Angelina Jolie

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[Theron]

62th UNHCR Executive Committee in Geneva, Switzerland - Oct 4 2011

[benny95]

Angelina Jolie Honored at Nansen Refugee Awards

http://www.youtube.com/watch?v=9cs_zU89fA0

[cutebeatriz]

We really should post everything we found about her here!! A lot is missing!! . And I'll start, however ...

Can someone pls explain to me why I cannot post a youtube video here, I dont want to just post just the URL, I want to show the video posted. However when I try applying youtube app ( shouldn't I write the URL in between there? ) and It doesnt work

[Nefertiti]

We really should post everything we found about her here!! A lot is missing!! . And I'll start, however ...

Can someone pls explain to me why I cannot post a youtube video here, I dont want to just post just the URL, I want to show the video posted. However when I try applying youtube app ( shouldn't I write the URL in between there? ) and It doesnt work

You have to click "Add replay", when that window opens (the full editor window), choose Insert:You Tube on the left side.

When Insert YouTube little window opens paste there from the direct youtube link of the video you want to post, paste everything that comes after the "v=".

For example if the direct link of the video is: http://www.youtube.com/watch?v=4O5l09Itr9k

You copy "4O5l09Itr9k", which comes after v= and paste that into Insert YouTube little window. Good luck

[viola0605]

[cutebeatriz]

ohhhh! Thank you I finally got it now

Funny Interviews

[Theron]

Billy Bob Thornton photoshoot - 1999

[Nefertiti]

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[SicK As mY SecReTs]

Angelina Jolie & Brad Pitt - "Moneyball" premiere in Tokyo, Nov. 9, 2011

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[Nefertiti]

Angelina Jolie on 60 Minutes

November 27, 2011 - CBS

[Nefertiti]

Angelina Jolie on 60 Minutes

November 27, 2011 - CBS

screencaps..

[Nefertiti]

Interview Magazine

Angelina Jolie goes to war

by Clint Eastwood

CLINT EASTWOOD: I saw the film the other day and really enjoyed it. I thought what you did was great. I don’t think people will think that it is a first-time film.

ANGELINA JOLIE: Oh, thank you so much.

EASTWOOD: You must have had good influences along the way.

JOLIE: Yeah, you being one of them. [laughs] When I was on set with you, I thought, God, Clint makes this look really, really easy. And it’s really not that easy. But you seemed to surround yourself with great people and let them do their thing and encourage it. And I had a great team and let them do their thing and they were amazing, so I got lucky.

EASTWOOD: There is some heavy violence in this movie, which people don’t usually associate with a woman starting out on her first film, but they don’t know you as well as I do. [Jolie laughs] I was also really surprised at how good the art direction was. It really added to the authenticity and the feel of the whole thing.

JOLIE: Oh, Clint, thank you. And that’s Jon Hutman [production designer] and Dean [semler, director of photography]. We had the good fortune that all the actors are from the area and lived through the war, so they could call us on it if it wasn’t right.

EASTWOOD: You got the feeling that everybody was connected to it in some way. The actors looked authentic. Either that or they were just brilliant, which maybe was the case as well.

JOLIE: I’m biased, but I think they are a bit brilliant.

EASTWOOD: When did you decide that you wanted to direct the film? When I first read the script, I thought your intention was to act in it and play the girl. But then I hadn’t discussed it with you, so I didn’t know exactly where you were coming from.

JOLIE: I think I always knew it belonged to them, and I couldn’t do it. I had the crazy thought of directing it, and I kind of just couldn’t accept that. I never believed that I was the right person technically, but I couldn’t trust it away from me emotionally, so I ended up saying, “All right, we’ll send it to a few people from the area, and if they think it’s terrible we’ll shred it. But if they’re willing to make it with me, then maybe there’s some truth to it and they can help me do it and it won’t be wrong.” And when I was with Bernie [David Bernstein, first assistant director] when he started talking about the schedule, and I put my head in my hands. I think I didn’t know how I’d gotten there.

EASTWOOD: I think somehow your brain snapped and you decided, “Okay, I’m ready. Go.”

JOLIE: I don’t know if I ever actually thought I was ready, but I realized, “Oh, what am I doing? I’m doing this!” I think this business can be so much about, “What’s your next film?” and then sometimes we get lucky and we’re able to be smart enough to take a deep breath and say, “I just want to be an artist, and I just want to try something. I want to learn and I want to play and create, and I’m not actually sure of anything, but I just want to learn something new.”

EASTWOOD: Well, that’s the way to go. You just jump in headfirst and go for it.

EASTWOOD: …What I liked about the cast is that you could definitely tell they were not American actors doing the parts. It looked like they were right from there.

JOLIE: What was important to me and what meant a lot was that they agreed that it wasn’t just people from one side wanting to tell the story, because they were more the victims of the story. There were people from all sides who decided that they would come together, so it was Serbians from Bosnia, Serbians from Serbia, Bosnian Muslims, and Serbo-Croatians, and that was great. And you know, I did think about you a lot because we did it in the language of the area, what was called Serbo-Croatian and is now BHS [bosnian-Croatian-Serbian]. And I remembered you talking about Letters From Iwo Jima [2006] and thinking, I know I somehow made this work, but I got confused often [laughs].

EASTWOOD: … your actors pretty much had lived it.

JOLIE: They had. A lot of them remember it. Everybody was at a different age and remembered it in different ways, but a few of the cast and crew had gunshot wounds themselves. We had one beautiful, sweet young actress who’s just so full of life, and she lost 28 family members in the conflict, and yet somehow she’s emerged a shining light of a human being and not a dark, depressed person. I don’t know exactly how she managed that.

JOLIE: I saw the trailer for J. Edgar. I’m always curious to see what you’re doing. I thought it looked amazing. Are you happy with it?

EASTWOOD: Yeah, I am, but you know, I don’t know anything. [Jolie laughs] You never know objectively, so at some point you just kind of say, “Oh, well,” and you turn it over to the public and see where it goes. I imagine you’re feeling that right now.

JOLIE: I’m trying not to think about it. I still don’t quite believe that it’s coming out, if that makes sense. I’m still not quite convinced. I saw the first trailer and I thought, Wow, that was such a real trailer! I think I was expecting not a real trailer. Or not a real poster, or not a real release date. I just think somehow it’s this wonderful, creative time and a piece of art I made with some friends, and...

EASTWOOD: And then you just put it on the shelf, and that’s final. But everybody’s really excited about In the Land of Blood and Honey. I think people are going to be amazed.

JOLIE: That means everything coming from you.

EASTWOOD: You will amaze them again.

JOLIE: I’m just blushing that you’ve got such nice things to say. That means so, so much to me. I’m just glad you didn’t call me and whisper, “You know, I think you should just hide it.” You know? “Start over!”

EASTWOOD: No, no. I think it’s a tough movie and that it’s extremely well made, and tough movies that are extremely well made are very hard to do.

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[Nefertiti]

Newsweek

Angelina Jolie Directs a Film About the Bosnian War

Dec 5, 2011 12:00 AM EST

A war she didn't fully understand has inspired Angelina Jolie to get behind the camera for a love story set in Bosnia.

As I sat in a restaurant in down-town Budapest it felt as if I was with another reporter or aid worker I had met over the years rather than an international movie star. Angelina Jolie had just returned from the Libyan city of Misrata, which sustained one of the bloodiest battles of the civil war. It has since become a symbol of the suffering of the people there. But despite the journey, and what she had seen in the devastated city, she was not rattled. She could flip from talking about her experiences as a first-time director to discussing systematic rape in Bosnia, her trips to Darfur, or the flood of refugees in the Horn of Africa.

“When I go somewhere, I am always willing to learn about it. I get briefings, I read books, I talk to people,” she said. “But mainly I try to go somewhere to bring awareness, to come home and pick up the phone and call someone and try to get something done.”

She took this focus and directness, this earnest approach to her new film, In the Land of Blood and Honey, which opens in the U.S. this month. She told me that when it came to the technicalities of making a film, “I wasn’t afraid to ask the DP [director of photography]. And I listened to my cast, most of whom lived through the war. I listened to their stories and tried to incorporate it into the work.” Against the backdrop of the war, she has created a moving and surprising love story of a Serbian soldier and the Bosnian woman he reencounters ambiguously during the war. It is difficult not to admire Jolie, particularly after watching her film.

At 3 a.m., after we talked mainly about the horrors of the Bosnian war—which erupted in the wake of the dismemberment of Yugoslavia in 1991, pitted the nascent countries Bosnia, Serbia, and Croatia against each other along complicated ethnic and religious lines, and left an estimated 100,000 people dead—her bodyguard popped his head in. He reminded us gently that it was late. We had been talking and drinking for eight hours; still, she insisted on walking me back to my hotel so I arrived safely. “I want to make sure you’re all right,” she said.

As a journalist who lived through the siege of Sarajevo, I saw Muslims, Serbs, and Croats who had formerly lived side by side and been friends viciously turn on each other. I witnessed the ethnic cleansing, the burning of houses, the columns of refugees pouring from the country, and, once, a dog running down the street with a human hand in its mouth. I went to see Blood and Honey with an especially critical eye. I was on the lookout for inauthentic details, since other films I have seen about Bosnia left me irritated and annoyed: Why hadn’t the director done more research? Why couldn’t someone tell the true story of the brutal war in the heart of Europe at the end of the 20th century?

I emerged from Jolie’s screening impressed. How could a woman who was only 17 when the conflict in Bosnia erupted in April 1992 have so perfectly captured the horror of a war that focused largely on indiscriminate and brutal attacks on civilians? She is honest when she says, “At the time, I had no idea of the extent of the agony.”

But her work as an ambassador to the United Nations High Commissioner for Refugees exposed her to the plight of the Bosnian civilians and how the aftermath lingers on. The women who were raped in the infamous eastern Bosnian “rape camps” are still suffering from the emotional and traumatic fallout; it was an especially sensitive point for her. So Jolie, who has always taken on her roles with an intensity that is almost frightening, immersed herself in reading everything she could about the Bosnian war.

Jolie replicated the city of Sarajevo—which endured the longest-running siege in modern history—exactly as I remembered it. The humanitarian trucks being cruelly rocketed by Serb gunmen; the young rape victim slowly losing her mind after being held in captivity and repeatedly violated; the drunken snipers targeting a father and son running across a bridge.