"I remember I was on the Erin Brockovich set a lot, and all her costumes in that movie were very scandalous and I would always sneak into the trailer and try them on, like the big padded-boob costumes. I was just obsessed. It was so fun." Actress Emma Roberts caught the acting bug early when visiting aunt Julia Roberts on film sets.
Lingerie Julia Roberts wore as Erin Brockovich on the big screen is set to be auctioned. The custom-made black silicone gel bra and panties the actress wore as the legal eagle in the 2000 movie is going on sale through auction house Nate D. Sanders Auctions next week (beg29Apr14).
Roberts' Brockovich Ultimo Miracle Solutions Plunge Bra immediately became a bestseller after the movie hit theatres. It brought the actress a lot of luck - she went on to win a Best Actress Oscar for the role.
Bidding for the lingerie will start at $1,665 (£991).
American Hustle director David O. Russell has exited an upcoming TV drama to focus on his big screen projects. The Oscar nominee was slated to executive produce an "upstairs/downstairs soap centred on a private country club", titled The Club, however he has decided to pull out of the show to focus on other ventures, according to Deadline.com.
Russell also co-wrote the story with Susannah Grant, the screenwriter who penned acclaimed 2000 movie Erin Brockovich.
The show, which has been given a straight-to-series 13-episode order, will continue without the director, and producers have already cast its first star, Sin City 2 actress Callie Hernandez.
Actress Julia Roberts' mum has been hospitalised following the death of her daughter Nancy Motes. The Erin Brockovich star's half-sister was found dead from an apparent drug overdose earlier this month (Feb14), and on Thursday (13Feb14), a lawyer for the family confirmed Betty Lou Motes had been admitted to the hospital, but did offer any details about her condition.
Roberts has yet to publicly comment on the personal double blow. She pulled out of two scheduled TV appearances last week (ends14Feb14) to mourn the loss of her sister.
Actress Julia Roberts has denied reports suggesting she is pregnant with her fourth child. The Erin Brockovich star hit headlines after photographs surfaced online last weekend (07-08Dec13) reportedly showing the actress trying to conceal her stomach with an oversized sweater.
She addressed the rumours during an appearance on U.S. late night show Late Show with David Letterman on Thursday (12Dec13).
When pal Letterman asked if there was "any chance" she was expecting, the actress replied, "No".
Roberts has three children with husband Daniel Moder - twins Hazel Patricia and Phinnaeus 'Finn' Walter, nine, and Henry, six.
But asked if she was interested in expanding her family, she added, "Oh sure!"
Legal advocate Erin Brockovich has been ordered to complete community service following her arrest for driving a boat while drunk. Brockovich, portrayed by Julia Roberts in the Oscar-winning 2000 movie of the same name, was taken into custody in June (13) on suspicion of steering a motor boat on Lake Mead, near Las Vegas, while under the influence of alcohol.
She has now pleaded no contest to a charge of boating under the influence and been handed 25 hours of community service.
Brockovich was also ordered to pay a $750 (£500) fine and complete a Boater Safety School course.
Sure, Hollywood is full of movies like Disaster Movie, Fred Claus, and whatever new rom-com Gerard Butler is in, but every now and then a movie comes out that tries to educate the audience about a social issue via a true story. While documentaries are usually the go-to medium to convey a little-engine-that-could story, sometimes a few big-name actors are needed to help spread the word. That’s why many have realized that to tell a true story about social issues to the public -- one that may not have gotten as much attention as it deserves -- a major motion picture might be the way to go.
The most recent film to do so is Steve McQueen's 12 Years a Slave, a drama based on the 1863 autobiography of the same name that tells the story of a free black man (played by Chiwetel Ejiofor) who was kidnapped in 1841 and sold into a slavery. It is a story that, unfortunately, not many people knew of before the film was made. But thanks to those who thought the story was worth telling, the public now has the opportunity to reassess the issue of slavery and witness a story of true importance.
If a film based on a true story is done well (such as 12 Years a Slave), and if it stays closer to non-fiction than fiction, at the end of it we are more well-informed than we were when we entered the theater, and really, who wouldn’t want to be smarter?
Here are some of our favorite movies that shed light on real-life stories of importance:
12 Years a SlaveThe subject of America’s history with slavery has long been at the core of numerous movies, yet this story seemed to slip through the cracks until now. McQueen’s film tells a powerful human story of tragedy as it follows a free black man named Solomon Northup who is sold into slavery. The film reminds us of the horrors of America’s past and lets us reflect upon the unbelievable cruelty of others. It also reminds us that not every story about slavery has been told yet.
ArgoWhile this adaptation of CIA operative Tony Mendez's book The Master of Disguise and Joshuah Bearman's Wired article "The Great Escape" took flack for transgressing from the facts of the rescue of six U.S. diplomats during the 1979 Iran hostage crisis, the movie did it’s job: It brought to light an untold story of American and Iranian hostility.
Hotel RwandaBased on real life events in Rwanda during the spring of 1994, the film follows Paul Rusesabagina (Don Cheadle) as he attempts to rescue his family and thousands of refugees from the horrors of the Rwandan Genocide. It brings to life the issues of genocide, the results of violence, and the political corruption that ran rampant at the time.
The Killing FieldsThis drama is based on the experiences of two journalists (Cambodian Dith Pran and American Sydney Schanberg) during the Khmer Rouge regime in Cambodia. The film successfully sheds light on a totalitarian regime and the mass murder of millions of Cambodians.
Fruitvale StationIn another recent real-life story portrayed through film, Fruitvale Station follows the 2009 shooting of an unarmed young black man named Oscar Grant in Oakland, California, and in the process tells a powerful story of police brutality.
Erin BrockovichWhile Erin Brockovich is definitely a little lighter in tone than the other five films, it nevertheless tells a dramatization of the true story of woman (played by Julia Roberts) who went up against a big corporation, PG&E, that was knowingly harming citizens with contaminated groundwater. Plus, Roberts won an Oscar for it.
It would be difficult to find a more eclectic movie director than Steven Soderbergh. No question that the word “auteur” certainly applies to someone who has made a career out of creating a wide diversity of films spanning nearly all genres. To call him unpredictable is a major understatement and one need only look at a few of the titles to make the point. And now that the acclaimed artist is retiring from the movie making game, capping his enchanting career with the new release Side Effects, we're inclined to look back about his past films. We may love them now, but were they always met with such regard?
sex, lies and videotape put him on the map in 1989 when the film won the Palme d'Or at the 1989 Cannes Film Festival. That film went on to earn $24.7 million and set him off on a career trajectory that to date has included 26 films boasting six $100 million hits including Erin Brockovich ($125.6M), Traffic ($124.1M), Ocean’s Eleven ($183.4M), Ocean’s Twelve ($125.5M), Ocean’s Thirteen ($117.1M) and most recently Magic Mike ($113.7M).
Those mainstream box office blockbusters are outnumbered though by Soderbergh’s forays into the independent film world with movies like Kafka ($1.0M), King of the Hill ($1.2M), Schizopolis ($10,600), The Limey ($3.2M), Full Frontal ($2.5M) and The Girlfriend Experience ($695,840) to name a few. He also has also had a number of modest performers that were generally well-received by critics such as Out of Sight ($37.6M), The Informant! ($33.3M), Contagion ($75.6M) and Haywire($18.9M).
This past weekend Side Effects took third place in its debut with $9.3 million landing in the lower echelon of his wide release openings. In true Soderbergh fashion, the psychological drama once again takes a thematic left turn as a completely different kind of film than his 2012 male-stripper comedic drama Magic Mike which opened with the second best opening weekend haul ($39.12M) of his career.
This begs the question: what other director has the career diversity, peer respect and critical acclaim as Steven Soderbergh? Fellow auteur Quentin Tarantino has helmed far fewer films and rarely strays from the poetically violent imagery that permeates his body of work. Woody Allen, doesn’t really spring to mind though Soderbergh’s more intimate films share some of Allen’s patented interplay between actors and the personal dynamics of the characters within. Arguably, the most closely aligned in terms of diversity, eclecticism and critical respect may be Mike Nichols the director who has created indelible movie images in films as diverse as The Graduate, Catch-22, Carnal Knowledge, Silkwood, Heartburn, Biloxi Blues, Postcards From the Edge, Primary Colors, and Closer.
Filmmakers like Soderbergh and Nichols are unique because their cinematic vision is not immediately recognizable, they always keep the audience guessing and they are completely unpredictable. And that is why we are always interested in what comes next from Steven Soderbergh.
[Photo Credit: Open Road, Hollywood.com]
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I’ve said it before: 2012 was not some all powerful, magical year of elevating women to an exalted position above the oppressive force of men in Hollywood. But you wouldn’t know it based on Sunday night’s Golden Globes ceremony, where women stole the show — and the awards.
The power duo of Tina Fey and Amy Poehler set the tone for the night of Girl Power with their opening monologue, which not only bested three-time deliverer of uncomfortable silences Ricky Gervais’ past performances, but also paid homage to the talented women in the audience. Any awards show that starts out with a joke bashing James Cameron in the name of recent Oscar-snub and seriously talented director Kathryn Bigelow is probably going to come with a dose of fanfare for women.
And it did. It really did. From Lena Dunham and Girls’ surprise win in the best TV comedy category, to kickass princess tale Brave taking home the Best Animated Feature award, to Jodie Foster arresting our attention for a seven-minute lecture about the entertainment industry (or coming out, or her mother, or Honey Boo Boo, or something), the biggest stories coming out of the night are almost all about women.
That feeling was likely ushered in by two powerful, beloved women helming the night for the first time in Globes history (before Fey and Poehler hosted, Gervais was the only official host of the ceremony in its history). Their appointment as the opening act of the show placed an emphasis on the talented women in the audience, like their “roasted” colleagues Julianne Moore, Dunham, and Bigelow. But the feeling of pro-feminist energy wasn’t simply circumstance.
If we look at the people who took home trophies last night, it’s a line-up of women whose 2012 award-winning roles are doing a great deal for women in film and television. Jessica Chastain, who won for her role as Maya in Zero Dark Thirty, not only exhibited strength on-screen in 2012’s controversial film, but took time in her acceptance speech to highlight the importance of this film and director Bigelow’s strides for women as a result. “I can’t help but compare my character of Maya to you [Kathryn Bigelow]: two powerful, fearless women who allow their expert work to stand before them. You’ve said that filmmaking for you is not about breaking gender roles, but when you make a film that allows your character to disobey the conventions of Hollywood, you’ve done more for women in cinema than you take credit for,” she said.
When it came time for the Best Actress in a TV Comedy award, Dunham also helped shed light on how the critical acceptance of Girls has opened the entertainment world a little wider for female characters who occupy spaces not often represented on television: “This award is for every woman who felt like there wasn’t a space for her. This show has made a space for me,” said Dunham, to appreciative and generous applause.
And when it comes to Foster’s big moment, her speech was a little confusing — and for some members of the gay community, rather upsetting — but her placement as 2013’s Cecil B. Demille award recipient is uplifting in and of itself. Awarded for not only her acting, but her directing as well, Foster is one of 13 women to receive the Globes honor out of 58 total winners, and the first woman to win since 2000’s ceremony awarded Barbra Streisand. And whether or not we agree or disagree with Foster’s speech, the woman did command an entire nation of viewers, keeping us waiting with baited breath as she stole the show and became the biggest story of the night.
Though Anne Hathaway’s character in Les Miserables, for which she won her big award Sunday night, is the victim of ancient patriarchal values rather than a champion of rising up against them, her speech certainly echoed a sense of empowerment. She reached out to fellow nominee and screen legend Sally Field for inspiring her to know that “the Flying Nun could become Norma Rae.” And while Les Mis' Fantine isn’t exactly akin to a young woman leading the charge for a labor union, we get where Hathaway is coming from. If only she hadn’t undermined this lovely little moment by hijacking the mic to thank her manager when Les Mis won its big award.
But Hathaway’s faux pas and Taylor Swift’s unforgettable case of Adele-envy aside, not since 2000, when Streisand won the Cecil B. Demille, Julia Roberts won for her pro-feminist role in Erin Brockovich, and Sarah Jessica Parker and Sex and the City won big for a punch of girl power, has the Globes felt so inclined towards strong female stars and pro-feminist projects. Perhaps it’s a signal that we’re slowly moving in the right direction — even if the Oscars hasn’t quite caught up yet. We’re getting there, and as exciting as it is to see talented, empowering women rewarded for their work, the true test of success will be the year in which this much girl power is present and it doesn’t merit a thumbs up for its refreshing nature. When this much lady-love is the norm, that’s when we’ll know we’ve done it.
Follow Kelsea on Twitter @KelseaStahler
[Photo Credit: Christopher Polk/Getty Images]
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