Showing posts with label golden globes 2013. Show all posts
Showing posts with label golden globes 2013. Show all posts

Jodie Foster delivered Golden Globes

So what exactly was it that Jodie Foster did at the Fantastic Bulbs on Weekend night? Did she come out of the wardrobe without actually saying she was arriving out of the closet? Did she declare her pension from acting? Was she creating the situation for superstar comfort in the most community community imaginable?

The response to all of the above is: maybe, and I think the misunderstandings was deliberate, hopeless, and nervy on Foster’s aspect. The six-minute-plus conversation the superstar provided upon getting the Cecil B. DeMille Life-time Accomplishment Prize was as significantly individual as we’ve gotten from her or likely ever will get. That it was psychological, at factors borderline incoherent, is easy to comprehend. She was simultaneously dealing with a space complete of best buddies, her ex-partner, their two kids, a country of busybodies, and a lifestyle that is dependent to both “celebrity” and “reality” without having a company hold on what either of those constructs indicates. The conversation organised thousands while hardly having itself together.

Yet it also came in the perspective of a much-discussed “new casualness” about details of sex-related alignment, where superstars like Honest Sea or Anderson Cooper can discuss they are gay and it’s no big cope to anyone except, naturally, the press. The post-game respond to Foster’s declaration/not-declaration has, naturally, been all over the map. Big whoop, we always presumed you were gay and why did not you say so 20 decades ago when it would have created a difference? Or: Emphasize me again why we should experience consideration for wealthy, effective Celebrities, especially ones who stroll through gates others have opened? Or, from those in the enjoyment market or near to it: Thank you for baring your skilled, conflicted spirit. Foster’s other superstars wept, praised, tweeted. (@Ricky_Martin: “On your conditions. It’s your time! Not before or after. It’s when it seems right!” @Rosie [O’Donnell]: “A rather awesome conversation.” @kathygriffin: “Well done, woman.”)

To really parse this particular pop time, though, you have to take a take a phase returning and know what creates Promote exclusive as an superstar and, more essential, a community personality. If there is only one term that has always described her, it is “professional.” Promote has never been a sob sis or a queen, a glamourpuss or a popularity girl. Our understanding of her, appropriate or not, is that she is all about the perform. We brand her individual reticence a level of “class” and, along with other craftsmen like Meryl Streep, determine Promote the position of an anti-Kardashian of recent popularity. Yet we still get rid of to know. The double-edged blade of superstar lifestyle is that we want to both ennoble our superstars and understand their unclean little tricks, especially the ones we think they are trying to cover up.

At the same time, Jodie Foster has long been invested in maintaining her privacy, to an extreme unusual for public figures. (And here she might possibly say, well, I’m an actor who gives public performances, but that’s not the same thing as being a public figure. My characters are yours for consumption, but I’m not.) It bears remembering that the star was 18 in 1980 when John Hinckley, a young man obsessed with her performance in the 1976 movie “Taxi Driver,” tried to assassinate President Reagan to prove — actually, it doesn’t matter what he was trying to prove, he was insane. The global media descended on Foster, then a student at Yale, and imprisoned her in a news story she had no choice in joining. Aside from a 1982 article in Esquire, she has rightly refused to discuss the incident. Why should she? Who she really was had nothing to do with the Jodie Foster in Hinckley’s head. And the press made very clear which Jodie Foster it was interested in.

Foster is a rarity: a movie star who resists being locked into a public image.

That alone would make a young woman paranoid about attracting attention; now factor in that Foster had been professionally acting since she was 3 and — based on the roles and movies she chose at the time — appeared to be going through a very natural re-evaluation of who she was as both a person and a performer. On top of that, factor in her sexuality, which was nobody’s business to begin with and would have been a radioactive subject in the closeted 1980s.

So Foster has been and remains shy about herself as a public persona while living a reasonably open life as a person within the larger entertainment community. And it has been a mark of the respect we have granted her — because of the trauma of the Hinckley incident, because of her no-nonsense skills as an actor and director — that the culture has allowed her to maintain the duality. On some level, we just don’t care, because the bargain we make with Foster is that her fierce, committed performances are enough, and that if she’s not going to sell herself with sex — which 99 percent of movie stars do as a matter of daily business — we’re not going to insist she do so.

It’s harder to maintain that position as a public figure when the culture’s homophobia is gradually thawing around you, though, and Foster has over the years been called out by activists for not making an overt public proclamation of her assumed sexuality. She did so within the castle walls of the Hollywood creative community, praising her then-partner, Cydney Bernard, at a 2007 industry event. But until the Golden Globes speech, she had no interest in engaging us, the consumers. Maybe she was terrified of being consumed.

Still, when does the need for privacy become an act of hiding? What does a public figure owe to her public, to the culture wars, to people like her? The sphere of persona around Foster has prompted these questions even as she has seemed unsettled, uncertain, or uninterested in addressing them. She is a rarity: a movie star who resists being locked into a public image. That’s a culturally perverse stance, and one with which you can argue all day, but it’s also her right as a human being. Thus the Golden Globes dodge, “I’m . . . single.” Whatever else we hear from Jodie Foster on a podium, you can almost guarantee it won’t be the words, “I’m gay.” That would be to play the game by the media’s rules rather than hers.

The irony is that Foster is articulate as hell in person, with a wicked sense of humor about herself and a mind that never stops clicking. I’ve interviewed her during movie publicity tours; you can’t shut her up. She loves talking about the process of filmmaking and about creative relationships on and off the set. She doesn’t care what you think of Mel Gibson; he’s her friend and that’s that. And when we spoke prior to the release of her most recent acting-directing effort — that brave, foolish movie called “The Beaver” — she allowed that if she were 18 all over again and knew what she knows now, she probably wouldn’t choose to be an actor. That everything you give isn’t, in the end, worth what you have to give away.

So maybe her speech was about coming out of the closet, as far as she thinks we deserve to know. And maybe she is calling it quits. Probably not; backstage after the speech, Foster told the press that she’d never stop acting entirely (“You’d have to drag me behind a team of horses”) and that she intends to focus increasingly on her efforts behind the camera. She’s a professional, after all.

Maybe that speech was just a way for Jodie Foster, the person, to finally fire Jodie Foster, the star.

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Golden Globes 2013 handful to watch

The Fantastic Bulbs wedding is famous for its casual, bacchanal features and criticized for its little, less-than-Oscar-like voting system. But when the wedding sneakers off on NBC Weekend evening, it will provide some meaty prizes tale collections, both for the Bulbs themselves and the period that carries on after the display finishes. Herewith, a few to look at.
Picture ideal. Often it’s best dilemma that holds all the interest at the Bulbs, since that confirms a front-runner for the Academy prizes. But “Lincoln,” which is a preferred to win best dilemma at the Bulbs, is already an Oscar front-runner. The juice comes with comedy/musical, where “Silver Designs Playbook,” an Oscar competitors to “Lincoln,” is selected at the Bulbs. If the Bob O. Russell dramedy can take off the win this evening, it will identify itself as a strong substitute to the Spielberg record item. If “Silver Linings” cannot disappointed “Les Miserables,” the preferred in their Bulbs classification, “Lincoln” will even further expand its Oscar cause.

Actress activity. Jessica Chastain is a preferred at both the Bulbs and the Academy prizes for her convert as a headstrong CIA broker in enemy manhunt pic “Zero Black 30.” But to win the World for best dilemma celebrity she will have to vanquish four stars of the kind Bulbs voters love: non People in america with strong cvs (non-Americans have won as often as People in america in this Bulbs classification over the last six years). Marion Cotillard, Sue Mirren, Naomi H and Rachel Weisz are Chastain’s competitors, and any of them, except maybe Weisz, has a affordable taken of getting the award. That would be a strike to Chastain's Oscar possibilities, though she will stay the front-runner.

Directing traffic. The Hollywood Foreign Press Assn. can go its enjoyably wacky way in a lot of categories. The director award is no exception — last year the HFPA handed it to Martin Scorsese for “Hugo” (it's given awards to Scorsese and Oliver Stone pretty much whenever those guys make a movie). Spielberg is the odds-on favorite here, as he is at the Oscars, but it wouldn’t be surprising to see the HFPA jury-nullify with a Bigelow or Affleck after they were snubbed for Oscar nominations. The HFPA could also give Quentin Tarantino in the Weinstein Co.-distributed “Django Unchained” the prize. No one's talking about him for awards consideration -- exactly the way the HFPA likes it. Also, it's Harvey.

Foreign fun. An area the HFPA knows well by dint of its membership. (It’s also an area they’ve gotten back on the same page as the Oscars in the last two years after five straight years of diverging.) The big question is whether “Intouchables,” a global blockbuster that didn’t make the Oscar cut, achieves its revenge. The HFPA can go French with “Rust & Bone” too. Expect one of the two -- and another year when the Globes diverge from the Oscars -- though Michael Haneke's "Amour" isn't out of the running either: The HFPA gave this prize to Haneke the last time he made a movie.

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Taylor Swift

Keep it to Taylor Swift to do something as completely organized out as launching her newest songs video video, "I Noticed You Were Problems," on her wedding. What creates it even more gratifying is the point that it happens to be the discharge of her Twenty third songs video video losing on her Twenty third wedding.

Except she type of didn't recognize it all exercised like that until now.

"It's like a fantastic video video wedding. I pointed out that like five moments ago when someone informed me and now I'm all thrilled about it," she informed MTV Information during the newest show of "MTV First." "I can't believe it covered up like that."

Taylor Swift Gets A Golden World Nod For Her Birthday! And, among all her video clips she is decreased so far over the course of her profession, this newest video video is her preferred. And, her description for she likes it so much, also functions as a kind of Coves Notices as to what goes down in the Anthony Mandler-directed video.

"I think that this video video is my preferred right now just because I've never had video clips video that was so action-packed, where it's like 'Oh my god! They're battling, now they're in a resort and now he's like getting a body art, and now like there's a talk, and then there's a show and he's getting another lady and there's all this things going on. It's crazy, like he's generating. Discomfort he status up and driving?' It's just like fast-moving, just like the music," she said, also displaying really like to her bad boy co-star Reeve Carney. "And I think the acting professional who unquestionably guy in it video, Reeve Carney, is like one of the most awesome, skilled individuals I've gotten to be around."

Taylor Swift's Top 5 Minutes of 2012!

While the a little bit NSFW story may surprise some Swifties, others might discover her popped, pink-tipped locks similarly edgy. "I was dressed in a wig, really. It was just type of like, I sensed like I was really getting into a personality," she said. "Like I actually got to experience like I was this different lady, who was drawn into this different story, and with the light red locks and everything, I sensed like it really type of revealed how she modified."
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