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Stef with an F

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  1. hi there, i believe this is the full length video (available in our Multimedia download area): http://www.gerardbutlergals.com/forums/ind...mp;showfile=262 Hugs, Stef
  2. I thought this was pretty funny and cool how they did it. Enjoy
  3. as i'm making HQ screencaps, i noticed this image of Hilary with all of Gerry's bracelets on her wrist. I wonder if she put them on after he passed away or if they have a back story in the movie or something. it's just so weird seeing his personal jewelry on there, especially since one of those bracelets was hand made by Annette, 'tis very cool
  4. you know i appreciate the sentiments but this was Miss Abrock's find. way to go mel!
  5. http://www.axcessnews.com/index.php/articles/show/id/12342 (AXcess News) Chicago - The Golden and Silver Icon Awards presented annually by Travolta Family Entertainment have been announced for 2006-2007. Big winners in the entertainment categories include Zack Snyers's film "300" winning best dramatic film and best action film. Disney's "Hannah Montana" and star Miley Cyrus won for best new comedy and best child role model, respectively. Other winners include Charlie Seen as best actor for "Two and a Half Men" with child actor Angus T. Jones picking up a supporting actor award on the same series. Ironically Sheen is the ex-fiance of John Travolta's wife Kelly Preston. Credit for Sheen's win despite family disconnection goes to heavy campaigning by Rikki-Lee Travolta, well-known actor and nephew of John. The younger Travolta is in the midst of a two year long, on-going divorce and custody battle after discovering his estranged wife, Arabian Sonia Rihani, had been having an incestuous affair with her Uncle Samir Rihani. The two Rihani relatives had previously been illegally married when the Uncle (Samir) was 40 and the niece (Sonia) was 16, an incestuous union that produced a child with severe emotional and learning disabilities (Jessica Samir Rihani). "The Ex - Sonia Rihani - stole everything: my house, my retirement fund, my checking account, my savings account, and worst of all she kidnapped my innocent son and hid him from me and the law," explains Travolta. "I had nothing. I was living in a bare room with nothing more than an air-mattress, a single lamp, and a borrowed 13-inch TV. The only thing that made me laugh or even smile during that time was Charlie Sheen on 'Two and a Half Men,'" notes Travolta. D'Monroe (RENT) and Patti LuPone (Sweeny Todd) were among the winners in the Broadway categories. Awards in Leisure and Recreation include best auto accolades for the Subaru Impreza WRX, Mazda RX-8, Ford F-150, and Chrysler HHR. Music awards include honors for Carrie Underwood (Arista), James Blunt (Atlanta Records), J.P Louis (Among Friends Records), and Evanescence (Wind-up). Humanitarian awards went to Presidential candidate Barack Obama and Chicago Bull Loul Deng. Fashion award winners include: Brooks Brothers, Gianni Mazoni, DADA 3 Man Weave, Stacey Adams, Levis, Tony Lama and Air Jordan Melo. Radio personality honors went to "Mac Jurko & Harry" (WMVP-AM) and Paula McKay (WCSR-FM).
  6. Ladies, it is a good idea in theory but as we're are talking about LeonardJ - he registered and became a member and still caused problems... so it doesn't really matter if we shut certain forums off from the rest of the world, people would just sign up and become members and still be voyeurs. Heck, we have over 4000 members - they can login anytime they want invisibly and see all that they want to see. Like I said, your idea is good in theory, but in reality it doesn't really offer an extra layer of protection. I think everyone needs to remember that this is a forum on the internet. Sure, we work hard to make it a cozy home where we can all feel comfortable. But don't lose sight that this is the web and the majority of us are all essentially strangers. Protect yourselves by not sharing more personal info that you ought to. The admins/mods can only do so much, it's really up to everyone as individuals to use good judgement. Stef
  7. http://www.news.com.au/couriermail/story/0...5003424,00.html Michele Gierck IT'S A writer's dream to have one of their books captured on celluloid and for Australian author Wendy Orr, that dream is becoming a reality. Orr's Nim's Island is a children's book that was first published in Australia in 1999 by Allen & Unwin, and soon will be an international movie. Filming has already started at a studio on the Gold Coast and another secret Queensland location. The movie stars Oscar-winner Jodie Foster, Abigail Breslin (Little Miss Sunshine), Gerard Butler (300) and a sea lion from Sea World. The big-budget film will be released in the US on April 4, followed by Australia. The real drive for this movie came from California-based producer Paula Mazur. She found Nim's Island by chance in a public library, and took it home to read to her son. The film producer immediately began thinking about adapting the book for cinema. What was it about the book that made her think it would make a good movie? "It's an action-adventure story with tremendous heart," Mazur says. "You can often find an emotional film but it's not exciting. But Nim's Island has both." Soon after, Mazur was in contact with Orr, who can quote the email she received in the way others might recite a sacred text. According to Orr, it read like this: "My name is Paula Mazur, and I'm a film producer in Los Angeles, in Santa Monica, living by the sea. "Last night I got Nim's Island out of the library for my son. I was just going to read it to him to get it started and I kept on reading. "And then my daughter came in, and then my husband who is also a film producer. Add the two fat cats, and we had the whole family in there listening. Please know that I am writing to inquire as to whether the film rights are available." The journey from the initial inquiry about film rights to filming has taken more than four years. Orr worked with Mazur on the first two drafts of the film script. During that time Orr visited Los Angeles twice. Finding that Mazur was so creative and also shared Orr's passion for the story produced an extraordinary working partnership and an enduring friendship. So captivated was Jodie Foster by the film script – so enthusiastic to play a role – that she approached Mazur. "Jodie fell in love with the script and pursued us. I was thrilled," says Mazur, with excitement in her voice as she recalls that initial contact. "And Abigail (who is 11) was thrilled by the idea of playing Nim. Nim has such universal appeal. There's not anybody who doesn't want to be her. "If Wendy hadn't written such a magical fairytale with such spectacular characters, there wouldn't be a film." One of the most refreshing things about the book is that the main character is a young girl – somewhat of a rarity in young readers' fiction. Nim does not chase adventure, but it certainly comes her way. And when it does, she cannot refuse a challenge. Free-spirited Nim lives on an isolated tropical island with her research-scientist father, Jack, a sometimes-mischievous marine iguana called Fred, a nurturing sea lion called Selkie and a sea turtle named Chica. Orr, who loves animals, explains the nature of the main animals in Nim's Island: "Fred is an adaption. He's based on a dachshund, not so much a marine iguana, although there's something appealing about saltwater spraying out of his head. "He's fiercely loyal, but he's greedy, and just a bit naughty. "Fred and Selkie are both Nim's friends. Fred is more like a pet, while Selkie is more like her nanny. "I don't know any sea lions, so again she's based on dogs with that real mothering thing dogs do if there's a small child in the family." Nim's contact with the outside world is limited to satellite-linked email and a barge that drops off supplies once a year. When Jack leaves the island for a few days, Nim quite unexpectedly begins email communication with her hero, the world-famous adventure-travel writer, Alex Rover, who lives in an apartment in a city on the other side of the world. However, when a violent storm threatens Nim's island – and renders her father's boat rudderless and delays his return – Nim must survive alone. With the help of her animal friends, Fred, Selkie and Chica, and through emails with Alex Rover, Nim faces her fears. It is a lesson not lost on the reclusive travel writer whose adventures, it turns out, are based upon rampant imagination. The recluse finally realises real life demands action. Alex Rover is compelled to leave her world of fiction to help Nim. In a twist of fate, perhaps destiny, the lives of Nim, Jack and Alex Rover become entwined. The delight of the story is the way it captures a part of each of us that would love to have adventures, to live like Nim: barefoot and free-spirited, open to and acutely aware of her natural surroundings. Nim spends her time on the island, sharpening her inquisitiveness, her resourcefulness and her playful demeanour. This young woman does not have wardrobe worries. Her essential gear is worn around her neck: a spy glass (for looking out to sea), a whistling shell (for calling her animal friends) and a pocket knife in a sheath. This is a book that draws in readers of all ages. It is beautifully written with humour, earthiness and stacks of emotion. We may not have had Nim's adventures, but all of us – children that we are, have been, or still are deep down inside – recognise the emotions. And emotions are central to Orr's writing. While many writers say they write out of their own experience, Orr reflects: "I think it doesn't have to be the facts about what you know, but that you have to write out of the emotion of what you know. So you need to tap into the emotions. The rest is imagination, and research." Orr says children write to her from all over the world. What they often connect with is the emotion. One child wrote saying he felt like Nim because he was living on a farm. "It was the isolation he related to," says Orr, who lives on Mornington Peninsula, in southern Victoria. Another child wrote worried that Nim needed a friend. When Orr began writing Nim's Island, she had the setting, the characters and the main drama in mind, but it was through writing a series of drafts that the story really developed. Orr explains her writing process takes time, "redrafting excessively" until she finds the story style. "Working out the style of Nim's Island took a long time," Orr says. "I actually thought it was going to be letters, then journals, but then it still didn't work. "But one of the things that changed was thinking about the story I wrote when I was eight about an orphan living alone on an island and really getting myself to re-enter that world, remembering how exciting that was, making oyster plates and things like that. "So I sometimes say that I wrote the first draft of Nim when I was eight. In a way that's true. That's when Nim really came to life, when I went back into those memories. "There were times however, when I wondered if I was going to write this book over and over for the rest of my life," Orr says, smiling as she pats her dog. "When I wrote the first few pages of Nim, in the format that they are now, I knew I'd found the voice, the style." These days Orr seems to get a lot more of the development of the story and the characters into her head before she commits pen to paper. Certainly that was the case with the sequel to Nim's Island, Nim At Sea, which was launched at Bulimba in Brisbane's east in July. And not unlike Nim's adventures, things didn't quite go to plan. When I arrived at Riverbend Books, Orr was sitting at the back of the shop signing books. The front counter was piled up with copies of Nim At Sea and Nim's Island. Rows of chairs were packed with children and their parents. Orr is popular with young fans, many of whom were happy to sit cross-legged and wriggle about up front. Suzy Wilson of Riverbend Books began the introductions, then made a surprising announcement. Paula Mazur who was supposed to launch Nim At Sea, had actually been marooned on a sandbar while scouting locations for the Nim's Island film. And the rescue vessel, when it finally arrived, had broken down. Not deterred by unexpected events, Murray Pope, a producer of Animalia, who had initially worked on the movie concept of Nim's Island with Mazur, stepped in and spoke with aplomb. When I chatted to him later, Pope said it was Nim's imagination that he had found so riveting, and this, in part, had inspired Mazur and him to believe that it would make a wonderful film. Finally Orr's moment in the spotlight arrived. She spoke with joy and enthusiasm, reassuring her young fans that Nim would always find her way out of trouble. She then read a piece from Nim At Sea. At the end there was a flurry of questions from the cross-legged brigade sitting on the floor. Hands were popping up in the air, children were bursting to ask the author a question or to have her talk to them. But again things did not go to plan. Just when the microphone started working properly, one child who shared Orr's love of animals, and had possibly been inspired by Nim's imagination, went way off course and told the author about his guinea pig's bowel habits. Orr was not the slightest bit fazed. And the author was delighted when, just before the end of proceedings, Mazur's daughter, Lulu, jogged in. The 15-year-old hugged Orr, then delivered her mother's story of finding the book. As I write, Orr is in the Gold Coast studios with her husband, Tom, and Nim's Island illustrator Kerry Millard. Not content to simply watch, all three will be extras in the movie. When I asked Orr how it felt to have one of her books turned into a movie, she responded: "It's like winning a literary award. I feel the same way I did when Ark in the Park won the CBC Book of the Year (for junior readers) or when Peeling the Onion was on the American Library Association's Best of the Best List – the best 100 books for young adult readers in the past 50 years – a combination of realising that people love and believe in the book enough to award it a prize, or to invest their money in it, and the thrill of having my book stand beside some of the great names in youth literature." Orr and her Australian publisher, Allen & Unwin, believe that Nim's Island may be the first Australian children's book to be made into a major international movie. Before the movie deal was signed, Nim's Island had been published in five countries, and by the time the film is released it will have been translated into at least nine languages.
  8. Believe me hon, if i could get them in a larger size right now without a darn watermark straight through his face, I would - and then i would post them asap
  9. Stef with an F

    Pet Photos

    oooh gushing about fur babies?! i'm all for that My sweetie is Evie, she's a real mommy's girl. She's about 2 years old now and we got her from the spca in 2005, so she's a mutt. she's absolutely hilarious with her antics (she can be quite jealous of my laptop) and is also a real cuddler (she's practically laying on top of me right now as i type hehehe). I just love her. Here's Evie (on the left) with her "cousin" Lucy (my sister's doggie, on the right), they're both getting petted by my grandpa
  10. awwww thanks sweet swannie! it's been a crazy summer for me and these past few weeks have been insane... so i have been very MIA. thank you again for your sweet message, love ya back.... tnlw of course stef
  11. Hey sweetie,the exact date and location are still being worked out... also the place to sign up doesn't exist yet LOL i have to carve time into my schedule to actually make the site for it. keep an eye on this forum for details - they'll be released to you all as soon as it's possible. stef
  12. http://www.abqjournal.com/abqnews/index.ph...0&Itemid=52 Written by Dan Mayfield There must be something about the movie “300” and Albuquerque. First, we hear that “300” producer and writer Frank Miller will come to the Duke City to direct his new film, “The Spirit.” Now, we hear that one of the stars of “300,” Gerard Butler, who was King Leonidas in the film, will be here to film his new film “Game.” What’s bringing them here? The Albuquerque Studios, said “Game” filmmaker Brian Taylor. “The studios are large enough. They’re like 58 feet tall, bigger than the studios in L.A. we did our last movie at. We need the space to be safe and we can do it. “It’s a crazy action.” His last movie was the action thriller “Crank.” This movie, however, is an action flick with lots of explosions, car chases, bullets flying and fight scenes. “It’s a lot about control. It’s set five minutes in the future about a guy who’s wrongly in prison and needs to get back to his wife and daughters,” said Taylor. The crew scouted the state last week and found just what it was looking for, Taylor said. “New Mexico is a beautiful place and between Albuquerque and Santa Fe and the booming film industry, we were down there last week and we scouted, we were surprised at all the locations that looked West Coast, or East Coast, or urban.” But it was the giant Albuquerque Studios complex that piqued his interest. Cool. Blowing stuff up always makes for a good film. Producer Skip Williamson from Lakeshore Entertainment said, “We did a little bit of scouting around and every 20 minutes there was a different landscape and that caters to what we do as filmmakers.” Plus there’s lots of room to blow stuff up. The production crew will start setting up shop at Albuquerque Studios soon, and in a loft Downtown. Filming will be from Nov. 5 to Feb. 5, though the producers will be here by mid-September. “We have lofts Downtown. We don’t want to tell you where, ’cause all the girls will chase Skip around,” said Taylor.
  13. http://www.manntheatres.com/premieres/upcoming.php http://www.seeing-stars.com/Calendar/index.shtml#premieres Date: December 9, 2007 Time: TBA (arrivals are likely to start between 5 PM and 6:30 PM) Movie: P.S. I Love You Distributor: Warner Bros. Location: Grauman's Chinese
  14. ***warning - contains possible spoilers*** from http://viva.com.ph/movies/comingsoon/index...movieno=56#desc Neil and Abby Randall are a happily married couple living in the Chicago suburbs: Neil, an ambitious advertising executive, Abby, a housewife, bringing up their five year old daughter, Sophie. The weekend of Abby's birthday - but Neil can't be present as his boss has invited him to spend it at a remote country lodge outside the city. Anxious not to jeopardize his chances of a partnership in the firm, he reluctantly agrees to go - on condition that Abby has a day out with her best friend. A babysitter arrives and Neil sets off in their Range Rover, Abby at his side, before he drops her at the friend's along the way.... Relaxed in each other's company, they reflect on how far they've come, their plans for the future, how everything in their life seems to have come good - and someone else agrees... Ryan, the man who has suddenly slid up on to the back seat of the car, a gun in his hand. The man, who, together with his accomplice, has just kidnapped their daughter - her tiny, terrified voice echoing from the cell phone he holds to Abby's ear... In the blink of an eye Neil and Abby's safe and secure existence is turned upside down, and they are at the mercy of a man who wants only one thing - that over the next twenty four hours they are totally under his control. They will do his bidding. On a perfectly normal autumn day in the city two people are about to be put through hell, their fellow residents unaware of the silent terror unfolding in their midst. One day in which the phrase 'I'd do anything for my kids' is put to the ultimate test - as Neil and Abby's finances, career and lives are dismantled and destroyed piece by piece... Day turns to night and they head out of the city. Neil and Abby realize that everything had been building to this moment. That their nightmare is about to take its most deadly turn: They will have to face Ryan's final, horrifying challenge - would they kill an innocent man to save their own child? In the far distance, a solitary light burns in a window of the lodge as the car glides to a halt - and Neil knows it is a question only he can answer - when Ryan hands him the gun... While Ryan waits in the car with a terrified Abby, Neil makes his way through the shadows, his mind racing. Not only with the prospect of the appalling choice ahead of him, but the knowledge that the person inside the lodge is not his boss. Because Neil had been keeping a secret: A secret which links them all - to produce a climax that could never have been predicted - and will not easily be forgotten...
  15. http://viva.com.ph/movies/comingsoon/index...movieno=56#desc ‘Who breaks a butterfly on a wheel,’ first written by poet Alexander Pope in 'Epistle to Arbuthnot', is an expression which signifies the destruction of a delicate creature with brutality. The saying has come to represent applying excessive effort to accomplish a small matter. Here the butterfly is Neil Randall, played by Gerard Butler, a man with everything: looks, charm, success, on the fast track to the top. He is married to Abby (Maria Bello), who is the perfect mate, both beautiful and compassionate, a good wife and a good mother to their only child, five-year-old Sophie. While their life together has all the caché of good fortune, Abby endures a life of quiet desperation not uncommon to the wives of ambitious men. Her small, personal disappointments, often overshadowed by Neil’s greater triumphs, are dismissed in light of their shared prosperity. And that is how they carry on until a man named Ryan appears from out of nowhere. Like an avenging angel, he takes the one thing they both hold dear, young Sophie, and exacts a terrible price for her safety - 24 hours of complete control over Neil and Abby’s lives. With bloodless precision, Ryan dismantles everything they have worked towards. Clearly, he wants revenge, but who is he and why has he targeted this family? By the time their ordeal ends, the relief is punctuated by a self-inflicted twist of the knife. SHATTERED is an idea born at the hands of screenwriter and UK producer, William Morrissey, who teamed up with director Mike Barker (Best Laid Plans), both of CAA. When CAA brought the project to the attention of Irish DreamTime, Pierce Brosnan’s production company with long-time producing partner Beau St. Clair, they immediately saw the potential of SHATTERED, both as a rare thriller which opts to challenge audiences with psychological tension, rather than outright violence, and as a innovative turn in Brosnan’s long and successful acting career. The package then found its way to Producer William Vince and Executive Producer Dave Valleau of Infinity Features, the rainmakers behind the Oscar-winning biopic, Capote, who had previously worked with Brosnan and St. Clair on their period drama, Evelyn. Next, the producers brought in Icon Entertainment International as a partner and the Canadian-British co-production was complete. 'In the same way that certain actors play against type, we produce against type,' says Producer William Vince, comparing SHATTERED to Capote. But it was Capote which taught Infinity exactly how high the bar could be raised, which was what they are aiming for in SHATTERED. 'The distinct appeal of this film is that it’s a cautionary thriller, thought provoking without needing to be preachy, and written so it requires very little expository so the plot throttles down, driving forward, picking up momentum at every turn.' For Vince as well as for Executive Producer Dave Valleau, choosing a project is often as much about the people involved as it is about the script. Both men agree that Bill Morrissey had put such passion into his script and his energy was so high, that it became contagious. 'This is a bracing thriller and a powerful ride. It hasn’t been done before exactly like this,' observes Executive Producer Dave Valleau. 'After you read it the first time and know the outcome, you go back to read it again, looking for all the clues. The mechanics and the logistics of it are airtight and Bill Morrissey has done an amazing job refining the story, ratcheting up the suspense. I especially think this film is going to spark a lot of conversation between viewers afterward. The underlying issues are contemporary, issues that everyone faces, but few ever allow themselves to react to them openly. With Mike Barker as the director, a man who excels at twists and turns, combined with this cast, SHATTERED packs a powerful punch.' Pierce Brosnan and Beau St. Clair teamed up to form their Los Angeles-based production company, Irish DreamTime, in 1996, with SHATTERED marking their sixth project together. 'Bill Morrissey came in with the script and Mike Barker attached as the director, and we got on with them very well,' says St. Clair. 'It really is a freight train of a story, a rock-and-roll thriller with Hitchcockian underpinnings. The character of Ryan, so enigmatic and humourless, is like nothing Pierce has ever tackled before, which was the first step in making this happen.' For St. Clair, that counterpoint of character is constructive in balancing the ‘Bond effect’ on Brosnan’s career. 'When Pierce (as Ryan) hijacks these people’s lives, holding them hostage by putting their child’s safety at risk, he’s chilling,' St. Clair continues. 'The idea of these three robust actors, Pierce, Maria and Gerard, trapped in a car together is potent stuff. Their performances create an equilibrium of tension, where the wrong move would have catastrophic repercussions. It wouldn’t work at all if Ryan was terrorizing two fragile people. In a thriller, audiences want to be taken for a ride; they’re looking below the surface and trying to get ahead of the plot. The thrill of the ‘ride’ comes from the force of each character being placed in an untenable situation where the outcome is unpredictable.' The Creative Team of William Morrissey and Mike Barker 'I wanted to give the audience something they weren’t expecting,' explains screenwriter William Morrissey. And indeed, he has delivered a narrative charged with tightrope-walking tension, finely calibrated without being calculated. The character fuelling the action is Ryan, an antagonist who seems like he always wins the game of chicken because he’d enjoy a head-on collision. 'I wanted to create something that on the surface had all the elements of a good, solid thriller,' Morrissey explains, 'But by the end reveals itself to have been far more than that. So that as the story reaches its climax it rises to another, more powerful, level.' For Morrissey, the key is creating a situation in which the audience would constantly wonder what they would do if they found themselves in such horrific circumstances. 'Neil and Abby have 24 hours with a kidnapper who is holding their daughter’s life in his hands. They have to do everything he tells them to do. It’s easy to say you’d do anything for your child, because you’re never likely to be in that position. But what if you were? How far would you actually go?' Director Mike Barker has worked with Morrissey extensively on this project and the partnership is successful because, to Barker’s way of thinking, while the plot comes from the writer, the performances and pace come from the director. The suspense is a balance of the two elements, dialogue and the visual, which is a nod to Hitchcock, blended so it has audiences asking, ‘What will happen next?’ 'We had to lay in a series of diversions, to keep the audience engaged in the process of the puzzle, but Bill, the writer, is a very clever guy and he’s made them all legitimate because otherwise it is cheating. And the audience won’t stand for that.' Thrillers are all about precise timing and Barker settled on starting SHATTERED on a calm, domestic note to establish life as it is supposed to be, and 'as the film heightens, the shots are tighter, edgier and darker, more hand-held, more desperate. The challenge was to make sure the relationship beats are all tied up and all of the double meanings stay real.' To do this, Barker works closely with his Director of Photography, Ashley Rowe. 'The camera is static at the beginning of the film and the actors move about within frame,' says Rowe. 'As the plot moves forward, the camera picks up speed as well, first on a dolly and then hand-held. The pace becomes more frenetic and the number of cuts increases, and this increases the sensation of confusion. By the resolution of the story, we come back to static wide-angle shots.' Wide-angle lenses allow the character to be dominant in the foreground without losing the context of the environment. 'This way,' Rowe explains,'you feel very present, almost as if you are inside the character’s head, traveling with that person.' The lighting, a subtle component of filmmaking, is kept to a minimum, relying largely on glass, reflective surfaces, water, mirrors and chrome. 'The poetry to this is that if Neil were to really look at his reflection, he might see himself for who he really is.' The Butterflies and The Wheel In addition to playing the lead role, Pierce Brosnan, is also one of the producers of SHATTERED. Discussing the dynamic of the story, he says, 'These are three desperate people, three passionate people, three people who have been hurt by life. At the beginning, all you know about Ryan is that he’s a madman – possibly a terrorist, certainly menacing, but definitely in great pain. There is an extensive power play in this story and who Ryan is quickly becomes secondary to what Ryan wants – that is until his son unexpectedly appears. This momentarily humanizes Ryan, but doesn’t explain why he is destroying the Randalls’ life.' While Brosnan has ably covered the action/adventure genre, this is his first bona fide thriller. 'I am certainly at a point in my career where there are no holds barred. I’ve left the safe shores of playing one of the most iconic legends in cinema, Bond, and wondering where I go from here is exhilarating. SHATTERED fits because I’m always looking for parts which are the equivalent of a sharp left turn. You have to remember how you started in the business and the essence of what a good actor is.' Touching on his early training as a stage actor, Brosnan notes that the script plays out like a one act play with long pages of dialogue in many scenes, a sentiment echoed by the other lead actors. But the emotional content of the story is treacherous. 'This piece was not the most comfortable thing I’ve ever done. It required going into an uncomfortable arena. You’re dealing with a character who has profoundly serious issues and he is acting out his revenge fantasy. But I’m going into this with Maria who has been hitting her stride these last few years. She has always been passionate about this story. And Gerry is an excellent counterfoil for my character. It’s good; we have a Paddy and a Scotsman in the cast. I like that. He’s very strong in his role. Once they came on board we had a game plan; we had a solid movie.' By all accounts, Maria Bello was the most natural choice for the role of Abby Randall. For Dave Valleau and William Vince, it was her work in History of Violence and The Cooler which established her prowess. 'She’s on top of her game,' proclaims Vince. Brosnan and St. Clair declare she is in peak form. For Mike Barker, Bello is an actor in the truest sense, a proper working actor. For Bello herself, Abby is a character that speaks to her on a variety of levels. 'I can’t intellectualize why I take a part, but I read this script a year and a half ago, and it was riveting. I immediately called my agent and said I wanted it. My character, Abby, can’t fit in the box which her husband, Neil, has made for her. She’s given up her pursuit of photography, she has devoted herself to raising their 5-year-old child, but something is wrong. She’s nothing more than a prop with a heartbeat and that creates a certain rage in her.' *** 'I can relate to that rage, and it’s fun to unleash the inner animal,' says Bello. 'In some ways this film is a simple thriller and in other ways, it’s deeply psychological. There is a void that exists in all of us, we work our whole lives to fill it with whatever were told is supposed to fill it and when it can’t be filled, we try harder, but it remains this empty void.' Abby’s motivation is subtext. 'I am playing her deep,' she continues, 'but thankfully, I am working with two brilliant actors who bring everything to the table. They are both so present in who they are in their characters, so reacting from that place I find a depth and a meaning to everything we are doing.' Bello was enchanted by the opportunity to work with Brosnan. 'He has such depth of character. I’m inspired by him as an actor and as a human being. He’s allowing himself to grow and change and become and experience. I will miss him terribly when we are done.' While the script pairs Butler and Bello as man and wife, in reality, they have become fast friends. 'I adore Gerry. We were such partners in this. We had to really show up for each other in a huge way. I have never worked with someone who has shown up as much as he has. He brought himself fully to every single moment.' *** Casting the role of Neil Randall was the wild card. It was the Scottish actor, Gerard Butler, whose work on Dear Frankie prompted the decision. Executive Producer Dave Valleau finds that Butler brings an intriguing chemistry to the part because his good looks make the arrogance of the character seem appropriate. At the same time, Butler has an infectious charm which makes it easy to sympathize with his character and therein lies the precarious contradiction of Neil Randall. 'I love Gerry,' says Barker. 'He is so 110%. He’s an incredibly handsome guy and we put that to good use here by playing hard against it.' Butler, very happy to be out of chain mail (300) and into the 21st century, had been itching to play a 'regular, American guy. Lately, I’ve been playing characters with power and authority, so this is a complete about face. Not only does Ryan completely control Neil, he emasculates him. This really tore me apart emotionally and physically; the whole kidnapping process turns Neil inside out, starting off as the accomplished, confident, charming guy and ending up a physical and mental wreck in the space of 24 hours. I’ve never seen anything before like this in a script. The absolute fear, frustration and madness of it all was enough to keep me going.' What also keeps Butler going are his co-stars. 'Pierce is my boy,' he proudly proclaims. 'It’s been a real honor working with him. From the second I met him I realized he had this incredible energy. He’s a good, decent, moral person, but he’s a wild boy and I love that. Whenever we did scenes together, we two Celtic boys, it was madness. We were like two big kids together. And Maria really brought my game up, she’s an incredible, incredible actress and a wonderful human being and I think we have the same soul. We share the same passion and love and craziness and fear and we put it into our work and we really understand what’s beautiful about that.' The mutual admiration between Brosnan, Bello and Butler runs much deeper than their respective nicknames for each other: PB, MB and GB. Two months of tight quarters and a script packed with emotional strife proved exhausting for these three actors who came to rely heavily on each other for creative sustenance. 'The challenge was surviving the constant anxiety of this story, but at the end of every day, it was completely fulfilling,' says Bello who nurtured her co-stars and crew with home-cooked soups and cassoulets which she would bring to set. 'We’ve been beating each up for eight weeks and trusted each other so much that we allowed the rage to come out. We all have our bumps and bruises from this - even broken ribs. I’ve gone to emotional depths I’ve never gone to on any other movie. And I couldn’t have done it without Pierce and Gerry.' The Psychology of Creating Visual Tension Production design for a thriller is a subliminal task which has to follow, beat by beat, the emotional pacing of the film. 'It was a fantastic preproduction on this,' says Production Designer Rob Gray. 'Mike Barker, Cinematographer Ashley Rowe, and I all had a good understanding of where we wanted to go with this, how we wanted it to look and how we wanted it to move.' When Gray first met with Barker, they compared notes, specifically the slide show of images Gray had prepared which heavily overlapped with the style book Barker had been assembling. In particular were images by the photographer, Philip-Lorca diCorcia, who made his name shooting meticulously choreographed scenes from daily life. Most significantly, his work projected a sense of the solitude and introspection within the bustle of the city which lent itself exactly to the film. 'Because so many scenes involve the actors trapped in the car, much of the design is the exterior world around them, a world oblivious to the nightmare that is talking place for these people,' explains Gray. That contrast is a point of high anxiety. To be so achingly close to rescue and yet, separated by nothing more than a car window creates a diabolical sense of helplessness. 'This is a fishbowl, and all the designs emphasize windows offering the ability to look out or to look in. To me, this is also a metaphor for Neil who certainly doesn’t understand that he is transparent.' Working on a more nuanced level, the fishbowl motif is repeatedly played out with an emphasis on reflective surfaces built into each set with even the streets wet down for the night shoots. One part of the story is told through a piece of mirror, then moving off the mirror and into reverse frame. On another occasion, the camera looks through four layers of glass. The story is set in Chicago, a city known for its sublime architecture and sculpture. The landmark buildings of the city are incorporated to contribute to the intoxicating world of Neil Randall’s reality prior to Ryan’s appearance. 'It’s a very strong, masculine city,' states Gray. The outstanding Corn Cob buildings, Millennium Park, the Wrigley Building, and the classic Mies van der Rohe buildings, even the set built for Neil’s office, all represent dynamic success.
  16. http://www.canmag.com/nw/8789-ps-i-love-you-poster Any time we have an update on any film featuring Gerard Butler I like to point out how, what's the best word, strongly-opinionated his huge, mostly-female fanbase is. Yes, us guys have learned to appreciate him in films like 300, Beowulf & Grendel and Phantom of the Opera, but it is the lady audiences who absolutely adore him. So here he is again and this time he is satisfying the ladies with a chick-flick, sorry, romantic drama with Hilary Swank; who I have no doubt jealous (and very female) Butler fans have already nicknamed Hilary Skank. Movie Poster: P.S. I Love You Holly Kennedy (Hilary Swank) is beautiful, smart, and married to the love of her life—a passionate, funny and impetuous Irishman named Gerry (Gerard Butler). So when Gerry’s life is taken by an illness, it takes the life out of Holly. The only one who can help her is the person who is no longer there. Nobody knows Holly better than Gerry. So it’s a good thing he planned ahead. Before he died, Gerry wrote Holly a series of letters that will guide her, not only through her grief but in rediscovering herself. The first message arrives on Holly’s 30th birthday in the form of a cake and, to her utter shock, a tape recording from Gerry, who proceeds to order her to get out and “celebrate herself.” In the weeks and months that follow, more letters from Gerry are delivered in surprising ways, each sending her on a new adventure and each signing off in the same way: P.S. I Love You. Holly’s mother (Kathy Bates) and best friends, Sharon (Gina Gershon) and Denise (Lisa Kudrow), begin to worry that Gerry’s letters are keeping Holly tied to the past, but, in fact, each letter is pushing her further into a new future. With Gerry’s words as her guide, Holly embarks on a touching, exciting and often hilarious journey of rediscovery in a story about marriage, friendship and how a love so strong can turn the finality of death into new beginning for life. P.S. I Love You opens to theaters on December 21, 2007.
  17. http://www.obsessedwithfilm.com/movie-news...t-300-movie.php Anyone else interested in Gerard Butler’s career post-300? He’s probably the biggest star that has been made this summer and was snapped up for half a dozen parts, all varied and interesting after his role in the Spartan epic. His role in the upcoming drama P.S, I Love You though is not one of those movies as this was greenlit well before 300 came out in theatres. The movie based on the book of the same name from Ceceila Ahern (which my girlfriend and my mum really like) follows Hilary Swank as a happily married women who has to move on with her life when her husband played by Gerard Butler, dies of illness. Before her husband died, he secretly wrote her some letters that will guide her through his loss and allow her to rediscover herself. I always think of this movie along with The Lovely Bones as they both have very similar themes and plots. This one sounds a little fluffier though (it doesn’t involve the rape and murder of a young girl for a start) and doesn’t have the fantasy elements of being from the point of view of someone in Heaven. Supporting roles are filled by Kathy Bates, James Marsters, Lisa Kudrow and Gina Gershon, with a release date of December 21st set in stone. Poster is below thanks to Rope of Silicon. You really wouldn’t think Butler is going to croak it from this poster would you? It looks like the poster for a rom-com rather than a serious drama but oh well, maybe Warner Brothers know what they are doing.
  18. really? I had no idea, i never saw the pic before it was sent to me. i'll look into this. stef edit: i removed the pic from the gallery until i can confirm if it's a manip or not. thanks!
  19. from Poptart - thank you for allowing us to post this pic! stef edit: i removed the pic from the gallery until i can confirm if it's a manip or not. thanks!
  20. http://www.ropeofsilicon.com/news.php?id=7019 Thanks to 'ButlerGAL' we have been informed that the official site for P.S. I Love You starring Gerard Butler and Hilary Swank has gone online and also offers our first look at the poster for the flick. In P.S. I Love You Holly Kennedy (Swank) is beautiful, smart, and married to the love of her life—a passionate, funny and impetuous Irishman named Gerry (Butler). So when Gerry's life is taken by an illness, it takes the life out of Holly. However, before he died, Gerry wrote Holly a series of letters that will guide her, not only through her grief but in rediscovering herself. Check out the poster below and look for P.S. I Love You in theaters on December 21.
  21. http://www.abc.net.au/news/stories/2007/08...n=entertainment Queensland's Environment Protection Agency (EPA) says filming next month on the world heritage listed Hinchinbrook Island is to be strictly managed. Cast and crew of the movie production Nim's Island will arrive in north Queensland towards the end of next month. The film, based on Wendy Orr's book, tells the story of a young girl who lives on an isolated island with her scientist father. The cast, including Jodie Foster and Abigail Breslin, have already begun work on the Gold Coast but the production will move to Hinchinbrook Island for two weeks from September 24. The EPA says the Queensland Parks and Wildlife Service has not yet provided a permit for filming, but it has had lengthy discussions with the production's location manager and environmental consultants. A spokesman says use of the Island will be limited and strictly managed and the agency is confident the production will not impact upon the island's world heritage values.
  22. a few new ones - tomorrow is the release date for the movie in Israel. thanks to Ann for sending me the pics.
  23. http://www.boxofficeprophets.com/tickermas...g.cfm?TMID=1941 Let's say for example that your father is the leader of your country, the equivalent of a prime minister. There is no way for you to perform an equally impressive feat in your 20s, right? I mean, come on. The dude determines the laws of the land. The only way to top that would be performing some accomplishment like, say, writing a book that becomes an international best seller by the time you are 21. I mean, that's impossible. Well, it should be, but some overachieving woman named Cecelia Ahern somehow did just this. The daughter of Bertie Ahern, the Taoiseach (read: prime minister) of Ireland, this author wrote PS: I Love You, her first novel, when she was barely into her 20s. Within a year, it had become the most popular Irish novel of its time, staying at #1 for a J.K. Rowling-esque 19 straight weeks. It also became a bestseller in several other European countries as well as the United States' and again, she did this at the age of 21. Don't you just hate a show-off? Given the international success of PS: I Love You, a theatrical adaptation appeared certain. The only questions would be who would star in it and how long it would take to go into production. The latter answer is only a couple of years after American release. The former answer is Hilary Swank. She re-joins director Richard LaGravenese on the project. The two of them previously worked together on the early 2007 feel-good production, Freedom Writers, a $36.6 million hit for Paramount Pictures. The two-time Academy Award-winning actress will portray the story's heroine, Holly Kennedy. She is a recently widowed woman who was married for seven years before her husband, Gerry, developed a brain tumor and died. Given the methodical nature of his illness, Gerry managed to figure out a way to speak to his beloved wife from beyond the grave. He mails out a package to his wife that will not be received until after his death. Included in the package are a series of ten letters that are intended to lessen his wife's suffering and give her the strength to carry on in his absence. Holly is instructed to open one letter a month, giving her a reason to want to carry on for a few weeks at a time. If she chose to end her life, she would never know what the rest of the letters said. PS: I Love You is considered to be one of the most romantic novels since Bridget Jones' Diary. That's the type of potential appeal this project had before filming began. The only problem was that Swank's male lead actor was no Hugh Grant or Colin Firth. He was an unheralded whose biggest role to date had been as Dracula in the mediocre performer, Dracula 2000. Then, he landed a role in a comic book adaptation named 300, and Gerard Butler suddenly went from complete unknown to beefy superhero star of a $208 million blockbuster. His presence as a romantic lead here is still something of a gamble, but it also elevates P.S. I Love You into the 'potential blockbuster' category. (David Mumpower/BOP)
  24. I've found pics from the premiere, but no GB... will keep looking
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