Photo for Sidney Poitier
Quote: “I never had an occasion to question color, therefore, I only saw myself as what I was… a human being.”
Poitier joined the American Negro Theater, but was rejected by audiences. His tone deafness made him – contrary to what was expected of black actors at the time – unable to sing or dance. Determined to refine his acting skills and rid himself of his noticeable Bahamian accent, he spent the next six months dedicating himself to achieving theatrical success. On his second attempt at the theater, he was noticed and given a leading role in the Broadway production Lysistrata, for which he received excellent reviews. By the end of 1949, he had to choose between leading roles on stage and an offer to work for Darryl F. Zanuck in the film No Way Out (1950). His performance in No Way Out, as a doctor treating a white bigot, was noticed and led to more roles, each considerably more interesting and more prominent than those most black actors of the time were offered.
Poitier’s breakout role was as a member of an incorrigible high school class in Blackboard Jungle (1955). At age twenty-seven though, like most of the actors in the film, he was not a teenager.
Poitier was the first male black actor to be nominated for a competitive Academy Award (for The Defiant Ones, 1958). Tony Curtis is on record as saying he had approval of Poitier as his co-star. He also said the director’s first choice for his role was Robert Mitchum, but Mitchum refused to work with a black man. Curtis made these comments on the 1999 program Private Screenings with Turner Classic Movies host Robert Osborne.
He was also the first black actor to win the Academy Award for Best Actor (for Lilies of the Field in 1963). (James Baskett was the first to receive an Oscar, an Honorary Academy Award for his performance as Uncle Remus in the Walt Disney production of Song of the South in 1948, while Hattie McDaniel predated them both, winning as Best Supporting Actress for her role in 1939’s Gone with the Wind).
He acted in the first production of A Raisin in the Sun on Broadway in 1959, and later starred in the film version released in 1961. He also gave memorable performances in The Bedford Incident (1965), and A Patch of Blue (1965) co-starring Elizabeth Hartman and Shelley Winters. In 1967, he was the most successful draw at the box office, the commercial peak of his career, with three successful films, Guess Who’s Coming to Dinner; To Sir, with Love and In the Heat of the Night. The last film featured his most successful character, Virgil Tibbs, a Philadelphia, Pennsylvania detective whose subsequent career was the subject of two sequels: They Call Me MISTER Tibbs! (1970) and The Organization (1971).
However, Poitier began to be criticized for typecasting himself as playing overidealized black characters who were not permitted to have any sexuality or personality faults, such as his character in Guess Who’s Coming To Dinner. Poitier was aware of this pattern himself, but was conflicted on the matter; he wanted more varied roles, but also felt obliged to set a good example with his characters to defy previous stereotypes as he was the only major black actor in the American film industry at the time. For instance, Poitier, along with his producers, was able to make Virgil Tibbs a dignified and astute detective who is capable of making errors in judgment.
The title of this movie should be spelled Gandhi , not Ghandi
There’s already a Gandhi in the database, delete Ghandi!
The synopsis, brief synopsis, and running time for The Haunted Castle is incorrect.
A man defies warnings from his friend and prepares to spend the light in a haunted castle.
Moving into his second year of film production, Georges Méliès was still enraptured by the possibilities of the simple jump-cut, which is used here to cause ghosts, skeletons and other sinister beings to appear and disappear at the director’s whim, much to the bewilderment of the film’s hapless protagonist – who seems to be either a nightwatchman taking over a shift or a man taking a bet from a friend that he won’t last a full night in the haunted castle. Sadly, the film’s abrupt and inconclusive ending, as well as its relative brevity (it’s about 25 second shorter than the other Méliès films of the period) suggest that as much as the final third may have been lost, but there’s more than enough going on in the footage that remains to retain attention. —Filmjournal.net
I feel like one of my favorite directors Hal Hartley needs a picture and quote on his page:
I’ve attached a suggested picture and below is a suggested quote:
“Despite the fact that I love story, character and dialogue, when I isolate the primary elements of film I find photography, movement and sound recording — in that order. Only then do I consider dramatic action. Film is essentially graphic for me.”
Thanks for the consideration,
Photo for Roger Guenveur Smith
Roger Guenveur Smith is an actor, writer, and director whose work has been internationally acclaimed.
He created and performed the Obie Award-winning A HUEY P. NEWTON STORY and adapted it into a
Peabody Award-winning telefilm, directed by his longtime colleague, Spike Lee. For Mr. Lee’s Oscar-nominated DO THE RIGHT THING, Mr. Smith created the stuttering hero Smiley, one of many in a gallery of memorable characters for the stage and screen.
Also among his historically-inspired performances are FREDERICK DOUGLASS NOW, CHRISTOPHER COLUMBUS 1992, and the award-winning duet INSIDE THE CREOLE MAFIA, a “not-too-dark comedy” in collaboration with New Orleans native Mark Broyard. Mr. Smith also directed the distinguished performance
trio Culture Clash in their Bessie Award-winning RADIO MAMBO.
Roger’s most recent work includes a new solo, THE WATTS TOWERS PROJECT, and the Spalding Gray retrospective LEFTOVER STORIES TO TELL, both cited among the best of 2006 by the Los Angeles Times; and WHO KILLED BOB MARLEY? which inaugurated Harlem’s new GatehouseTheater.
Roger co-stars with Russell Crowe and Denzel Washington in Ridley Scott’s upcoming Vietnam War era epic, AMERICAN GANGSTER.
Please add Do The Right Thing to Ruby Dee and delete Rube Dee
Photo for Ruby Dee
Quote: “I didn’t have the kind of talent or personality that kept me dreaming about Hollywood. They don’t hire little colored girls to do this or that.”
Bio from tcmdb.com:
Academy Award-nominated actress Ruby Dee was, by all accounts, an American icon. Her career spanned no fewer than three major movements in African-American culture – from the post-Harlem Renaissance era to the black pride voice of the 1970s to the commoditization of urban black culture in the 1990s. Throughout it all, the intellectual, smoky-voiced actress appeared on stage and screen in dramas that explored the black experience and celebrated its finest wordsmiths. Off-screen, Dee and husband/frequent collaborator, Ossie Davis, were devoted civil rights activists, whose career choices did as much to further the cause as their presence at pivotal moments in African-American history. During the 60-plus years of her career, Dee witnessed the fruits of her labor, as the civil rights movement ushered in a new era of respect and dignity for African-American actors who were afforded broad outlets to showcase the breadth of their talent. A dramatic orator and enthusiast of the African-American storytelling genre, Dee was also a published poet and author, as well as screenwriter. In every field that the impassioned and multi-talented Dee fearlessly pursued, she ensured that her children and grandchildren would enjoy greater opportunities than the world into which she was born.
Ruby Dee was born Ruby Ann Wallace in Cleveland, OH, on Oct. 27, 1924. Just shy of her first birthday, she and her siblings relocated to Harlem with her father and stepmother. Her birthmother, who had a reputation of instability and had given birth to three children while still in her teens, had left her young family to follow a charismatic preacher. Young Dee thrived in Harlem in the midst of its booming Renaissance, when the neighborhood was a magnet for a new generation of African-American artists and thinkers. While her father was gone for long stretches at a time with his job on the Pennsylvania Railroad, her stepmother – who had studied at Atlanta University under renowned historian W.E.B. Dubois – fostered a creative and academic environment at home. Dee was tutored in classical piano and violin, introduced to world literature, and she and her sister Angelina wrote poems, which their stepmother would promptly submit to literary magazines. The family rented out a spare bedroom to travelers, so Dee was further exposed to African-American musicians and traveling professionals who were barred from staying in all-white New York hotels at the time.
At Hunter High school, Dee – being both an avid writer and a budding orator – began to combine these talents in school dramatic productions. After graduation, she went on to Hunter College, and while earning a Bachelors degree in romance languages, she became active with Harlem’s fledgling American Negro Theater, appearing alongside up-and-comers like Sidney Poitier and Harry Belafonte. In addition to her academic and creative pursuits, Dee was also married at the age of 17 to her first husband, actor Frankie Dee Brown who reportedly would have been the only black Munchkin in “The Wizard of Oz” (1939), had his footage not been cut. His wife, meanwhile, established her presence with several off-Broadway plays, before hitting Broadway in 1943 in a short-lived postwar drama called “South Pacific” – not to be confused with the later musical of the same name. Dee graduated from Hunter College the following year and landed a day job as a translator, while continuing to train on the dramatic stage at night. She returned to Broadway in 1946 in “Jeb,” a play by a young actor and playwright named Ossie Davis. Dee’s young marriage had ended the previous year, and during the play’s short production, she and Davis began to fall in love. Later that year, they toured together in an American Negro Theater production of the Broadway hit, “Anna Lucasta,” for which Dee earned considerable notice for her portrayal of the title character.
Dee maintained a solid presence on New York stages throughout the remainder of the 1940s, spending one of her rare days off in 1948 visiting a justice of the peace to marry Davis. Dee expanded her dramatic training at The Actor’s Studio and began to break into film work, appearing in a number of black features before landing the breakout portrayal of Rachel Robinson, wife of the African-American baseball star, in “The Jackie Robinson Story” (1950). During the 1950s, Dee appeared regularly on the daytime soap “The Guiding Light” (CBS, 1952- ) and was underused in her share of “maid” roles in forgettable films, but she also landed meatier work in quality dramas including “Edge of the City” (1958) and the W.C. Handy biopic, “St. Louis Blues” (1958), starring Nat King Cole as the great American songwriter and featuring Cab Calloway, Eartha Kitt and Ella Fitzgerald.
Earlier in the decade, Dee had become increasingly inspired by the role of the creative arts in furthering political and human rights causes. In 1953, she and Davis lent their voices to protest the controversial execution of suspected “Communist spies” Julius and Ethel Rosenberg, and throughout the decade, they were active with civil rights groups including the NAACP, SNCC (the Student Non-Violent Coordinating Committee) and the SCLC (the Southern Christian Leadership Conference).
Dee returned to Broadway with resounding success in 1959, winning acclaim as Ruth Younger, the quiet, supportive wife in Lorraine Hansberry’s ground-breaking family drama, “A Raisin in the Sun” (1959). She was tapped to recreate the role in the 1961 film, for which she earned a National Board of Review Award for Best Supporting Actress. That same year, Dee co-starred off-Broadway in Davis’ race relations satire, “Purlie Victorious,” reprising her role in the big screen adaptation entitled “Gone are the Days!” (1963). That same year, she and Davis served as emcees at the infamous civil rights march on Washington D.C., where Martin Luther King Jr. gave his historic “I Have a Dream” speech. By this time, the couple was friends with King and had also become associated with Malcolm X through Dee’s brother Edward, one of his earliest disciples.
Year after year, Dee was successfully breaking through to new territory for black actors, earning a daytime Emmy in 1964 for her appearance on “The Nurses” (CBS, 1962-65) and the following year, becoming the first African-American woman to appear in a major role at the American Shakespeare Festival with her role in “King Lear.” In 1966, she wowed audiences in a staging of Aristophanes’ ancient work, “The Birds” and returned to the big screen in the gripping urban drama, “The Incident” (1967). In 1968, the woman who had begun her career in an era that relegated black women to walk-on parts as maids, joined the cast of the serial “Peyton Place” (ABC, 1966-69) as the wife of an affluent black doctor. She went on to co-author and star in the feature “Up Tight” (1968), a fictionalized but stirring chronicle of events following the death of Martin Luther King Jr. Months earlier, Dee had stood by as husband Ossie Davis gave the eulogy at Martin Luther King Jr.’s funeral, having done the same for Malcolm X several years earlier.
A new wave of African-American cultural pride had been building, and by the 1970s, had exploded with a barrage of new screen and stage works that examined the black experience. Dee returned to Broadway, where she earned OBIE and Drama Desk Awards for her starring role in “Boesman and Lena,” Athol Fugard’s play about apartheid-era South Africa. In 1972, she played a spirited frontier woman in Sidney Poitier’s “Buck and the Preacher” (1972) and also appeared in the Davis- directed “Black Girl” and an adaptation of Lorraine Hansberry’s play “To Be Young, Gifted, and Black” (1972). Her winning streak continued with another Drama Desk Award for “The Wedding Band” and a well-received book of poetry, Glowchild and Other Poems. Dee remained visible on television throughout the decade, most notably in historic miniseries like the top-rated “Roots: The Next Generations” (1979) and an adaptation of Maya Angelou’s “I Know Why the Caged Bird Sings” (CBS, 1979).
Now considered an elder stateswoman of 20th century African-American theater, Dee was increasingly in demand for her stately, sage-like presence. She and Davis co-starred in their own short-lived children’s series, “Ossie and Ruby!” (PBS, 1980-81) before the pair headlined an all black production of “Long Days Journey into Night” (PBS, 1983). Public television remained an ideal outlet for Dee’s sophisticated taste, so she next appeared in an adaptation of James Baldwin’s landmark novel “Go Tell it on the Mountain” (1985). The following year, Dee and Davis’ production company, Emmalyn Enterprises, produced the documentary “Martin Luther King: A Dream and a Drum” (PBS). After a Broadway run in “Checkmates” alongside Denzel Washington and a production of “The Glass Menagerie” in Washington D.C., Dee was introduced to younger audiences via filmmaker Spike Lee in his breakout 1989 film “Do the Right Thing.” Dee earned a NAACP image award for her portrayal of Mother-Sister, the prickly, stern neighborhood watchdog wooed by Da Mayor (Davis), another neighborhood fixture who holds court outside the corner store with his drinking buddies. Following that mainstream success, Dee took “Zora is My Name” – her one-woman show about African-American author and folklorist Zora Neale Hurston – to public television, before an Emmy Award-winning turn in the Hallmark Hall of Fame production, “Decoration Day” (1990).
Dee released the children’s book Two Ways to Count to Ten: A Liberian Folktale in 1990 and rejoined Lee for “Jungle Fever” (1991), where she played the soft-hearted mother of two very different sons – one a successful architect (Wesley Snipes); the other, a crack addict (Samuel L. Jackson). She continued to surface regularly in supporting roles in TV movies, including her memorable turn as Mother Abagail in the miniseries “Stephen King’s The Stand” (1994). In 1995, Dee and Davis were awarded the Presidential Medal for Lifetime Achievement in the Arts, though it was clear that neither one considered their body of work anywhere near complete. After Dee appeared in the Sean Connery thriller “Just Cause” (1995) and the Academy Award- nominated short film “Tuesday Morning Ride” (1995), in 1996, Dee and Davis received NAACP Image Awards for the Emmalyn production “Promised Land” (PBS). In 1999, Dee had one of her best career roles as the centenarian physician Bessie Delany in the TV production “Having Our Say: The Delany Sisters’ First 100 Years” (CBS, 1999).
The same year Dee turned a collection of her own memoirs and stories, My One Good Nerve: Rhythms, Rhymes, and Reasons into a one-woman stage show, chronicling her own 70-plus years. Dee and husband Davis also found time to publish Ossie and Ruby: In This Life Together (2000), a memoir of their years together in theater, the civil rights movement, and as lifelong lovers and parents. They were recognized with Lifetime Achievement Awards from the Screen Actors Guild in 2000, and followed up by co-starring in the Showtime original movie “Finding Buck McHenry” (2001). Later that year, Dee starred in the well-received off-Broadway production, “St. Lucy’s Eyes,” in which she played an amateur abortion provider trying to work her way out of poverty in 1960s Memphis. Dee co-starred in notable TV films, including “Taking Back Our Town” (Lifetime, 2001) and “Oprah Winfrey Presents: Their Eyes Were Watching God” (2005), adapted from the Zora Neale Hurston book. She and Davis recorded a wildly entertaining CD version of “In This Life Together,” before flying to New Zealand to shoot the family drama “Naming Number Two” (2006). While on location, she received word that Davis had died of a heart attack while filming in Florida.
Dee remarkably soldiered on, and the following year, released Life Lit by Some Large Vision, Selected Speeches and Writings from Dee and her revered husband. The following year, the 83-year-old actress hit a career high point when she earned a Screen Actor’s Guild Award and an Oscar nomination for her portrayal of the conflicted mother of a New York drug kingpin (Denzel Washington) in “American Gangster” (2007). She continued her late-in-life success by earning another Screen Actors Guild Award nomination for her performance in “America” (Lifetime Television, 2009), which focused on a 16-year-old biracial boy (Philip Johnson) who undergoes psychological counseling after growing up with a crack-addicted mother and suffering sexual abuse at various foster homes.
Photo for Beverly D’Angelo
Quote: “To become a star is the beginning of the end. I don’t really want to be saddled with a screen persona.”
D’Angelo began work in the theatre, appearing on Broadway in 1976 in Rockabye Hamlet (also known as Kronborg: 1582) a musical based on Shakespeare’s Hamlet. Although the production was a failure, running less than a month, D’Angelo’s performance as Ophelia attracted positive attention.
After gaining minor roles in movies including Annie Hall, D’Angelo had a string of hit movies in the late 1970s, appearing in Every Which Way But Loose, Hair and Coal Miner’s Daughter. Her biggest break came with Chevy Chase in the 1983 National Lampoon’s Vacation. Her role as Ellen Griswold was reprised in three Vacation sequels and a short film from 1985 through 2010. In 1992, she had a guest appearance in the third season of The Simpsons as Lurleen Lumpkin, a beautiful, Southern country singer and waitress, in “Colonel Homer”, and sixteen years later in 2008, she appeared in the nineteenth season – as the same character – in the episode “Papa Don’t Leech”.
She has a recurring role on Law & Order: Special Victims Unit as defense attorney Rebecca Balthus. In 2006, she starred in the independent cult hit Gamers: The Movie. She can now be seen on the hit HBO series Entourage, playing the role of agent Barbara “Babs” Miller.
In 2008, D’Angelo had a role in the film Harold & Kumar Escape from Guantanamo Bay as Sally. She also played the housemother in the film The House Bunny and currently wrapped a Tony Kaye film Black Water Transit and David O Russell film Nailed playing Jessica Biel’s mother.
Photo for Amelia Warner
Quote: “I want to stay below the radar and make good films. I have to be careful, I don’t want my life to change. I really don’t want to be a movie star.”
Warner was born in Liverpool, Merseyside, the only child of actress Annette Ekblom and actor Alun Lewis. Her paternal uncle is actor Hywel Bennett. When her parents divorced, Warner, then four years old, and her mother moved to London, England. Warner studied at the Royal Masonic School for Girls and, at 16, Fine Arts College London. She studied History of art at Goldsmiths College in London. Warner got her start in acting as a member of the Royal Court’s youth theatre group. She had a prominent role as a kidnapped schoolgirl in the pilot episode of the BBC hit show Waking The Dead. She also starred in a 2000 BBC adaptation of Lorna Doone and has had supporting roles in recent films such as Æon Flux and Stoned.
Warner was married to Colin Farrell from July to November 2001.
Photo for Mira Sorvino
Quote: “There’s a side of my personality that goes completely against the East Coast educated person and wants to be a pin-up girl in garages across America…there’s a side that wants to wear the pink angora bikini!”
Sorvino spent the next three years in New York City, trying to make a name for herself as an actress. When the 1993 film Amongst Friends entered pre-production, she was hired as third assistant director, then was promoted to casting director, then to assistant producer, and was finally offered a lead role. Positive reviews opened doors for her.
After small but showy roles in Robert Redford’s Quiz Show and Whit Stillman’s Barcelona, she was cast in the 1995 Woody Allen film Mighty Aphrodite. Her portrayal of an all-around sex worker with an idiosyncratic voice boosted her name, and she even won an Academy Award and Golden Globe for Best Supporting Actress. Other credits include Romy and Michele’s High School Reunion (opposite Lisa Kudrow) and At First Sight with Val Kilmer. She portrayed Marilyn Monroe for the 1996 HBO film Norma Jean & Marilyn.
In recent years, Sorvino has starred in lower budget and independent films. In 2005, she received a Golden Globe nomination for her role as an Immigration and Customs Enforcement agent in the Lifetime film Human Trafficking.
In February 2008 she guest starred in the eleventh episode of the fourth season of the medical television drama House. There was talk of making her character, psychiatrist Cate Milton, a recurring character; however, the writers strike put a temporary freeze on such discussions.
More recently she starred in ‘Leningrad’ (2008) and ‘Multiple Sarcasms’ (2010) alongisde Timothy Hutton and Stockard Channing.
She was considered for the role of videogame heroine Jill Valentine in ‘Resident Evil: Apocalypse’ (2004)before the role was played by British actress Sienna Guillory
Photo for Kim Basinger
Quote: “You have to be a little unreal to be in this business.”
Not long after the Ford deal, Basinger was on the cover of magazines. She appeared in hundreds of ads throughout the early 1970s, most notably as the Breck Shampoo girl. She alternated between modeling and attending acting classes at the Neighborhood Playhouse as well as performing in Greenwich Village clubs.
In 1976, after five years as a cover girl, Basinger moved to Los Angeles to act. After guest roles on TV shows such as Starsky and Hutch and Charlie’s Angels in 1976, and a starring role on the short-lived series Dog and Cat (1977), her first feature-length role was in a made-for-TV movie, Katie: Portrait of a Centerfold (1978) in which she played a smalltown young woman who goes to Hollywood to become an actress and winds up a famous centerfold for a men’s magazine. She was then cast as a prostitute in From Here to Eternity (1979), in which she starred alongside Natalie Wood. Basinger played the same character in a 13-episode TV spinoff in 1980. She made her theatrical film debut in Hard Country (1981) with Jan Michael Vincent, followed by Mother Lode (1982) with Charlton Heston.
Basinger’s breakout role was as Bond girl Domino Petachi in Never Say Never Again (1983), starring opposite Sean Connery. She posed nude for Playboy to promote the film. Basinger said Playboy led to opportunities such as Barry Levinson’s The Natural (1984), co-starring Robert Redford, for which she earned a Golden Globe nomination as Best Supporting Actress. She starred opposite Mickey Rourke in the sexually provocative 9½ Weeks (1986). Oscar-winning writer-director Robert Benton cast her in the title role for the film Nadine (1987) with Jeff Bridges. Basinger played Vicki Vale in the 1989 blockbuster Batman, directed by Tim Burton.
Directors repeated her in their films, such as Blake Edwards for The Man Who Loved Women (1983) and Blind Date (1987), as well as Robert Altman for Fool for Love (1985) and Prêt-à-Porter (1994). In 1992, Basinger was guest vocalist on a re-recorded version of Was (Not Was)‘s “Shake Your Head”, which also featured Ozzy Osbourne on vocals, and reached the UK Top 5. In the video for Tom Petty’s 1993 song “Mary Jane’s Last Dance”, Basinger played a dead woman whom Petty brings home from the morgue for dinner, dressing her in a wedding gown. Later, Petty is shown throwing her into the sea. In a macabre ending, she floats with her eyes open.
Basinger acted less in the 1990s to take care of her family. She made a comeback in 1997 as the femme fatale in the neo-noir L.A. Confidential, co-starring Russel Crowe. This earned her an Academy Award for Best Supporting Actress, as well as the Golden Globe and Screen Actor’s Guild Award. The film’s director, Curtis Hanson, cast her once more as Eminem’s mother in 8 Mile (2002). More recently, she appeared mostly in television and independent films such as While She Was Out, The Burning Plain, and Lifetime’s The Mermaid Chair. She was also seen in the mainstream thrillers Cellular (2004) and The Sentinel (2006).
Basinger will play Zac Efron’s mother in her next film, Charlie St. Cloud, scheduled for release in late 2010.
Photo for Natascha McElhone
Photo for Noureen DeWulf
Photo for Markéta Irglová
Photo for Rie Rasmussen
Photo for Claire Danes
Quote: “It’s very difficult to judge yourself. Extreme self-doubt is only attractive when it’s fictionalized. Which is why people love the movies. They are so reassuring.”
In 1994, 15-year-old Danes starred as the 15-year-old Angela Chase in the television drama series My So-Called Life, for which she won a Golden Globe Award and received an Emmy nomination. She played Elizabeth “Beth” March in the 1994 film adaptation of Little Women. She also appeared as Holly Hunter’s daughter in Home for the Holidays, which was directed by Jodie Foster. In 1995 she appeared in a Soul Asylum music video for the song “Just Like Anyone” as an Angel. She portrayed Juliet Capulet in Baz Luhrmann’s 1996 film William Shakespeare’s Romeo + Juliet, co-starring Leonardo DiCaprio as Romeo Montague. Later that year, she was cited as having turned down the female lead role in Titanic. Danes, however, said that while she may have been considered for the part, she was never offered the role. In 1999, she made her first appearance in an animated feature with the English version of Princess Mononoke, and took the lead role in Brokedown Palace, alongside Kate Beckinsale and Bill Pullman.
In 2002, Danes starred alongside Susan Sarandon, Kieran Culkin, and Bill Pullman again, in Igby Goes Down. She later co-starred as Meryl Streep’s daughter in the Oscar-nominated, The Hours, with Nicole Kidman, Julianne Moore, and Ed Harris. The following year, she was cast in Terminator 3: Rise of the Machines, followed by Stage Beauty in 2004. She earned critical acclaim in 2005 when she starred in Steve Martin’s Shopgirl alongside Martin and Jason Schwartzman, and in The Family Stone opposite Sarah Jessica Parker and Diane Keaton. In 2007, Danes appeared in the fantasy Stardust, which she described as a “classic model of romantic comedy”, with Charlie Cox, Michelle Pfeiffer, Robert De Niro, and Sienna Miller, and appeared in The Flock, opposite Richard Gere.
Danes appeared in Off-Broadway plays including Happiness, Punk Ballet, and Kids On Stage, in which she choreographed her own solo dance. She also wrote the introduction to Neil Gaiman’s Death: The Time of Your Life. Danes auditioned for the role of Lois Lane in Superman Returns before the role went to Kate Bosworth.
In March 2007, Danes appeared with Patrick Wilson in a television commercial for Gap in which the pair dances to the song " Anything You Can Do" from the musical Annie Get Your Gun. Danes has recently appeared onstage at Manhattan’s PS122 an avant-garde performance space, in a series of dance pieces by choreographer Tamar Rogoff. Danes made her stage debut at PS122 as a child.
On October 19, 2007, Danes made her Broadway debut in the revival of George Bernard Shaw’s Pygmalion, starring as Eliza Doolittle.
In 2010, Danes starred in the HBO production of Temple Grandin, a biopic about the eponymous autistic woman. Her portrayal has been called Emmy-worthy
Photo for Caroline Ducey
Photo for Paz Vega
Photo for Amy Poehler
Photo for Tina Fey
Photo for Kristen Wiig
Photo for Aishwarya Rai
Photo for Richard Roundtree
Quote: [referring to Shaft (1971)] “Number one, it put me on the map . . . To this day that film still works . . . I was blessed.”
Roundtree was a leading man in early 1970s blaxploitation films. He also played a role in the 1977 television series Roots, in the role of the slave Sam Bennett. He portrayed Dr. Daniel Reubens on Generations from 1989-1991. Prior to becoming an actor, he was a football player and a model. Although Roundtree worked through the 1990s, many of his more recent films were not well-received, but he was able to find success in stage plays.
Since 1990, however, he reemerged as a cult icon. Roundtree appeared in David Fincher’s critically acclaimed 1995 movie Se7en, the 2000 remake of Shaft as John Shaft’s uncle, and guest-starred in several episodes of the first season of Desperate Housewives as an amoral private detective. He also appeared in 1997’s George of the Jungle, as well as playing a high school vice-principal in the 2005 (General release: 2006) movie Brick Panic Button 2007 film. His voice was also utilized as the title character in the hit Play Station game Akuji the Heartless, where Akuji must battle his way out of the depths of hell at the bidding of the Baron.
In 1997, Roundtree had a leading role in the short-lived FOX ensemble drama 413 Hope St. He portrayed Booker T. Washington in the 1999 television movie Having Our Say: The Delany Sisters’ First 100 Years.
He has appeared in the television series The Closer as Colonel D.B. Walter U.S.M.C. (retired) father of sniper, Heroes as Simone’s terminally ill father, Charles Deveaux. Next he appeared in an episode of Lincoln Heights. Most recently, Roundtree has a supporting role in the 2008 Speed Racer film as a racer-turned-commentator who is an icon and hero to Speed.
Photo for Maya Rudolph
Photo for Maura Tierney
Photo for Sharon Stone
Quote: “If you have a vagina and an attitude in this town, then that’s a lethal combination.”
Photo for Parminder Nagra
Profile information for Stefania Sandrelli
Vivacious and sexy in an androgynous sort of way, popular Italian actress Stefania Sandrelli was at her best starring as a lonely, sickly country woman trying to survive in a hostile post-WWII city in Antonio Pietrangeli’s Io la Conoscevo Bene (I Knew Her Well) (1965). Before launching her acting career in 1961 with Il Federale, Sandrelli was a beauty queen. She got her break appearing as a teenaged seductress in Pietro Germi’s Divorzio all’Italiana (Divorce Italian Style) (1961). In the U.S., she is best known for appearing in several films of Bernardo Bertolucci, notably Il Conformista (The Conformist) (1970). She has also worked with other prominent Italian directors including Ettore Scola. She had great success in Tinto Brass’ La Chiave (The Key) in 1984 and this led to her appearing in a few very racy films. Since then Sandrelli became a character actress.
A better image for One Week
Page 17 and 18 should be up to date now.
You guys are all amazing!