Teri Shields, who died in New York City last week (31Oct12), guided her young daughter to fame, putting Brooke in the spotlight at just 11 months old in a soap advertisement.
She later became the actress' manager and helped Brooke land a controversial part as an underage prostitute in 1978's Pretty Baby, as well as a suggestive 1980 Calvin Klein campaign.
Teri faced a backlash for allowing her daughter to take on the provocative jobs, but Brooke is adamant her mother did not deserve such harsh criticism.
Speaking to The Hollywood Reporter after her mother's death, she says, "She protected me from so much of what is devastating about being in the entertainment industry - the rejection, the jealousy, the being s**ewed-over. The bubble she created around me was the biggest blessing she could have given me. The need to attack her is unnecessary."
Mother and daughter parted ways professionally in 1995 after their relationship became strained due to Teri's struggle with alcoholism, and Brooke adds, "I had to leave her because of her addiction. If I had a manager now, they wouldn't last five minutes if they were an alcoholic. It was long overdue. I needed to grab the reins and make my own mistakes."
Actress and model Teri Shields, who guided her daughter to fame as a child star, passed away in New York City last Wednesday (31Oct12) after a long battle with illness, reportedly stemming from her struggle with dementia.
The actress' relationship with her mother allegedly became strained in the 1990s, but they reconnected in recent years, and Brooke has now spoken out about the her loss.
In a statement, she writes, "My mother was an enormous part of my life and of who I am today. I loved her, laughed with her, and respected her. And although she had her share of struggles, she was my mom."
Teri Shields, who guided her daughter to fame as a child star, passed away in New York City last Wednesday (31Oct12) after a long battle with illness, stemming from her struggle with dementia, according to the New York Times. She was 79.
As a single mother, Shields helped Brooke land her first job at 11 months old, modelling in a soap advert, and later became her manager as she took on more modelling work as a child and eventually landing film roles - including a controversial part as a young prostitute in 1978's Pretty Baby.
They worked together for many years, and even starred alongside each other in movies Wanda Nevada, Endless Love, and Backstreet Dreams, but eventually parted ways professionally in 1995 after their relationship reportedly became strained.
They reconnected in recent years and Brooke went public with her mother's dementia battle in 2009.
The memory-robbing disease is slowly claiming Teri Shields and her daughter admits it's tough at times trying to have a conversation with her mum.
She tells Ladies Home Journal magazine, "Now my mother lives in the past. She wants to talk about the trip we took to Manila when I was 15 and what (Philippines former First Lady) Imelda Marcos said to her.
"I'm like, 'Mum, how about just today?'"
The actress admits she still seeks her mother's approval on all life matters: "I'll see her and think, 'She's going to say my hair's too dark. She's going to ask if I've gained weight.' I might as well be 10. I'm confident in my own mothering, I've been making all my own decisions for a long time, but after all these years, I want my mum."
Shields first revealed her mother was fighting dementia after a journalist allegedly checked the actress' ailing mum out of a nursing home in a bid to interview her last year (09).
A furious Shields said, "My mother Teri Shields has been diagnosed with dementia. For her safety, she has temporarily been in a senior living facility, a very difficult decision for me... As anyone knows who has a parent who suffers from dementia or Alzheimer's, it is one of the most difficult experiences you can go through as a son or daughter. The idea that the National Enquirer took advantage of her state is reprehensible and disgusting."
Spanning from WWI to the 21st century Eric Roth’s screenplay (based loosely on a 1922 short story by F. Scott Fitzgerald) tells the unique story of a man named Benjamin Button (Brad Pitt). He is born in New Orleans as a very old baby the equivalent of a man in his 80s who then ages backward into youth over the better part of a century. The film is told in flashback by a very old dying woman Daisy (Cate Blanchett) who recounts her tale to her daughter (Julia Ormond) from a hospital bed during Hurricane Katrina. Left on the doorstep of a retirement home one night by his father (Jason Flemyng) Benjamin is brought up by Queenie (Taraji P. Henson) who runs the place. While there he meets a young girl Daisy who will become a key figure -- romantically and otherwise -- in his life. Ben does have some grand adventures: He goes to work on a boat sees sea battles during WWII finds love with an older married woman (Tilda Swinton) -- and gets progressively younger as the decades fly by. It all manages to be alternately haunting romantic funny epic emotional and incredibly moving and will likely to stay with you a lifetime. Brad Pitt manages to deliver a thoughtful and subtle performance through all the special effects makeup and CGI. He does so much just by using his eyes. Cate Blanchett is equally fine as she plays Daisy from a teenager to an old woman and matches Pitt in bringing an entire lifetime skillfully to light. Her aging makeup is completely natural and she’s very moving in the hospital scenes opposite Ormond. Henson is just marvelous as Queenie a warm and understanding soul. Swinton is elegant and memorable in her few crucial encounters with Ben and plays beautifully off Pitt. Jared Harris (TV’s The Riches) as the colorful Captain Mike who hires Ben on his tug boat and Flemyng (The League of Extraordinary Gentlemen) as Ben’s father are also effective in their brief screen time. Interestingly Benjamin Button has been gestating for decades in the Hollywood firmament but needed time for the proper technology to catch up to it. Director David Fincher (Zodiac Fight Club) with his early background at George Lucas’ ILM proves to be the perfect choice to marry a compelling story with spectacular visual effects achievement. He did not want to do the film unless the technology allowed one actor to play the role throughout the course of the film. Remarkably they were able to achieve this superimposing Brad Pitt’s face and eyes into all the incarnations of Ben Button. In one sequence Pitt looks just like he did in Thelma and Louise. It’s an amazing feat. He has seamlessly created a unique universe without ever bringing attention to it advancing the art of screen storytelling leaps and bounds ahead of everything else that has come before. Benjamin Button is a plaintive and provocative meditation of life death and what we do while we are here. It’s the stuff of dreams.
In the summer of 1977 disgraced former President Richard Nixon (Frank Langella) sat down with British TV talk show host and interviewer David Frost (Michael Sheen) for a series of interviews that Nixon hoped would resuscitate his Watergate-tarnished image and Frost hoped would lift his own career to another level. While it made for good TV at the time it certainly didn’t seem likely fodder for a hit Broadway play and now a major motion picture. Peter Morgan (The Queen) wrote the play and adapted it for the screen turning it into a riveting cat-and-mouse game between these two made-for-television adversaries. Director Ron Howard emphasizes the behind the scenes machinations and all the negotiations between both camps. The off-camera material is priceless based in large part on speculative research. Whatever the final truth of the story the film gains its real power from it’s the telling. Ron Howard turns to the two original stage stars of Frost/Nixon -- a wise casting decision that almost never happens in Hollywood. It’s true everyone including Warren Beatty reportedly wanted to play Nixon but it’s hard to imagine anyone doing a better job than Langella in recreating his Tony-winning interpretation of the infamous Tricky Dick. He has all of Nixon’s mannerisms vulnerabilities and caginess down pat. Sheen certainly captures the confident nature of Frost but also his insecurities and the realization that this whole enterprise is one big roll of the dice. And two actors work in perfect concert with one another. Supporting roles are well played including standouts Kevin Bacon as Nixon’s trusted Chief of Staff Jack Brennan and a hilarious Toby Jones aping the inimitable book agent Swifty Lazar. As key Frost aides and researchers Oliver Platt and Sam Rockwell do a nice job as kind of the Greek chorus to the situation. On the surface Ron Howard -- better known for his large scale Hollywood productions like The Da Vinci Code and Apollo 13 -- doesn’t seem the right fit for this smaller scale drama but his approach transfers what could have been a flat Broadway screen into a highly cinematic and stimulating two hours. He captures the rhythms of this chess match perfectly and chooses camera angles that catch the sweat behind the cool facades of his two principals. Special mention should go to the beautiful nuanced work of his cinematographer Salvatore Totino. Howard is such a gifted filmmaker he makes it all seem effortless easily coaxing two equally superb performances from Langella and Sheen. Frost/Nixon is a first class achievement.