Anyone see Anatomy of a Scene on Sundance? Me... (Mari)Lots of VanR. Vermeer says maybe 3 words. To Griet: "Make it" Everyone is interviewed except YKW. Agaree with Mari that it enhances the film viewing. The most interesting part is that the Editing director said GWAPE was 3 hrs and 20 minutes on the first run. Ya'think part of the ending was left on the cutting room floor;-) Will show again tomorrow and Wednesday. I'll do more taping and send it around. If any DD want to be on the Sundance Tape Train email me.

A "how it was made" type article, with some old/new info, by Tracy Chevalier in the Observer today: http://books.guardian.co.uk/departments/generalfiction/story/0,6000,1113053,00.html Mother of Pearl On the eve of its cinema release, Tracy Chevalier describes how she felt as she saw her bestselling novel Girl with a Pearl Earring being transferred to the screen 'I hear a film has been made of your book! Have you seen it? Did you like it? Did you have anything to do with making it? Did you meet Colin Firth? What are you wearing to the premiere? Do you get to go to the Oscars if it's nominated? Will your other books be made into films?' Over the past few months I've been bombarded with such questions about the upcoming film adaptation of my novel Girl with a Pearl Earring. Not just from family and friends, but from readers and journalists as well, all of them giddy with the kind of excitement I never hear over the publication of a book. No one has ever asked me what I'm going to wear to a book launch. The film world has a glamour that book publishing can never compete with - a bigger budget, flashier ads ('There's a huge billboard of your film on Sunset Boulevard!' an LA friend emailed), and glitzier awards ceremonies. Despite this, the bright stage lights of a film don't necessarily cancel out the small, steady candle flame of a book. Indeed, that flame may last longer. These days a film has to do well in the first weekend's takings or it gets pulled from cinemas, whereas a book has a few months to earn its shelf space in a bookshop, as well as a second chance on paperback publication. I didn't write Girl expecting it to be made into a film. Nor did I expect it to sell two million copies around the world. Of course I secretly hoped both things would happen - who doesn't dream of success? Sometimes during low points in the writing, I kept myself going by imagining the perfect cast (a younger Alan Rickman as the painter Vermeer, and some unknown actress, plucked fresh from drama school, as his servant and muse, Griet). I was aware too that the book is very visual, as well as having a straightforward story line, and so might translate easily into a film. I researched and wrote the book in just eight months (I was pregnant and had a biological deadline). The film had a rather longer gestation. I sat in the London office of Archer Street Films, drinking cappuccino and chatting to producers Andy Paterson and Anand Tucker about selling the film option in the summer of 1999, just before the book was published. In August 2003 I first saw the finished film. Four years from first meeting to first screening is a long time in book publishing terms. I've published two novels since Archer Street bought the rights to Girl. When I first talked with Andy and Anand, I didn't have great expectations. I was delighted they were interested in making the book into a film, but I had also heard the statistic that only 5 per cent of books optioned for films ever get made. I suspected Girl would sit on a shelf gathering dust in some film executive's office. On the other hand, Andy and Anand were persuasive and appeared to have integrity. They seemed to 'get' the novel, understanding that the key to the story was its restraint. One of the first things I said to them was that I did not want the main characters to sleep together. Hollywood would want to sex up the film, and I thought a small British production company would be more likely to remain faithful to the book in that respect, as well as to ensure the film had a European feel to it. When they promised to try to replicate the 'emotional truth' of the book, I believed them. I was aware that I might be hoodwinked, but at least they were talking a language I would never hear in Hollywood. Does Hollywood know the meaning of restraint? When we began negotiations, Archer Street Films asked if I wanted any involvement in writing the screenplay. I answered blithely that I wouldn't mind taking a crack at the first draft. At that point my agent Jonny Geller dragged me away from the negotiating table. 'Unless you want to become a screenwriter, don't do it!' he said. 'You're a novelist, that's what you do best. Go and write books and leave film-making to the film-makers.' It was the best advice he ever gave me. I signed off on any involvement in the film - much to the relief of Archer Street Films, I suspect. Who wants an interfering author breathing down your neck? As a result I probably had the best relationship possible with both producer Andy Paterson and screenwriter Olivia Hetreed. It also gave me an excuse in case the film turned out to be terrible - I could truthfully say that I had nothing to do with it. Keeping the film at an arm's length meant that I didn't have to follow every twist and turn of its tortuous progress to the screen. Andy kept me informed, but usually a few months late so that by the time I found out the bad news, some good news had already come along to replace it. Bad news like: financiers pulling out, actresses 'falling out of love with the script', half-built sets being pulled down, directors likening Vermeer to an Essex man, and Hollywood starlets wanting new endings. Instead Andy emphasised the positive: Olivia's marvellous script, actors who don't normally audition for parts queueing up to do so, Hollywood sniffing around hungrily but not allowed in. One day he told me they'd found their Griet at last. Scarlett Johansson was only 17 and not yet a household name, but experienced enough to handle the difficult role. And she resembled the painting. Then Colin Firth came on board, and it all quickly came together. Though it had seemed like a long haul, suddenly I was on a plane to visit the set in Luxembourg. Luxembourg? That was one of many surprises about film-making. I'd thought of Delft, the Dutch town where the book is set, as very filmworthy. It still retains its seventeenth cen tury layout, with cobbled streets, canals and bridges, gables and a market square with an eight-pointed star in the centre. If you ignore all the cars, bicycles and signs, it looks like a perfect set for a film. But no. There was a pre-built set in Luxembourg which had been used for a film set in Venice, and with a change of window shape and brick replacing Venetian stone it looked quite Dutch. (If you look closely in the film you'll see some brick-filled windows with strangely Venetian Gothic arches at the top.) I found this choice hard to fathom until I spent a few days on the set and saw just how many factors are involved in getting the look of the film right. Director Peter Webber and cinematographer Eduardo Serra needed absolute control of the space and light they worked with - something they could never achieve by shutting down a busy Delft street for an hour or two. I had never been on a film set before. It was a surreal experience. All of the private ideas I'd had about the settings of my book were suddenly, brutally public, with cast and crew crawling all over them, measuring and moving, pulling and prodding. I kept wondering if eventually they would pull so hard the story and characters would fall apart and I'd be caught out as a fraud. It was strange too to see that my scribbling had spawned a whole industry of Vermeer boffins - there were reproductions of Vermeers and other Dutch paintings tacked up everywhere in the production offices, and books strewn about that I myself had read for research. I confess it was rather gratifying to have Colin Firth elbow someone out of the way in the set canteen so that he could sit next to me at lunch and grill me about Vermeer. Someone else also turned to me in the canteen and said, 'Do you realise that your idea is paying all these people's wages for two months?' Yes, surreal it was. When I first walked onto the set of Vermeer's house I immediately thought, 'No, no, this is far too big - they would never have had this kind of space.' However, once I saw just how much equipment and people were needed to film each shot, I understood what the space was for. You hardly see the dimensions of the rooms on the screen. Moreover, all of the opulent details - the paintings hanging everywhere, the dishes, the furniture, the food - blend into the background. When watching the film we focus on Scarlett Johansson's face, not the authentic blue-and-white delftware stacked on the table that some assistant worked so hard to locate. Production designer Ben van Os had designed a spectacular room full of pornography for the house of Vermeer's patron van Ruijven, played by Tom Wilkinson; yet it doesn't even get a look-in on screen, but ended up on the cutting-room floor. That was another surprise: how many changes were made in the editing. Much more was filmed than got used, and this is where readers of the book may most feel the differences between film and book. Whole subplots and characters were shed, and with them some of the subtleties of characterisation and ambiguities in relationships. What it gains, however, is a focused, driven plot and a sumptuous visual feast. The changes have not bothered me. For one thing, the grammar of a film is very different from a book. By and large, films have simple story lines and are linear and active. Books - even simple, spare ones like Girl - shuttle back and forth in time, repeat themselves, go in and out of their characters' heads, and leave gaps for the reader to fill in. No wonder the storytelling has to be different. I think many films are actually less successful if they do follow a book faithfully - witness the stodginess of the Harry Potter films versus Rowling's sprightlier books. Besides, I'm used to other people transposing what I write. After all, that is what a writer does. I wrote Girl with a Pearl Earring for readers to interpret and make their own. When I published it I also let it go. I can't control what readers think, or how they picture scenes and characters; nor do I want to. It's not so different to have film-makers do that to books. And they too have to let their vision go and let us viewers make it our own. It would be sad if films subsumed books - and often they do. In this case, however, I think the film and book reach the same emotional truth, as Andy and Anand promised, but along slightly different paths. They are like sisters rather than the same person, and complement each other rather than fight. I now have two Griets in my head - Scarlett Johansson's luminous Griet and my own, original Griet, small and quiet - but with a steady presence no less diminished for having gained a sister.

(Karen's Tracy Chevalier in the Observer) I now have two Griets in my head - Scarlett Johansson's luminous Griet and my own, original Griet, small and quiet - but with a steady presence no less diminished for having gained a sister. Lovely. Thanks Karen. That was an enjoyable read.

I think I have them all up now, the transcripts from Regis and Kilborn's shows: http://www.firth.com/int/03regisdec8.html http://www.firth.com/int/03kilborndec10.html

(Karen's Tracy Chevalier in the Observer) I now have two Griets in my head - Scarlett Johansson's luminous Griet and my own, original Griet, small and quiet - but with a steady presence no less diminished for having gained a sister. (Beedee) Lovely. Thanks Karen. Indeed. Thanks Karen. Now I'm truly praying with a purpose regarding noms. My local art movie theatre "hopes to get it" around the end of January.

This weekend GWAPE Lions Grossed $175,000 Playing in 25 theatres Average $7,000 [v.v. good] $444,000 Total Gross Wish they'd hurry up and add more theatres.There's a lot of garbage out there now. Love Actually Uni. Grossed$911,000 Playing in 408 theatres $2,232 Average/theatre $55,983,000 Total gross LA is out of my neck of the woods. So much for a Christmas movie.... Hel-lo, this is Christmas week.

Thanks Karen, Mari and Katty for those articles! And thanks for the transcripts too Karen . .! Ordering penne at an Italian restuarant will never be the same again;) Hope everyone had a wonderful Christmas;)

An earring & an enigma VERMEER'S SUBJECT ILLUMINATES SCREEN IN A TALE OF HISTORICAL SPECULATION By Bruce Newman Mercury News Posted on Sat, Dec. 27, 2003 For most of the film ``Girl With a Pearl Earring,'' Griet -- the young housemaid played by Scarlett Johansson -- keeps her hair concealed in a swaddling scarf, a headpiece of such elaborate design that you begin to wonder if she might be bald. When Griet, at last, removes the cover and we catch the first glimpse of her hair, the effect is almost the same as if she had taken off all her clothes. ``Cinematically, repression is seriously interesting,'' says Peter Webber, the film's director. Based on Tracy Chevalier's bestselling historical speculation about Vermeer's iconic portrait, ``Girl With a Pearl Earring'' -- which opened in the Bay Area on Friday -- re-creates the Dutch master's 17th-century household so deftly that even the sight of an uncovered head feels revealing. ``The sexual repression she's operating under within that household disappears,'' Webber says, ``and you realize she's not this little girl anymore.'' Though no one knows who the girl in the painting really was, in Chevalier's story Griet has been employed to clean up after Vermeer's quarrelsome wife, Catharina (Essie Davis), and their 11 children. It soon becomes apparent to the artist (played by Colin Firth) that the only person under his own roof who understands him is this young maid, who is forced by her station to remain virtually mute. The painting has been called ``the Mona Lisa of the North'' because its enigmatic quality is reminiscent of Leonardo da Vinci's masterpiece. ``You look at that girl's face and you see a whole mixture of things going on,'' Webber says. ``You see innocence, you see sexuality, happiness and sadness -- it seems to ask as many questions as it answers.'' Vermeer's reaction to the sight of Griet with her head exposed is emblematic of the film's dramatic turning points: He tilts his head meaningfully. ``You're looking to create these little moments of reality,'' Webber says. ``I know the film is very beautiful to look at. If you hire someone as talented as Eduardo Serra'' -- the cinematographer responsible for the film's painterly look -- ``and you have the visual resource of the art of that period, it's going to be beautiful. The trickier thing is making sure there's some life within that beauty, because beauty can be a trap.'' Chevalier's novel was a kind of reverse engineering of the painting. The film not only extends that speculation but also adds the physical texture of shadow and light, the interplay of youth and experience, the polarities of sexual obsession and repression. ``Those polarities are the beating heart of the film really,'' Webber says. ``He's extremely isolated within that household, so the tenderness he experiences from her is very important. It's good, strong, grown-up stuff. ``I think it's a great advantage that we know a bunch of details about Vermeer's life, but not so many that they constrain you. People may think a film about an artist is going to be boring, but this is a story about money, sex and power. It's not one of those turgid biopics.'' To re-create the atmosphere of a Delft household in the mid-1600s, Webber took a minimalist approach to dialogue, often allowing entire scenes to play out without a word spoken. ``I'm sure some people might equate silent with boring,'' he says. ``I thought it was very important to strip the dialogue away. But to do that, you need Colin Firth and you need Scarlett Johansson.'' The role of Griet was originally to have been played by Kate Hudson, Ralph Fiennes was set to play Vermeer, and Mike Newell (``Mona Lisa Smile'') had agreed to direct the picture. But when Hudson backed out, the opportunity to direct fell to Webber, who had done only documentaries before ``Girl With a Pearl Earring.'' He immediately set about auditioning teenage actresses. ``You knew Scarlett was special the moment you met her,'' he says. ``She was a force of nature. Not that all the other actresses we looked at weren't talented, but Scarlett did something that other people couldn't do. She didn't just do ethereal.'' Johansson, who was then 17, had to fly from Tokyo to Europe and start work three days after finishing ``Lost in Translation,'' another movie in which she has a platonic relationship with an older man, played by Bill Murray. (She's been nominated for Golden Globes as best actress in both films.) A year earlier, she appeared in ``The Man Who Wasn't There,'' as a young girl involved with an older man (Billy Bob Thornton this time). ``Scarlett has a quality about her that's much older and wiser,'' Webber says. ``There's a complexity about her, an emotional depth, a combination of innocence and experience and a budding sexuality.'' Also, as it turns out, a great head of hair. GIRL WITH A PEARL EARRING Now playing throughout the Bay Area .Rated: PG-13 (some sexual content) Cast: Scarlett Johansson, Colin Firth, Essie Davis Director: Peter Webber Writer: Olivia Hetreed (based on Tracy Chevalier's book) Running time: 1 hour, 35 minutes http://www.bayarea.com/mld/mercurynews/entertainment/columnists/bruce_newman/7579977.htm

Thank you all for the articles, pictures and reviews. I'm amazed at the amount of informations, this group of droolers are able to dig up :-) A small contribution, which I hope haven't been posted before: http://www.splicedwire.com/03reviews/girlpearl.html (part of the review: One such moment comes as the Dutch master, played with alluring, untamed gravitas by the solemnly magnetic Colin Firth

A few more google-results. I know, these aren't reviews from "important" sources, but thought it interesting to read anyway. Colin Firth plays a smoldering Vermeer. Though it�s colored by Firth�s usual display of repression, it�s one of his better performances through sheer virtue of its uniqueness in his oeuvre. http://www.filmcritic.com/misc/emporium.nsf/0/d1eef39d2aceec7288256dec0065ea0a?OpenDocument -- Recent film outings have not been too kind for Colin Firth, too often lazily cast as the romantic interest in some below-par rom com (<> or What A Girl Wants anyone?). However he excels here as the brooding painter, ill-at-ease at the world he finds himself in. The scenes between the two are particularly well played, and surrounded by a supporting cast that hits its mark every time. http://www.tiscali.co.uk/entertainment/film/reviews/girl_with_a_pearl_earring.html -- Firth is broodingly virile, amply suggesting why Griet might be in a state of arousal over more than his painting talent, which plays into the ignitable intrigues permeating the residence. His portrayal also captures a degree of sympathy for the man of art threatened by the parlor politics of three generations of women. http://www.variagate.com/pearring.htm?CNr -- It�s odd, though, that the film�s greatest strength � the focus on Griet and Johansson�s appealing performance � ends up taking away from what you�d expect to be its highlight � shedding light on Vermeer, his motivations and inspiration. Compared to Griet, Vermeer seems a secondary character, and we never get as strong a sense of what he�s about as the filmmakers obviously had intended. (ed note: didn�t the filmmakers intend to focus on Griet more than Vermeer??) http://www.apolloguide.com/mov_fullrev.asp?CID=5018&Specific=5847 -- Colin Firth does a surprising turn as a conflicted artist who is unable to let loose with his usual, assertively romantic style. http://www.allmovieportal.com/m/2003_Girl_with_a_Pearl_Earring.html -- Fortunately, they have found an actor who can bring the same amount of gravity to the screen to portray the painter. I never would have thought of Colin Firth to portray a contemplative, passionate painter, but he finds in Johannes Vermeer material for what may indeed be his best performance. He is able to make the intense, brooding figure intriguing without making him laughably morose. His hair and costume do seem a bit too precious, but I was surprised at how much chemisty and tension Weber was able to develop between the nearly silent scenes between Vermeer and Griet, the maid who mystefies him. http://promontoryartists.org/lookingcloser/movie%20reviews/A-G/girlwithapearlearring.htm

Thanks for all of the reviews Annette. . . Not Colin . .but another article on Scarlett . . .nice little blurb on her working on GWAPE For Johansson, becoming 'it' is a non-stop journey - http://seattlepi.nwsource.com/movies/154160_johansson29.html She poured herself into the role, finding herself becoming emotionally spent after shooting some of the scenes. She says, "It became more apparent to me the more that we filmed how completely in love I was falling with Colin as the Vermeer character. And it became more and more apparent to me that the Vermeer character was this sort of untouchable, mysterious man -- this genius -- and my character was completely longing and obsessive and in love with this man and it was actually physically heartbreaking."

If any of the Metro Gals will be in the area of Huntington and are looking for something to do on New Year's Eve: Champagne and Celluloid The Cinema Arts Centre in Huntington will be mixing dancing, dining and movie watching. The film fare includes "In America," a tale of an Irish immigrant family in New York, "Girl With a Pearl Earring," about the painter Vermeer and a young maid, and the French animated film, "The Triplets of Belleville." The celebration, which begins at 7:45 p.m., costs $90 a person for Cinema members and $115 for non-members. (Address: 423 Park Ave, Huntington; 631-423-7611.)

For any Droolers in the area . .win tix to see GWAPE on January 15 ClickOnDetroit.com, Local 4 and Lions Gate Films are giving you and a guest the chance to see a special preview of the new movie "Girl With A Pearl Earring.". Enter to win two tickets to the preview set for Thursday, Jan. 15 at 7 p.m. at Landmark's Maple Art, 4135 Maple Road, Birmingham. http://www.clickondetroit.com/contests/2726579/detail.html

Thanks for finding the lovely comments about Colin's acting in GWAPE, Annette, though I find it more interesting how surprised the reviewers are. :-( it�s one of his better performances through sheer virtue of its uniqueness in his oeuvre. Colin Firth does a surprising turn... I never would have thought of Colin Firth to portray a contemplative, passionate painter... ********* Compared to Griet, Vermeer seems a secondary character, and we never get as strong a sense of what he�s about as the filmmakers obviously had intended. (ed note: didn�t the filmmakers intend to focus on Griet more than Vermeer??) That, Annette, is why these reviewers (I won't call them critics) are merely on the internet. ;-)

Thank you for the all the reviews, photos and photo captions ladies, I laughed myself silly reading those. It's nice to see that GWAPE is getting a good reception, it certainly deserves it. I just hope it'll get a wide enough release that we don't have to travel a hundred miles to see it. I searched for info about when it would get released here in Canada, but didn't find anything. I'm a bit worried that it's a bad sign, but we'll have to see. Karen, thanks for the Colin New Year greeting on the main page. Lovely! :-)

I just hope it'll get a wide enough release Here in the UK, there was a long ad on Christmas Day on Channel 4. Very impressive. They must have a good budget! Christmas Day is the most expensive for advertising time :-)

Don't think this was posted yet . .was given 4 out of 5 stars by this reviewer . . http://www.themediadrome.com/content/reviews/girl_with_a_pearl_earing.shtml Girl with a Pearl Earring by Scott Mantz Inspiration can come in a variety of forms � a song you heard, a movie you saw, a poem you read or a person you met. In director Peter Webber�s first feature Girl With a Pearl Earring, inspiration comes in the unlikely form of a meek housemaid in Holland, circa 1665. Adapted from the best-selling 1999 novel by Tracy Chevalier, the film starts out slow, but like the painting it is based on, it eventually takes shape to become an intense and thoroughly engrossing work of art. In order to support her family, seventeen-year-old Griet (Scarlett Johansson) is forced to take a job as a maid for the acclaimed artist, Johannes Vermeer (Colin Firth). They are worlds apart in just about every way (especially their age), but Vermeer soon finds himself attracted to Griet�s natural beauty and slowly begins to draw her into his craft. Since Griet obviously inspires Vermeer, his superficial mother-in-law (Judy Parfitt) allows their relationship to develop even further, much to the chagrin of Vermeer�s jealous, controlling wife (Essie Davis). How long can Griet survive before she gets in over her head with this chaotic family, and more importantly, how long will it take for Vermeer to finish what will eventually become known as one of the greatest paintings of all time? Other than the painstakingly slow pace at which Vermeer created his 35 paintings, not much is known about him. That gives the book � and ultimately, the film � free reign to take a fictional idea and run with it to make it more than just an art history lesson. While the movie�s setting and subject matter may announce its intentions early on as a high-brow period piece, a curious love triangle soon develops with elements of dramatic tension found in most contemporary thrillers � including jealously, pettiness, spiritual connection and understanding. Since the passion between Vermeer and Griet is more visual than talked about, the acting is incredibly strong and doesn�t overstate the obvious. To that extent, you couldn�t have asked for a better Griet than Scarlett Johansson. Naturally beautiful and wise far beyond her years, Johansson adds yet another strong, seductive � yet somehow innocent � performance to her resume. She also has incredible chemistry with Colin Firth, who plays Vermeer with so much conflicted, self-absorbed torture, it�s hard to tell if he really cares for Griet or if he simply sees her as a muse for his own professional gratification. Comparisons are bound to be made between Girl With a Pearl Earring and Lost in Translation, and for good reason. Both films feature young women (both, ironically, played by Scarlett Johansson) who fall for older, past-their-prime artists (Bill Murray in Translation and, of course, Colin Firth in Earring). In addition, both films rely on mood, atmosphere and connection, and more importantly, both films avoid the predictable trappings that are common in most cinematic May-December romances. Girl With a Pearl Earring may take creative liberties when it comes to the genesis of the famous painting, but it�s certainly an engaging film that makes the unassuming girl at the center of its story a �pearl of great price.� That�s a reference to the biblical story of the merchant, �who, when he had found one pearl of great price, went and sold all that he had, and bought it.� Whether the events depicted in the film are true or not (and let�s face it, they�re obviously not), it hardly matters. The passion that inspires Vermeer is a small price to pay for what ends up being a priceless cinematic experience. Also from:http://www.viewlondon.co.uk/review_1868.html Girl With A Pearl Earring Reviewed by - Matthew Turner NATIONAL RELEASE 16th JANUARY 2004 Four out of Five stars Running time: 103 mins Beautifully photographed and featuring a superb performance by Scarlett Johansson, this is a rewarding drama that is shot through with a palpable erotic intensity. Girl With A Pearl Earring is a period drama based on the best-selling novel by Tracy Chevalier. Primarily a British production, it�s directed by Peter Webber, making his feature debut. As such, it�s an extremely enjoyable drama: sumptuous, erotic and beautifully photographed, with superb performances from its cast. 17th Century Holland The film is set in 17th century Holland in the city of Delft and the story takes an imaginary look at the events surrounding the creation of Vermeer�s most famous painting. Scarlett Johansson (Ghost World, The Man Who Wasn�t There) stars as Griet, a 17 year old girl who becomes a maid in the house of Dutch artist Johannes Vermeer (Colin Firth). Though separated by both class and education, Vermeer recognises her intuitive understanding of colour and light and gradually allows her to assist with his painting. Their tender, clandestine relationship, though never overtly sexual, nonetheless comes at great risk, particularly from Vermeer�s jealous, spiteful daughter Cornelia (Alakina Mann). However, Vermeer�s shrewd mother-in-law Maria (Judy Parfitt) realises that Griet inspires Vermeer and she takes the dangerous decision to hide the details from his neurotic wife Catharina (Essie Davis). Meanwhile, Griet finds herself in danger of an entirely different sort from Vermeer�s wealthy, lusty patron, Van Ruijven (Tom Wilkinson), an extremely perilous position to be in, given that Vermeer depends on Van Ruijven�s patronage� Impeccable Period Detail The period detail of the film is impeccable and the dull, grimy atmosphere is heightened considerably by Eduardo Serra�s superlative photography, which constantly draws attention to light and shade. There�s also an effective score by the gloriously named Alexandre Desplat. Johansson is perfectly cast in the lead role and gives a wonderful performance � her resemblance to the girl in the painting is astonishing. Since she doesn�t have much dialogue, a large part of her performance is conveyed through her face and eyes and at times she�s positively hypnotic to watch. The other performances are good too, particularly Firth (putting his trademarked �dark, brooding� performance to splendid use) and Wilkinson, who seems to be having altogether too much fun as Van Ruijven. There�s also good support from Cillian Murphy as the butcher�s apprentice who falls in love with Griet. The film is full of memorable scenes � Cornelia�s eventual punishment is a thoroughly satisfying highlight. The crowning sequence of the film, however, concerns the preparation for the painting itself: Vermeer piercing Griet�s ears and repeatedly asking her to wet her lips are intensely erotic, unforgettable scenes. In short, Girl With A Pearl Earring is a well-written, well-directed, extremely rewarding drama with an astonishing central performance from Johansson � don�t be surprised if she picks up an Oscar nomination come February. Highly recommended.

Greetings, ladies. This seems like an appropriate place for me to jump into the pool with all of you. I've been a avid fan for years but have only recent ly come upon your website. It has been a source of great enjoyment and information. Thanks to Karen, I'm up and running on the site although I freely admit to being intimidated by the wealth of knowledge and resources you all bring to the topic of our shared Colin obsession. I'm one of the lucky ones in that I was able to catch GWAPE last week at a local art cinema. (Yes, the one he and SJ visited in November for a preview of the film in Westchester County, NY. I'm still nuts at having found out via your site that he had been a mere 15 minutes from my home and I'd been in the dark about it.) Anyway, the film was absolutely beautiful and I think it is sure to become a signature role for him. I must say that although I loved his performances in BJD and LA I am very happy to see him back in a classic dramatic film portraying the quiet, intense romantic lead we all know he does so well. I had feared for a time that he risked being relegated to light comedic fare similar to Hugh Grant's recent career path. My concern was heightend further after this fall's debut of WAGW with Amanda Bynes. But GWAPE puts the breadth and scope of his talents back on full display for the wider audience that is destined to see and appreciate the film. Hopefully, that assures us addicts of many oses of Colin yet to come in the great diversity of roles we know he can play. Karen, thanks for your help with the site and all scoop you pass our way. Today's New Year's picture is great - perhaps you can pass along some hints at how one goes about digging this stuff up? By the way, can anyone fill me in on the abbreviation, 'LOL'? It's the only one I can't quite figure out...

Good to see you've taken the plunge into the Spring's bubbling waters, Leslie. Join the gang on Topic 146: http://www.spring.net/yapp-bin/restricted/read/drool/146/new where they'll give you a proper welcoming reception. And LOL means "laughing out loud." (Ildi) I just hope it'll get a wide enough release that we don't have to travel a hundred miles to see it. I searched for info about when it would get released here in Canada Aren't you near enough to Toronto? 'cause that's where it will play. Don't expect this movie to have anything remotely considered a "wide" release. It is art house, pure and simple. If Evelyn's OKC art museum hadn't had a special screening, she would've had to fly to Dallas for this one. ;-)

Love New Year Colin Karen!

Psst . . Leslie . . . Hi to a fellow Metro Gal and Westchester-ite;) Glad to hear of another Colin fan in close proximity!

Whoops Karen . .did you mean Topic 174? . .for Leslie to introduce her self? http://www.spring.net/yapp-bin/restricted/read/drool/174/new

Thanks, Kimberly. Are there many of us Metro Gals and Westchester-ites out there? Also, will properly introduce my self on Topic 174...

Dorine and Risa (ie Little Bee) are the other Metro Gals that I've physically met so far . .they are down in NYC . .(Queens and Brooklyn I believe to be exact) . .no other Westchester-ites that I know of;) . .Just you and me . . Unless there are more lurkers that I haven't met yet . .and I'm still relatively new too . .so I'm still trying to get all the names and locations of everyone straight;)

Fabio's Got a Real Pretty Mouth, Too By ANTHONY RAMIREZ The New York Times SCARLETT JOHANSSON, the art house It Girl of the moment, may or may not know the source of her cinematic appeal. But she and her directors do know that her ANGELINA JOLIE-class lips should be spotlighted big time on screen. In "Girl With a Pearl Earring" Ms. Johansson's impossibly plump kisser is almost a character by itself. It mesmerizes COLIN FIRTH as Vermeer in a fictional retelling based on TRACY CHEVALIER's novel. Ms. Johansson plays a maid in Vermeer's house in the 1660's who becomes the subject of his iconic art. On a press junket at the Regency Hotel, Ms. Johansson's mouth was painted a berry red. Like Vermeer's enigmatic girl, Ms. Johansson also loves earrings. She has two in her left ear, one in her right ear, and one in her belly button, reported The Times of London recently. And being a fashionable Manhattan teenager (she just turned 19), Ms. Johansson did not want to stop there. She planned to put a pair of earrings through her left eyebrow and, for symmetry's sake, somewhere else on her physiognomy. Her mother, sensing a career-killing trend, shrieked, "Not the mouth, Scarlett, anything but the mouth." Ms. Johansson desisted, she told The Times of London. Unpierced adventure still beckons, however. "I certainly don't want to be an old person looking back at things," Ms. Johansson said. "Why didn't I do all the things I wanted to do when I was younger and vibrant and had no responsibilities to anybody or family?" Such as, our reporter nudged. Ms. Johansson pursed her ringless lips, thought a while, and said, "Why didn't I travel around and meet people and work in Canada? That sort of thing." We see. Next interrogation! Her tall co-star, Mr. Firth, ambled his way into the press room, glanced at his watch and nearly collided with pint-size Ms. Johansson's quart-size bouche. Mr. Firth was bemused. Ms. Johansson smiled a hey-big-guy smile. "Stop checking your watch, you grumpy old man," Ms. Johansson teased. Was there much mockery on the film set, Mr. Firth was asked. Very much so, he said, clearing his throat. "A lot of it was directed at my wig," Mr. Firth said, referring to the long locks that give him a brooding 17th-century look for the film. On the set, Mr. Firth said, Ms. Johansson kept calling him FABIO. "And what I thought was my sizzling look was met with a smirk, and `I can't believe it's not butter.' " http://www.nytimes.com/2003/12/30/nyregion/30BOLD.html

Guess if any Drooler is in the area and would like to meet Tracy Chevalier: 'Pearl Earring' author coming to Naperville -http://www.dailyherald.com/news_story.asp?intid=3798534

From The Mirror: FILMS: THE BEST AND WORST OF 2003 KEVIN O'SULLIVAN looks back at a vintage 12 months which had a fair share of turkeys Lord Of The Rings blah blah. Love Actually blah. Peter Jackson, God Of Hollywood, blah blah. Richard Curtis, Hugh Grant, feelgood film for Christmas, blah. British triumph, blah, blah, bloody blah. Right. That's got rid of the boring positive stuff. Never mind the genuinely fabulous films which made 2003 a vintage year for movies, here's the rubbish! Hope Springs, The Hot Chick, Biker Boyz, Double Whammy, What A Girl Wants, Bad Boys 2, Party Monster, In The Cut and Spun. All of these pathetic cinematic dung heaps plumbed incredible depths, but the worst film of the year was the mighty Gigli. [...] Before he raised his game a little with his turn in the overrated Love Actually, Colin Firth was having a stinker of a time. Hope Springs was a dire dirge of a non-comedy which inflicted serious damage not only on Col's career but also on that of his hapless co-star Minnie Driver. Just a couple of months later, Firth was at again in What A Girl Wants, a slice of solid garbage about an American airhead who comes to London looking for her long lost British father. Unfortunately, she finds him. [Best stuff...] ...Richard Curtis's festive offering Luvvie Actually featured all of his thespian chums but was wildly overrated. [...] Kill Bill: Volume One. This dazzling kung fu masterpiece placed director extraordinaire Quentin Tarantino at the very top of the pile. With the able assistance of stunning Uma Thurman, Mr Q demonstrated he knows more about movie style than Peter Jackson and Richard Curtis ever will. So there. http://www.mirror.co.uk/theticket/tickethidden/content_objectid=13758650_method=full_siteid=50143_headline=-FILMS%2D%2DTHE%2DBEST%2DAND%2DWORST%2DOF%2D2003-name_page.html

(Karen) Aren't you near enough to Toronto? 'cause that's where it will play. Yes, I'm near enough, only 25kms west of it. And if GWAPE'll play there I'm going to be a happy person. But so far I haven't found any info on when and where it would open in Canada. So I'm waiting in suspense. Thanks for the articles, Kimberly, Josie!

(Mirror)Before he raised his game a little with his turn in the overrated Love Actually, Colin Firth was having a stinker of a time. Hope Springs was a dire dirge of a non-comedy which inflicted serious damage not only on Col's career but also on that of his hapless co-star Minnie Driver. Just a couple of months later, Firth was at again in What A Girl Wants, a slice of solid garbage about an American airhead who comes to London looking for her long lost British father. Unfortunately, she finds him. Youch! . .Dorine warned me that HS was pretty bad . .though, much like a car wreck on the side of the road . .I am compelled to see it, just b/c ODB is in it . . .(now that is true fan dedication) OK . . I like WAGW (I'll even admit to owning a copy of it). .it's not his best . .its a silly sugary piece of fluff, but you know what, it makes me laugh, like RV makes me laugh and I love that one as well . . . one can't be serious and smouldering all the time . . . (Mirror)but the worst film of the year was the mighty Gigli. OK. . . this car wreck I have NO interest in seeing . .funny . .I was watching "The Biggest Celebrity Ooops of 2003" . .and the Ben-ifer flick made number one as well . . .

(Kimberly)I am compelled to see it, just b/c ODB is in it . . .(now that is true fan dedication) I do this all the time. Try SLOW...Methinks HS was better... (Mirror)but the worst film of the year was the mighty Gigli. Wrong!! The critics had it in for those two. I saw Gigli. Kangaroo Jack was.

Guess if any Drooler is in the area and would like to meet Tracy Chevalier: Chavalier doesn't ring my chimes but...if ODB was doing the signing I'd hop a plane this afternoon. Hope Springs was a dire dirge of a non-comedy Sorry HS looks to be a stinker based on the opinion of a number or reviewers. The trailer seems quite appealing given all the compromising situations ODB looks to find himself in. Still anxiously awaiting the video release...even bad Colin is better than no Colin. On WAGW... Yes, I agree is was senseless fluff, but I still watch it over and over and over... And Josie, thanks for the piece from today's NYTimes. I looked at the actual ariticle to get a feel for when the press junket occured but it was very vague. I thought he'd left the NY area for the holidays but perhaps he's still around?? Anyone privy to his current whereabouts?

Try SLOW...Methinks HS was better... I agree! Absolutely, actually.

While we're digressing into some of his stinkers... I just got a hold of a copy of WOF w/Peter O'Toole. Would one of you far more astute members of our community please explain what that movie was about? Am I stupid or was it totally bizarre?

I saw WOF a few times before I realised that they were all dead, but then the 'Bobby Ewing' thing happened and so its all a little bizarre for me too. ??

There's a wealth of information on many of the old movies in the film discussions archives -- WOF looks like it is on Topic 98 beginning about Resp 1825. I love the discussions...this has always been a talented group and the discussions have always been "indepth"!

Try SLOW...Methinks HS was better... Hey, try Camille...;-)) I know, I know.. He was young.

(Leslie) even bad Colin is better than no Colin. You obviously must not have gotten to Londinium yet. ;-) (Evelyn) Try SLOW...Methinks HS was better... (Allison) I agree! Absolutely, actually. I have to beg to differ. ;-) While both are technically poor, I've been able to watch SLOW #'s of times and HS, 1/2 a time. Still haven't finished it. Though will say, a good DVD copy may help a bit. I put it just above L'dum at the bottom of the list. But really it's all personal preference with the bad ones. What appeals to one won't to someone else. I did like WAGW for what it was. Not a wonderfully done movie, but I thought it was cute and he was the best thing in it, bias aside. ;-) (Leslie) And Josie, thanks for the piece from today's NYTimes. I looked at the actual ariticle to get a feel for when the press junket occured but it was very vague. I thought he'd left the NY area for the holidays but perhaps he's still around?? Anyone privy to his current whereabouts? Doubtful to say the least. They do those junkets/individual interviews/reviews sometimes weeks and months before they publish them, if the movie isn't coming out directly when the interviews are done.

OK . .so it's not about GWAPE . .but LA . .but it was in this month's issue of Premiere . .so I thought I'd post it . . From Premiere Magazine � December 2003/January 2004 issue On the Set by Mark Salisbury In the Name of Love The writer of Four Weddings and a Funeral and Notting Hill directs a galaxy of stars in the tender comedy Love Actually This afternoon�s topic of conversation on the Love Actually set is who should play the Clintonesque (read: lecherous) U.S. President in a handful of scenes involving Hugh Grant�s British Prime Minister. Various suggestions �including Tom Selleck, David Hasselhoff, and Tony Curtis � are being bandied about by producer Duncan Kentworthy (Notting Hill), script editor Emma Freud, and actor Colin Firth. �Too ancient?� says Firth of Curtis. �Too camp?� What about Bill Clinton? He can�t have much to do.� The part will eventually go to Billy Bob Thorton. In the meantime, this game of fantasy casting is a rather good way of taking everyone�s mind off the fact that it�s sweltering inside Shepperton Studios, England, the result of unusually warm weather in the fall of 2002 and the number of lights required to illuminate this particular set, which is built to look like the arrivals area at London�s Heathrow Airport. But bad as it is for those of us standing around watching, it�s far worse for the actors, who today include, Firth, Liam Neeson, Emma Thompson, Alan Rickman, Keira Knightly (Pirates of the Carribean), Chiwetel Ejiofor (Dirty Pretty Things), and Claudia Schiffer, plus 250 extras, all of who are buried underneath layers of thick sweaters, heavy overcoats, woolen scarves and hats. In fact, today�s most in-demand on-set accessory if a handheld mini-fan. �The power of cashmere,� says a harried looking Firth, who�s wearing a thick turtleneck and a thin sheen of perspiration. The only person who doesn�t seem to be affected by the conditions is Richard Curtis, the writer of Four Weddings and a Funeral, Notting Hill, and Bridget Jones� Diary, here making his debut as a writer-director. Arguably the leading component of contemporary cinematic romance, Curtis has detailed with affection, poignancy and wit6 the optimistic pursuit and eventiual attainment of love. �I think at a fundamental level he�s an incurable romantic,� says Neeson, who plays a widower having to deal not only with his grief but with his stepson�s infatuation with the coolest girl in school. �He loves romance and he likes turning it slightly askew.� Sitting behind a video monitor and nibbling on nuts and fruit, Curtis, who seems to be able to name every girl he�s ever been in love with (at age seven it was Tracy N. Thompson: �Her initials were TNT, and she blew my life apart.�), scarcely breaks a sweat as he orchestrates the comings and goings of his stellar cast. As the day progresses, owever, a pained expression crosses his still boyish features. �It�s a stressful job, � he will later reflect, �but on the other hand I did feel ready for it.� Inspired by Robert Altman�s Nashville and Short Cuts, as well as Wayne Wang�s Smoke (three films that make it into the Curtis Top Ten), Love Actually is set in the weeks leading up to Christmas and laces together nine stories, some self-contained, some loosely connected, dealing with love in its many forms. It was while on holiday in Bali with his longtime partner Emma Freud (the great-grandaughter of Sigmund) and their children that Curtis began formulating lots of different stories, inspired in part by the messages of love sent by the victims of 9/11, a reference to which is made in Grant�s opening voice-over of the film. �When people made phone calls on September 11, they were all love messages, � says Firth, who plays a novelist who heads to France after catching �his girlfriend shagging his brother, � only to fall in love with a Portuguese maid who can�t speak English. �We haven�t got any record of anybody who left a message of resentment or of practical advice, �The gold is in the dot dot dot,� or �I never could stand you.� It seems everybody loved somebody.� But Curtis, 47, didn�t simply want to do another film about a couple falling in love. �Getting older and more familified, I�m interested in love of different shapes and size,� he says. �I�ve been a married man, as it were, for ten years, so I was looking for a change. I thought, �If I know who to do the love thing, why not try and do a really different version of it?� I had made these very structured romantic comedies with a guy of a certain age trying to find the perfect girl to marry, which is just one aspect of what love is all about. Having taken a shiny approach to it in the past, this one�s got more of the darker side of it.� Which is why, alongside the more typical comic stories of romance �such as Grant�s newly elected bachelor Prime Minister falling for a member of his household staff (British soap star Martine McCutcheon) upon entering 10 Downing Street �there�s the sour side of love too, like the mother of two and sister of Grant�s PM (Thompson) facing up to the fact that her husband (Rickman) might be having an affair, or of a woman (Laura Linney) whose brother is in a mental institution. �One of the other jolly reasons for doing it was just greed,� Curtis says, �I thought, �Let�s have seven good beginnings, seven good middles, and seven good endings, and cut the rest of it out.� I find it quite bizarre now how we managed to string the other films out to such a length.� As a screenwriter, Curtis has been afforded the kind of respect most writers only fantasize about. From his first script, 1989�s The Tall Guy, he has helped pick his directors, been involved in casting and rehearsal, and been present on the set and even in the cutting room. He and Kenworthy were so omnipresent during Notting Hill, in fact, it irked director Roger Mitchell. �I didn�t really want to hear their views on what I was doing, so we had to separate our monitors [on the set],� Mitchell says. Once Curtis started directing Love Actually, Mitchell adds, �he very graciously called me and said, �I must have fucking driven you round the bend; I couldn�t bear anybody making any suggestions to me, even Emma.� For his part, Curtis says the decision to direct was an easy one: �I had become so involved in the editing of my films, I started to think it was a bit unfair on the directors that they had to sit there with me expressing my opinion. It was the responsible thing for me, and the fairest thing, that I should direct this one.� A few weeks later Curtis is filming a scene between Thompson and Rickman in an art gallery showcasing large male and female nude photos adorned with a Yuletide theme (body parts adorned with tinsel and red bows), much to the dismay of the gallery�s owner (Andrew Lincoln, another British TV star), whose own story revolves around his unrequited love for his best friend�s wife (Knightley). �He�s very good at writing funny lines, but he�s not adverse to being dark,� says Thompson, who first film was The Tall Guy and whose role here was written for her. �My bit�s rather sad, and I like that about it a lot.� �I said to Emma the other day, �We�ve got the Chekhovian bit,�� says Rickman, who starred opposite Thompson in Sense & Sensibility and directed her in The Winter Guest. �I enjoy the fact it has the most melancholy and the most regret, but just as much love. It�s about how easily you can lose it, if you don�t look after it.� Part of Curtis� skill is his ability to take familiar life events�weddings or funerals, let�s say, which both figure here too � and use them as the basis for a very distinctive brand of romantic comedy, peopled with witty, somewhat hapless characters living in a decidedly nondreary middle-class England (though he himself was born in New Zealand). �You�d be quite wrong to search for direct links,� he says when asked for autobiographical detail, �but a lot of the things I�m writing about, either I or the people I know have had experience of. In fact the most autobiographical may well be the little boy [Neeson�s character�s stepson], because I was a very passionate little boy in terms of falling in love with girls.� �A lot of it�s to do with embarrassment, eagerness to please, that kind of perpetually apologetic side of things,� Firth says. �There�s a self-mockery that�s very, very strong in English culture, the ability of the English person to be an idiot, and then be quite intelligent about it, in terms of mocking oneself.� �The thing with Richard is he�s a really funny writer, and that�s a very rare gift,� Grant says. �If you combine that with another person � he thinks the glass is half full as opposed to half empty, which is kind of unfashionable �I think that�s a powerful thing behind his work and what makes him special.� It�s Grant, of course, who has become synonymous with Curtis� brand of humor. �He�s the Jimmy Stewart of Richard,� says Neeson. �They obviously have a great, unique connection. I don�t know what their personal relationship�s like, but artistically they�ve been kind of a mouthpiece for each other.� This synchronicity has its pitfalls as well as its benefits. �I think I knew I was going to ask Hugh to play the prime minister, even though he wasn�t a really helpful thought,� says Curtis. �After that I wrote [the part] away from him and he tried to perform it away from him a little bit.� �Hugh�s a bit nervous about [this] because he sees it as a return to a character that, in some ways, he feels he�s done already,� says producer Kenworthy. �I think he�s rather enjoying the way he�s perceived now, in Bridget Jones and About a Boy, as having moved on from our first two films. But he has a responsibility as Richard�s mouthpiece on Earth, and he knows that.� Grant laughs when he hears this. �I�m not Richard�s mouthpiece,� he says. �It�s not a responsibility, but. . .partly it�s friendship and loyalty, and it�s also that really good, funny scripts are incredibly rare. When they come along my policy has been to do them, even if it doesn�t fulfill other criteria, like being a desperately new part for oneself.� It�s July 2003 and Curtis is hurrying to ready Love Actually for it�s premiere (as a work in progress) at the Toronto film festival, ahead of it�s November 7 release. Although test audiences have responded enthusiastically thus far, some viewers, he says, found the number of story lines and characters hard to follow, meaning Curtis had to insert a number of short introductory scenes as well as amend the pacing. �I think movies are written four times,� he says. �When you write them, when they�re directed, when they�re edited, and now I believe there is a fourth phase, which is to fight for the essence of the movie you shot. Because so often there�s good, sentimental reasons for hanging onto material, but if you want to deliver the emotional punch you�ve got to be even more harder on yourself, be willing to do quite startling things to make it work. It�s been a big lesson.� He smiles and then says, in the self-effacing way of may of his characters, �I wished I was Robert Altman sometimes, and ha known from the beginning how it�s done.�

(Evelyn)Try SLOW...Methinks HS was better... Hey . .I gotta say I did like SLOW . . for what it was, a very Lifetime channel type of film (which is where a friend of mine had taped it off of for me) . .Still will have to wait to make the comparison after I see HS Leslie - May have to borrow WOF from you, just b/c you've got my curiosity piqued Dorine - OK will agree, Londoninium is probably down on the bottom of my list as well . .ATA is too maybe above that . . . Bee - Camille . .hmm another friend has just taped that for me too . .will wait to see before placing it on my list of faves . .but yes . .he was young . . and one's acting style does mature over time . . .I mean look at the difference between his performaces in AZ as opposed to GWAPE.

(Kimberly) I mean look at the difference between his performaces in AZ as opposed to GWAPE. True, but, to me, to compare these 2 would be like comparing apples and oranges as far as character's personality goes and the type of acting they required. AZ is top of the list for me, but I certainly won't negate what he did in GWAPE. Both are very good, AZ is just the ultimate for me....and came much earlier. Just depends on his projects. Quite a few of his earlier pieces are *much* better than most of what he's done in the most recent past, IMO. And Camille....I have to admit, I keep forgetting he ever did this. Sorry, Evelyn. ;-)

Holiday Numbers Are Solid for New Indie and Specialty Films by Eugene Hernandez/indieWIRE (for the weekend ending December 29, 2003) Lions Gate remains busy with its awards hopefuls "Girl With a Pearl Earring" and "The Cooler." "Girl" made $188,756 for an average of $7,260 and a new total of just under $500,000, while "The Cooler" made $308,756 for an average of just over $4,000 and a new total of almost $1.2 million. http://www.indiewire.com/biz/biz_031230boxoffice.html

Have checked the number before posting, but Firthology was created to discuss the old movies (though not formal discussions) and is especially for those kind of questions by our newbies: http://www.spring.net/yapp-bin/restricted/read/drool/181/new (Dorine) I put it just above L'dum at the bottom of the list. Hey, stop appropriating my list!

From Martin Grove of The Hollywood Reporter weighing in on his favorite movies of the year, with both LA and GWAPE.... (4) Another romantic comedy that I thoroughly enjoyed was Universal, Studio Canal and Working Title's "Love Actually." Written and directed by Richard Curtis, it was produced by Duncan Kenworthy, Tim Bevan and Eric Fellner. Its ensemble cast shines across the board, including Alan Rickman, Bill Nighy, Colin Firth, Emma Thompson, Hugh Grant, Laura Linney, Liam Neeson, Martine McCutcheon, Keira Knightley and Rowan Atkinson. If "Something" is a quintessentially American romantic comedy, "Love" is a quintessentially British romantic comedy. It's nice to be able to include them both on my list of the year's top films. If, as I do, you love London and, in particular, love the way it looks and feels at Christmastime, this is a movie you'll want to see more than once. "Love" marks Curtis' directorial debut, after having written three memorable romantic comedies -- "Four Weddings and a Funeral," "Notting Hill" and "Bridget Jones's Diary." In "Love," as he did in "Four Weddings," Curtis weaves together numerous individual stories and then in the end manages to tie them up neatly into something that we didn't anticipate. And it's particularly pleasing that getting there is so much fun. In my Oct. 15 column, Bevan, who with Fellner is co-chairman of Working Title, spoke about Curtis' background as a writer. "Since 1987, when I first met him basically on 'The Tall Guy,' he's always been a writer who's been all over his work," he pointed out. "He's kind of had a 'producer' role, particularly on the films where he's been a single-credit writer. So he's been involved in a very intimate way in all of those films through working with us on choosing who should direct them and who should be in them, being on the set all the time and then particularly on all of the movies he's been very, very involved in the cutting room. "And there's always been a kind of dream (of his) and it's become more of an acute dream as time's passed that he should direct. He got to a point on 'Love Actually' where it was inevitable, basically, that that should happen. Right from the beginning on 'The Tall Guy,' I think it was a dream of his that one day he would manage to do it and it's fantastic that the collaboration stayed in place and that we've all worked on all of these films together and that it's developed to this point .Not only has it been the backburner of Working Title, but it's sort of become the backburner of British cinema, as well, in the last 15 years." and.... [8] In any case, Lions Gate's drama "Girl With a Pearl Earring" earned a spot on today's list as soon as I saw it. It is the kind of film that really defines the concept of what an independent drama is all about. What makes it all the more impressive is that it's the work of a first time feature director. "Girl," co-financed by Lions Gate and Pathe Pictures with U.K. Film Council, marks the feature directorial debut of Peter Webber. Starring are Colin Firth, Scarlett Johansson, Tom Wilkinson, Judy Parfitt, Cillian Murphy and Essie Davis. Produced by Andy Paterson and Anand Tucker, its screenplay by Olivia Hetreed is based on the best-selling novel by Tracy Chevalier. It was executive produced by Francois Ivernel, Cameron McCraken, Duncan Reid, Tom Ortenberg, Peter Block, Daria Jovicic, Philip Erdoes and Nick Drake. Focusing here on "Girl," Lions Gate's Ortenberg explained, "(It's) such a special film and has been such a rewarding, wonderful experience. I'm just hoping that it gets all of the recognition both in theaters and during the awards season process that it deserves. We're focusing the campaign on so many different areas (such as) Scarlett Johannson's lead role as Griet, the girl with the pearl earring. Scarlett's obviously becoming a movie star before our eyes. But every scene in 'Girl With a Pearl Earring' is a work of art. "Lions Gate has had a fair amount of success in the awards process over the last several years. 'Girl With a Pearl Earring' probably affords us the best chance at numerous awards and nominations as any film we've ever been associated with. Eduardo Serra's cinematography (for example). Eduardo was nominated in 1997 for 'Wings of the Dove.' The score, the costume design, many performances, the art direction (are all categories that could generate nominations). Being a beautiful period piece really gives the film a chance to highlight its specialness in a number of areas -- the costumes, the set decorations, the score, the cinematography." http://www.hollywoodreporter.com/thr/columns/grove.jsp

I just found this slightly old tidbit about GWAPE from this very interesting and quite comprehensive film site called Hollywood Bitchslap. This is a great place to gauge what the general public thinks of a movie. This particular item was in a report from the Toronto Film Festival: http://hollywoodbitchslap.com/feature.php?feature=883 THE MOVIES THAT MATTERED: Toronto 2003. 10 days. 339 movies. No problem. OK, maybe I missed a few. Here are the ones that stuck when I threw them against the wall ... Girl With a Pearl Earring Peter Webber's debut drama about the Dutch Master painter Vermeer and the maiden who inspired his most famous work. Impeccably shot and superbly acted, this tight little drama never hits a false note or gets "historically" boring. Colin Firth remains the best all around UK actor (if unheralded) and Scarlett Johansson continues to amaze with her confident stillness.

Dorine, Katy thanks for the articles! (Dorine)Both are very good, AZ is just the ultimate for me....and came much earlier. Just depends on his projects. Quite a few of his earlier pieces are *much* better than most of what he's done in the most recent past, IMO. True, true . .FP I think will always be one of my top faves . .but it is all relative to a person's likes and dislikes. . . (My friend was rather shocked that that was the film I brought to the Today show to get signed . .I'm believe she really only know of him from BJD and his films he has done afterward. ."Couldn't you have brought something better?" she asked me . . .:) (Hollywood bitchslap)Colin Firth remains the best all around UK actor (if unheralded) Oh how true . .I have a feeling, Colin . .something big is just around the corner for you . . . Hola Lola's sitting on something good . .I'm sure of it;)

BarbS and Karen-- Thanks for the directions to the WOF archives. Very helpful info. Still not a fave, though. Keenly interested in the current chatter re: AZ. My copy happens to be on order as part of an effort to catch all the old stuff that's passed me by. Now I really can't wait for that package to arrive. Have a healthy and happy New Year all..

(THR Martin Grove on LA)"If, as I do, you love London and, in particular, love the way it looks and feels at Christmastime, this is a movie you'll want to see more than once. " If that's his criterion let's send him Londinium.

Ev)If that's his criterion let's send him Londinium. You mean that in the most positive and helpful way right?? rolling eyes:-))

As 2003 draws to a close, I wanted to put up the final group of Drool Darlings and the full list of those who contributed to make this site viable for another year. Over $3,800 was raised from all over the world! This outpouring of generosity will not only keep us comfortable (and safe from Terry's periodic requests) but also facilitate some site improvements which I'll be pursuing with the software developers after the first of the year. In addition, it will cover out-of-pocket subscription fees that are becoming increasingly common at information sources important to the Colin Firth news gathering effort. This community of Firth fans has been in existence since 1997. Its active participants are continually changing and infusing the site with an enthusiasm, wit and intelligence that sets it apart from all others. For that and the wonderful friendships I've made up with the people associated with this site, I thank you and wish you--especially our newbies--the same and to everyone a very healthy and Happy New Year filled with fantastic news and movies for Colin and many opportunities to share our mutual interests with each other, in person and here at this great site!

My sincere thanks go out to Karen and all of these folks whose generous support makes this site possible. May you have a happy and healthy New Year.

My gratitude to Karen and all the DD for making this such a great community and incredible year. It has truly been a pleasure getting to know and meet some of you and share all the Colin news and especially the laughter. I look forward to meeting more of you in 2004! Looks like Colin will be in this Sunday's USA Weekend Magazine. The whole article is here but sans any pics that may be added... http://www.usaweekend.com/partners/mktgpromo/040104articles/040104movie.html

(Maria's USAweekend article)three films rolling out this year, ..... and a medical thriller, "Trauma." Here's betting Firth looks dashing even in a hospital gown. Wot? I'd be happy to see him in a medical gown but...?? Welcome back Maria!

(BeeDee) I'd be happy to see him in a medical gown... Me too, especially if it's open at the back and he turns around a lot. ;-)

(Ildi)Me too, especially if it's open at the back and he turns around a lot. ;-) Ooo, ooo! Me too. Love those cute butt dimples.:-)) Oh, oh... butt dimple discussion should go to Firthology....except if butt is in new film? Sorry:)

Um, shouldn't "butt dimples" be discussed under "Odds and Ends"?

(Deb)Um, shouldn't "butt dimples" be discussed under "Odds and Ends"? ROTFLM O & E O!

Hi Maria . .thanks for the article! Ildi, Bee, Deb . . . Butt dimples! . .naughty, naughty girls . .but hmmm . .quite an image to take into the new year;) Time to down some bubbly and give this a good thinking . . . Hope everyone has a happy happy new year!

What a wonderful year this has been on this site! I'd like to thank everyone for their input, whether it be articles, pics, on experiences!! Happy New Year to you all!!

Thanks for the "state of the union" message Karen, glad the fundraising was so successful and thank *you* for all you do. And I'll second Janet's wonderful year comment and join the rest in wishing you all a Happy New Year! (Beedee) ROTFLM O & E O! I do truly love this place! Thanks all!

(Beedee) ROTFLM O & E O! And mine too! LOL, ladies! A huge thanks to our hostess with the mostess, Karen, for all she does (and will continue to do;-) Baby, you're the greatest!:-) And to all our Drool Darlings . . . Hippie New Year! I send you good wishes via the international symbmol for "peace." Bottoms up, from me 'n the kid.

(Mari)A huge thanks to our hostess with the mostess, Karen, for all she does (and will continue to do;-) Baby, you're the greatest!:-) That goes for me too! And thanks to every one of the DFB (the devoted fan base)for *chippin in*. One for all and all for one...and we know who that is!;-)) Mari your post made me spew my tea! Good thing I'm not into the bubbly yet!

Happy New Year, all! And thanks especially to Karen for leading us here at Drool in 2003. On those butt dimples --- see him pulling on his jockeys in Tumbledown after a last night with his girl friend before shipping out. That'll stir your blood.

Did anyone else watch the Today Show this morning? According to their expert. For 2004 sitcoms are out, nightime soaps are in. Julia and Meg are out Nicolle is in. Colin Farrel is out COLIN FIRTH is in. To quote "There is a large cult following for him and it is growing by leaps and bounds." Hardly news to us. Katey was a happy camper at that.

"There is a large cult following for him.." A cult? Like the Branch Davidians? Yikes! Thanks Lucie....

The Catholics liked GWAPE.... http://www.catholicnews.com/data/movies/03mv246.htm "Firth's Vermeer is moody and distant, yet he is made almost laughable by a ridiculous, stringy, long-haired wig placed precariously upon his head. The story's villains are all too conventional with their behind-the-scenes machinations and selfish motives." LOL.Honestly, I didn't write this;-D

(Ev)A cult? Read Devoted Fan Basein manner of Harold and Maude.;-)

(Beedee) Oh, oh... butt dimple discussion should go to Firthology....except if butt is in new film? (Deb) Um, shouldn't "butt dimples" be discussed under "Odds and Ends"? (Beedee) ROTFLM O & E O! Me too! (If we see that butt again, it *will* be news! Big news!) To all of you, who make this such a great place

(If we see that butt again, it *will* be news! Big news!) My first thought was "fat chance!" Maybe he figures if Jack Nicholson can do it, so could he (though I guess he wouldn't have known Jack was doing it at that time.) ;-) Maybe he will as part of the "New" Colin that seems to be emerging..... Increase in significantly open collars, Sexier poses in photo shoots, Touchy feeliness with young 'uns, Less denial or, even outright embrace of appeal to women... Can a butt shot be far behind? ;-D

(Today Show) "There is a large cult following for him.." (Evelyn) A cult? Like the Branch Davidians? (Beedee) Read Devoted Fan Base in manner of Harold and Maude.;-) I like to say we're his "Peeps," in manner of current Hip Hop trend (I think Tress called us that here in NY). Not that I'm the least bit trendy, mind you. ;-)

(Dorine) My first thought was "fat chance!" Maybe he figures if Jack Nicholson can do it, so could he (though I guess he wouldn't have known Jack was doing it at that time.) ;-) ODB's butt is sure to be far more pleasing. Almost said 'ouch' when I saw Jack's the other night. Didn't realize until that point that men suffered from cellulite as well. Anyway, we saw a lot of ODB in the earlier films. Almost thought I saw something else when he rolled over on the bed in The Advocate. But upon further frame-by-frame insepction it was just wishful thinking.

(Dorine)Not that I'm the least bit trendy, mind you. ;-) Oh, you looked plenty trendy to me in NYC, you lovely and helpful Metro Girl!

(Leslie) Almost thought I saw something else when he rolled over on the bed in The Advocate. But upon further frame-by-frame insepction it was just wishful thinking. The imagination is a powerful and wonderful thing. ;-D (Dorine)Not that I'm the least bit trendy, mind you. ;-) (Beedee) Oh, you looked plenty trendy to me in NYC, you lovely and helpful Metro Girl! Aw shucks, thanks. I certainly don't aspire to any sort of trendiness. Paris Hilton won't be looking over her shoulder anytime soon. ;-D

I'll take "peeps". Dispise "groupie" Like "Drooleurs"/"Firthettes" best .

Happy 2004!!! . .oh BTW, as I type this my husband is shouting to say hello to "the girls" (as he fondly calls all of you) and Happy New Year too . . (Evelyn)A cult? Like the Branch Davidians? Or how about the Branch Colinians? (*groan* . .that was bad, I know) "Peeps" is pretty good . .makes us sound really hip I agree with Evelyn . .I like "Drooleurs" (very sophisticated & French) and "Firthettes" (very 50's girl singing group - "Colin and the Firthettes") . .they both have a nice ring to it . . .we are also the "Lovely Ladies" (very Les Mis) also, the "Drool Darlings"

(me) "Lovely Ladies" (very Les Mis) Hmm . . course the "Lovely Ladies" of Les Mis were all prostitutes . .perhaps n.g. correlation . .

Review of GWAPE from "The Aspen Times" [GWAPE is being shown at the Aspen FF] December 31, 2003 A PAINTING RATHER THAN A MOVIE By Stewart Oksenhorn Aspen Times Staff Writer Forgive ?Girl With a Pearl Earring? for believing itself to be a still painting, rather than a movie. ?Girl With a Pearl Earring? is, after all, concerned largely with painting. The first film by director Peter Webber reveals the story behind one of the masterpieces by 17th-century Dutch master Johannes Vermeer. Vermeer?s ?Girl With a Pearl Earring? was inspired by the gorgeous, virtuous house maid, Griet. Through no fault of her own ? other than being beautiful and a daily presence in the Vermeer household ? Griet has angered Vermeer?s jealous, vengeful wife, Catharina. Catharina?s hostility is not without some cause. Griet ? played by Scarlett Johansson with almost surreal sensuality, considering she never once smiles and is mostly covered head to toe with peasant?s smocks ? has indeed attracted the eye of Vermeer (Colin Firth). Also much taken with the young maid is Van Ruijven (Tom Wilkinson), Vermeer?s manipulative, mischievous patron. When Van Ruijven commissions Vermeer to make a portrait of Griet, the already tense Vermeer household is thrown into combat mode. It is a decent story, and Webber?s telling of it sustains our interest. But Webber is overly concerned with making his ?Girl With a Pearl Earring? visually worthy of Vermeer?s. Every frame of the movie is shot in the manner of a still painting, with shadow and light, contrast and composition painfully executed. The camera hardly ever moves. Worse still, the actors? expressions virtually never change. Firth?s Vermeer is caught in a pinched face, the result of his wife?s nagging. Johannson?s Griet never wavers from her aggrieved countenance, the result of Catharina?s menacing. Vermeer?s mother-in-law (Judy Parfitt) keeps the permanent expression of the dried-up, domineering witch that she is. Webber has, indeed, created a work of visual art. There is no denying the beauty of ?Girl With a Pearl Earring.? It is a small victory that the story holds up to all this focus on the visual. But one can?t help but think that the overemphasis on the look of the film strangles the movie more than a little. [?Girl With a Pearl Earring? shows today at 5:30 p.m. at Harris Hall, as part of Aspen Filmfest?s Academy Screenings series. The Academy Screenings run through Jan. 2, with daily screenings at Harris Hall. For a full schedule, go to www.aspenfilm.org.]

I guess my hints about using Firthology were too subtle? Girl With a Pearl Earring shows today...as part of Aspen Filmfest's Academy Screenings series. And it's playing on Maui too so that the various guild members can see potential nominees.

(Karen) I guess my hints about using Firthology were too subtle? Ok, I give...what....? I understood the first time. But the whole butt/fan base discussion that was related to Trauma? Or the one reference to The Advocate? Honestly curious, as I may be considering Firthology to narrowly, and this topic too broadly.

OMG....**catching breath**! Colin's peeps have been busy! Thank you everyone for the articles, links and photos (am truly sorry to have missed out on the Muushimoto... Mishymomo (whatevah...I did have my nose pressed against their glass in NYC a few times though...that was only when I wasn't stalking Ewan McGregor (really!) in Barneys) Martini Bash captioning fiesta! ROTFLMAO! You all are too funny!!!). Am all caught up now and just wanted to say my thanks to our lovely hostess and to all the Droolers...here's hoping that this coming year holds as many laughs and surprises as this past year!!! Thank you all and Happy New Year!!!!! To quote (kinda) one of my favorite films: "We want the finest martinis available to humanity. We want them here, and we want them now." Sorry Karen if this was a mishmashmoto of O&E and CF.....New Years Resolution No. 1.: Use proper topic (I'll get on that right after this one! ;-D).

(Tress).....New Years Resolution No. 1.: Use proper topic (I'll get on that right after this one! ;-D). ROTF! Tress, you are one of my fave funny peeps! Tomorrow I'll get off the sauce and on the right topic, I shall conquer this, I shall!;-))

Guess this critic doesn't share our opinions on LA http://www.signonsandiego.com/news/features/20040101-9999_1w1worst.html Films so bad they won't go down: Get the plunger ....The pain of "Love Actually" came from watching a good cast (Hugh Grant, Emma Thompson, Colin Firth, Laura Linney) trashed to tinsel on Richard Curtis' yule tree of meet-cutes, vapid romancing, kid love, jabs at Bush/Blair and music-driven plot loops, though Bill Nighy is a funny old rocker.

Ad in today's NY Times (Karen, please use as you see fit):

Thanks Murph! I think it's fun to see the blurb by Elvis Mitchell who was counted as having *panned* the film on the Rottentomatos site.

Great picture, Murph. A little from todays google-hunt: http://www.usaweekend.com/04_issues/040104/040104colin_firth.html

sorry to be double-posting, but they write the medicalpart about Trauma again. Who started that? (not that it matters at all :-)) For now, what does work for Firth is, well, work. "Earring" is one of his three films rolling out this year, including the Bridget Jones sequel and a medical thriller, "Trauma." Here's betting Firth looks dashing even in a hospital gown.

Again? But that is exactly the same article. However, that doesn't guarantee that the "medical" reference won't be erroneously picked up elsewhere. Thanks, Murph, for the ad. Kind of bizarre that they'd show Griet with her hair, when that's one of the film's big moments, the uncovering. :-( I *do* hate to rub things in, but I never thought I'd ever see this: http://movies.yahoo.com/showtimes/showtimes.html?z=60614&r=sim&m=&t=Sony%20Esquire&a=&dt=0&s=tm&p=0

Hello! Haven't posted here for quite a while, but have been enjoying all the articles, photos, comments etc. Thanks everyone, especially the Boss! I had wanted to post this (after a little encouragement from Karen, thanks!) some time ago, but somehow things got in the way. Hope this is not too outdated and still belong in 187. Anyhow, this was from an article found in a local mag. Where I am (Singapore btw), news or articles on ODB are rare, and seldom does he get mentioned beyond one or two lines. I was alerted to this article by a kind friend who even kindly pulled out the pages for me (mag was sold out, not sure if the ODB factor helped). The article was a feature on LA, or more precisely the men from LA. Have typed up the parts on HG and ODB: Her World � Dec Issue Feature Put some of the most charming actors together in one film, then get them all into one room � and what do you get? One really hot day in London. Ivy Ong finds out if the stars of Christmas feel-good movie Love Actually sizzle off-screen as well. Hugh Grant Reel Life: Dah dah dah abt his PM role in LA Real Life: Everthing abt Hugh is larger than life. He�s taller, his eyes are bluer, his smile is wider and his fringe is floppier than you�ve ever seen in the movies. He doesn�t have to say a word to charm two giggly Japanese tourists who accost him for photos. But the first thing you notice the moment he opens his mouth is that he doesn�t have that self-conscious air you�ve come to expect from watching him in Four Weddings and Notting Hill. HG is a star and he has the confidence of one. He knows exactly what journalists want of him � details of his personal life � and he deliberately doesn�t give it. Ask him what he�s doing for Christmas, to try to see if he�ll be spending it with ex-gf Liz Hurley and son, and he neatly side-steps the question, saying : � I love Christmas. I love sleigh bells and little children with rosy cheeks.� Ask him what he thinks of falling in lover with the lower classes (the PM falls in love with a Cockney speaking tea lady) and he just gives you a wink and says : � Sure I like that dynamic � You don�t know if he� s slyly referring to that infamous Divine Brown incident or whether he�s just pulling your leg. A journalist later sighs: � HG doesn�t give you anything. He just turns everything into a joke.� Sizzle Meter: 3 hearts of out 5 Colin Firth Reel Life: In a departure from his suave Mr Darcy persona in Bridget Jones� Diary, he plays a loser who fumbles and stammers his way into the heart of a Portuguese beauty. He�s Jamie, a writer who exiles himself to the South of France after he catches his wife in bed with his brother. There, he falls in love with his maid, Aurelia, who speaks no English. Watch for the part when he tries to tell Aurelia he loves her � in broken Portuguese, complete with subtitles. Real Life: He comes round the table to shake everyone�s hand. First impressions are disappointing � he�s shorter than expected and has the regulation pasty English complexion. His hair is rumpled and his dark suit and brown-and-black striped T-shirt makes him look like any ordinary man in the street. But as soon as he starts talking, you realize why the journalists who have met him before (both men and women) gush: �He�s so charming. Be prepared to be swept off your feet!� A little dimple peeks out every time he emphasizes a point and � always the gentleman � he waits till we have finished writing down his quotes before he goes on to answer another question. Then there�s his self-deprecating British humour. Ask him how he works on being the thinking woman�s sex symbol and he deadpans : �I get up and spend an hour on it every morning. � He says it so matter-of-factly you almost think he�s serious before you catch that twinkle in his eye. Then comes a sidelong glance, sharing the joke with you, and you�re won over already. And you know you�re not dealing with some himbo here when he gently contradicts a journalist who says Richard Curtis films are always about well-scrubbed, middle-income London. He says: � I don�t think there�s an attempt to ethnically clean Nottinghill. Not all of London is a Quentin Tarantino film, you know.� Cue the shy, sidelong glance. Awww� Smart and witty to boot. No wonder everyone comes out of a meeting with him with stars in their eyes. Sizzle meter : 5 hearts out of 5 Well, ODB beat HG hands down, acc to the reporter's sizzle meter at least(and me of course). His write-up didn't start well, but I guess she came to her senses later :-). Doubtful abt the part on their height. HG seems taller in person while ODB shorter than expected?? Perhaps, our dear friends who have seen them both could tell? Btw Liam Neeson, Alan Rickman and Andrew Lincoln were all featured as well, none ranked as high on the sizzle meter. LN - 4, AR - 4 (with some help from Emma Thompson, acc to the reporter), and AL - 3 (though she said he is v good looking).

(Karen)I *do* hate to rub things in, but I never thought I'd ever see this: Can't help but feel that we may begin to see CF double billings more often in the future. With all the wonderful press and exposure this year (Katie Couric has helped a lot in this regard) the recognition factor for ODB is rising daily. All this begs the question, can there ever be enough of ODB to go 'round?

Hello Magazine has Colin as one of the finalists for Most Attractive Man of the Year. You can vote here: http://www.hellomagazine.com/vote/grand_finale2003/hombreatractivo.html?pantalla=hombreatractivo

Mary - Thanks for the ad . .nice to see they used a different pics than just the camera obscura scene one. Although I do agree with Karen . .surprised they showed Griet with her hair. Andie - thanks for the blurbs from that article . . Colin shorter in life? . .I don't think so . .was much taller and lankier I think . .and very very handsome up close. . .As to Hugh . .his eyes are very very blue in real life (remembering from the Two Weeks Notice shoot) . .didn't think him taller than I had previously expected . . (leslie)All this begs the question, can there ever be enough of ODB to go 'round? *sigh* . . Never . .will never be satisfied till there's more . . we want more! Most Attractive Man of the Year poll - I put my vote in . .Seems like Colin has to beat out Orlando Bloom and Jon Bon Jovi;)

(USA Weekend) I tried to take guitar lessons when I was young, but the kind available to an 8- or 9-year-old where I came from were where you learned to play Kumbaya. Not exactly what I was looking for. Wasn't it something like Kumbaya that he played, sitting around with the cast, crew and extras from ATA? ;-) Thanks for posting the article, Andie! *clap clap* First impressions are disappointing � he�s shorter than expected You do really have to wonder how tall did this person think he'd be? Sheesh! He's taller than Hugh or Richard Curtis or pretty much all the others at that press conference (OK, maybe not Liam Neeson)

(Karen)I *do* hate to rub things in, but I never thought I'd ever see this: Can't help but feel that we may begin to see CF double billings more often in the future. With all the wonderful press and exposure this year (Katie Couric has helped a lot in this regard) the recognition factor for ODB is rising daily. All this begs the question, can there ever be enough of ODB to go 'round?

Please forgive previous double posting. Still working things out on my computer. Will vote at Hello magazine post haste. Thanks for the tip, Mary

And you know you�re not dealing with some himbo LOL! Thanks Andie! That was great...the reporter didn't mention his affectation glasses...as this sounds as if it is the same press conference. Maybe that is why he seemed shorter...they detracted from his height (which is substantial and I can't imagine why she thought he would be even taller...but then again, I always envision ODB as "bigger than life" too...;-) (Kimberly) As to Hugh . .his eyes are very very blue in real life... That is what I really noticed. His eyes seem much bluer IRL...have an extreme close up of him and it still doesn't do those minces justice. They sure are purdy...

(Karen)I *do* hate to rub things in... Hah! Well, while I'm waiting to see GWAPE...god knows when, Risa and I did see LA again the day after Christmas and it was well attended.;-))

Fabulous article all about Colin's long ago days in deepest, darkest, remotest (LOL!) B.C. from a freebie mag in Canadian theaters sent to me by Silvie. http://www.firth.com/articles/04famous_jan.html

(Famous)It may become a franchise like Bond. Hmmm . . that would be interesting . .a Bridget Jones franchise . . .only though, if they didn't do it to death . . . Lord, wouldn't want anyone but Colin playing Mark though . .the same goes for RZ and HG playing their perspective roles . . . So then, what . . the 3rd film would be: Bridget finally gets married, the 4th . .Bridget having a baby? . .The 5th . .Mark hits his mid-life crisis and Bridget has to cope . . .

Here's an article I found on Colin at MSN yesterday. I didn't see the "posting box" yesterday when I logged in, but today I do so I've pasted the link to the article below. I can't wait to see GWAPE when it is shown in theatres here this month....:) Momi:) http://entertainment.msn.com/news/article.aspx?news=144290

he�s shorter than expected according to imdb.com: ODB 6' 1" (1.85 m) , Hugh 5' 11" (1.80 m) So the question is, what kind of shoes was Hugh wearing? I also put my vote on him :-)

(Her World) Then there�s his self-deprecating British humour. Ask him how he works on being the thinking woman�s sex symbol and he deadpans : �I get up and spend an hour on it every morning. ROTFL!! I knew he'd finally come around and admit he works "it". ;-) (Tress) His eyes seem much bluer IRL Stunning.