(Mari)Maybe it will all balance out when ODB takes the lead in Being Colin Firth. ;-) I'm afraid the chance of that happening has already been nixed in TEoR. ;-)

LOL, Lora!! And Welcome back, Moon!! Missed you and your comments while all the excitement's been going on. :-D

'Girl' pretty as a picture Sun Dec 14, 7:00 PM ET Diane Garrett (Variety) HOLLYWOOD For a movie that hinges upon watching paint dry, filmmakers spent an awful lot of time talking about the script. Pre-unspooling, "Girl With a Pearl Earring," helmer Peter Webber reminded the aud that a good script is about more than dialogue. Stars Colin Firth (news) and Scarlett Johansson (news) picked up that theme at the Dec. 10 Academy post-bow bash. Firth, the pic's brooding Johannes Vermeer, admitted to a youthful fantasy about becoming a painter, before adding the project's appeal "wasn't the painting, but the tone of the piece." Johansson, meanwhile, said the script was "so visually stimulating, I immediately wanted to do it." And Lions Gate's Tom Ortenberg brushed off marketing concerns for the scantily worded period pic. "Certainly there are marketing challenges, but there are also so many marketing opportunities," he said. "There's always room for well done period pieces, and this is about as well done as it can be." http://story.news.yahoo.com/news?tmpl=story&u=/variety/20031215/va_vp/_girl__pretty_as_a_picture_1

The New York Film Critics Online is made up of 23 reviewers whose work appears exclusively online or who work in print and broadcast but have a strong Internet presence. Oh :( Anyway, I've finally put up the BWTA interview, transcribed by Kimberly.

The url might be nice ;-) http://www.firth.com/int/03bwtadec7.html

Thank you Kimberly for the transcription and Karen for the lovely presentation and photos. I love those pictures of him. So many lovely treats here for the holidays.

I enjoying these articles too! It's about time! Thank you ladies! (Mari), Don't know who's tongue kissing him, but it certainly isn't anybody onscreen.;-) LOL! How true! She is currently working on a film script of The Wild and they are trying to raise money to make it. Colin Firth and John Malkovich have both expressed a keen interest in being in it and David will direct. Oh Lord! The last time those two had the same role, one ran off to a log cabin. Not hoping for that one, Colin can do much better. International Playboy Bartenders Create Cocktails For Stars Of Love Actually Link is not working. :-( Theron is absolutely ferocious in "Monster," playing serial killer Aileen Wuornos, a hitchhiking prostitute executed last year in Florida. For the unflinching role, Theron obliterated her cover-girl beauty, packing on 25 to 30 pounds and disguising herself behind dark contact lenses, fake teeth and a splotched complexion. This is just the type of role that wins Oscar. There seems to be a large list this year for the actresses. I have to catch up on so may films!

From THR: Thanks mainly to its strong hold in the U.K., "Love Actually," No. 1 for four weeks in a row, picked up $10.6 million over the weekend from 2,658 screens in 26 countries, raising its cume to $87.7 million and giving it a good chance to reach the $100 million brass ring. In the U.K. alone, the romantic comedy has chalked up $42.4 million in 11 weeks. [Ed note: 11 weeks? Try 3.]

Thanks, Kimberly, for the A&E transcript! Also, Ada, I'm just catching up to The View transcript that you did--thank you! It's great to have these gems preserved. (Lora)I'm afraid the chance of that happening has already been nixed in TEoR. ;-) Hee hee. (Maria)Mari, I think you need to buy a vowel ..;-) I think I'll spin.;-) (Moon)There seems to be a large list this year for the actresses. There's a large list for the men too. Good to see so many talented people doing challenging work, instead of phoning it in. (Karen/THR)raising its cume to $87.7 million That must not include North America.

The Love Actually gang gets a nom from the Broadcast Film Critics Assn. for ensemble acting. http://www.moviecitynews.com/awards/2004/critics_awards/bfca.html

Probably not, as the article was about the Intl box office. For 38 days in release, LA has made $52 million and is in 12th place; it's in 1,566 theaters now. Here are some of the individual country totals: Australia (just opened, on 204 screens) and brought in slightly over $500,000 France - $2.9 cume in its second week) Germany - $8.7 mill in its third week) Hong Kong - $600,000 in second week; only on 2 screens ??? and second week Italy - nearly $8 million in 4 weeks S. Africa - $800,000 in 2 weeks Sweden - $1.4 mill in its 2nd week That's all they show for individual charts

Here's a new one on me -- "Hollywood Stock Exchange" -- where you receive 2million cyber-$$$ when you register, and you buy and sell stock in movie stars to make or lose your fortune (which you can supposedly exchange later for real items). A star's stock value varies according to the current box office returns, and might be fun to check as new movies are released. Looks like a pasttime for the seriously anal, but too time-consuming for me. (And besides, my DH and I have sworn off the stock market forever, as we noticed that every stock we bought ultimately went down the crapper. I wouldn't want to be blamed for any career slumps for ODB.) Here's the link: http://movies.hsx.com/servlet/SecurityDetail?symbol=CFIRT&day_span=90&field=

I know this may be *new* for some, but the HSX has been around for several years. Please either use Firthology or try reading our archives.

There are now dates for Trauma at Sundance. They are as follows: Monday January 19th: Eccles Theater (6 p.m.) Tuesday January 20th Eygptian Theater (9 a.m.) Screening Room (Broadway Center Cinemas VI) SUN (7 p.m.) Screening Room (Broadway Center Cinemas VI) SUN (10 p.m.) Wednesday January 21st Trolley Corners Theater SLC (6:30 p.m.) http://festival.sundance.org/ May be packing my Uggs and heading out.....;-) Have fallen behind on thanks! Thank you everyone for all the articles and links...it is much appreciated!

"The Girl with the Pearl Earring" Pierces the iW BOT Top Spot; "In America" Remains Decent in Expansion by Brian Brooks/indieWIRE Lions Gate's "The Girl with the Pearl Earring" pierced the top spot of the specialty BOT over the weekend, making a solid debut in theaters. Peter Weber's "The Girl with the Pearl Earring" adorned the number one spot of the specialty box office over the weekend. The Lions Gate release bowed on seven screens, grossing $89,472 for a sparkling $12,782 per screen average. "It's a terrific opening so far," said Lions Gate president Tom Ortenberg in a conversation with indieWIRE. "We had numerous sell outs in New York, and our exit polls were fantastic." Ortenberg commented further that 92% of respondents to the poll called the film "excellent" or "very good," and 81% said they would recommend the film. "We think the film will play for a long time," he commented further. The Lions Gate prez said the audience was skewed toward the 'mature' end at most screenings and that he expected the film to remain strong in the coming weeks. "With that audience, the crowds don't necessarily rush out to attend the first weekend," he said, "We're a hit critically and commercially so far. It should play well through the awards season." Continuing further, Ortenber said, "[We expect] the film to be reviewed even better as we spread out around the country, [and] believe the film will play even better around the country. It's making a lot of top ten lists, [and] we're expecting a long shelf-life for the movie." Ortenberg also lauded the film's chances as the awards season kicks into high gear. "The Girl with the Pearl Earring" will add a few suburban dates in New York and Los Angeles December 26th, and will bow on screens in San Francisco and Chicago. The film will roll further into the top 20 markets on January 9th. The rest of the article here: http://www.indiewire.com/biz/biz_031216boxoffice.html

*The Girl with the Pearl Earring" will add a few suburban dates in New York and Los Angeles December 26th, and will bow on screens in San Francisco and Chicago. The film will roll further into the top 20 markets on January 9th. Oh dear, I don't really think *here* will be one of the top 20 markets...:-(

Just a quick note to clarify: LA hasn't actually officially opened in Oz yet - it opens officially on Boxing Day (26 Dec). They showed it over the weekend in "preview" showings, but very limited - i.e., only two showings per theatre in which it is being "previewed", as opposed to showing it four or five times per day on those screens. So the numbers for Australia can't really be compared to other films, which are being screened many more times per day...

Got it! Though the "official" preview screenings are being reported and counted in the totals from the US (sneak the week before) and UK. Have put up most of the LA prem pix (though Soph has a bit of work to do) and will get the "other" press the flesh appearance pix together next. Starts here: http://www.firth.com/p_eye013.html and continues http://www.firth.com/gwape_premgal6.html

Review :HOLLYWOOD LIFE (US) January 2004 GWAPE based on Tracy Chevalier's novel about the Dutch painter Vermeer and the model for his famous painting, follows in the tradition of other movies (like 1952's "Moulin Rouge" and "Lust for Life") that try to ape the style of the painters they scrutinize. Like those earlier biographies, this is stunning to watch, with compositions awash in the dark, burnished colors and striking play of light and shadow that characterize Vermeer's work. While it's all well-directed by PW, the real artist at work here is cinematographer Eduardo Serra, who demonstrated his gifts on "What Dreams May Come", "Unbreakable " and "The Wings of the Dove". Once again, Serra confirms that he is one of the great cinematographers now working; the ravishing exteriors and the haunting interiors are all lit and framed with loving care. It,s a sensous treat, but like many painterly movies, rather static. There is a distinction between pictorial beauty, which this has in abundance, and the more dynamic cinematic flair that you find in masterpieces by Fellini or Bertolucci, George Stevens or David Lean. Webber allows his gorgeous shots to sit there like canvasses in a museum, while too many crucial moments take place offscreen. We never quite get a handle on Vermeer (Colin Firth) or Griet (SJ) , the maid who becomes the model for his celebrated painting. Their relationship builds almost imperceptibly, in sidelong glances and only a few highly charged moments, such as one in which he pierces her ears. By the end, there is something touching about the elusive bond they share, but one wishes there had been a bit more dramatic fire along with the array of breathaking images."

Thanks everyone for the articles and links....and Karen! Thanks for the pics (and Sophie for work past and present)! It looks like Tanneke wouldn't mind grinding ODB's paints! She is in several of the pics that I have seen!

Thank you all for all the fun stuff!!! Karen-so many great pictures! My head hurts! ;-)

My head hurts! ;-) Oh Shosh! You make me ROTFL!!

Must proclaim my ignorance here... This doesn't give much info about it, will the film tie-in be the book with extras about the film or is it just with the films cover...In other words, do we need a third copy of GWAPE? http://www.abbeys.com.au/items.asp?id=253039

Just the film's cover, but from an Australian publisher as there was an American publisher, a UK publisher, etc.

(Shoshana)My head hurts! ;-) Hmm . . . Perhaps one too many martinis at one of the after-parties??? Karen - Thanks for the pics and write up! Evelyn - Thanks for the article .ahh didn't know that Serra also did the cinematography for "What Dreams May Come" . .another film I thought was visually stunning;), and a favortie of mine. . .

(Karen/THR) Hong Kong - $600,000 in second week; only on 2 screens ??? and second week LOL! Now, this I can tell you: it should be 22 screens, not 2.

Some LA news from Australia Novice's labour of love December 18, 2003(Daily Telegraph, Australia) RICHARD Curtis drew on, and stretched, his writing skills when directing his first film. MICHAEL BODEY reports. http://dailytelegraph.news.com.au/story.jsp?sectionid=1267&storyid=649753 *************************************************** LA reviews from Sydney Morning Herald, Australia. I just took the snippets about LA out . . you can read the whole article below. http://www.smh.com.au/articles/2003/12/17/1071337017604.html Critics' picks - December 18, 2003 We asked our experts to nominate three must-see movies. Alexa Moses - Love Actually Reviewers are giving it patchy write-ups, but my loyalty lies with this sprawling romantic comedy only because it's written and directed by Richard Curtis. I can't give up on the writer of works such as Blackadder and Four Weddings and a Funeral, even after the bland Julia Roberts-vehicle Notting Hill. Love Actually is made up of eight interlocking stories of romance, which sounds rambling and probably sketchy, but I'm intrigued to see how Curtis attempts to juggle so many storylines. Oh, and Love Actually stars Hugh Grant, Colin Firth and Alan Rickman on one screen. Sigh. Sandra Hall - Love Actually The first film to be directed by hit maker Richard Curtis weaves its way through more sub-plots than a Robert Altman film and has just as many stars. Hugh Grant, Liam Neeson, Emma Thompson, Colin Firth, Laura Linney and Alan Rickman are all present and exulting in Curtis's ability to deliver the gags. And if the theme tying them all together gets a little wobbly at moments, there's no time to think about it until the laughter has stopped. Tom Ryan - Love Actually The directorial debut for Richard Curtis is a delight, a sparkling romantic comedy in which a dozen or so characters learn that love is almost all you need. What can you say about a film that puts eligible bachelor Hugh Grant at 10 Downing Street and makes him a worthier resident than his predecessor, that hits its emotional peak when an 11-year-old gets to say "hi" to his dream girl, and that has Christmas arriving right on cue? Guaranteed to be the date movie of the summer.

I'm imagining an army of Emily Latellas watching the immoral scenes over and over to make sure they count every possible action of depraved intent...They do GWAPE and LA... http://www.kids-in-mind.com/g/girlwithapearlearring.htm

A woman whips a young woman's hand with a cane (we hear the cracking of the cane) Oh, what have we come to when a very bad child being punished is described like this? :-( Interesting "message" they've interpreted between dissecting every scene. :-(

My favorite: Under "Violence & Gore" " A woman picks her nails and ear" You girls watch that violence and gore out there;-)

From Leonard Klady's column at MCN: "...Eight seems like an appropriate number of films to cite though I'm sorely tempted to include Girl with a Pearl Earring, an extraordinary examination of the personal and political dynamics of art in the microcosm of Johannes Vermeer's studio in 17th Century Delft. I hesitate only because I'd prefer a little time and objectivity before committing completely. I feel similarly about Peter Pan, a charming, enchanting and clever adaptation of J.M. Barrie's fairy tale." http://www.moviecitynews.com/columnists/klady/2003/gb_031217.html

GIRL WITH A PEARL EARRING by David Geffner December 11, 2003 Before photography and cinema, painting was used to record the details of the physical world. This was particularly true in post-Renaissance Europe. Artists like Raphael, Rembrandt and Caravaggio painted Biblical scenes to satisfy the church and the state, but when institutions failed to support them, these artists turned to local patrons, for whom they created delicately nuanced portraits of everyday life. GIRL WITH A PEARL EARRING, Peter Webber's translucent new drama, transports us back in time to investigate the origins of one such masterpiece. Based on the 1998 novel of the same name by Tracy Chevalier, the film weaves together what little is known of the brilliant seventeenth century Dutch painter Johannes Vermeer to create a tantalizing and plausible scenario of the creation of Vermeer's most famous portrait. This 1665-66 painting, "Girl With A Pearl Earring," hangs permanently in Holland's Mauritshuis Museum. The painting's model -- a young woman turned in three-quarter repose, her head wrapped in a blue scarf and accented by a single piece of jewelry -- is unknown. This much is known about Vermeer: he lived his life in the Dutch city of Delft. He converted to Catholicism after marriage. He joined the artistic Guild of St. Luke after having served an apprenticeship, and he painted professionally all his life, creating much of his work in a home studio suffused with northern light. He died at the age of 43, deeply in debt, with 11 surviving children. There are a mere 35 paintings in existence that are attributed to Vermeer. The story of GIRL WITH A PEARL EARRING centers on Griet (Scarlett Johansson), an impoverished teenager who enters Vermeer's (Colin Firth) household as a maid to help provide for her family. Griet's father, a tile painter, was blinded in a kiln explosion, and cannot support his austere, Calvinistic household. Vermeer's world is the opposite. It is noisy, chaotic, and Catholic. Vermeer's wife, Catharina, churns out babies to confirm her workaholic husband's love. His mother-in-law, Maria Thins (Judy Parfitt) maintains the family's plush lifestyle by protecting Vermeer's relationship with a local patron of the arts, the lascivious and manipulative Master Van Ruijven (Tom Wilkinson). Van Ruijven is a lusty, carnal soul who, sensing a relationship between Griet and Vermeer, commissions the portrait of Griet that will become the painter's masterwork. Because Dutch painters of this time lacked church or court patronage (as Dutch leaders were elected), these artists relied upon portraits commissioned by wealthy community figures. Most of these paintings included household objects, local landscapes, and everyday settings, giving production designer Ben van Os a wealth of details to draw upon as he recreated the story's time period. The production design is enhanced by Academy-Award-nominated Eduardo Serra's luminous cinematography, which appears to channel the same textures of light, color and composition that possessed Vermeer. "We conceived Vermeer's house to give us that sense of frames within frames, so familiar from the paintings," van Os notes. Although Vermeer's home looked out onto a busy canal with the city's main square half a block away, director Peter Webber says Vermeer was able to paint works that were "the definition of tranquility and perfection." Like a Vermeer canvas, the film is laid out in overlapping textures and layers. There are open doorways and windows everywhere, giving the impression that light follows the young maid wherever she goes. And since there is no privacy in Vermeer's home, passions must go unrequited, fulfilled through the artist's canvas. "We were determined that the studio -- the room that contained that familiar, almost holy corner represented in so many of the great paintings -- should be the magical space," Webber relates. "It is a private world that he allows Griet to share because she alone understands why it is special." Screenwriter Olivia Hetreed wisely chose to avoid voice-overs and expository dialogue in her adaptation of Chevalier's quiet book. Instead, we are treated to Scarlett Johansson's almost wordless performance as a na�ve girl transformed by artistic genius. Her character wanders through the painter's world wide-eyed with astonishment at his ability to harness light. The scenes of Vermeer teaching Griet to grind and mix his paints, and the scenes of them huddling together behind a draped camera obscura are almost unbearably sensual, though not even a kiss is shared. It seems odd that a man who produces children faster than artwork would choose temperance when alone with his maid.(LOL!) But GIRL WITH A PEARL EARRING offers a world immersed in Calvinist moderation. Passion, when expressed, is modulated through one of the great currencies of the day -- artwork. Only in the paintings can such secrets validated: a shy glance back from a nubile subject, a hand draped across the thick satin folds of a dress, a pair of young lips pursed just so. The clandestine relationship between painter and maid is allowed to flower, to better appease the family's patron, creating what might be called a psychosexual implosion of the social mores of the time. Griet agrees to pose to satisfy the patron's commission, but she must do so secretly, under threat of losing her position in the household. The young maid enters Vermeer's studio to be painted, providing the film's defining moment. Griet has crossed over from apprentice to subject, from student to artistic deity. Fully clothed, Griet slips off her white skullcap in exchange for the blue scarf of the painting. When her long cascading locks of hair are seen for the one and only time in the film, she could not be more naked. Vermeer's stolen glance of Griet without her cap feels invasive. His piercing of Griet's ear lobe with a needle (dabbing away the virgin's blood to make way for his wife's pearl earring) is extraordinarily erotic. Indeed, when Vermeer's wife Catharina's finally sees her husband's portrait o Griet wearing the earring, she can only state: "It's obscene!" GIRL WITH A PEARL EARRING shows us that art in seventeenth century Europe was anything but safe. The film's final frame -- a long, slow reveal of Vermeer's actual painting -- gives us the time to ponder the mystery of that time and its artistic creation. As we take in its measured beauty and acute gaze, the painting leaves us with a twinge of sadness, for there are no more girls with pearl earrings and nor a world that cares to paint them. DAVID GEFFNER is a writer based in Los Angeles. http://www.reallygoodfilms.com/articles/rgf_031211_girlwithapearl.php

(IndieWire)"It's a terrific opening so far," said Lions Gate president Tom Ortenberg in a conversation with indieWIRE. "We had numerous sell outs in New York, and our exit polls were fantastic." . . . 92% of respondents to the poll called the film "excellent" or "very good," and 81% said they would recommend the film. " Thanks, Kimberly. Interesting that more people liked the film than would recommend it.;-) I'm happy to read that LG is optimistic. thaks for the GWAPe premiere pics, Karen! Are we giong to get the Mikimoto party ones, I hope? Looks like the London Film critics have nommed Scarlett for GWAPE as Best Actress. List is at link below, but they left off the male categories. Somebody goofed. Maybe someone can find a better source. http://www.moviecitynews.com/awards/2004/critics_awards/london.html

More LA #'s from Variety: "Love Actually" picked up an estimated $12 million in 28 countries. Cume reached $91.1 million and conceivably could hit $150 million with Japan and Australia ahead. Ensemble comedy was little loved in Argentina, mirroring the response in Mexico the previous weekend, and declined by a moderate 33% after a surprisingly soft start in France, earning $3.1 million in 12 days. All U.K. needs is 'Love' Pic helmed and penned by Richard Curtis ruled Britannia in its fourth chapter, amassing $42.3 million so far, 11% ahead of "Bridget Jones's Diary" (which wound up with $60 million) and 20% up on "Notting Hill" ($53 million). Hugh Grant starrer has wooed a juicy $8.1 million in 25 days in Germany and $5.3 million in 24 days in Spain. http://www.variety.com/index.asp?layout=show_detail&eventid=1117489159

(Mari)[London Film Critics Nominations....] but they left off the male categories. Somebody goofed. Maybe someone can find a better source. It's up now :-(((( ROTF. They list Best Actor, Best British Actor etc as separate categories.... Hey, if Hollywood did that they would be a great hue and cry. Absurd.

(Mari) thanks for the GWAPE premiere pics, Karen! Are we going to get the Mikimoto party ones, I hope? Oh, yes....Pleeeeze **and** the "Huggy Squeezey" ones too.

(Evelyn), ROTF. They list Best Actor, Best British Actor etc as separate categories.... How provincial. Great reviews and articles, thank you firthettes!

Grrrr...I was just going to post to say how marvellous it is to see Colin finally getting the recognition he deserves (ie a very talented actor), and then the London Film critics strike again. We have British Actor of the Year:Jude Law, Paul Bettany (M&C), Ewan McGregor (Young Adam) Daniel Craig (The Mother) And Paddy Consadine (who?) and Actor of the Year: Russell Crowe, Ed Harris, Sean Penn, Bill Murray, Nic Cage, and thenScarlett is nominated as Best Actress in GWAPE. So who's missing, and what does that say about the sort of reviews CF is going to get from our beloved critics?! He can't even be given a nomination for Best British Actor (or Best British actor in a supporting role) in a film that's getting great reviews in the US. I've always thought that CF *has* to get international recognition because the critics over here will choke on their poisoned quills before they say something nice about him. Glad to hear that he got a 5 minutes standing ovation at the Women of the Year Lunch. Women have good taste!

And what is Bill Nihey to say? He was superbly brilliant in LA.

(Bethan) Glad to hear that he got a 5 minutes standing ovation at the Women of the Year Lunch. Women have good taste! But they don't support his starring films!!

That was a *reallygoodreview* from the reallygoodfilms website. Thanks, Maria. (Evelyn) They list Best Actor, Best British Actor etc as separate categories....Hey, if Hollywood did that they would be a great hue and cry. Many of the awards are structured this way outside the US. Even the Baftas has Best Film and Best British Film. Nothing new about this. (Mari) Are we going to get the Mikimoto party ones, I hope? (Evelyn) Oh, yes....Pleeeeze **and** the "Huggy Squeezey" ones too. Yes and yes (am assuming the latter are the nanookie of the north ones) (Bethan) So who's missing, and what does that say about the sort of reviews CF is going to get from our beloved critics?! I wouldn't worry about his reviews; he'll do fine. Your critics won't pick on him, as he's finally doing what they've wanted him to do. He's not nominated because his role is not the type that gets nominations. They need to be showier. Subtle doesn't cut it at award time. Plus you shouldn't really shove him into the supporting category for convenience sake because it is the co-lead.

Here are the huggy and squeezy ones: http://www.firth.com/gwape_premgal7.html

Article about Mena Suvari in THR about her appearing in story arc in 6FU next season, says: "Suvari, whose credits also include the first two 'American Pie' movies, next stars opposite Colin Firth in the indie 'Trauma,' set to premiere next month at the Sundance Film Festival."

(Karen) Many of the awards are structured this way outside the US. Even the Baftas has Best Film and Best British Film. Nothing new about this. Insular...bigoted, IMO. Thanks for the Huggy- Squeezies; my fave, the one with his hand on her knee;-)

Thanks for the pics Karen. I especially like those Sept 8 press conference photos.:-))

Karen - love those huggy pics . . wish I was Scarlett!!!

On my way to work this morning, big poster in Green Park tube station - v. alluring photo of ODB as Vermeer looking straight at you, and oh crap I just realised I can't remember the caption. But it was something about what his paintings do to you, a line from the movie. Anyway. It was nice!

(Karen) Many of the awards are structured this way outside the US. Even the Baftas has Best Film and Best British Film. Nothing new about this. (Evelyn)Insular...bigoted, IMO. These awards are just trying to support the British film industry. American films have been behemoths in most countries around the world, leaving other countries to pick up the crumbs. The Brits are just trying to boost their own films which rarely do well outside of their own country. Because of their international domination, American films don't need that. Anyway, too bad that except for Scarlett, GWAPE didn't get recognized by the London critics for other award consideration, like for Weber for newcomer. I agree that though he did an excellent job, Colin's role was not showy enough for this kind of recognition.

Trio paint pretty picture Wed Dec 17, 7:00 PM ET Olivia Hemaratanatorn (Variety) "Girl With a Pearl Earring" stars Scarlett Johansson and Colin Firth chatted up the oft-wordless pic following its unspooling Dec. 11 in the Variety Screening Series. Thesps said filming was fun despite the pic's somber mood. "Very often it's the opposite," Firth said. "You make a very serious film and it's one of the grimmest places to be." Helmer Peter Webber said the chaste yet highly charged scenes of physical contact between painter Johannes Vermeer and his servant were inspired by Japanese films. "I like the way that Asian cinema makes very intimate moments into something epic," Webber said. "That's what we had to do. The big moment was a finger moving a quarter of an inch." "That finger moving a quarter of an inch was a big deal for the both of us," Johansson joked. "Well, it was good for me, anyway." Pete Hammond moderated the Q&A sesh at the Pacific Galleria Stadium 16 in Sherman Oaks.

Oops! Forgot to add my comment.. hahaha (slap!) badmariabad!

Thanks for the huggy squeezy pics, Karen. So adorable!:-) Here's your buddy Capone's review from Ain't It Cool News: GIRL WITH A PEARL EARRING This is an easy film to review because very little happens, but that isn�t necessarily a bad thing. Based on the popular novel by Tracy Chevalier about master painter Johannes Vermeer (played by the master actor of angst Colin Firth; serious has any actor played more characters in love with women below his character�s standing than this guy?) and the maid (LOST IN TRANSLATION�s Scarlett Johansson) who served as the model for one of his most famous paintings. The story speculates that Vermeer fell in love with the maid (although never acted on that feeling) much to his wife�s disapproval. There are countless subplots in the film involving Vermeer�s wicked children, his lecherous patron, Van Ruijven (Tom Wilkinson), the other servants, and a butcher�s son played by 28 DAYS LATER�s Cillian Murphy, but none of these are as interesting as the nearly wordless interplay between Firth and the stunningly expressive face of Johansson. Never has catching a glimpse of a woman�s uncovered hair seen quite so erotic. And never has Colin Firth been so pent up and repressed as he is here. Yes, the brief glimpse that first-time feature director Peter Webber gives us of Vermeer at work and his technique is fascinating, but the fact remains that next to nothing actually transpires here, and this may turn some people off to the film. It feels like everyone in this film is on the brink of exploding from repression. Vermeer�s wife suspects him of all sorts of indiscretions, although he hasn�t done anything but sin in his heart. So little goes on in the household that the servant gossip about even the smallest out-of-the-ordinary events. GIRL WITH A PEARL EARRING might be the most tension-filled movie I�ve seen this year that didn�t result in some explosion or bloody death. The film is an excellent chamber piece, beautifully photographed, with a handful of perfectly understated performances. What more do you need? I have no idea whether any of this took place in the Vermeer house, but the film is so convincing that in my mind, this is exactly what happened. It opens wide this Christmas.

Scarlett got two noms: Lost in Translation (musical/comedy) and GWAPE (drama). GG discussion over at O&E

Scarlett Johansson was just nominated for a Golden Globe for Best Actress in a Drama for GWAPE!!!! No mention of Colin but as was said, his part was not showy enough. Good news for the movie , though. May get him some attention he never seems to garnish.

(Karen) Many of the awards are structured this way outside the US. Even the Baftas has Best Film and Best British Film. Nothing new about this. (Evelyn)Insular...bigoted, IMO. (Katty)These awards are just trying to support the British film industry. American films have been behemoths in most countries around the world, leaving other countries to pick up the crumbs. The Brits are just trying to boost their own films... *in Lizzie mode* "Thank you, Mary";-)

Girl with a movie star Tracy Chevalier�s best selling book, Girl with a Pearl Earring, is now a film starring Colin Firth. Lew Matthews meets the chuffed author THE delicious moment when heart-throb actor Colin Firth met author Tracy Chevalier on the set of The Girl with a Pearl Earring was recalled with a dreamy smile before an audience at Burgh House, Hampstead, on Friday. The dashing Colin Firth, who plays Vermeer in the film, became very involved with the whole idea, she revealed. �Colin took on the role completely and became obsessed with it and with Vermeer and tried to find out all he could about the artist and Dutch society of the time,� said Ms Chevalier, who lives in Woodsome Road, Kentish Town. �And when I visited the set, he pounced on me � almost literally, I am delighted to say � and he said he just had to talk to me. Naturally, like any woman, my reaction was: Talk to Colin Firth? Oh boy, sure, I�ll talk to you as much as you like. . . You could say that I was very happy with Colin Firth.� Ms Chevalier, appearing in the Burgh House Lifelines series of interviews with writers and celebrities, spoke about how delighted she was with the film, directed by Peter Webber, that has been made of her remarkable book, which is due to go on general release on January 16. The book, which suggests a fictional account of how the famous Dutch artist Vermeer could have come to produce one of his most popular paintings (the dark haired young girl wearing a pearl earring) has become a publishing phenomenon since it came out about three years ago. At first it sold very modestly, but then it took off on the strength of word-of-mouth popularity, and has now sold more than two million copies worldwide. It has been translated into 32 languages, including Icelandish, and has also been a bestseller in Thailand. Ms Chevalier said that she had seen the film three times � �and I am delighted to be able to say that I loved it,� she said. �It was an amazing experience to see something that has been in my head being projected onto a screen. It�s not the film that was originally in my head � I don�t think anyone could ever make that, including me � but I think they have done a remarkable job at remaining true to the ethos of the book, without copying it scene by scene. �It still has the same feel to it, and that�s why I was so delighted. They understood the essence of it � but they made it their own. It�s beautiful to look at; like a series of paintings.� But Ms Chevalier also revealed that the film had been shot in Luxembourg, and not in Delft, Holland, where the book was set. �The producers discovered that there was a set already built in Luxembourg that they could use, something that had originally been used for a film set in Venice. But they changed the shape of the windows and changed the lovely Italian stone look by spray painting a brick effect onto the walls, and it looks great. Perhaps people who live in Delft will be horrified, but I found it very convincing.� Some filming was done in Delft itself, and that showed up just how difficult it was to use real streets and towns. �The scene was in the town square, and when they got there they found the square covered in ice. They had to hire blowtorches to melt the ice. �Then when Scarlett Johannsen, the actress who plays the young girl, Greet, walked across the square, there were clouds of condensed breath every time she breathed out � and this was supposed to be in summer. In the end she had to walk across the square holding her breath! �Scarlett turned 18 on the set during filming. That was one of the reasons why they chose her � because she was so young. �She has been in many films, and has had the experience, but she looks remarkably like the young girl in the painting. She doesn�t say very much and she was very self-contained. She came out of nowhere and acted very instinctively. �She didn�t prepare for the role, she didn�t find out anything about Dutch society, and she didn�t read the book. And in a way that was right, because Griet herself comes out of nowhere, and is thrown into a situation where she has to respond with her gut � and that�s what Scarlett did as well. So in the end it worked perfectly.� Ms Chevalier said that she hoped the film would be shown at the Screen on the Hill, in Belszie Park, �because that�s where I go to see films like that, and it would be very pleasing�. She continued: �If it does open there, I am going to go one day and just stand in the lobby and wait for people to come out from the earlier show so that I can look at the expressions on their faces to see if they like it or not. I want to have that moment to myself. I�m really looking forward to it.� http://www.camdennewjournal.co.uk/archive/f271103_1.htm

I loved that AintitCool review. Unlike some others, which make the movie sound too highbrow and off-putting, it prepares viewers for a no-action movie where the excitement is in the dramatic tension, not the explosions. Sexy without the sex. This is great, because Aintitcool is such a popular site, and anyone going to see the film because of the review will be well-prepared to look for - appreciate - the subtleties of the film and the real action beneath the surface. And Capone seems to know Colin very well, too.

Looks as though Colin will be in Utah in January. From today's "Times" ... "There will be stars strolling the streets of Park City, Utah in January. Matt Dillon, Kevin Bacon, Courtney Cox, Colin Firth and Helen Mirren will be among dozens of performers who will be promoting films at the 2004 Sundance Festival." Marc Evans is also reported to be showing "Trauma" at the Cannes Film Festival.

Part of an article in last Sunday�s Mail magazine supplement. Scarlett Johansson Why I love older men (just ask Colin Firth, Sean Connery and John Travolta) No one does turbulent and sexy intensity better than 43-year-old Colin Firth, and the unspoken, forbidden attraction between the two creates the most powerful study of erotic tension since Jane Campion�s The Piano. �It was really lucky that Colin and I had such good chemistry. I had seen him in Pride and Prejudice and Bridget Jones and he was very sexy, but I still didn�t know what to expect when I met him. He�s such a genuinely nice guy, so sweet. It was so meant to be Colin and me in those roles.�

Whoops, don't know what happened to these two paragraphs "It's such a rare role because it's about her wonderful inner thoughts, which is so appealing for an actor to play. There's no cheesy dialogue to describe the way she's feeling," she explains, "I could just be quiet, which is rare. Often writers fill the voids with awful dialogue that's very hard to say." And there's no denying that the taboo attraction between Johansson and Colin Firth is at its most electrifying in those silences.

(SJ DM)"It was so meant to be Colin and me in those roles.? " Awwwww Hey Aishling, does she say the same thing about John Travolta and Sean Connery? Inquiring minds want to know;-) Thanks.

(Bethan) Marc Evans is also reported to be showing "Trauma" at the Cannes Film Festival. Perhaps it's been submitted or they'll be screening it out of competition for sales purposes, but it's way too early to even know if Cannes has accepted anything. IMO Colin would have to go to Park City with the film. It'll wouldn't stand a chance without him. Besides, he thinks Marc Evans is one of the most talented directors around (or similar). How could he let his friend down? ;-) Thanks, Aishling, for the article. Has SJ ever said before that she's seen P&P and BJD? (lately I'm just scrolling)

Has SJ ever said before that she's seen P&P and BJD? (lately I'm just scrolling) I read maybe a couple months ago about her mentioning P&P. She said something like, "I know Colin can be sexy - I've seen Pride and Prejudice." Sorry, I can't remember which article that was. I've never before read about her seeing BJD.

Interesting article from the LA Times about Scarlett and her older men co-stars. Sorry if it's been posted before. http://www.scarlettjohansson.org/english.html This maturity also translates to Johansson's relationships with her older co-stars in real life, with the exception of Murray, whom she says was a bit remote. Firth, she says, has "got a part of my heart. He's a great guy and good friend. He never weirded me out." Of John Travolta, whom she just worked with on "A Love Song for Bobby Long," she says: "I love that man like a family member. He's so adorable. He's so funny and not funny. I used to miss him over the weekend [during the shoot]. It was weird. I would tell him that, and he would get overly emotional and cry." To hear Firth describe it, she treated him as an equal- that is, she teased him mercilessly. "She reminded me that she had been in the film business as long as I had," Firth says, laughing, adding that they were as talkative off-screen as they were taciturn on. "She's one of the best actresses I've ever worked with."

Just so no one thinks I've been idle all day (though I can think of better things I might have done with about 2 hrs and 20 min of it), here are some more pics: http://www.firth.com/gwape_otherla.html Only the cocktail party to go. I know of you are eager to see (hic) the man with martini glass. Soon.

Thank you Karen for all of the lovely pictures. I'm not sure about ODB's ability to create an outfit... but good pics with lots of smiles! Thanks!

Re: Trauma and Cannes Forgot the most important point. Trauma couldn't be entered if it opens in the UK on Feb 27th.

Besides, he thinks Marc Evans is one of the most talented directors around (or similar). How could he let his friend down? ;-) It's surprising such talent has not yet found a US distributor. ;-) Thanks, Aishling. Lovely pics Karen!

(Bethan)Looks as though Colin will be in Utah in January. Great! That improves its chances of picking up a US distributor. Here's the info from the Sundance website; did we know Brenda Fricker is in this? Trauma United Kingdom, 2003, 93 Minutes, Color Director: Marc Evans Screenwriter - Richard Smith Producers - Jonathan Cavendish, Nicky Kentish Barnes Cinematographer - John Mathieson Editor - Mags Arnold Production Designer - Crispian Sallis Cast - Colin Firth, Mena Suvari, Brenda Fricker Screening Times Monday, Jan 19 6:00 PM Eccles Center Tuesday, Jan 20 9:00 AM Egyptian Theatre Tuesday, Jan 20 7:00 PM Sundance Village Tuesday, Jan 20 10:00 PM Sundance Village Wednesday, Jan 21 6:30 PM Tower Theatre Stunning camerawork and startling sound design create an atmosphere of steely anxiety that permeates every frame of Trauma, the postmodern psychological chiller directed by Marc Evans. In London, Ben (Colin Firth) awakes from a coma frightened and disoriented. When he learns he has been in a car crash that claimed the life of his wife, his world goes dark. Unable to make sense of the situation, he retreats into a delusional world where he can no longer distinguish between what is real and what is not. He seeks help from those in reach, including his old psychiatrist, a beautiful new neighbor (Mena Suvari), even a highly regarded medium (Brenda Fricker). Inevitably it is up to him to put his life back together and make sense of the altered existence he struggles to reenter. But something is not right in his world. Evans enters this territory flanked by a crack team of artists. The writing is crisp and precise, and the cinematography is exquisite. The tone, sustained by the entire cast, creates the ideal conditions for dread to grow just under the surface. In Trauma, Evans expertly builds tension by slowly and deliberately stacking images, reshuffling them, and letting them fall where they will.

(Tracy C) You could say that I was very happy with Colin Firth.� (Scarlett)He�s such a genuinely nice guy, so sweet. It was so meant to be Colin and me in those roles. . . Firth, she says, has "got a part of my heart. He's a great guy and good friend. Ahh, so nice to read. Really, no one ever says anything but great things about him, except maybe Huge and that's been taken care of.;-) Thanks, Maria, Aishling, and Katty. with the exception of Murray, whom she says was a bit remote. Gah, she came out with this on the Charlie Rose show, later contrasting him to Colin who was so great to work with. This kid can be blunt, but I suppose disguise of any kind is her abhorrence.;-)

Love this one especially! Thanks, Karen. I see you have the Mikimoto teaser up.;-) *tapping foot, looking at watch*

Thanks for all the lovely photos and all your hard work, Karen. Those boots he's wearing at the Pacifica Gallery look like "blunnies" (Blundstones). I have wanted a pair of blunnies for a couple of years now... (they do make them for women, though they're pretty pricey). Maybe if I get a Xmas bonus, I'll lash out and buy myself a pair. ;-)

Thanks for the lovely pics Karen! We appreciate the 2 plus hours you spent! Variety is doling out these articles on GWAPE like vitamins...one a day... Repressed passion Thu Dec 18, 7:00 PM ET DAVID WEDDLE (Variety) In a year when many filmmakers risked the deathblow of an NC-17 rating and battled the MPAA to bring more graphic and realistic depictions of sexuality to the bigscreen, the most erotically charged movie turned out to be one in which the lead characters never make love, take off their clothes, or even kiss. Director Peter Webber understands that sublimated passions can be the most powerful, both in life and in a movie. "Whoever said the most important sex organ is the brain was right," Webber says. "It's anticipation and the fact that two people can't get together that builds up a tremendous charge of energy, like static electricity. You're just waiting for it to discharge. That's an interesting register to work in." The two people are the 17th century painter Johannes Vermeer (Colin Firth (news)) and his 17-year-old model, Griet (Scarlett Johansson (news)). When Vermeer decides to paint Griet's portrait, he manipulates both her emotions and his own, exploiting the sexual tension between them to coax from Griet a mixture of sadness, longing and frustration, which he captures on canvas. Their relationship climaxes (both dramatically and symbolically) when Vermeer presents Griet with one of his wife's pearl earrings --- which he has taken without her knowledge --- and then pierces Griet's ear so that she can wear it. "When I read that scene in Olivia Hetreed's screenplay, that was the moment I decided I wanted to do the movie," says Webber. "We make a lot of period movies in Britain that are fairly dull --- 'Masterpiece Theater' type films. They're rather pretty and everything, but you're not emotionally engaged. Then I got to that ear-piercing scene and I suddenly realized there was a darkness to this story, an edge of sexual obsession and power plays." A $10 million budget for a period piece may be threadbare by Hollywood standards, but for Webber --- who cut his teeth directing documentaries and movies for British television --- it seemed quite luxurious. This would be his first feature, and Webber was determined not to squander the opportunity. "You're remembered by your first film," says Webber. "People pigeonhole you, and you may never get to make a second film."

Thank you, Karen for the picutres. Can't wait to get to the cocktail party;-) Maria, thanks for the article. (PW)Then I got to that ear-piercing scene and I suddenly realized there was a darkness to this story, an edge of sexual obsession and power plays." I like the idea of Vermeer being borderline lech. I think I'll go to spoilers.

Scarlett Johansson prompts Oscar buzz 'GIRL WITH A PEARL' JAM: Considering all the Oscar buzz for Scarlett Johansson's nuanced and understated performance in "Girl With a Pearl Earring,' it's quite fitting that the film premiered in Los Angeles at Oscar Central, the Academy of Motion Picture Arts and Sciences in Beverly Hills. Johansson, 19, was pure Oscar bait on the carpet Wednesday night in an elegant, long cream-colored Prada gown with black onyx earrings and a black swirl applique on the side of her gown. Nothing like the rough-hewn peasant garb she had to wear in the period film based on Tracy Chevalier's novel by the same name, a fictional account of a young maid's life in the household of Dutch master painter Johannes Vermeer. "My only request was that I not have to wear wool,' Johansson said. "And my only costume ended up being a rough wool dress that looked like a burlap sack.' British actor Colin Firth, who played Vermeer, looked much more casual in a gray suit with no tie. But that could be because he's a bit more practiced at the premiere routine, having landed his first film role the year Johansson was born. Much of the film is composed of faithful re-creations of Vermeer's famous color and light, which caused Firth to feel a bit antsy early on. "In the early stages, I would be standing by a lot of the time. It was frustrating because I would be held up in my trailer just to walk down a corridor.' But he'd researched and studied the artist and his work for months, so when he did get into character, the experience was "quite magical.' Paying compliments to director Peter Webber and Johansson at the reception following the film: Essie Davis (who plays Vermeer's wife), wearing a red strapless Armani gown, Aisha Tyler, Dominique Swain and Jesse Bradford. Of course, everyone just had to try the delicious chocolate martinis made with a Dutch liqueur. Hey, when in Rome, er, Holland. http://u.presstelegram.com/Stories/0,1413,214%257E24178%257E1829144,00.html?search=filter

(lindak)I like the idea of Vermeer being borderline lech. My 17 year old niece saw the trailer for GWAPE recently, and knowing of my interest in all things CF, advised me that he was playing a pervert in his new film!

(Maria) We appreciate the 2 plus hours you spent! LOL! That was time wasted on something else...that could've been better used on the pics. ;-) Good piece of PR by the Sundance crew to make Trauma sound brilliant, a must-see! (UPress) But that could be because he's a bit more practiced at the premiere routine, having landed his first film role the year Johansson was born. Ouch!! :-( Of course, everyone just had to try the delicious chocolate martinis made with a Dutch liqueur. Ah, so maybe he got a taste for them and that's what he's holding at the Mikimoto reception that next day?

this took care of the tags, i hope... (karen)"Good piece of PR by the Sundance crew to make Trauma sound brilliant, a must-see!" yeah, well, could be, but... : (trauma blurb)"(...)the postmodern psychological chiller (...)" *groan*

(trauma blurb)"(...)the postmodern psychological chiller (...)" (Sophie) *groan* I know, that caught my eye initially, but I'd bet it only means the story is deconstructed, no grand narrative style.

The January issue of American Cinematographer (page 94, with Cruise on the cover) has a several page article entitled "Lighting Vermeer" (Eduardo Serra). With loads of pictures from the set. Don't have time myself to scan it all, but perhaps someone could - for Karen?

Wish I'd known about it before, as I was right across the street from a Borders and I could've scanned it myself. Will take care of it tomorrow.

Karen: Just looked at it right before my post. I sent you an e-mil.

Interview in the Independent today: Colin Firth: Still sitting pretty From Mr Darcy to Vermeer, Colin Firth seems drawn to smouldering roles - but he thinks he's dead ordinary By Fiona Morrow 19 December 2003 There's something slightly cheesy about Colin Firth. Not in the flesh, you understand, but in the idea of him. It's something about the way middle England panted in unison when he strode out of that lake in Pride and Prejudice. "Ooh, Colin," you could hear them whisper, faintly reproachfully. "You are naughty." Now, I had as big a crush on Mr Darcy as the next gal. I was 14 at the time, and I got over it as quickly as I did strawberry-mint lip gloss. My Mr Darcy served his purpose and was then cast aside - and Timothy Dalton never did it for me again. Ever. Unlike the erstwhile Bond, Firth's career is easily split into pre- and post-Pride and Prejudice. He started out well. Another Country, Apartment Zero, A Month in the Country, Tumbledown, Valmont: small but interesting projects, with Firth given the chance to develop complex, often troubled characters. Mr Darcy changed all that: suddenly Firth was bankable. He became an actor sought out by the high-end heritage market of the British film industry. But for every English Patient and Shakespeare In Love on his CV, there's a Relative Values or an Importance Of Being Earnest. Bridget Jones's Diary was fun, but What A Girl Wants? Love Actually? What more evidence do I need to muster? Definitely a bit cheesy. So I wasn't nearly as excited at meeting Firth as perhaps I should have been. Certainly, every female with a pulse to whom I mentioned the interview appeared to go glassy-eyed at the mere sound of his name. A tall, slim, rather diffident Firth arrives. He's smiling and instantly affable, looking younger than his 43 years but also less substantial than he does on screen. His is a handsome face, but not extraordinarily so. We're in Luxembourg, on the set of Girl With a Pearl Earring, the film version of Tracy Chevalier's bestselling novel. Firth plays the 17th-century Dutch artist Johannes Vermeer, who becomes captivated by the family maid, Griet (played by Scarlett Johansson). It's a pretty torrid tale: Vermeer and Griet's mutual attraction is repressed beneath the demands of social etiquette; the slightest glance becomes weighted with meaning, the sexual atmosphere building to an almost unbearable intensity. Plenty of opportunity for Firth to smoulder, then? "Oh, God!" exclaims Firth, aghast. "I hope it doesn't come across like that. I don't consciously smoulder anyway - I never have." He pauses for a wry little grin: "Smouldering is something that's kind of come to me. "Actually," he adds, not ready to let the subject lie. "It was a bit worrying the other day on set. I was looking at Griet and going through my own process and doing what I thought, you know, was wanted, and afterwards I got a comment about my smouldering look and I just thought, 'Oh, Christ'." He says it more in sadness than in anger, as though really fearful that he is reduced to "one look". Unfortunately, because Girl With a Pearl Earring is a film of intent rather than action, Firth does vacillate rather between a smoulder and a scowl. His limitations in the emoting department are not helped by the fact that he's up against Johansson, an actress who can say more with her eyes than any page of dialogue. "Very few actors would decide to take on a role and just do a look," comments Firth, a little dejectedly. "You hope you can be elegant without speaking, and that once the film's cut together, you come out in the wash the way you intended to." Such concern is emblematic of his lack of arrogance: he seems genuinely surprised and cheered by his good fortune in doing a job he enjoys. He became an actor, he says, as a last resort. The son of academics, Firth lived in Nigeria until he was four, eventually growing up in Hampshire where he attended the local comprehensive. His posh accent is the product of "old-fashioned drama school RP". "My father was worried when I decided not to go to university," he recalls, "but only because he wanted me to be able to find something that was stimulating from which I could make a living. I lit on acting because there really wasn't anything else that seemed feasible." Though he loved what he was doing, the decision preyed on his mind for many years: "I did say to my dad later that I felt like I hadn't fulfilled the family tradition and that I had missed something by not going to university, by not following that path." His father, however, sees it differently: "He told me that, considering all the things I've learnt for various roles, I haven't missed out on much." It soon becomes clear that for Firth, it's the research that really gives him a kick: "I enjoy the homework very much," he says with a slightly embarrassed guffaw. Girl With a Pearl Earring has certainly delivered for him on that front: "It's allowed me to go to school, in a way," he shrugs. "I like going to the galleries and pretending to be this bloke. That thrills me." The bloke himself remains an enigma: "Here's a guy we basically don't know anything about, whom Tracy has written a story about. And this story is told through the eyes of a girl who doesn't know much about him either. I think," he says, after pausing for a moment to think, "that what Tracy has done brilliantly, and what the production has done so far, is to keep that mystery intact. I just hope I can continue to do the same in my leg of the relay." He rubs the side of his face, crosses his legs and frowns: "Vermeer's only hint at a self-portrait is in a mirror," he ponders. "It's in the background of - I think it's called The Concert [in fact it's The Music Lesson]." He shakes his head and shrugs: "The titles are all so interchangeable... But anyway, it's basically two people standing at a virginal at the back of a room, and there's a mirror above the instrument which reflects [the player's] face and then if you look further you can see the leg of his easel..." He stops and pulls a sheepish face: "I've never quite been able to make it out myself, to be honest, so I'm just going on what others say. But there seems to be some kind of box and his foot - so he's quite consciously hinted at himself, but kept himself out of it." As he prattles on happily, I realise that the great sex symbol of the Home Counties is, in fact, a big kid, eyes still wide with wonder at the world. Even that laugh, with its throat-tickling rumble, belongs to a boy. I tune back in, and find that Firth has moved on to the known facts he has unearthed about Vermeer: "He had 15 children, four of whom died. There were wars going on - the French invaded, and the dykes were broken in a kind of scorched earth policy. He grew up in a pub that his mother ran..." He leans back in his chair to deliver what is clearly his favourite piece of Dutch miscellany: "The annual beer consumption in Delft was absolutely jaw-dropping!" We pause in respect for the constitution of the apparently permanently pickled locals before returning to art. Specifically, Firth's lack of aptitude for it: "The physical side of painting is beyond me," he proffers. "You can't teach me to draw a face with two eyes in the right place. All I'm hoping for is to look as if I've picked up a palette before and to hold a paintbrush without dropping it." He won't be drawn on how he thinks the film is going. "I'm hopeless at predicting that kind of thing - I was the one who thought Shakespeare In Love couldn't work, which shows how strong my instincts are. I just thought: 'there have been so many star-studded flops,' and my worry was that it would be panto for clever clogs." As for his own part in it, he starts to giggle: "I was the absolute antithesis of everything that was charming about that film - the guy with no humour, no poetry and no romance. The beauty of the film," he declaims in cod-Shakespearean, "was thrown into relief by my lack of it." He's less happy-go-lucky when, inevitably, we find ourselves having a Mr Darcy moment. "You know, this whole star persona nonsense that came from Pride and Prejudice is not something I actually occupy, and I only ever have to answer for it in a press situation." He lets out a sigh. "When the question is asked, I often have to wake myself up to remember what to say about Mr Darcy. I can't recall it very well, not least because it was a very ordinary working experience. I've had to talk about it so much, I can no longer distinguish my own memories from other people's mythology about it." He does remember thinking it wouldn't be up to much: "I went to South America [to film Nostromo]. I thought it would be nice to be away when everyone was having a go at it." He didn't pay much more attention when he got a call from home saying he was the subject of some intense press interest: "I just thought it was the sort of thing that mums say." Meanwhile, on the set of Nostromo, Firth fell in love with an Italian, Livia Guiggioli (they are now married). Intrigued by reports of Firth from England, her family went to check him out at the cinema. "The only thing that was on at the time was Circle of Friends," he grimaces. "And appealing in that I am not. They were in despair at this ghastly, bloated, moustachioed English fool. Then, when they were sent tapes of Pride and Prejudice, there was a general kind of disbelief that anyone could find this man sexy." Firth himself remained unconvinced until his mum sent him a recording of a radio discussion about the series: "I thought, 'Christ! This has never happened before, this is extraordinary.'" He leans forward to add sincerely: "It can make you a bit jittery." He continues, sounding as though he still can't quite fathom it: "The interesting thing was that I thought I'd been doing great up until that point. I'd been doing stuff that I found really interesting. I'd been working away - had never been out of work, actually. I was doing central roles in things that interested me a lot and were sometimes well received. If people liked me, they liked me and if they didn't they didn't. And then, with Pride and Prejudice, it was as if I'd never done a thing before." Or since? I prompt: "Well," he shrugs, resigned, "if people want to bang on about it eight years on, if they're still interested, I can't really complain." He has, of course, had a hand in inspiring such longevity himself, by starring as Mark Darcy in Bridget Jones's Diary and its forthcoming sequel. "I know," he shrugs apologetically. "The first one just seemed such fun, but I was worried about a sequel. The very idea conjures up all sorts of dreadful thoughts. But I read the script and found a new affinity with it, so..." he trails off. "Nevertheless," he picks up, with a shake of the head, "I have to say I find it weird that there is this hologram of me as Mr Darcy still wandering about." The notion reminds me of something Firth told me about the moment he saw his first original Vermeer: "I don't know if I've ever seen such a difference between reproduction and the real thing. Even in print, you can see they're marvellous, but nothing compares to coming face to face with one." Firth may not be a great work of art, but he's certainly nothing like his image. Neither scrumptious nor cheesy, he's more like a reliably decent pint of beer. Something, it seems, of which Vermeer himself would have approved.

( Independent)"Neither scrumptious nor cheesy, he's more like a reliably decent pint of beer." Hmmm....don't like beer. I prefer to think of him as a nice glass of vintage wine. Thanks boss; *Clap, clap* You're always on the mark...this was just published today.

That was great, Karen! And so are those gorgeous pics you put up. Thank you! Thanks for all the info ladies, I very much appreciate it. (Evelyn) I prefer to think of him as a nice glass of vintage wine. Yesss. Me too. :-)

(Evelyn) I prefer to think of him as a nice glass of vintage wine. ...a fine ruby port does it for me. Scrumptious, but not cheesy (CF)"I'm hopeless at predicting that kind of thing - I was the one who thought Shakespeare In Love couldn't work, which shows how strong my instincts are. LOL, ain't that the truth;-)

My son watched Talking Movies on BBC News 24 very early this morning (5.30am!). It features an interview with CF discussing LA and GWAPE. My son thought he came over very well. It's being repeated this afternoon at 3.30pm.

Thanks for posting all the info and pics! Karen - Great article from the Independant . . Colin described as cheesy? . .Definitely not . .I'd go more for the scrumptious side;)

Colin Firth: Still sitting pretty From Mr Darcy to Vermeer, Colin Firth seems drawn to smouldering roles - but he thinks he's dead ordinary By Fiona Morrow 19 December 2003 Once more a case of much more information about reporter than I care to know. She came off a bit cheesy IMO:-(

Thanks for the heads-up, Janet, about the new Talking Movies segment. I hope we'll hear a full report once you've seen it yourself. (Beedee) Once more a case of much more information about reporter than I care to know. Or anyone cares to know. Agreed. The reporter's name seems familiar to me, but I can't place it with any other article on the archive. Hmmmm Had a report from Jennie in England, who said that there are posters all over London for GWAPE, featuring at least 6 different images (other characters), plus one showing Vermeer looking around the side of the easel. (I'll upload later but you've seen it on other sites.) There is also a special Vermeer night on 7 January at the National Gallery, but it is sold out. The foyer of the Gallery's Sainsbury Wing will have live music, a bar and events -including author Tracey Chevalier signing copies of the book. Attendees will also be able to enter a drawing to win one of 300 tickets to an advance screening of Girl with a Pearl Earring on 14 Jan at the National Gallery that will be introduced by the film's director Peter Webber. Info at http://www.nationalgallery.org.uk

Here's a better link: http://www.nationalgallery.org.uk/education/events/discuss%5Fjan.htm

(Karen) There is also a special Vermeer night on 7 January at the National Gallery, but it is sold out. The foyer of the Gallery's Sainsbury Wing will have live music, a bar and events -including author Tracey Chevalier signing copies of the book. Attendees will also be able to enter a drawing to win one of 300 tickets to an advance screening of Girl with a Pearl Earring on 14 Jan at the National Gallery that will be introduced by the film's director Peter Webber. Classy promo.Thanks Jennie. I wish they would have done the same at the Met in NY. The National owns one Vermeer:

(Evelyn) I wish they would have done the same at the Met in NY. Yeah, me too. :-( Or even the Frick, since they have 3.

(Karen)Thanks for the heads-up, Janet, about the new Talking Movies segment. Thanks, Janet. I just checked BBCAmerica's site for talking movies and they still have the Dec.6-11 schedule showing. Last time, we got the GWAPE segment almost at the same time the show aired in the UK. I'll keep checking. (Karen)Had a report from Jennie in England, who said that there are posters all over London for GWAPE, featuring at least 6 different images. hmmmm...there will be less of them in about a week;-)

whole bunch of new GWAPE pics at firthissimo... http://digilander.libero.it/firthissimo/index.htm

Thanks, Ada for the link and the scan on the other topic. Looks like someone has a high quality bootleg or the screener. I know some people who have the screener and it's like gold. Oh to be a voting member of a guild. :-(

Once more a case of much more information about reporter than I care to know. She came off a bit cheesy IMO:-( (Beedee) Makes me wonder just how much personal interpretation goes into these interviews. As he prattles on happily, I realise that the great sex symbol of the Home Counties is, in fact, a big kid, eyes still wide with wonder at the world. Even that laugh, with its throat-tickling rumble, belongs to a boy..... As for his own part in it, he starts to giggle The interviewer is (by her own admission!)22, CF is 43. Can't imagine him prattling and giggling. More worrying is Unfortunately, because Girl With a Pearl Earring is a film of intent rather than action, Firth does vacillate rather between a smoulder and a scowl. His limitations in the emoting department are not helped by the fact that he's up against Johansson, an actress who can say more with her eyes than any page of dialogue So can Mr Firth, young lady! Didn't you notice? Hope she doesn't write the reviews for the Independent!

Thanks, Ada, those look like from a VHS tape, not a DVD. OK, the tapping and poking can stop. The Dean Martin or Humbert Humbert Memorial gallery is up (take your pick): http://www.firth.com/gwape_otherla2.html

Karen, Wonderful pics! - Doesn't he look a little inebriated?

Funny - his glass is full or almost full in every shot that he's got a glass in his hand. Do you think that the martini is just another "affectation"? ;-)) LA is rated number 8 in the Australian market at the moment on yourmovies.com.au - not too shabby for a movie which hasn't even opened yet! ;-) It's now playing in many more theaters and at times throughout the day, so I'd say it's on an even footing with everything else. I think they've done this "pre-launch launch" because it's opening opposite LOTR3 on Boxing Day, and hasn't got a hope in hades of competing...