Tilda Swinton could do no wrong last night at the Globes, and she chose an ice-blue skirt suit designed by her friend Haider Ackermann, who Tilda swears “can read my mind about what I want to wear.” Indeed, this outfit looks like it was made just for the occasion. The metallic jacket flowed so well into the skirt, which was just feminine enough with a teensy bit of a train. Tilda’s poufy new-wave hair went quite well with the outfit, and her makeup was understated but still polished enough to make sure that her facial features didn’t disappear. Tilda looked almost exquisite during the closeups while Meryl Streep accepted the Globe for Best Actress in a Drama. Even though Tilda lost out on the actual award, she just looked so happy for her friend yet grateful to even be mentioned on camera. She is such a boss.
Sarah Michelle Gellar wore a flouncy, big-bustled Monique Lhuillier gown and received mixed reactions last night on Twitter, where some described the look as an ill-advised attempt to bring back tye dye. During the E! red carpet coverage, Sarah mentioned that her two-year-old helped her choose the dress, which explains things well enough, but I absolutely loved this dress on her regardless of the reasons for wearing it. This look is different and adventurous, and the simple high ponytail says “youthful” without translating into “desperate to look young.”
However, Sarah Michelle’s jacket that she added for the Warner Brothers party quite nearly ruined the effect.
Jodie Foster went with a far less adventurous vibe by choosing a teal Armani gown with the same old boring, side-parted bob that she’s sported for the past decade. Jodie’s makeup is appropriate and the earrings are cute, but she could’ve jazzed things up with a sparkly necklace. Of particular note during the opening moments of the show itself was how well Jodie handled (with a very enthusiastic two thumbs up) Ricky Gervais’ joke about The Beaver. Then I realized she was just defending Mel Gibson again. Ugh.
These are new photos of Jodie Foster and John C. Reilly at the NY Film Festival premiere of Carnage. I suspect that Jodie is wearing Armani, just because she almost always wears Armani for red carpet situations. I don’t love the dress, or the shoes, but I really like her haircut. She’s still a very beautiful woman, and I buy that she’s un-tweaked too.
Enough of the superficial stuff! For whatever reason, Jodie Foster has just gone completely and totally crazy this year with her career choices. Earlier this year, she was out and about, promoting the hell out of The Beaver, that dumb film she did with Mel Gibson. She not only agreed to work with her spiritual soulmate Mel, actor-to-actor, she DIRECTED the p.o.s. too. And then for her follow-up to Bad Career Choices 101, she worked with Roman Polanski, who directed Carnage, the film adaptation of the play, God of Carnage. To be fair to Jodie, other actors made the bad decision to work with Polanski – John C. Reilly, Christoph Waltz, and of course, Kate Winslet (who looks like the over-wrought, bad-accented weak link in the trailer).
So why does Jodie get so much grief? I think it’s because she’s so vocal in her support of Mel AND Polanski. Where many prominent actors work with Roman Polanski, they rarely try to publicly defend him, and perhaps it can be easily explained as a one-time mistake in judgment, or an actor just having blinders on regarding Polanski’s considerable talent as a director versus how sucky and terrible he is as a person. You can’t explain it away with Jodie, because she just seems to have consistently horrible taste in men. Plus, the fact that The Beaver and Carnage have come out within months of each other probably doesn’t help her either.
Here are some photos from Tuesday night’s premiere of The Beaver in Cannes. Mel Gibson actually showed for the premiere, after skipping the earlier photo call. Judging from the state of Mel, I’d say that he probably spent most of the day doing shots and smoking cigs while laying on a hotel balcony. More on that in a moment, but seriously, Mel is looking especially reptilian in these photos. Jodie, meanwhile, looks rather gorgeous in this striking navy Armani. I love the asymmetrical cut on the top, and I’m usually not a fan of asymmetry.
By the way, when Mel Gibson entered the theatre for the premiere, apparently he got a standing ovation. FOR TEN MINUTES. And the film was generally well-received too. Because Europeans love women-beaters?
For the rest of the photos, I thought I’d do captions. Just because I haven’t done that in a while.
Mel: “And I said ‘blow me’ and she said ‘NO!’ Can you believe that? Durr. So I had to smack her.”
Mel: “You’re a WHAT?!? You like to do WHAT to LADIES?!? You‘re going to hell.”
Jodie: “Ew, did you just fart?”
Mel: “I wish I had my guns right now. I would take down all of these Frenchies.”
Remember how I said Mel probably spent his day laying out on balcony, getting hammered? Yeah. There’s photo evidence. His poor sunburned moobs. They deserve to buried in the rose garden.
The Cannes International Film Festival rages on with the The Beaver photocall, for which director and actress Jodie Foster was front and present but her co-star, Mel Gibson, was quite notably absent in spite of the fact that he was reportedly expected to attend. Surely, Jodie is fine with the fact that Mel was not present at the photocall because, no matter what, she’ll always love that man for the rest of her life even though he’s left her to deal with this mess all by herself.
Obviously, I have to wonder whether the woman even has a grasp on reality any longer. Not only does Jodie have poor taste in male associates, but she dared to describe the lower percentage of female directors as “race psychology,” yet she herself (despite being a woman) convinced a studio to give her $20 million of funding to make a movie about a guy who talks through a puppet. Indeed, the film has already received a U.S. limited release, for which it only brought in a measly $104,000 from 22 theaters. So it seems that Mel’s recent extensive, self-piting interview didn’t help sell tickets, and he’s sitting this one out like a pouting child:
Mel Gibson’s absence from the press conference supporting his new film did not stop him dominating proceedings.
The actor plays a depressed businessman who uses a beaver hand puppet to communicate in The Beaver, which is directed by his co-star Jodie Foster who attended the press conference in Cannes.
The actress, who has been friends with Gibson since they starred in the 1994 western Maverick, faced a barrage of questions about the actor who has been accused of racism, homophobia and anti-semitism and appeared in court this year on a battery charge after a complaint from ex-girlfriend Oksana Grigorieva.
But she insisted the troubled star, who is due in Cannes today to appear at tonight’s screening of the film, “was the right actor for the role” and had “a deep understanding of the struggles” faced by the character.
She said: “He really understood the character in a way that was extraordinary. I think that he was willing to go to such a deep place and willing to expose himself in some ways, to really talk about something he knows a lot about which is struggle, wanting to change, wanting to transform yourself, not wanting to be who you are and I’m so grateful for that performance”.
Asked if the film would help rehabilitate him in the eyes of the public and in Hollywood, she said: “I don’t know, I have no idea.”
Foster added: “Anything that you do that you obsess about and think about and give that much to for six months of your life in his case… allows you to look deeper at yourself and the people around you and the effect of what you do and has to have some kind of therapeutic, cathartic end.
“I know that he is incredibly proud of the movie and I think that he is proud of what he’s shown and I think he wants people to see that side of him and he’s an incredibly private man so what he shows on screen is deep as you could possibly get”.
Perhaps Jodie and Mel talked this over beforehand and decided it would be best for him not to attend and distract from the topic at hand. However, it’s pretty clear that Mel distracts from The Beaver whether or not he’s actually present; so if he is truly so “incredibly proud” of this movie, the very least he could have done is to establish a presence and show some support for his unyieldingly loyal friend, co-star, and director. What a douche move, but there’s a slim chance that he might actually show up for the premiere itself. Admittedly, Jodie wasn’t completely alone for the photocall and press conferences because Kyle Killen and Keith Redmon bothered to show up. Her co-star, however, is another matter altogether.
This weekend was a roaring one at movie theaters, where Thor easily secured the #1 position with an estimated $66 million in U.S. ticket sales (with international sales boosting it to a total of $242 million), which qualifies it as a fairly successful “summer” movie. Between this film, the Iron Man franchise, and the inexplicably successful X-Men movies, Marvel Studios really has the box-office sewn up as far as comic-book adaptations go, while any viable D.C. Comics titles loom far off in the horizon with the Superman reboot and The Dark Knight Rises still in their pre-production phases. At any rate, Thor and his abdominal muscles pretty much killed it this weekend, and while I was pretty skeptical about a newcomer (or, at least, a virtually unknown actor) carrying a major studio tentpole, I will concede that an effective marketing blitz (and inflated 3D prices) really did the trick in boosting Thor to this point:
Reviews have been good, and British Kenneth Branagh’s direction and Aussie newcomer Chris Hemsworth in the title role of The Mighty Thor earned a 92% rating currently on Rotten Tomatoes. The good-looking Hemsworth allowed for heavy PR to drum up appeal among women with his shirtless clip a popular choice for talk shows with large female audiences who also were targeted with a Royal Wedding blitz. To solidify male appeal, Paramount had spots during the Super Bowl and NCAA Basketball, the UFC Marathon and UFC Fight Night Live Premiere. And, to appeal to the feeble-brained, Thor ads aired on the finale of Jersey Shore.
Thor launched in 1962 and has endured for almost half a century across comics, toys, animated series, and now a movie. Like Iron Man, Marvel thought Thor deserved to be made in its own right and lends a long history to The Avengers. (Aka Marvel’s Avengers Assemble strategy. Expect to see agents of S.H.I.E.L.D., previously seen in the Iron Man movies, foreshadowing the coming of The Avengers). The challenge for Paramount was to market a reverse superhero story: a hero becomes a man. “Our challenge was to emphasize what was unique about his character and define him for audiences,” a studio exec told me. So the TV ads reminded: “The world has many heroes but only one is a God.” This epic adventure spans the Marvel Universe from present day Earth to the realm of Asgard with the powerful but arrogant warrior whose reckless actions reignite an ancient war. Thor is cast down to Earth and forced to live among humans as punishment. Once here, Thor learns what it takes to be a true hero when the most dangerous villain of his world sends the darkest forces of Asgard to invade Earth.
Elsewhere, the Vin Diesel/Dwayne Johnson homoerotic picture of the decade, Fast Five, held onto #2. Even though it’s springtime, the weekend’s two wedding-themed movies didn’t fare so well, with Jumping the Broom and Something Borrowed (starring Kate Hudson and her nympho ways), scoring #3 with $13.7 million and #4 with $13.2 million, respectively speaking. Meanwhile, The Beaver opened in 22 theaters with only $104,000 total under its already dubious belt. In other words, it probably won’t be opening next weekend in your nearest multiplex, and now Jodie Foster has only herself to blame (and not race psychology) for wasting a $20 million budget on a movie about a guy who’s so depressed that he can only speak though a puppet. Hopefully, this also means she’ll stop praising Mel Gibson for awhile too.
Sometimes, I just don’t know what to do with Jodie Foster. She complains about the downtrodden status of female directors in Hollywood yet refuses to reconcile that she willingly (professionally and personally) associates with those same male directors (who are part of the problem she is complaining about), some of which do very bad things. When confronted with the ultimate character of these men, like say Roman Polanski, Jodie simply states “That’s not my business.” And as we’re all quite aware, Jodie adores and worships Mel Gibson (“I will love this man for the rest of my life”), who believes that he can justify smacking Oksana Gregorieva with an “explanation.” None of this bothers Jodie, however, because she’s promoting her latest ill-fated directing and acting project, a tragicomedy about depression called The Beaver (starring Mel Gibson). As such, Jodie clearly rehearsed ahead of time what she was going to say about Mel to Moviefone:
This was a very emotional film, especially when watching Mel Gibson play such a tormented character. Sometimes I had trouble separating his role from what I know about him in his personal life. Did his personal life affect his performance?
Well, none of “that” happened while we were shooting. His relationship [with ex Oksana Grigorieva] was very happy at that point, and they had a baby during the shoot. I don’t think any of this stuff informed his performance. This is a movie about a man struggling, who wants to change. That’s a part of my life, and a part of Mel’s life. That’s why he can bring such a raw, honest performance to the screen.
I love that side of him – the complex side. He can also do the charming thing, too, like when he’s doing the lighter bits at the start of the film. We needed both of those sides. I don’t know if people can compartmentalize what they see on YouTube about someone’s private life, but I guess that’s up to the individual. Mel is witty, and he’s a good-natured guy. That’s not all he is – he’s incredibly literate, very sensitive, and very feminine in a lot of ways. That’s a side that people don’t see.
The trailer for ‘The Beaver’ differed greatly from the tone of the movie. It made it seem like a dark comedy – which doesn’t quite classify this film, and it’s rated PG-13.
[Laughs] I know. It makes it seem like a heartwarming family film, doesn’t it? I am not responsible for the trailer! [Laughs] My hat is off to Summit Entertainment, because this is the marketing challenge of the century. This is not a mainstream movie. What you don’t want is people going to the theater expecting a comedy, and then realizing it’s not. If people come with the wrong expectation, they’ll say bad things about it when they leave. Ultimately we want people to see the movie they expect to see.
It was amazing to watch the puppet transform – it was almost like it came to life!
That’s a funny thing. We didn’t shift and change the camera that much; we made some framing choices. But we didn’t change its eyes or anything like that.
It did shower though!
[Laughs] Yes it did! We had one beaver that was just for getting wet. We called it the ‘wet beaver.’
Ha ha ha, d’ya hear that? The wet beaver. I bet the infinitely clever Mel came up with that one. You know, since he has so much inherent respect for beavers. Anyway, Mel is reportedly “expected” (although not confirmed) to show up for the film’s premiere at the Cannes Film Festival, which kicks off on May 17. Maybe he’ll bring the wet beaver along for the ride.
Seriously though, here’s what I take from Jodie’s latest words on Mel Gibson. She wasn’t there when “that” happened, and she never saw “that” happen, so essentially it didn’t happen. Because if “that” really happened to Oksana Gregorieva at the hands of Mel, then Jodie would have to admit her own hypocrisy against womankind. So “that” just doesn’t exist to her. Classy.
Just one year ago, Kathryn Bigelow won the Oscar for Best Director, an award that was voted upon by her peers, who themselves are the very force behind getting movies made in Tinseltown. Regardless, Jodie Foster is now complaining about Hollywood’s treatment of female directors, which I find rather contradictory. Jodie can speak in terms of chronic discrimination against women in the film industry, whereas she has no problem when her Hollywood friends treat women badly in a much more acute basis. For instance, she truly admires and supports Roman Polanski for being such a wonderful director and diffuses all discussions of his admitted-rapist status as “That’s not my business.” What is her business, however, is that Jodie (who, just like nearly every director out there, struggles to fund her art) feels really beaten down by the man as a female director. So naturally, she continues to support Mel Gibson, who actually beats women (such a nice symmetry there, right?) by sticking with him and proclaiming, “I will love this man for the rest of my life.” How would she feel if Mel punched a female director? That’s a question that shall remain unanswered, but Jodie’s merely sounding off on what actually affects her pocketbook. You know, other than the ill-advised decision to direct The Beaver:
In an era when women account for only 7% of the directors of Hollywood movies, Jodie Foster is the rare female whom financiers will back to helm any film, never mind a marketing challenge like “The Beaver,” her upcoming $20-million tragicomedy about depression starring Mel Gibson.
When asked about the industry statistics during a recent interview promoting “The Beaver,” Foster said she thought the low numbers of female directors were a result of studio executives’ fears of uncertainty.
“I don’t think it’s a plot and these guys sat around and said let’s keep these women out,” Foster said. “I think it’s like race psychology. When a producer hires a director, you’re hiring away your control completely. You’re bringing on somebody that will change everything. When you give that amount of power up, you want them to look like you and talk like you and think like you and it’s scary when they don’t, because what’s gonna happen? I’m gonna hand over $60 million to somebody I don’t know. I hope they look like me.”
When it was mentioned that many studio executives do, in fact, look like her — a 48-year-old white female veteran of the industry, Foster nodded. “And name the lists that come out of the female studio executives: guy, guy, guy, guy,” she said. “Their job is to be as risk-averse as possible. They see female directors as a risk.”
Foster got her first directing opportunity on 1991′s “Little Man Tate” from male executives at Orion Pictures. In 1989, she won the lead actress Academy Award for “The Accused.”
“I was acting in ‘Little Man Tate’ for almost no money and I had just won an Oscar,” said Foster. “They were under almost no financial risk whatsoever. The real pioneers are someone that didn’t have the ‘in’ that I had. I had guys who knew me. I was like their daughter.”
While I don’t have access to all of the male-to-female ratios of entering and graduating classes of accredited film schools, I’d be willing to wager that there isn’t some huge conspiracy at work involved at that level. The hard truth of the matter is that most film school grads, regardless of their sex, never get work as directors. Of course, a lot of directors (like Jodie) don’t go to film school at all and enter the profession after acting for a period of time before deciding, “[W]hat I really want to do is direct.” From there, it’s a matter of starting small and moving onto directing bigger films. So what I think is at work here, rather than what Foster is defensively labeling as “race psychology,” is that fewer women actually decide that they want to direct because, honestly, having a huge ego (and being stubborn enough to push past obstacles rather than whining about them) is part of the job. Even Woody Allen has a massive ego, and if Jodie truly believes that she’s the only director who’s had to start with small, low-risk pictures, well, she’s completely wrong about that. Even actors that move into directing (George Clooney, Ben Affleck, Zach Braff) have to start with little indie films, and they often appear in their own films too (something that Jodie complained about as an example of what she, as a female, had so suffer through), which in turn saves the studios money. No director starts out with blockbuster budgets; in fact, many of the large-scale directors like Michael Bay started out directing music videos. Jodie never had to do that.
Honestly, if Jodie Foster wants to start pullng the “race psychology” card, she needs to do two things: (1) Get her hands on real statistics and not assume that women have it harder because of her own path; and (2) Surround herself with allies that don’t include anti-Semetic rageaholics and child rapists who believe it is okay to sodomize a women even when she says “no.” Without further ado, let’s review this trailer for The Beaver, which pretty much says it all about Jodie’s inability to see the larger picture in the capacity of director:
Yesterday, CB sent me some of these quotes from Jodie Foster’s new interview in the AARP Magazine. Here were my first reactions:
“Jesus, Jodie. You don’t have to defend Mel Gibson in EVERY SINGLE INTERVIEW.”
“Liar.”
“Take a pill, Jodie, for the love of God.”
“I hate you. Why did I even like you in the first place?”
And so on. Why is it that Jodie’s continued defense of Mel Gibson (in interview after exhaustive interview) irk me so much? I asked this when Robert Downey Jr. and Mel Gibson went out to lunch together, and TMZ snapped one photo of them. Why is it that Jodie continued defense of this horrible human being upsets me, and yet I will forgive RDJ’s continued relationship with Mel? Is it because Jodie is pushing her relationship with Mel in my face, in interviews, through her promotion of The Beaver, while RDJ keeps quiet publicly? Is it because RDJ doesn’t throw glitter and delusion on his pro-Mel bias (like Jodie) and demand that I see Mel as a “beautiful, brilliant” soul? Probably.
Jodie Foster who directed Mel Gibson in The Beaver, calls the embattled star “a brilliant man, a beautiful talent, and a loyal, loyal friend” in an interview with AARP Magazine, and RadarOnline.com has all the details for you.
“From the moment I met him, there was such a connection that I knew we would be friends for the rest of my life,” the Silence of the Lambs star told AARP The Magazine of her friendship with the actor, who’s been a virtual non-factor in Hollywood since RadarOnline.com released the world exclusive tapes of the actor violently berating his ex girlfriend, Russian singer Oksana Grigorieva.
“We work exactly in the same way: No bull—-. We’ve had so many conversations about the topics the film explores,” Foster told the magazine. “He is a brilliant man, a beautiful talent, and a loyal, loyal friend. That’s the man I know.”
In the upcoming movie, Gibson’s character — an executive going through a serious personal crisis — adopts a beaver hand-puppet as his only way of communicating. Foster said that she cast Gibson in The Beaver, in part, because of the trials and tribulations that have kept the Lethal Weapon star in the headlines over the past five years.
“I knew he could relate so much to Walter’s struggles that there was no way he would it as a comedy,” she told the magazine. “That Mel’s character be dramatically consumed in this internal struggle was very important to me.”
Earlier this month, Gibson was sentenced to three years probation, 16 hours of community service and 52 court-ordered domestic violence counseling sessions as part of his sentence for a misdemeanor battery conviction for his January 2010 attack on Grigorieva. Gibson turned himself in to be booked March 16, the very same night the film premiered at the SXSW Film Festival in Austin, Texas.
While introducing the film, Foster said, “I just have to ask everybody, can you see a film and appreciate the artist for his work? And if anything, I think anybody who comes to see the film and understands Mel’s extraordinary performance in the movie can’t go away untouched by his humanity.
“If there’s a message to the movie it’s that you don’t have to be alone — the truth is that the great remedy for that is connection.” The Beaver hits theaters May 6.
At some point it becomes less about my growing dislike of Jodie because of her association with, defense of and love for Mel Gibson. At this point, I’m actually kind of worried about Jodie because I’m starting to wonder if she’s in the midst of some kind of nervous breakdown and these interviews are her cry for help. I’m concerned.
Here‘s Mel, “a brilliant man, a beautiful talent, and a loyal, loyal friend. That’s the man I know.”
Jodie Foster has long been a supporter of Mel Gibson, both personally and professionally. Even after his rage-filled/glum-c-nt explosion last year, Jodie gave interviews defending him and telling the world that she still loves him. Now Jodie covers the new issue of The Hollywood Reporter, and she’s talking up Mel yet again. She’s promoting her directorial work in The Beaver, which star (you guessed it) Mel. Jodie is doubling-down on his crazy, and I just want to shake her and yell “YOU DESERVE BETTER FRIENDS.” The article is all about how Jodie got The Beaver made, and there are lots of interesting anecdotes about Mel throughout the production. Oh, and the article starts out by describing how Jodie is working in Paris, with Roman Polanski. Jesus. This woman has no taste in male associates. The full Hollywood Reporter piece is here, and here are the highlights:
On Mel as a man: “He’s so incredibly loving and sensitive, he really is,” she says. “He is the most loved actor I have ever worked with on a movie. And he’s not saintly, and he’s got a big mouth, and he’ll do gross things your nephew would do. But I knew the minute I met him that I would love him the rest of my life.” She adds: “I know him in a very complex way. He’s a real person; he’s not a cardboard cutout. I know that he has troubles, and when you love somebody you don’t just walk away from them when they are struggling.”
Mel confided in Jodie about what was happening with Oksana: Before Gibson’s relationship with Oksana Grigorieva exploded in the public eye, he confided in Foster. “We talked about it all the way through, about what was going on in his life,” she says. “I don’t think he told me until it was something he couldn’t handle by himself.” Even while editing Beaver, Foster was aware that recordings of Gibson’s rants would be made public. “I knew about that,” she says. “He was upset. Then, on the last day of reshoots of Mel, it all came out.”
On Mel‘s work in The Beaver: “God, I love that man,” Foster says. “The performance he gave in this movie, I will always be grateful for. He brought a lifetime of pain to the character that we’ve been talking about for years, that I knew was part of his psyche and who he is. It’s part of him that is beautiful and that I want people to know, too. I can’t ever regret that.” Foster knows the Gibson affair means her film has a difficult journey ahead. But she never planned to make a huge audience-pleaser. “This is not a mainstream movie,” she says. “It does have mainstream actors, but that’s not this film. I don’t need to make those kinds of movies because my career as a director is a personal spiritual path. I don’t need to succeed in that way in order to have an identity. I already have one.”
Jodie on her history of depression: Gibson, in his e-mail, warmly recalls first meeting the young woman with “the piercing blue eyes” who looked as if “she just came from gym” and surprised him when she metamorphosed into a radiant leading lady. But she’s a very different person now, coming to terms with her own fears and insecurities — and acknowledging a depression that she says has been with her for years. “Depression is a part of my life I accept,” she says, explaining its cause as a sort of obsessive rumination. “You think about something and you think about it again, and you keep going back to a tragic or dramatic moment and try to understand all different angles — and that’s the process of depression, which is not being able to get out of a dramatic thought or feeling. Obviously, chemical depression is very different. But it’s a big part of my life, and you have to embrace that part of yourself.”
On Roman Polanski: “He is my opposite,” Foster acknowledges, even though she says she admires the controversial filmmaker behind such movies as Chinatown and Rosemary’s Baby. “Every director you work with has their way, and the first two weeks is you figuring out their way and helping them. Some directors want lots of discussion and a real collaboration; some don’t want any. He’s different than I would be, but I can direct my own movies. He wants everything to come from him. There’s his crew, and they know it all comes from him. There’s no input from anyone else.” As for Polanski’s complicated character and the resurrection of his rape charge in the U.S., “That’s not my business,” she says.
On Kristen Stewart (who worked with Jodie in Panic Room): “I just love [co-star] Kristen Stewart, but I didn’t think she’d choose to be an actress. I said to her mom, ‘She doesn’t want that, right?’ And she’s like, ‘Well, yes, she kind of does.’ Because she’s very much like me: She’s not comfortable in life being a big, externally emotional person, beating her chest, crying every five minutes. I felt she was such an intelligent technician, so interested in camera — I thought that would translate to other things.”
Look, I have always been a Jodie Foster fan. Silence of the Lambs is one of my favorite films of all time, and I think it’s one of the best films of all time. Jodie The Actress – well, I will always support her, because I think she’s one of the best. I even think she’s got talent as a director – Home for the Holidays is one of my go-to Thanksgiving/Christmas movies. But Jodie as a person, as a judge of character, as a woman beyond the art… well, chick’s got issues. I understand her loyalty, and I understand her “It’s about the work” mentality. But as time goes on, that’s a lot of really nasty junk to ignore, isn’t it?
Paris Fashion Week is in full swing, and yesterday was the big Armani show. Jodie Foster showed up, which always surprises me. Not that I don’t know that she’s a big fan of Armani – she is. She usually wears Armani for formal events. What surprises me is that I always think she’s “above” appearances at fashion shows and that kind of thing. But she’s not above it – and she’s certainly not above it when she’s got a film coming out that will likely sink like the Titanic. That movie? Oh, just a little film called The Beaver, starring Mel Gibson. And Jodie hasn’t stepped down from her support of Mel either, or taken back her statements (“I will love this man for the rest of my life”) supporting him. So perhaps some nice personal appearances are in order.
Anyway, Jodie is dressed in Armani, of course. I love it. So feminine and pretty, yet business classy. Perfect for Jodie. Also – I really like what she’s done to her hair too.
