Actress Milla Jovovich is pregnant with her second child. The former model and her filmmaker husband Paul W. S. Anderson are preparing to welcome another member to their family.
Jovovich made the announcement on her Facebook.com page on Monday (18Aug14), revealing that the next instalment in her Resident Evil franchise will be put on hold due to her pregnancy.
She wrote, "This was originally going to be a post to tell you how excited I am about flying to Cape Town, South Africa to begin working on Resident Evil: The Final Chapter. But... My husband Paul and I just discovered that we are expecting another baby!!!
"So after a lot of discussion, we thought it would be in everyone’s best interest to wait till the baby is born before we set out to try and tackle an RE (Resident Evil) movie. Between the stunt work and what will become my ever-expanding belly, we didn't think pregnancy and zombie killing are the best combo! Lol (laugh out loud)! I imagine the only thing I’ll be killing in the near future is an endless supply of cupcakes. Yikes..."
She continued, "In all seriousness though, we want to make the best movie possible and that would be extremely difficult, to say the least, in my present condition. I would like to take a moment to say thank you to everyone who has been working so hard on the movie in South Africa already and we are so looking forward to working with you all next summer. And when we arrive, it will hopefully be with the newest member of our little family! YAY!"
Jovovich, 38, has been open about her eagerness to have another child sooner rather than later, recently telling Britain's Hello! magazine that having another baby is her "number one priority".
The model-turned-actress first met Anderson when he directed the 2002 Resident Evil film, and they welcomed daughter Ever Gabo in 2007. The pair exchanged vows in 2009.
Getty Images/Vera Anderson
I was humming a tune from Robert Altman's Popeye, a terribly underrated feat of Robin Williams' comedy (and his first cinematic role), when I read the news of the actor's passing. Hastily, I diverted attention to the public sphere, rushing through the social media posts of friends, colleagues, and strangers, hoping for a taste of which Williams roles most touched the lives of each and every individual vocalizing grief. I knew there would be no shortage of reference to Williams' dramatic work — his Good Will Huntings and Dead Poets Societys — but of course my expectation was to find the principal focus on his comedy. More than an actor was Williams a comedian, whether he be playing on stage, on television, or on the big screen.
So it was an especially jarring turn to discover, when I launched back from the tributes to ingest more information, just how Williams died: authorities had begun calling the incident a suicide. Only for a moment, though, was I so rattled in surprise. Williams' endeavors with rehab for drugs and alcohol, both this summer and earlier on in the 2000s, were no secret. But more significant than this is the fact that nobody is or isn't "the type" to take his own life; nobody should be a more surprising victim of suicide than anybody else. Stigmas to the contrary are a large part of why depression is such a treacherous epidemic in our world and country.
Upon learning of Williams' death, some are bound to consider the dichotomy between the man we knew — the one who'd dress in drag and howl in a Scottish accent, who'd roar through the radio waves of the Pacific Rim — and the man in earnest. Some might doubt that the Williams we met as Mork, loved as Patch Adams, played with as Alan Parrish, and wished upon as the Genie, was anything whatsoever real. Anything more than "for the cameras."
It certaintly was. It was a Williams for us. From him.
Upon perusing Facebook and Twitter and speaking with friends, I found something you don't often see when a beloved actor dies: variety. Every other voice had a different Williams role to celebrate, ranging from the wacky Aladdin, the sweet and schmaltzy Hook, the stern and sincere The Birdcage, the dark and severe Insomnia, and the esoteric The Fisher King. The constants were affection and familiarity. More than a few folks who grew up in the '80s and '90s likened Williams to a distant family member, or even a surrogate father. Clearly, the man had fostered an incredibly, unprecedentedly intimate presence with a generation of film and television watchers.
And each of those "types" of Williams is just as valid as the next. As such, the "type" of Williams we — the public — all collectively know is as valid, as palpable, as real as anything that he might be beyond the limelight.
A friend of mine expressed consternation over the proper decorum in situations like these: is it tacky to expose your grief for a passing friend whom you've never met, who never knew you? It doesn't seem to be — although it would be tacky to presume that I know anything of what Williams might or could or should want, we can rest assured that he brought his talents, his hobbies, his self into the world in the way he did in the hopes of making us laugh. Few comedians, and even fewer actors, of our generation could be deemed so potently invested in the happiness and enjoyment of their audiences. In every one of his movies, Williams was giving us a very big, powerful, important part of him. That, and all the laughter that came with it, was for us. So it doesn't seem all that off base to think that we couldn't share every feeling of love and sorrow we might have about him.
Finally, we return to the question of authenticity — what about the man behind the laughter? The man so stricken with pain? The "real" Williams?
That's where the danger comes in: the thought that only the morose can be depressed, that anyone so capable of earning a laugh must be riding a permanent cloud nine. That Williams' humor was the result of a chemical reaction with celluloid, and would dissipate immediately upon production wrap. Williams, like many depressed men and women, was a man who liked to, maybe even lived to, joke. A man who could command any room, nail any impression, or knock out any punchline. Granted, Williams can probably do this a lot better than the vast majority of folks out there, depressed or otherwise. But he's not a unique breed. There is no discernible breed. Depression and the turmoils that come with it can inflict anyone: the funny, the mopey, the angry, the brawny, the silly, the sensitive. From your Sean Maguires to your Daniel Hillards.
It often takes a stride to learn that the depression living within any of these people can be real. And for those who suffer with the disease, it is just as difficult, if not more so, to understand that the rest of you — the funny, the sweet, the strong, the "Seize the day!", the "Beee yourself!", the "Hellooo!" — is, too, very much real. No matter which side of the equation you might be on, you have one more lesson here to learn from John Keating:
We did know the real Williams. We just didn't know every part of the real Williams. We might not have known the real pains, the tragedies that too many people face alone and don't have to. But we knew something just as real: his ability and his drive — no, his insistence — to make the world laugh. And yes, he made the world cry plenty. When he battled for a soul in Bicentennial Man or delivered special peace to a hospital of sick children in Patch Adams or dragged Matt Damon out of his own carnivorous guilt in Good Will Hunting, he made us cry. But the Williams that made us laugh... the one who splashed his face with pie frosting, babbled around Sweethaven in a feverish stupor, and doled out life lessons to a wannabe prince via obscenely anachronistic pop culture references... well, that's my real Williams. And he's just as real as anybody else's.
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"Having met Pamela Anderson and Patrick Dempsey, well, they're both quite beautiful, and if at least one of them doesn't turn you on, then you're probably dead... I don't transmit sexuality of any kind... I don't ever attract a women, men or white rhino, so I can't see how I'd be attractive onscreen." Morrissey insists he wouldn't make a good movie star.
Lou Reed's widow Laurie Anderson has asked a New York judge to enforce a compensation agreement awarded to the rock legend's estate following the cancellation of the inaugural UR-1 Festival in 2012. The Velvet Underground icon was among the acts set to perform at the Miami Beach event in Florida, alongside Kanye West, fun., The Offspring and Keane, and officials at Reed's company, Sister Ray Enterprises, collected a $20,000 (£11,765) advance at the time of the booking.
They were expecting the remaining $180,000 (£105,882) of the singer's fee in full after the 9 December, 2012 show, but the festival was axed at the last minute due to financial troubles.
Lawyers for Sister Ray entered arbitration talks with Go Big Productions promoter Alejandro Olmes in February (14), when Reed's estate was awarded the balance of the star's fee as the musician had been "ready, willing and able to perform" until Go Big bosses scrapped the gig.
Estate executors were also granted $7,100 (£4,176) in legal fees, reports the New York Post.
However, Anderson, the main beneficiary of Reed's $30 million (£17.65 million) estate, claims the funds have yet to be received and this week (ends08Aug14), she filed suit in Manhattan Supreme Court in a bid to secure payment.
Reed died in October, 2013 after a battle with liver disease. He was 71.
Actress Milla Jovovich is eager to expand her family with husband Paul W. S. Anderson, insisting having another child is her "number one priority". The Resident Evil star, 38, welcomed daughter Ever Gabo with filmmaker Anderson in 2007, and the model-turned-actress wants to have a second baby before it's too late.
She tells Britain's Hello! magazine, "I want to have a baby and that is my number one priority. If I don't do it now, it will get more difficult the older I get.
"Ever is always talking about how much she wants to be a big sister. I have to do it before she is too old to enjoy it. I don't have all the time in the world to think about it."
Jovovich is also taking time away from work to focus on her family and reveals she has turned down a number of movie projects as a result.
She continues, "I have been saying no to everything. There is talk of doing another Resident Evil (film) at the end of next year, but I don't want to do anything before that. I'm happy being a stay-at-home mum. Mum world is amazing.
"When I'm home I'm not feeling any anxiety or stress over work, I'm a different person. My relationship with my husband becomes closer, too, when I'm relaxed, and that is really important if you want to have another baby."
In Hollywood, it’s not uncommon for the stars to meet on set and fall in love. Usually, it’s the leading man making the leading lady swoon. But actors and actresses aren’t the only ones who wind up together. Sometimes, it’s the director who gets the girl.
Kate Beckinsale and Len Wiseman
Getty Images/Kevin Mazur
Prior to her marriage, Beckinsale had been in a relationship with actor Michael Sheen for 8 years. But on the set of Underworld in 2003, she fell for her then-married director, Wiseman. The following year they were married. All parties involved, except Wiseman’s first wife, have said there was no infidelity. The couple have remained friends with Sheen, who starred alongside Beckinsale in Underworld. Aside from that franchise, Wiseman has also cast Beckinsale in his film, Total Recall.
Judd Apatow and Leslie Mann
Getty Images/Rich Polk
These two met on the set of the 1996 comedy film, The Cable Guy, which Apatow was producing. Since their 1997 marriage, Apatow has cast his wife in: The 40-Year-Old Virgin, Knocked Up, Drillbit Taylor, Funny People, and This Is 40. Not only has his spouse appeared in his films, but their two daughters, Maude and Iris, have made it into a few films as Mann’s on-screen children.
Milla Jovovich and Paul W.S. Anderson
Getty Images/Jun Sato
This couple met on the set of Jovovich’s most popular film, Resident Evil, in 2002 which Anderson was the director and producer for. The two dated first then had a child in 2007, before getting married in 2009, all while continuing to work on the franchise that brought them together. Anderson isn’t the first director Jovovich has wed. In 1997 she married her The Fifth Element director, Luc Besson, but divorced him two years later.
Kate Capshaw and Steven Spielberg
This Texas-born actress met Spielberg when she was cast as the female lead in Indiana Jones and the Temple of Doom, the prequel to Raiders of the Lost Ark, in 1984. The two married in 1991, after Spielberg’s controversial and costly divorce from his first wife, Amy Irving.
Helena Bonham Carter and Tim Burton
WENN/Adriana M. Barraza
The pair first connected during filming Planet of the Apes in 2001. While they’ve never actually gotten married, they’ve been a couple for the last 13 years and have 2 children together. Burton is not shy from having his partner in his films; Carter has appeared in: Big Fish, Corpse Bride, Charlie and the Chocolate Factory, Sweeney Todd: The Demon Barber of Fleet Street, Alice in Wonderland, and Dark Shadows.
Actress Maya Rudolph has avoided a fine from California authorities by finally filing her baby daughter's birth certificate - almost a year after the tot was born. The Bridesmaids comedienne and her longtime partner, director Paul Thomas Anderson, never announced the arrival of their fourth child and the news only emerged in September (13) after Rudolph was photographed carrying a swaddled baby through Los Angeles International Airport.
She has since made the kid's birth official by lodging documents at a Los Angeles court on Tuesday (29Jul14).
The birth certificate, obtained by editors at TMZ.com, reveals the little girl was born at home on 1 August, 2013 and was named Minnie Ida Anderson, after her maternal grandmother, late singer Minnie Riperton.
California law requires new parents to file birth certificates before the baby turns one, or face a fine.
Rudolph and Anderson are also parents to Pearl, eight, Lucille, four, and three-year-old Jack.
Gillian Anderson has wowed critics with her turn as Blanche DuBois in a London stage revival of A Streetcar Named Desire. The X-Files actress stars as the troubled Southern belle in the revered Tennessee Williams play, which opened on Monday (28Jul14) at London's Young Vic Theatre.
British reviewers praised the performances of Anderson and her co-stars Ben Foster and Vanessa Kirby, but there were reservations over the constantly revolving stage setup.
Charles Spencer from The Daily Telegraph calls the show "an absolute knockout" and adds, "Never have I seen a production of the play that was so raw with emotion, so violent and so deeply upsetting... The performances are superb, Gillian Anderson giving the performance of her career..."
Michael Billington from The Guardian writes, "There's no doubt that Gillian Anderson gives a stellar performance... (she) captures both Blanche's airy pretensions to grandeur and her desolate loneliness."
The Daily Mail's Quentin Letts calls the production "an ingenious take powered by four ace performances, with an A star for X-Files' Anderson".
However, the critics had mixed opinions on the revolving stage, with Billington calling it "distracting" while Stephen Dalton from The Hollywood Reporter branded it "hypnotic".
The production, the fastest-selling in the theatre's history, runs until 19 September (14). It will be broadcast in cinemas worldwide on 16 September (14).
"She's a Type 2 diabetic like me; Aretha, you know your a** should not have been in Johnny Rockets, eating that double cheeseburger with them gravy fries. If I was working there, I would have said, 'No!'" Actor Anthony Anderson lashes out at fellow diabetic Aretha Franklin following a news report suggesting she fled a fast food diner in Canada after an encounter with a rude employee.
"I'm about to go to a plant-based diet and basically become a vegan - your skin clears up, your eyes get white, your tongue gets pink, your sex drive is great." Actor Anthony Anderson is set to become the latest celebrity to give up meat and dairy products.