yrs old naive insurance adjuster.Though then it would have been interesting to see how he would have interprted the role. BTW didn't we read that he had a hand in writing the script? Am I dreaming here? Several CF buddies in that film, Neil Pearson, Ian Mc Neice. It's too bad there were so many delays in the filming, or I bet Colin would have taken this role.Though 3 hours is a lotta work;-))) Mari, A&E goofed IMO to play that 9 to midnight. I'd be yawning too at that hour. But hey...did you see the Possession commercial? Focus Films know where they're gonna get their audience. Wimbledon, BBC America, A&E..... Allison, we saw King Lear on the best night. I literally floated out of that place.(LOL not because of all the water onstage). A flawless production, IMO.

Forgot to add that Stephen Rea, Hugh Bonneville and James Fox gave the usual solid performances. A blue ribbon cast, directed by Howard Davies. I just saw his Private Lives in May on B'way. He took the Tony. SB had a winner.

*hee hee hee* When I saw Yoda, my mind immediately jumped to "well, he managed to do both Conspiracy andArmadillo, but he only had two little scenes that might have taken all of two days max, whereas the lead is another matter (just in case it was timing or a choice of two at the same time). Talk about your timeliness of subject matter! Inflated balance sheets, non-arm's length transactions. ;-) (Evelyn) A stretch to make him a 32 yrs old naive insurance adjuster. Aw, he could've done it. Besides, it wasn't necessarily experience that Lorimar lacked; he knew something was wrong, but he hadn't sniffed out the whole mess. Those boys were good. Age wasn't a major factor IMO, and Colin would've been fine. Besides, he looks plenty young enough for me. (Evelyn) didn't we read that he had a hand in writing the script? Am I dreaming here? Lucidly! ;-) No, I was told that he was working with Boyd around the time of the second 3DOR staging. Not sure if he was actually writing, but he was giving input at a minimum, as if the part were his. Hugh Bonneville was v.g. as Torquil; I hadn't pictured him physically like that. But Stephen Rea was truly excellent. What a character he created! Even better than the one in the book. He leaped off the screen.

Did no one recognize the music?

(Karen)Did no one recognize the music? I can't remember the artisit's name that Colin said he liked while driving up the winding roads of Umbria, but was the music from that African artist? I actually had that thought while watching Armadillo last night along with the way JF seemed to imitate CF's walk, went down a hallway that greatly resembled the one where Blackadder encountered Shakespeare, and Lorimer's family reminded me of the one DQ rents a room from. Maybe CF did have a hand in this production ;-).

Yes...yes... I recognized the African music. But is that the same artist Colin likes? (Karen) Age wasn't a major factor IMO, and Colin would've been fine. Besides, he looks plenty young enough for me. I will admit Colin could have gone up those stairs better;-D (Karen)But Stephen Rea was truly excellent. What a character he created! Even better than the one in the book. He leaped off the screen. He *always* makes his part outstanding. Remember him in The End of the Affair? (Lora)I actually had that thought while watching Armadillo last night along with the way JF seemed to imitate CF's walk, went down a hallway that greatly resembled the one where Blackadder encountered Shakespeare, They have similar acting styles too.JF was super in "Sunshine", which BTW would have made an excellent 3 hour movie also.

No no no!! Not the African music. The Johnny Mathis, which plays intermittantly, but is most obvious at the very beginning. Speaking of stairs, Colin came to mind at the beginning, when they showed Lorimar climbing the stairs going into work. Colin would've taken the stairs so much better. JF was so lackluster in that regard.

(Karen)Colin came to mind at the beginning, when they showed Lorimar climbing the stairs going into work. Colin would've taken the stairs so much better. JF was so lackluster in that regard. Now I ask you....who else but Colin (and us !) would single out stairs as a scene focus;-)) Too bad Colin didn't do Armadillo.The whole thing was loaded with symbolism. We cudda had a ball. (Karen)The Johnny Mathis, which plays intermittently, Sorry, like Lora , I was focusing on the African stuff. I can see where one could really go for it.

Go put Dutch Girls on!!

Oh yeah, and the African music wouldn't have anything to do with Colin's influence. Remember, Boyd spent time there as well and at least one of his books is set there.

(Karen) Go put Dutch Girls on!! What a memory you have. I had forgotten that Wm Boyd wrote that and SB produced it.I love that little movie.LOL they like Neil Pearson too.

Ooh - I just found a copy of Dutch Girls but haven't seen it yet. Johnny Mathis music, huh?

This is based on something posted in 163, but the specific part I'm talking about seemed more appropriate for this topic.... Miramax attracted extensive media attention for its limited release of "Tadpole" two weeks ago, but last weekend's expansion didn't generate major heat. This is exactly what I was talking about recently regarding studio promotion. They think of two things - TV advertising and media coverage. And since they can't afford TV for smaller films, that leaves just media, which I think is not enough. Even though I'm aware of "Tadpole" (having seen the trailer a few times before TIOBE showings), I didn't notice any of that "extensive" media coverage. There have just got to be other, better ways to promote smaller projects. Incidentally, speaking of "Tadpole" - have others seen the trailer? It definitely says something about attitudes towards gender that the sexual initiation of a 15-year-old boy by older women is considered appropriate for what looks like a blithe comedy, while the reverse is.... well, basically, "Lolita."

Yes, I've seen the trailer, maybe once. And you won't find anymore more in agreement about the gender biases, double standards, etc. They make me ill. :-(

Karen: Did no one recognize the music? Nat King Cole's "Nature Boy"? Words and Music by Eden Ahbez There was a boy A very strange enchanted boy They say he wandered very far, very far Over land and sea A little shy and sad of eye But very wise was he And then one day A magic day he passed my way And while we spoke of many things Fools and kings This he said to me "The greatest thing you'll ever learn Is just to love and be loved in return" "The greatest thing you'll ever learn Is just to love and be loved in return"

Hey, I was close! Right era (i.e., before my time) although I should've recognized the lack of vibrato in the voice. Thank you, Marianne. I'm telling ya, this must be Sue B's fav song.

I really liked Dutch Girls. Thought it was good. Loved the characters and see that many have been in other pics with CF. Especially Mr. Wickham. Good movie. I saw interviews on Tadpole on the morning news shows. It looks good.

(Karen) When I saw Yoda Gah! Jabba, not Yoda. :-P Thought Armadillo was OK. The every-10-minutes rounds of the same commercials really did me in. I couldn't make it until the end. JF was well cast, as was the actress who played Flavia. Rea and Bonneville were nothing like I pictured in my mind when I read the book. Think I would have enjoyed it more if I had TiVO.

(Evelyn)Now I ask you....who else but Colin (and us !) would single out stairs as a scene focus;-)) 'Cause he knows he's the STAIRMASTER!

(karen)OK, I want to know what we lost here. The BBC's was three hours. Ours was 2 hours and about 20 minutes in length without commercials. i would like to know the answer to this too--if i hadn't read the book, would i have been able to follow the story? would i have 'gotten' the bits like how he would dress to fit his client and jupiter...etc...???

Did anyone catch Men vs. Women on Showtime Sunday night? I taped it and watched it today. Good cast and well done. Thought alot of the ladies on Drool would like it as I'm sure it'll be on again.

Thought this was rather amusing from yesterday. I expect Halle Berry might be his partner for this: James Bond to have 'best lay of his life' in new movie The director of the new James Bond movie says he's included a steamy love scene in the film. He says it will be up to censors to decide whether it should be cut. Lee Tamahori says he wanted to include a more raunchy sex scene in Die Another Day. "In lovemaking, Bond's PG requirements have traditionally meant you can only show post-coital sex," he tells Vanity Fair. "You know, clothes strewn around the room, the camera slowly pans over to the bed... But we thought, why couldn't Bond have the best lay of his life? "So we shot a very hot love scene. Whether it survives the censor's cut, or the producers, we'll see."

PREMIERE Mag only gave Tadpole ** http://premiere.com/Premiere/movies/2002/tadpole.html

(Karen) James Bond to have 'best lay of his life' in new movie ... PB in the raw (hopefully)!!!! Really can't wait to see that. It's about time!!!!