A treasure trove of unfinished music by British rock groups Joy Division and New Order is up for sale as the woman who found the tapes in the trash is concerned over their potential deterioration. Julia Adamson, ex-assistant to producer Martin Hannett, discovered the discarded collection years ago and decided to rescue the items, including a master recording of Unknown Pleasures, Joy Division's first studio album.
Adamson approached the members of both bands and Joy Division frontman Ian Curtis' widow, but they were not interested in purchasing the collection and now she is keen to hand them over to an expert to save the tapes from any further decay.
Posting a snap of the collection on her Facebook.com page, Adamson alerted music fans to her plans to sell, writing, "Rescued tapes of Martin Hannetts (sic)... anyone interested... I have looked after these tapes for a long time and when I approached the artists (who were my first port of call) I was subjected to accusations and abuse...
"I know they are worth something to a collector... the quality of Unknown Pleasures far surpasses the mastereing (sic) from vinyl over the years... probably one of the reasons these tapes are in my hands in the first place, (is that) they were incalculably valuable and needed to be rescued from a skip... I am keen for a collector to have them (the whole collection ideally) as they are very old and probably deteriorating."
The Avengers star was keen to make sure her latest role in the upcoming film, which examines the story behind the Alfred Hitchcock horror classic Pyscho, was as accurate as possible, but there was no way to meet with and study Leigh because the movie icon passed away eight years ago.
So Johansson called upon her actress daughter for advice on how to get into character.
She tells U.S. breakfast show Today, "I just think more than anything it must be very strange to have somebody play your mother, and especially someone as beloved and celebrated as Janet. I just wanted to reach out and Jamie was lovely, she sent beautiful photographs and gave me some wonderful stories."
Lee Curtis recently saw the finished product and praised the 28 year old's ability to capture her mum's "sweetness", and Johansson admits she could receive no greater compliment.
She adds, "As an actor, it's the most rewarding thing you could hear. It was such a wonderful communication that I was fortunate enough to be able to have, and of course Janet was first and foremost a loving, loving mother and wife and she (Jamie Lee) reiterated that."
The Hollywood actors have starred together in two films based on the adventures of Arthur Conan Doyle's super-sleuth and they were recently linked to the parts made famous by Tony Curtis and Jack Lemmon in a new version of the 1959 hit.
Reports suggest movie studio executives are keen to revamp the movie, which also starred Marilyn Monroe, and Downey, Jr. and Law were favourites to don drag to play a pair of musicians who dress up as women to join an all-female band.
But Downey, Jr. - who wore a transvestite disguise for a scene in the new Sherlock sequel - has brushed off the claims.
During an appearance on U.S. talk show Live! With Kelly on Thursday (15Dec11), he jokes, "I did hear that rumour, it's a very interesting rumour. I've seen him (Law) in drag and I've seen me in drag - I look like my sister on steroids and he looks beautiful, so I don't want to take that risk!"
The Some Like It Hot legend passed away on Wednesday (29Sep10) after suffering a cardiac arrest, and his London-based hairdresser, Leonard Lewis, admits he'll always remember the veteran actor fondly.
And one visit from Curtis was particularly memorable for Lewis.
He recalls, "Knowing that his current young squeeze was keen on gripping his hair at moments of intense passion, Tony had decided to stick the wig on with Super Glue rather than tell her the truth.
"He must have been performing particularly effectively that night because she had pulled so hard on his hair that she had taken the skin off his scalp and all the natural hair underneath.
"There was nothing I could do. I had to take Tony to a doctor before his whole head went horribly septic."
Jamie Lee Curtis, who teamed up with Lohan in 2003 film Freaky Friday, insists she has nothing but love for the actress, who has spent much of this summer (10) behind bars in prison and at a court-sanctioned rehab after she was convicted of violating probation on a 2007 DUI arrest.
Now free, Lohan is keen to get her stalled career back on track - and Lee Curtis is among her Hollywood supporters.
She tells HollyScoop.com, "She is a brilliant talent and I am sure she will enjoy her talents more and more in her life. I send her my love.
"Everyone deserves a second chance and you can look back at your life and realise the mistakes you can make and repair them."
The 85-year-old Some Like it Hot star was showing his paintings in Henderson, Nevada last week (ends09Jul10) when he was taken ill.
Sources tell TMZ.com Curtis has not yet been released from hospital, but he's in a stable condition.
The actor recently revealed he's keen to return to the big screen three years after fighting for his life during a near-fatal battle with pneumonia.
Set in the early 1960s Detroit is just starting its reign as America’s music headquarters. One of countless groups to dare dream of fame in the Motor City is the Dreamettes—consisting of lead singer Effie (Jennifer Hudson) Deena (Beyonce Knowles) and Lorrell (Anika Noni Rose). And one of countless opportunists to try and capitalize on realized dreams is car salesman Curtis Taylor (Jamie Foxx). Before long all four are well on their way once Curtis signs the trio after seeing them at a talent show and lands them a coveted gig backing up singing sensation James “Thunder” Early (Eddie Murphy). With their ascension in full swing there is but one minor tweaking in order to help the group’s mainstream appeal: Effie is to be demoted to back-up singer in favor of the gorgeously svelte Deena who admits her voice doesn’t measure up to Effie’s. It marks the beginning of Curtis’ commandeering of the product that is now the Dreamgirls—as well as the beginning of the end of the dream. Even worse than trying break into showbiz out of nowhere is trying to do so as a onetime American Idol castoff. But when someone has as much talent as Jennifer Hudson clearly does there are no barriers. Hudson explodes onto the acting scene with maybe the best debut performance of the generation despite the studio’s apparent decision to tout Beyonce over Hudson as the lead actress (for awards/financial/popularity purposes)—which irony would have it happens to mimic uncannily the film’s plot. Luckily it doesn’t matter. Hudson’s singing scenes will leave even the staunchest musical-phobes breathless. It becomes clear as she sings and acts circles around everyone else and with such raw emotion that this is no one-hit wonder—she’s the real deal. Knowles gives easily her best performance to date displaying more than her just her pipes and other er assets. She shows a strong acting side but it’s still not yet Oscar-strong. Could be a different story for Murphy. After his long string of money-driven roles Murphy as a James Brown-type character reminds us why he shot to stardom so many years ago: unparalleled energy and charisma. And Foxx continues to show off his astounding versatility this time singing and playing the villain of sorts. Betcha can’t name another actor who wouldn’t draw giggles from the audience if he were to suddenly break into song. Movie musicals are just a whole different beast. Assuming a musical is being adapted from a stage production—Dreamgirls was a Tony-winning Broadway hit directed by the late Michael Bennett—the director must above all else possess keen attention to detail. That’s only the tip of the iceberg for someone trying to bring Broadway to the big screen. In short the director must strike a balance between integrity and the box office unlike ever before. Enter Bill Condon beloved director of Kinsey and Gods and Monsters and most importantly writer of Chicago—and possessor of all the aforementioned prerequisites. He had the pedigree going in as well as the Broadway contingency on his side. In the end he succeeds in all areas while occasionally falling victim to the usual traps of movie musicals such as storyline and ambition overkill. As always however Condon doesn’t neglect anything and manages to bring us to the stage all of its splendor intact. As for the ol’ song and dance it comes early often and with a bang. Those not in the mood for all that jazz...still might have no choice but to love the movie! And rightfully so the musical numbers for which we can thank Condon (and the choreographer) are what will net Dreamgirls the Oscar(s)—that and the powerful performances.