Hayden Panettiere has sparked speculation that she has moved on from ex-boyfriend Milo Ventimiglia after she was spotted getting close to U.K. TV presenter Steve Jones on a yacht in Cannes, France.
The 19-year-old Heroes star called it quits with actor Ventimiglia last year, and gossips speculated the split was caused by the couple's 12-year age difference.
But now the actress has been linked with an even older hunk -- 32-year-old Welsh celebrity Jones, who has previously been linked to Halle Berry and Pamela Anderson.
Panettiere was first seen with Jones at London's Nobu Berkeley restaurant last week -- and the pair was snapped together again on Monday, sunbathing on David Furnish's yacht while in the French Riviera for the film festival.
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Y2K looks to be a big year for Michael Douglas. Having just announced his engagement to Catherine Zeta-Jones (via the Internet, no less -- we hope someone e-mailed Catherine the good news), Douglas is poised to tie the knot with the beautiful Welsh star this year.
Also in 2000 - next month in fact -- Douglas will be seen in Paramount's "Wonder Boys," about a majorly blocked writer. While initial reports described Douglas' character as "overweight" and "pot-smoking," Those Who Have Read the script say the role has a lot more dignity than that.
And then there's the "baby." Douglas' production company Further Films has birthed its very first release, "One Night at McCool's," starring none other than Daddy. (Look for the bouncing black comedy in the fall.)
And parenting will be very much on Douglas' mind when he begins pre-production later this year on Further and New Line's "My Three Sons," based on the TV series. Douglas is set to star in the old Fred MacMurray role of widower Steve Douglas. (Sorry, no relation.)
DIGITAL DIVIDE: There was lots of talk last year about the imminence of digital delivery of movies in theaters. The speculation had it that traditional film projectors and the frequent need to "strike" 3000 or more prints of a single film for nationwide release would become passe perhaps as early as five years hence. Such predictions were the result of the successful testing last summer of two competing digital projectors that delivered George Lucas' "Star Wars: Episode I - The Phantom Menace" and Miramax's Rupert Everett starrer "An Ideal Husband" in several theaters in the New York and Los Angeles areas.
But according to a new study - the spanking new Schroders International Media and Entertainment Report 2000 — digital projectors won't play "a meaningful role until well into the next decade."
Weighing in with its dissenting opinion, the investment bank cites such factors as the existence of multiple standards among projector manufacturers, technical incompatibilities involving encryption, and the likely unwillingness of theater owners to shoulder the expense of re-outfitting their auditoriums with the $100,000 digital projectors.
SCOOP DU JOUR: Very big deal Aussie director Bruce Beresford, who surprised everyone - including himself - with the stunning success of his recent thriller "Double Jeopardy," starring Ashley Judd and Tommy Lee Jones, will next do "Bride of the Wind," a film about Alma Mahler, wife of romantic composer Gustav Mahler (1860-1911).
Having produced a number of comedies early in his career, Beresford has already "stretched" between the somewhat silly and the soundly serious, although his long filmography, including films like "Tender Mercies" and "Driving Miss Daisy," definitely skews "serious."
So why this serious film about Alma and not her famous and tortured turn-of-the-century composer husband? Because throughout her life, Alma was also romantically linked to many other bold-faced creative types as she cavorted from colorful fin-de-siecle Vienna to high society New York to heyday Hollywood.
SCOOPETTE DU JOUR: A very big and gorgeous name in rock is about to get his own one-hour series - if the hunky star can be persuaded to shoot the 22 episodes in Vancouver instead of the more pricey Los Angeles. Or if the tight-fisted network can be persuaded to cough up the bucks for a Left Coast shoot.
FINALLY: A high-profile editor and her entertainment mogul patron are said to be on the outs because the free-spending former has asked the notoriously cheap latter for a lot more money to do her gig.
Part Rocky Horror Picture Show part Velvet Goldmine part Tommy Hedwig and the Angry Inch tells the story of Hedwig née Hansel (John Cameron Mitchell) a transsexual transvestite wannabe rock star whose botched sex change operation left him/her with only an "angry inch." As she tours the pit stops of America with her Eastern Block band "the Angry Inch " Hedwig's search for fame success and fulfillment with another eventually becomes a search for wholeness within herself. That's the easy version. But to tell the truth Hollywood doesn't have a label for this intricate film. It's a fun movie about rock stars and drag queens but it's also a finely tuned look at gender and its impact on human experience. It's a musical. It's a journey. It's a destination. It's David Bowie meets Iggy Pop meets Camille Paglia at a midnight showing of Rocky Horror. It's falling walls and building bridges. "Listen " Hedwig sings "There ain't much of a difference/between a bridge and a wall/Without me right in the middle babe/you would be nothing at all."
Mitchell who wrote directed and starred in both the film version and the hit off-Broadway play captivates in the title role creating a perfect blend of rock star and star-crossed lover in his beautiful complex Hedwig. The chemistry between Hedwig and the object of her affection her protégé Tommy Gnosis (Michael Pitt)--who steals her music and leaves her to become a rock god--is a sight to behold. Pitt's turn as a Jesus freak-turned-punk rock star is believable if a bit stilted. Andrea Martin as Hedwig's agent Phyllis Stein plays the only "straight" speaking part in both the comedic and the sexual senses. Completely absent from the off-Broadway play except in voiceovers Stein might have been better left out of the movie version as well; the subtlety of her straightness is lost on the big screen. Though Martin makes a valiant effort the character is flat in the midst of this cacophony of music and gender. The big surprise in the film is Miriam Shor's finely tuned performance as Yitzhak Hedwig's "husband" with a voice like a Welsh choirboy and an alternating fixation with Hedwig women's clothing and Rent.
Mitchell does a fantastic job of translating both character and story from the stage onto the big screen. His script draws universal lessons in humanity from a very specific and uncommon situation turning Hedwig's quest into a question: Can she can anybody ever really be whole? Or does Hedwig's "angry inch " merely manifest the fundamental divide in human experience? Can the wall between East and West Berlin between man and woman between me and you become a bridge? Tommy may be singing Hedwig's songs at Madison Square Garden while she's playing dive bars but are they really all that different? The questions are asked answered and asked again in a different way in Stephen Trask's music and lyrics a crucial element in the film. If the movie shows us Hedwig's search for her other half the music tells her story from her childhood in East Berlin to the "defining" moment on the doctor's slab to her love for Tommy and her final self-acceptance in an operatic finale. Animated sequences further illustrate what could have been an obscure examination of gender flux creating a mythos around Hedwig's sexuality. Flashbacks tell the tale of Hedwig's life in East Berlin before the Berlin Wall fell and reveal just how she became the rock star hopeful she is in the present.