Jessica Alba married Cash Warren her rep confirmed to Usmagazine.com.The pair exchanged vows Monday.Alba, 27, is expecting a daughter with Warren, 31, this summer.
The pair met on the set of Fantastic Four in 2004 (Warren was the assistant to the film’s director).
Alba first flashed her flashed her five-carat engagement ring over Christmas 2007.
Tell Me: Are you surprised by the news?
http://www.usmagazine.com
The jet set has arrived. The red carpet has been rolled out. The hotels are filled with fans and paparazzi. Film stars in ball gowns and starlets in bikinis are out day and night competing for their moment in the spotlight on the French Riviera.
It can only mean one thing: It’s that time of year again—it’s the Cannes Film Festival. But behind the glitz and glamour, the flashing bulbs, the lavish parties and the superyachts docked in the marina is a serious, hands-on business. While the stars pose and preen on the steps of the famed Palais des Festivals, the lower ground floor of the building hosts the hustle and bustle of a vibrant film market. It’s a Western version of an Asian bazaar, with thousands of stalls selling a very special product: movies.
During the festival, more than 4,000 films are bought and sold with an estimated $1.55 billion changing hands. According to Market Executive Director Jerome Paillard, "For many companies, Cannes may represent 50 percent of their yearly business."
At the market the difference between an arthouse and a mainstream movie doesn’t really matter. The stalls offer big-budget films and arty movies and niche titles in genres like martial arts and anime. What matters is that the films sell well.
"The market is something completely different from the festival. Many films presented here are never going to make it at the film festival, but they still may sell very well," Independent Film and Television Alliance Executive Vice President Jonathan Wolf told ABC News.
Movies considered "independent" at the market are not necessarily more arty than the big-budget movies, as some festival-goers might assume; at the market, "independent" means only that the movie is "primarily financed from sources outside the seven U.S. major studios," said Wolf.
Therefore, "Million Dollar Baby," "Mr. and Mrs. Smith" and the "Lord of the Rings" trilogy are all considered independent, to the surprise of many festival watchers.
And yet despite being in a separate world, the market takes advantage of the festival’s fame.
While the Cannes Film Festival lures thousands of people from all over the world with its glitz and glamour, many clients flock to the bustling market.
Exhibitors, distributors and producers said they are attracted by the international atmosphere they find here. Some of them close their deals in Cannes, while others get enough contacts to finalize later on during the year.
Clad in red stilettos with a mouth that owes a certain something to the talents of a plastic surgeon, Kimberly Kates cuts a different figure from all the other producers crowding the market.
Kates hardly hides her past as a Hollywood actress who worked in movies like "Highways," starring Jake Gyllenhaal. Fed up with acting, she turned to production and now heads Big Screen Entertainment Group, a production company that is presenting "Baby Sitter Wanted"—a cross between a thriller and a horror movie.
To her, the Cannes market is the place to network with a lot of people from all over the world.
"What is great about Cannes is to be able to understand the pulse of what is wanted and needed internationally," she said.
And the market helps clients do that by organizing speed-pitching.
Speed-pitching works like this. Five producers at a table have five minutes to present their projects to the person sitting next to them before they have to move on and start all over again with someone else.
It’s quick and apparently effective, as "you can make invaluable contacts," according to Julie Bergeron from Producers Network, the group that organized the meeting.
"It makes a change from cocktail parties. Here, everyone is forced to come straight to the point," Bergeron said.
For one representative of Arrow Entertainment Inc., it is the variety of buyers attending the market that makes it vital.
"We are trying to distribute "Saving God," a film with a Christian theme that will open in the states in more than 3,500 churches in October 2008," said Maria Ware from Arrow Entertainment.
This is why she believes a Christian buyer, maybe a Latin American or an Italian buyer, is desperately needed, and she hopes that at Cannes—with its mix of international attendees—she might secure the right deal.
But the market is not the only place to make deals at Cannes. Many of the big distributors and major studios rent rooms and suites in luxury hotels on La Croisette to make their deals, and journalists are not invited to the party.
http://abcnews.go.com
That may be in writing, but is it the truth?," he asked, partly as a joke and partly to underline the movie’s themes, the lies and ambiguities in a story where the forces of male power can stifle the voice of a woman seeking justice.
"It’s one person’s voice, and even though she was considered a minority, especially in that particular time, just kept going, just kept going," Eastwood said. "It’s a great study of human characteristics and one mother fighting against a whole city."
Police corruption is not a subject that’s foreign to the actor-director-musician (he also wrote the score for the film.) Among his duties in Cannes will be to introduce a Thursday night screening of Dirty Harry, the 1971 film in which he played the no-nonsense San Francisco cop Harry Callahan, a role that helped establish his tough-guy persona.
"That was 37 years ago and it was more of an adventure story, but it also showed a tenacious police officer who wanted to fight against a political bureaucracy," he pointed out. Eastwood, who turns 78 at the end of May, said he also enjoyed it as a fantasy role: "Point a .44 Magnum at someone and say, ‘Do you feel lucky?’"
Ask his star, and she’ll tell you luck has nothing to do with Eastwood’s success as an Oscar-winning filmmaker (Unforgiven). "He’s everything you kind of hope he would be," Jolie said a few days earlier. "He’s so strong, and he’s so cool, and on top of it, I’ve never seen a director so kind to the crew or appreciative of every single crew member. He’s gracious, he’s patient with them. He’s just wonderful. He’s the leader you hope for in every aspect of life."
On Tuesday, Jolie said her performance was partly based on her own mother, Marcheline Bertrand, who died last year. "To me she’s very much like my mother," she said. "My mother was very passive in many ways and very, very sweet, but when it came to her children she was a lion."
The Exchange, if that’s what it’s called, is in competition at the Cannes festival, and while Eastwood has mixed feelings about what that might mean -"a lot of good films have won and a lot of not-so-good films have won" – he says he never considered showing it out of competition, a category where many Hollywood films have been entered here.
"It seems like if you’re going to come to a film festival that has a competition, you might as well be in competition," he said. "To play it out of competition is kind of playing it safe." At any rate, judging from the press reaction after the first screening, Eastwood has a good shot at the Palme.
His movies – which also include Letters From Iwo Jima, Million Dollar Baby and Mystic River – come with several common themes, including questioning authority ("I like questioning it") and loss of innocence.
"Children in danger is about the highest form of drama you can have," he says, speaking of the Cannes movie. "Crimes against children are the most heinous crimes that there are. And when one comes along quite as big as this one you question the humanity, and it never ceases to surprise you how cruel humanity can be."
And most of all, Eastwood’s cinema is concerned with search for the truth. "Truth is the most important thing," Eastwood says. "Most stories of intrigue are certainly trying to get at the truth. And telling the truth is one of the most important things for an actor. It’s the greatest virtue on the planet."
When Eastwood says it, it doesn’t have to be put in writing.
Yesterday on Today show in Rockefeller Plaza in New York Fergie looked and performed amazing. She was wearing probably the tightest trousers ever. She sang her “Clumsy” and crowd loved her!
She has always been my favorite and now I love her even more
You will love the video. Fergie is fantastic!
Date of Birth
20 February 1988, St. Michael, Barbados
Birth Name
Robyn Rihanna Fenty
Nickname
RiRi
Caribbean Queen
The Barbados Babe
The New Princess of Pop
Height
5′ 8″ (1.73 m)
Mini Biography
Records. He heard her sing and knew she was going to be big and for more than just one song. She was 16 when she was signed to Def Jam. Rihnanna’s debut album is out now. It’s called “Music of the Sun”.
Trivia
Birth NameNickname
Em
Height
5’ 6" (1.68 m)
Emma Charlotte Duerre Watson was born in France on April 15, 1990. At school in England, she took the lead role in several plays including "Arthur: The Young Years" and "The Happy Prince". Along with plays, Emma participated in many other school productions including the "Daisy Pratt Poetry Competition", in which she won first place for her year at age seven. Harry Potter and the Sorcerer’s Stone (2001) was her debut into the world of professional acting. Competing against many other girls for the role of Hermione Granger, she didn’t expect to get the part.
Away from the cinematic world, Emma enjoys playing hockey most of all and she also likes debating. Although her hair is brown in the movie, she’s naturally a blonde. She once dressed up as a witch for Halloween, but she had no idea that years later, she would be playing one in the Harry Potter movie. Her lawyers parents, Jacqueline and Chris, are divorced. Emma lives with her mother and younger brother Alex. Her role models are Julia Roberts, Goldie Hawn, John Cleese and Sandra Bullock.
IMDb Mini Biography By: nynke van schylge
[in response to a reporter asking her whether she always wore pigtails]: I never wear pigtails, I wear plaits.
[Hardest scene]: Neville comes up to me with his toad, Trevor, and says, "Do you want to kiss Trevor goodnight?" Every time he did this I burst into laughter. I was supposed to give him an "I hate you" look, but I couldn’t help myself. It took me about eight takes to get it.
It was unbelievable seeing me as an action figure! In a few months, toddlers all around the country will be biting my head off!
[On kissing her co-stars]: Oh my God, no, no chance, no chance. That’s not in my contract!
My friends are all really nice about my fame, they’re just curious really, they ask lots of questions.
[On how her character, Hermione Granger, has matured]: She’s rock and roll. She’s feisty. Girl power!
[On reporters asking the same questions over and over]: That’s the good thing about them! They all ask exactly the same questions and you can say exactly the same answers! You don’t have to think, you can just stand there like a broken record going LALALA.
[on working with boys]: I like being around mixed company. Dan (Daniel Radcliffe) and Rupert (Rupert Grint) definitely make their fair share of cheeky comments about me being girlie, but it’s all in good fun.
It took me three films to get Hermione in jeans. To get out of the robes with the tights and the itchy jumpers. Whoo-hoo!
I hope my head doesn’t get very big. I’m just going to keep my feet on the ground, stick to friends and family and try and lead a normal life.
I love fashion. I think it’s so important, because it’s how you show yourself to the world.
[On being a known actress]: Most people are really nice but some stare, like you’re some kind of zoo exhibit and not a real person with real feelings. Even when you take away all the glamour and attention and premieres and everything, it still comes down to the fact that I’m acting.
Hermione uses all these big long tongue twister words, I don’t know what she’s going on about half the time!
I could be 100 years old and in my rocker, but i’ll still be very proud that I was part of the Harry Potter films.
[On her co-stars Daniel Radcliffe and Rupert Grint, who play Harry and Ron]: More than just friends, they’ve become like brothers. Or sisters, I don’t know. In fact, I don’t see them like normal boys. I mean that I cannot imagine me going out with one of them. For me, they are like my best friends. I can laugh and talk about everything with them without any taboo. I really like them a lot.
[On other roles]: Now that I’ve played the snotty, bossy, posh Hermione Granger, I’d like to play some American high school girl. I want to play something totally different. I want to play every kind of character and every point of view, but I’m probably going to be playing Hermione for a while.
[If she’d sooner have a great Hollywood career or a great marriage]: Hmmmmm… Can’t I have both? But if I would really have to choose, then I’d pick a great marriage. I think it would be amazing if I would get to play beautiful parts and win Oscars, but that would all mean nothing if my parents and friends weren’t there with me. What is success when you don’t have anybody to love? No, I’d rather be happily married.
[On watching the earlier movies]: It’s like baby photos… I look like a chipmunk!
I get sent Bibles. I have a collection of about 20 in my room. People think I need to be guided.
Harry Potter and the Order of the Phoenix (2007) $4,000,000
(April 2004) Filming Harry Potter and the Goblet of Fire (2005).
(March 2005) Finishing filming Harry Potter and the Goblet of Fire (2005), set for release on November 18th, 2005.
(April 2006) Filming Harry Potter and the Order of the Phoenix (2007).
(January 2008) Filming Harry Potter and the Half-Blood Prince.
Writer Toby Young is emerging as the unlikely British success story of the Cannes Film Festival.
Actor Simon Pegg and actress Gillian Anderson attends the How To Lose Friends and Alienate People party in Cannes
Young’s memoir of his disastrous stint at US magazine Vanity Fair, How To Lose Friends And Alienate People, has been adapted for the big screen and launched in Cannes.
It has created a buzz in a festival which is otherwise devoid of British films, and is being hailed as a successor to The Devil Wears Prada.
Simon Pegg, star of Spaced and Shaun of the Dead, plays the hapless hero, with Kirsten Dunst as his serious-minded colleague and Jeff Bridges as the fearsome magazine editor.
Young has also managed to sign up Transformers star Megan Fox, recently voted the sexiest woman in the world, to play the object of his affections.
Festival-goers were given a sneak preview of the film, which is due for release in October and is showing in Cannes out of competition.
Young said he was delighted with the results: “It is not always an ego-boosting experience, having a film made of what you’ve written. They have done a fantastic job. It has turned out incredibly well, far better than I could have hoped.”
A party thrown in Young’s honour attracted the likes of Lily Allen, Mischa Barton and Natalie Imbruglia – quite a turnaround for a self-confessed “English chump” whose book recounts his doomed attempts to mix with the rich and famous.
Pegg said he strove to make his character, re-named Sidney in the film, more sympathetic than the real-life Young.
”The character of Sidney is a redeemable, likeable guy who you want to root for – unlike Toby, who is an egomaniac,” Pegg said.
Young was originally on board as the screenwriter but ended up as a producer. His co-producer Stephen Woolley explained: “As soon as we read Toby’s script, we fired him and got someone else to write the screenplay.”
It is an otherwise gloomy picture for British films, which have been excluded from the Palme d’Or competition for the second year running.
British prize hopes rest in the fringe competitions.
Sam Taylor-Wood, the artist, is in the short film section with Love You More, the last project of the director and producer Anthony Minghella.
Brighton-born director Thomas Clay is entered in a sidebar competition with Soi Cowboy, an uncompromising film set in Bangkok’s red light district.
The UK Film Council has tried to appear upbeat about the lack of British films showing in Cannes, citing changing “trends and tastes” among the selectors.
It’s a bacchanalian orgy of excess – an excess of money, alcohol and fine, rich cuisine, if not of taste or sleep. It is a potent mix. I know, I went on several occasions for The Scotsman. But when the corpses are mounting in Asia and more and more families in Britain are finding themselves drowning beneath mountains of unpaid bills, is there still an appetite for news and gossip from the Cannes Film Festival? Is Cannes a insensitive irrelevance?
Yes and yes. It is an insensitive irrelevance. But there is a huge appetite for every titbit, every paparazzi picture of B-list celebrities… provided, of course, that the news and the pictures are of Hollywood films and film stars (or maybe British ones).
The festival began yesterday, but will kick into overdrive on Sunday with Indiana Jones and the Kingdom of the Crystal Skull, the first new instalment in Steven Spielberg and George Lucas’s franchise for almost 20 years.
The world is desperate to know whether Harrison Ford can still cut the mustard as an action adventurer, still crack the whip, while maintaining a grip on the bus pass at the same time. The film opens worldwide within days of the Cannes premiere.
Angelina Jolie, Scarlett Johansson, Penélope Cruz and Benicio del Toro are also expected to make an appearance on the red carpet during the festival.
That is one version of Cannes – big stars, big premieres, big parties, big money. But there are others.
Indiana Jones and the Kingdom of the Crystal Skull is being shown as part of the official festival, though in the past Hollywood studios have simply used Cannes as a launch pad for films, organising their own screenings and parties, sometimes for films that are not even complete.
Beyond the official festival, there is the market where anyone can book space and try to sell their wares. The Scottish political period drama/thriller Stone of Destiny is screening in the market and Pathé is showing buyers advance footage from The Illusionist, the film that French animator Sylvain Chomet is currently making at his studios in Edinburgh.
Stars come to promote films that have not even begun filming, sometimes will never begin filming. They are there to raise awareness among the public and possible backers. And the public lap it up.
But it is not all glitz and glamour. Rubbing shoulders with Indy in the official line-up is Lorna’s Silence, a film about an Albanian woman who enters an arranged marriage in order to become Belgian. It may be brilliant, but it will not be pushing Indy off the front pages.
Last year the top prize, the Palme d’Or, went to 4 Months, 3 Weeks and 2 Days, a film about an illegal abortion in Romania in the 1980s. It was released in the UK in January by a tiny distributor called Artificial Eye, which has long specialised in difficult foreign films. It grossed so little that the figures do not appear on the Internet Movie Database.
Cannes provides a platform for dozens of hard, realist dramas, providing an insight into other cultures, their difficulties and their tragedies. The critics rave about them. But the public would much rather look at a photograph of Angelina Jolie and what she is wearing than sit through a film about abortion in Romania in the 1980s, no matter how good it is.
The public helps to maintain the popular image of Cannes as one of glamour, celebrity and excess, rather than one of low-budget, foreign- language movies that reflect and challenge the world we live in.
When it comes to watching the films in the cinema, the public vote with their feet, and they have repeatedly shown they do not want reality, whether it is the reality of some east European genius or a film-maker nearer home, such as Ken Loach or Scotland’s Lynne Ramsay. She was lauded in Cannes in 1999 for Ratcatcher, but missing in action since Morvern Callar underperformed at the box office six years ago.
Cinema attendance boomed during the Great Depression of the 1930s, when thousands were out of work, pleading with their buddies to spare a dime they could spend on entry to the latest, lavish, musical spectacular from Busby Berkeley.
The Berkeley films gloried in their vulgar irrelevance, but that was what audiences loved about them. They took their minds off empty bellies and empty days and provided an avenue of escape from reality.
The tougher the times, the greater the appetite for escapism and fantasy and glamour. Films like Indiana Jones – and the endless Hollywood rom-coms and comic-book adaptations – provide a vehicle for escape, in much the same way Busby Berkeley did in the 1930s. Consider the current release Made of Honour and a heroine who is torn between a fabulously rich American and a fabulously rich Scottish aristocrat. Ken Loach this ain’t.
We live in a society obsessed by celebrity, but the stars were as big in the 1930s, perhaps bigger. The difference is that their personal lives were not subjected to quite the same scrutiny.
The public could look at them in envy and then stitch their own private fantasies onto the aura of mystique that shrouded their particular glamour.
The mystique has gone, but the glamour remains, albeit a little tarnished in many cases.
And the envy remains the same, as evinced by the popularity of the lottery, reality shows and the dream that one day the number will come up, the film producer will walk into the drug store and issue an invitation to an audition, or one of those spectacular yachts in the bay.
Cannes is like that, a dream, a nightmare, a fantasy that can mean whatever you want it to mean.
It is as relevant or as irrelevant today as it ever was.
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