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New The Words clips http://www.dailymotion.com/video/xsr1cq_the-words-i-think-it-s-old_shortfilms http://www.dailymotion.com/video/xsr1c8_the-words-i-just-got-to-finish-this_shortfilms

Bradley Cooper on Stage: An Elephant Man in Reverse? On Sunday, August 5, 2012, Bradley Cooper (The Hangover; Limitless) completed a 12-day run as John Merrick in Bernard Pomerance‘s touching 1977 play, The Elephant Man, at the Williamstown Theatre Festival. I took a little trip from New York City to Williamstown, Massachusetts to see the production, which also starred Patricia Clarkson (Good Night, and Good Luck; The Station Agent) and Alessandro Nivola (Janie Jones; Jurassic Park III, and the upcoming Devil’s Knot). Bradley Cooper takes on the stance of John Merrick at Williamstown Theatre Festival. It was painful to watch him fold three fingers of his right hand over one another; I can’t imagine what this position felt like. | © T. Charles Erickson I was familiar with the play because I was lucky enough to see the original London and Broadway productions in the early 1980′s. Did Williamstown’s staging measure up? Yes, it was glorious in every way. This is why it chaps my you-know-what to see so many media outlets joking about the irony of a good looking actor playing the elephant man, questioning whether someone dubbed the “Sexiest Man Alive” could pull off the role, and focusing on his shirtless appearance in one scene (a device used for good reason in all stagings of this play). Unlike David Lynch‘s1980 film starring John Hurt in which Hurt wears prosthetics to look like the real John Merrick (akaJoseph Merrick), Pomerance specifically mandated that the actor in his largely fictional play wear no prosthetics or makeup. The idea was to eliminate the visual barrier between the man and the audience so that they could focus on his inner life. Attractive men have been purposely cast in the role, from David Schofield in London to Philip Anglim (an adaptation of this version is available onAmazon.com) and Billy Crudup on Broadway, to name a few. So, the greater irony is that so many have fixated on Cooper’s appearance, turning him, in essence, into an elephant man in reverse. One of the themes of the play is superficiality and objectification. In Merrick’s case, he was objectified as an oddity in sideshows. Celebrities like Cooper also have to deal with staring eyes wherever they go. Merrick purportedly ended his letters with an excerpt of the poem, “False Greatness,” by Isaac Watts (1674-1748): Tis true my form is something odd, But blaming me is blaming God; Could I create myself anew I would not fail in pleasing you. If I could reach from pole to pole Or grasp the ocean with a span, I would be measured by the soul; The mind’s the standard of the man. The last four lines could apply to anyone whose looks give people pause, positively or negatively. Jane attended a Q&A recently with Kristen Bell, who stars with Cooper in Hit and Run, a new movie in which he plays a crook with blonde dreadlocks. Bell said the studios fought the look that downplays his handsomeness. I guess you can’t blame them, but kudos to Cooper and filmmakers Dax Shepard and David Palmer for waiting until they found a studio that let them make the movie they wanted. Bradley Cooper and Shuler Hensley in The Elephant Man at Williamstown Theatre Festival | © T. Charles Erickson Now, don’t get me wrong. I hardly think Bradley Cooper is in need of our sympathy. But the lesson about objectification in Pomerance’s play certainly applies in both directions. I won’t pretend to be immune to Cooper’s looks, but that isn’t why I’m a fan. After all, Hollywood is lousy with handsome actors. I have become a fan because of his work (some of the best of which many people have never seen) and because of the person he appears to be in interviews. For example, in his Inside the Actors Studio appearance, Cooper said this about his career: “I know that money or the fact that more people know who I am doesn’t do anything, doesn’t give you anything, zero. If anything, it’s something you have to sort of grapple with and come to terms with. But the only thing that really matters is the joy of picking up a cup in a scene and doing it authentically.” What he’s talking about is losing himself in the character’s circumstances, which is a high that only actors understand. Contrary to what people think about acting, this process is actually a loss of ego, and it’s addictive. It’s also hard to achieve. He stars in a few movies coming out soon ( ; ; The Place Beyond the Pines; Serena) that may bring him more respect – like Brad Pitt and George Clooney have managed “in spite of” their looks. My fan status doesn’t color my opinion of his performance in The Elephant Man either. The reviews (only local critics were allowed to review it) were unanimously positive. Bradley Cooper, Alessandro Nivola, and Patricia Clarkson in The Elephant Man at Williamstown Theatre Festival | © T. Charles Erickson The play made a huge impression on me in the early 1980′s, and both of the actors I saw portray Merrick moved me deeply. This time, though, despite trying not to cry (sniffling in a small theater can make you self-conscious), I remained teary throughout the entire play. Details of the originals are, admittedly, hazy after 30+ years, but I know I didn’t cry from beginning to end during those productions. Philip Anglim, for example, didn’t contort his face in the role, but Cooper did. This makes facial expressions difficult, which was true for the real Merrick, as well. It also makes it necessary for the actor to convey his emotions primarily through his eyes, voice, and inner life. No mean feat. Despite this challenge, the vulnerability that Cooper brought to the role was endearing and immensely heartbreaking. Toward the beginning of the play in a scene in which Merrick is beaten, he wailed, and the sound pierced the heart. His voice was unrecognizable; besides the English accent, his pitch was higher. I spoke to him for a moment after the play, and I was struck by the difference between his voice in character and his normal speaking voice. Patricia Clarkson in The Elephant Man at Williamstown Theatre Festival | © T. Charles Erickson Patricia Clarkson as Mrs. Kendal, an actress who befriends Merrick, evoked the loudest laughs of the evening, and she made her hard work on the character look effortless. I have noticed this about her before, and I think it’s the reason she’s largely underrated. She simply makes it look too easy and natural, which is the mark of a true artist. In the scene in which Mrs. Kendal first meets Merrick, he tells her of his unique interpretation of Romeo and Juliet. The look on Clarkson’s face was unforgettable as she registered that the disfigured man in front of her was such an intelligent, sensitive soul. She made me want to be an actress again. If you aren’t familiar with Alessandro Nivola’s work, pay attention. As Frederick Treves, the doctor who cares for Merrick, Nivola brought impressive depth and nuance to a role that requires quite an emotional journey. Treves questions much in his life as a result of Merrick’s presence in it. The very intimate theater at Williamstown served the play so well that I hate to ever see it in a larger venue again. The set by Timothy R. Mackabee was perfectly spare, the lighting design by Philip S. Rosenberg helped create the “elephant man” illusion, and the music in between scenes by Tom Kochan set just the right mood. The costumes by Clint Ramos were gorgeous and detailed. The talented director, Scott Ellis (who also directed Jim Parsons in the current Broadway production of Harvey), is to be commended, as is the entire cast. I’d be remiss, though, if I didn’t specifically acknowledge Shuler Hensley, who played two pivotal roles seamlessly – a fact I didn’t realize until I checked my program. He was particularly effective as Ross, the man who is brutal to Merrick early on, yet manages to evoke pathos in a later scene. Alessandro Nivola in The Elephant Man at Williamstown Theatre Festival | © T. Charles Erickson Cooper performed a 30-minute version of the play while a student at the Actors Studio, so he has apparently wanted to portray Merrick professionally for a long time. In the program, the last line of his bio reads “Dedicated to JM.” His empathy for Merrick was palpable in his performance. Forgive me for being preachy, but… While I don’t think there’s anything wrong with celebrating someone’s beauty or even feeling a healthy helping of lust, I do think it’s a problem when we do so to the exclusion of their other, less temporal qualities. Just as Victorian England assumed Merrick was an “imbecile” due to his appearance and difficulty with speech, don’t we often assume (or perhaps hope) that someone who is beautiful can’t also be smart or talented? When I was in my 20′s, one of my dearest friends was probably the handsomest man I’ve ever seen. A girl learned one day that he had graduated from a prestigious university, and she said, “Oh, you’re smart.” He innocently asked me what that was about. “She meant, too, sweetie,” I told him. “She meant, ‘Oh, you’re smart, too.’” Besides our difficulty – still – in dealing maturely with physical abnormalities, our culture has an adolescent love/hate relationship with physical beauty, and our behavior as a result can bring out what is ugliest inside us. For this reason alone, Pomerance’s The Elephant Man remains relevant 35 years after it was written and 150 years after John Merrick was born.

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Thank you!

Sandra: http://imgur.com/1BM9u Maiya, I don't know how you feel about them, but I think 'your' sigs aren't quite as good I don't really know both the girls, but if you have better pics/vids you prefer feel free to PM me. Almost finished your set, MarVS , but my internet is crappy once again so I'll give uploading another shot tomorrow

Candice Boucher Siggy: http://imgur.com/iiTQI Avi: http://imgur.com/K6jWo

I was hoping someone could help me with these two questions: 1. My gradient tool seems to be highly 'overreacting'. Whenever I'm drawing a 1mm line the whole picture completely dissapears. 2. My brush tool reacts different too. I used to be able to (for example) 'flatter' leaves all over the picture whenever I used the leave-brush, but nowadays it only makes a straight line of leaves. Anyone who knows how to solve this?

Thank you so much Babylola and Kerri Very cute, as usual!

Shoshanna Marjorie Kitty Miranda Mathilda

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I don't know whats harder for me to believe: Leo marrying Erin or Leo talking about his personal life in exchange for awards

It's Star , so I don't really think so But thanks for posting So does Leo have a lot of free time left before Wolf? I'm hoping to see him starting promotion nevertheless

Thanks MarVS , that means a lot since I steal inspiration from your sets I'll make those when I have some time Maiya

Nina Agdal: Siggy: http://imgur.com/otiI5 Avi: http://imgur.com/IcWgG

Joseph Gordon-Levitt: Craziest Biker Ever? Bike messengers—those human Froggers and sworn enemies of cab drivers everywhere—are once again getting some action on the big screen. Twenty-six years after the trick-riding antics of Kevin Bacon in Quicksilver, new feature film Premium Rush will bring back all the traffic-dodging action and chase scenes you might expect from high-risk package delivery. The movie looks extreme enough to warrant a Jason Statham or two, but instead we get Joseph Gordon-Levitt as our hero Wilee, who introduces his thrill-seeking ethos with, “I like to ride. Fixed gear, no brakes. Can’t stop—don’t want to, either.” But the movie kicks off when some bad guys try to stop him: I was a bike messenger for a number of years on the mean streets of Portland, OR, where—I’ll be honest—half of the “fast-paced danger” of the job involved weaving in and out of Priuses and trying not to drop my coffee while crossing wet streetcar tracks. To get a feel for how accurate Premium Rush is to the experience of being a real badass messenger in NYC, I spoke with James Whitefox, AKA “Fox.” A bike messenger for the past six years in Portland, San Francisco and New York, Fox currently rides for Clementine Couriers, a 24-hour messenger collective that services Manhattan and the outer boroughs. Here’s what Fox says Premium Rush gets wrong about being a messenger in NYC: 1. Not enough grime: “New York is a grimy town,” Fox says. “Everything looks so clean in the clips I've seen. No way would someone as clean-cut and constantly smiling as JGL make it as a courier here—you gotta be on edge from the moment you leave the door in the a.m. to that first beer when you call it a day. Chilling out leads to drifting off, and next thing you know, you're having to pick between a dump truck and some matron from Milwaukee with a double armful of shopping bags as viable places to crash-land (hint: go with the dump truck).” 2. Too tricky: “I also don't see riders pulling tricks like JGL does in the trailer. Most guys just concentrate on going fast and avoiding ‘situations.’ Except for knowing how to hop a curb in a heartbeat if one of those situations is about to get real, most guys I know out here don't mess with tricks.” 3. What Fox calls “the personal factor”: “You see office workers and cops talking to JGL like he's a real human being,” he says. “I've worked as a courier for six years in three cities on two coasts. I've probably made 20,000 picks and drops (deliveries), and it's very rare to have interactions with the folks in those offices that are as personal and heartfelt as what the trailer shows. Especially in New York, where time IS money. 4. The slowest rush ever: “The title refers to a service level, which is the timeframe assigned to each package within which it must be delivered. ‘Standards’ at most companies are two to three hours, ‘rushes’ are one hour and ‘super rushes’ are thirty minutes. The movie makes it seem like a big deal to get the package from the Columbia University area to downtown in the 90 minutes allotted to a ‘premium rush,’ but any rookie with a decent handle on Manhattan traffic could make that run in 45 minutes—60 tops if you somehow get stuck at 42nd AND 34th.” 5. Too extreme?: “Finally, the trailer opens with a JGL voiceover, some kind of paean to riding brakeless and not being able to stop.” Fox says. “Nobody who's been obliged to book it like a human yo-yo thru the cacophonous tangle of metal and concrete and pedestrians and Other Dangerous Things that make up what we call Traffic—even for more than a couple days—is gonna have that devil-may-care attitude. Or if they are, they're not gonna talk about it. I ride a track bike in the city, but it’s not because I ‘can't stop, don't wanna stop.’ On the contrary, it forces me to be a more skillful and conscientious rider.” With all that said, Fox says there are definitely things Premium Rush gets right, including messenger camaraderie and the general laidback ethos when off the clock. Everyone he knows who hasn’t seen the movie already is pretty amped to see it when it opens August 24. And if it’s a hit, Fox has a few ideas for the sequel: “Tattoos. More bad tattoos. More radio chatter. More montages of JGL organizing the contents of his bag because every messenger I’ve ever met is a sucker for that kind of stuff. More close-ups of glamour status bike components after months of getting scraped on curbs and parking meters. And did I mention the grime? Definitely more grime. Really, though, the movie is gonna be awesome, no matter what. As long as they never make it in Smell-O-Vision. Anyone who's ever lived with a messenger or dated one can appreciate that.”

At the Hollywood Foreign Press Association’s Installation Luncheon held at the Beverly Hills Hotel on Thursday (August 9) in Beverly Hills, Calif.

ET- Exclusive 'The Words' clip http://www.etonline.com/movies/124099_Bradley_Cooper_Exclusive_Clip_The_Words/

JENNIFER LAWRENCE, BRADLEY COOPER, AND CHRISTINA HENDRICKS DO LUNCH Major stars of TV and film gathered together in LA today for the Hollywood Foreign Press Association's 2012 Installation Luncheon at the Beverly Hills Hotel. Jennifer Lawrence stepped out in a Narciso Rodriguez ensemble and met up with her Silver Linings Playbook costar Bradley Cooper inside the event. Bradley and Jennifer will likely be spending time together this Fall while promoting their movie prior to its November release, but first, she'll report to Atlanta to start filming Catching Fire. Bradley's reportedly heading to Las Vegas to begin work on The Hangover Part III. Mad Men's Christina Hendricks looked lovely in a black dress while posing for photos on the red carpet, as did Political Animals star Carla Gugino and Django Unchained's Kerry Washington. Inside the ballroom, old friends Dustin Hoffman and Jack Black shared a laugh while John Travolta posed for photos with peers. This year's gathering gave celebrities the chance to catch up and also served as an opportunity for the HFPA to announce its newly inducted officers.

This is very exciting, Adira! I can't wait to see it! BTW, I don't think I have seen the "Miss Passionata...so Bardot" video. http://www.passionat...Collection.html Thank you wijn, for the nice article with a fabulous bunch of photos! Can't see it

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