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Tuesday, December 30, 2008
Friday, December 26, 2008
Tuesday, December 23, 2008
*...merry xmas to everyone...*
I just want to wish you merry christmas and happy new year! enjoy the holidays!!!much love,
A
Monday, December 22, 2008
Interview magazine may 2006
Evan Rachel Wood is interviewed by Roberto Benabib, a creative force behind the Showtime series Weeds, in the May 2006 issue of Interview Magazine.
RB: What was Julie Taymor like?
ERW: She’s one of those directors who give
the craziest directions. And you’re just looking at her like, "You know what? I totally trust you, so I’m just going to go and do my job." There’s this scene where I fall in love. I’m with the lead actor, and we’re falling in love. Sometimes the camera would be close up, like, on my back. Julie would go, "I need you to fall in love with your shoulders. I need to see it in your shoulders." And I’d be like, "With my what?" But when you watched the playback, it would work. That was my favorite direction: "Fall in love with your shoulders."
RB: It sounds like it was very physical.
ERW: She’s very particular about how everything looks, and she’d be like, "What are you doing with your hands? Don’t do that. Don’t ever do that again."
RB: I hear you’re going to Berlin.
ERW: Me?
RB :: That’s what someone said. You’re not? [Wood laughs] I was going to say that sounds so Cabaret.
ERW: I wish I were going to Berlin. I’ve never been there. It’s on my list.
RB: [laughs] I have too many places on my list. Let’s talk about Down in the Valley, because it’s a really interesting project. Reading the script must have been quite an experience.
ERW: Definitely. I actually got a call from my mom, because I was out of town when the script came. She was like, "This new script arrived, and Edward Norton’s attached to it." He’s one of my favorite actors, so right away I was like, "Of course I’ll read it."
RB: As I was watching the movie, I was thinking how Edward’s character Harlan represents America, in a way, and how the charm turns ugly. You know, the myths that kill us, that sort of thing. Your character, Tobe, seems very lonely and full of despair, and, with her, it’s how the myths can seduce you.
ERW: Well, that really hits the nail on the head. Tobe was written as this kind of rebellious teenager, and I didn’t really think that was quite right. I mean, she is longing for something special to happen to her because she’s stuck in this routine, then she meets a guy who seems so amazing. He’s in this fantasyland, and she gets sucked into it.
RB: That’s similar to the situation our own country seems to be in. We’re very desperate right now. During the last few years the country has fallen for false promises, and that’s taken us to a dangerous place.
ERW: I don’t really want to be so bold as to suggest that it happens everywhere, but there’s always going to be bull.
RB: It’s very seductive.
ERW: Oh, definitely.
RB: Watching the film, we get suckered into it as Tobe does.
ERW: And then the movie bashes you over the head, [laughs]
RB: Let’s talk about the Culkin dynasty. Every time I turn around there’s another Culkin. [Wood laughs]
ERW: I love that kid. I had such a good time on the set with Rory.
RB: Did you develop a big-sister relationship with him? I mean, you just want to adopt him, don’t you?
ERW: It was kind of like that, but he’s older than he looks. We went to the Coachella music festival and saw the Pixies and Radiohead. It was his first concert.
RB :: Did you grow up in the Valley?
ERW: Yeah, I did. I could walk to most of the shoot locations from my house.
RB: Is it a place that makes you feel a little off-center sometimes?
ERW: Um, it’s very quiet and mellow, and I guess some people get frustrated because there isn’t a lot to do. [laughs] But I don’t have anything against it.
RB: Do westerns resonate with your generation, or are they a little foreign to young people? Because they seem to have died out, in a way.
ERW: Westerns definitely mean a lot to me.
RB: Is it the lifestyle or the actual movies?
ERW: Both. I’ve been riding horses since I was little, and my mom is big into westerns and horses and cowboys. It’s like cowboys are just their own race. You never meet anybody else like them. Even if they’re mean, they’re charming, because they’ve got this hardness to them, but then you see them with their horses, see how much they love them, how much they take care of them, how gentle and sweet they can be.
RB: Tell me about Down in the Valley director David Jacobson.
ERW: You know, this movie is his baby. Sometimes it can be really hard working with directors who wrote the script because they want the film to be exactly the way they envisioned it, but David wanted it to be very natural. We had two weeks of rehearsal before the movie, and he would look at me and go, "You’re a 17-year-old girl that lives in the Valley. I’m not going to give you too much direction ’cause I think you can relate to this pretty well." He would ask me if the teenagers’ dialogue was right and what I would say. It was really fun.
RB: Have you worked with directors who were the opposite?
ERW: Oh, definitely. It can be really frustrating.
RB: They hear a certain rhythm in their head, and it may not be your rhythm, meaning it may not be the character’s rhythm. What do you do in such a situation?
ERW: [laughs] You have to grin and bear it. You just got to do the best you can, and at the end of the day say, "Oh, my God. I can’t believe this person won’t let me do anything!"
RB: I once read an interview of a director who said that actors come up to him and tell him, "My character wouldn’t do that." The director’s reply is, "What makes you think it’s your character?" [Wood laughs] That’s very cold, but at the same time—
ERW: He’s got a point. But a script sometimes can just be a blueprint, and then you’ve got to go in and build it and color it in and paint it. So that might be a little harsh.
RB: What are you doing now?
ERW: I’m taking a break. I just got off of an eight-month shoot in New York.
RB: Did you enjoy the city?
ERW: I really, really liked it. And I turned 18 while I was filming there.
RB: What was the movie?
ERW: It’s a Beatles musical. Julie Taymor directed it. I know what people think when they hear "Beatles musical," but it’s not going to be what they expect. It’s a really crazy, abstract, bizarre, trippy movie.
RB: Do you sing in it?
ERW: I had to sing, and sing live! Julie Taymor takes no prisoners.
RB: That must be frightening.
ERW: It was horrifying! The first time I had to sing on the set, I was shaking, and my voice was shaking. There are so many things you have to think about :: You have to try to not screw up John Lennon’s song, act really dramatically and really well, and get the choreography and the blocking right.
RB: Who else is in it?
ERW: They cast a lot of unknowns, but we’ve got a lot of cameos. Bono sings, and so do Eddie Izzard and Joe Cocker.
RB: That must have been very cool. That’s the kind of set you don’t want to leave.
ERW: Dude, it was the most emotional goodbye ever! Everybody was bawling, and all the cast members got a tattoo to remember the movie.
RB: What was Julie Taymor like?
ERW: She’s one of those directors who give.
the craziest directions. And you’re just looking at her like, "You know what? I totally trust you, so I’m just going to go and do my job." There’s this scene where I fall in love. I’m with the lead actor, and we’re falling in love. Sometimes the camera would be close up, like, on my back. Julie would go, "I need you to fall in love with your shoulders. I need to see it in your shoulders." And I’d be like, "With my what?" But when you watched the playback, it would work. That was my favorite direction: "Fall in love with your shoulders."
RB: It sounds like it was very physical.
ERW: She’s very particular about how everything looks, and she’d be like, "What are you doing with your hands? Don’t do that. Don’t ever do that again." [laughs]
RB: What did it look like on paper, when you read the script?
ERW: There’s only about 30 minutes of dialogue in the movie. It wasn’t until we all got to New York and sat down like kindergartners on the floor and let Julie tell us what she was going to do with the movie that it really hit us, just the scale of everything, and how insane the movie was gonna be.
RB: You seem to have an affinity for films that are sort of, uh, different.
ERW: There are too many movies that are exactly the same. I mean, people just don’t really expect movies to be that good anymore. The majority of them are just prepackaged, like, conveyor-belt movies.
RB: There’s some quote about how we now have the technology to say more and more to each other, but all we’re doing is using it to say less and less.
ERW: Exactly! You get lazier. Jaws [1975] was such an amazing movie because the frigging shark wouldn’t work, and they couldn’t film it! You know? If it were done now, they’d use a computer-generated shark instead, and it wouldn’t be at all terrifying. We would forget about it in, like, five minutes.
RB: After all of these great projects, are you unexcited about more conventional films?
ERW: It was weird coming off the Beatles thing and reading scripts and thinking, Wait a minute. Where are the Blue Meanies? And where are the songs? It’s really hard to compare scripts once you’ve done your dream project. But I’m not that bored. It can be frustrating, because you’ve got these scripts in front of you that are absolutely amazing, and they’ve moved you, and you can’t stop thinking about them, and then you see all the movies playing in theaters, and you’re like, "How did some of this stuff get made?" You get a script that’s not very good, and they’re offering you millions of dollars, but you think, Okay, this script is so bad, I won’t even do it for a million dollars. That’s bad. And then it gets to No. 1 at the box office, and people ask, "Don’t you regret not doing that?" Not really.
RB: The idea is that being in the "big hit" allows you to make small films. But maybe that’s not really the case.
ERW: Yeah, I keep getting told that if you do the blockbuster, then you can get these other movies made. But somehow I just can’t bring myself to do it.
RB: Well, it was really lovely talking with you. Good luck not going to Berlin.
ERW: [laughs] Thanks!
RB: What was Julie Taymor like? ERW: She’s one of those directors who give
the craziest directions. And you’re just looking at her like, "You know what? I totally trust you, so I’m just going to go and do my job." There’s this scene where I fall in love. I’m with the lead actor, and we’re falling in love. Sometimes the camera would be close up, like, on my back. Julie would go, "I need you to fall in love with your shoulders. I need to see it in your shoulders." And I’d be like, "With my what?" But when you watched the playback, it would work. That was my favorite direction: "Fall in love with your shoulders."
RB: It sounds like it was very physical.
ERW: She’s very particular about how everything looks, and she’d be like, "What are you doing with your hands? Don’t do that. Don’t ever do that again."
RB: I hear you’re going to Berlin.ERW: Me?
RB :: That’s what someone said. You’re not? [Wood laughs] I was going to say that sounds so Cabaret.
ERW: I wish I were going to Berlin. I’ve never been there. It’s on my list.
RB: [laughs] I have too many places on my list. Let’s talk about Down in the Valley, because it’s a really interesting project. Reading the script must have been quite an experience.
ERW: Definitely. I actually got a call from my mom, because I was out of town when the script came. She was like, "This new script arrived, and Edward Norton’s attached to it." He’s one of my favorite actors, so right away I was like, "Of course I’ll read it."
RB: As I was watching the movie, I was thinking how Edward’s character Harlan represents America, in a way, and how the charm turns ugly. You know, the myths that kill us, that sort of thing. Your character, Tobe, seems very lonely and full of despair, and, with her, it’s how the myths can seduce you.
ERW: Well, that really hits the nail on the head. Tobe was written as this kind of rebellious teenager, and I didn’t really think that was quite right. I mean, she is longing for something special to happen to her because she’s stuck in this routine, then she meets a guy who seems so amazing. He’s in this fantasyland, and she gets sucked into it.
RB: That’s similar to the situation our own country seems to be in. We’re very desperate right now. During the last few years the country has fallen for false promises, and that’s taken us to a dangerous place.
ERW: I don’t really want to be so bold as to suggest that it happens everywhere, but there’s always going to be bull.
RB: It’s very seductive.
ERW: Oh, definitely.
RB: Watching the film, we get suckered into it as Tobe does.ERW: And then the movie bashes you over the head, [laughs]
RB: Let’s talk about the Culkin dynasty. Every time I turn around there’s another Culkin. [Wood laughs]
ERW: I love that kid. I had such a good time on the set with Rory.
RB: Did you develop a big-sister relationship with him? I mean, you just want to adopt him, don’t you?
ERW: It was kind of like that, but he’s older than he looks. We went to the Coachella music festival and saw the Pixies and Radiohead. It was his first concert.
RB :: Did you grow up in the Valley?
ERW: Yeah, I did. I could walk to most of the shoot locations from my house.
RB: Is it a place that makes you feel a little off-center sometimes?
ERW: Um, it’s very quiet and mellow, and I guess some people get frustrated because there isn’t a lot to do. [laughs] But I don’t have anything against it.
RB: Do westerns resonate with your generation, or are they a little foreign to young people? Because they seem to have died out, in a way.
ERW: Westerns definitely mean a lot to me.
RB: Is it the lifestyle or the actual movies?
ERW: Both. I’ve been riding horses since I was little, and my mom is big into westerns and horses and cowboys. It’s like cowboys are just their own race. You never meet anybody else like them. Even if they’re mean, they’re charming, because they’ve got this hardness to them, but then you see them with their horses, see how much they love them, how much they take care of them, how gentle and sweet they can be.
RB: Tell me about Down in the Valley director David Jacobson.ERW: You know, this movie is his baby. Sometimes it can be really hard working with directors who wrote the script because they want the film to be exactly the way they envisioned it, but David wanted it to be very natural. We had two weeks of rehearsal before the movie, and he would look at me and go, "You’re a 17-year-old girl that lives in the Valley. I’m not going to give you too much direction ’cause I think you can relate to this pretty well." He would ask me if the teenagers’ dialogue was right and what I would say. It was really fun.
RB: Have you worked with directors who were the opposite?
ERW: Oh, definitely. It can be really frustrating.
RB: They hear a certain rhythm in their head, and it may not be your rhythm, meaning it may not be the character’s rhythm. What do you do in such a situation?
ERW: [laughs] You have to grin and bear it. You just got to do the best you can, and at the end of the day say, "Oh, my God. I can’t believe this person won’t let me do anything!"
RB: I once read an interview of a director who said that actors come up to him and tell him, "My character wouldn’t do that." The director’s reply is, "What makes you think it’s your character?" [Wood laughs] That’s very cold, but at the same time—
ERW: He’s got a point. But a script sometimes can just be a blueprint, and then you’ve got to go in and build it and color it in and paint it. So that might be a little harsh.
RB: What are you doing now?
ERW: I’m taking a break. I just got off of an eight-month shoot in New York.
RB: Did you enjoy the city?
ERW: I really, really liked it. And I turned 18 while I was filming there.
RB: What was the movie?
ERW: It’s a Beatles musical. Julie Taymor directed it. I know what people think when they hear "Beatles musical," but it’s not going to be what they expect. It’s a really crazy, abstract, bizarre, trippy movie.
RB: Do you sing in it?
ERW: I had to sing, and sing live! Julie Taymor takes no prisoners.
RB: That must be frightening.
ERW: It was horrifying! The first time I had to sing on the set, I was shaking, and my voice was shaking. There are so many things you have to think about :: You have to try to not screw up John Lennon’s song, act really dramatically and really well, and get the choreography and the blocking right.
RB: Who else is in it?ERW: They cast a lot of unknowns, but we’ve got a lot of cameos. Bono sings, and so do Eddie Izzard and Joe Cocker.
RB: That must have been very cool. That’s the kind of set you don’t want to leave.
ERW: Dude, it was the most emotional goodbye ever! Everybody was bawling, and all the cast members got a tattoo to remember the movie.
RB: What was Julie Taymor like?
ERW: She’s one of those directors who give.
the craziest directions. And you’re just looking at her like, "You know what? I totally trust you, so I’m just going to go and do my job." There’s this scene where I fall in love. I’m with the lead actor, and we’re falling in love. Sometimes the camera would be close up, like, on my back. Julie would go, "I need you to fall in love with your shoulders. I need to see it in your shoulders." And I’d be like, "With my what?" But when you watched the playback, it would work. That was my favorite direction: "Fall in love with your shoulders."
RB: It sounds like it was very physical.
ERW: She’s very particular about how everything looks, and she’d be like, "What are you doing with your hands? Don’t do that. Don’t ever do that again." [laughs]
RB: What did it look like on paper, when you read the script?ERW: There’s only about 30 minutes of dialogue in the movie. It wasn’t until we all got to New York and sat down like kindergartners on the floor and let Julie tell us what she was going to do with the movie that it really hit us, just the scale of everything, and how insane the movie was gonna be.
RB: You seem to have an affinity for films that are sort of, uh, different.
ERW: There are too many movies that are exactly the same. I mean, people just don’t really expect movies to be that good anymore. The majority of them are just prepackaged, like, conveyor-belt movies.
RB: There’s some quote about how we now have the technology to say more and more to each other, but all we’re doing is using it to say less and less.
ERW: Exactly! You get lazier. Jaws [1975] was such an amazing movie because the frigging shark wouldn’t work, and they couldn’t film it! You know? If it were done now, they’d use a computer-generated shark instead, and it wouldn’t be at all terrifying. We would forget about it in, like, five minutes.
RB: After all of these great projects, are you unexcited about more conventional films?
ERW: It was weird coming off the Beatles thing and reading scripts and thinking, Wait a minute. Where are the Blue Meanies? And where are the songs? It’s really hard to compare scripts once you’ve done your dream project. But I’m not that bored. It can be frustrating, because you’ve got these scripts in front of you that are absolutely amazing, and they’ve moved you, and you can’t stop thinking about them, and then you see all the movies playing in theaters, and you’re like, "How did some of this stuff get made?" You get a script that’s not very good, and they’re offering you millions of dollars, but you think, Okay, this script is so bad, I won’t even do it for a million dollars. That’s bad. And then it gets to No. 1 at the box office, and people ask, "Don’t you regret not doing that?" Not really.
RB: The idea is that being in the "big hit" allows you to make small films. But maybe that’s not really the case.
ERW: Yeah, I keep getting told that if you do the blockbuster, then you can get these other movies made. But somehow I just can’t bring myself to do it.
RB: Well, it was really lovely talking with you. Good luck not going to Berlin.
ERW: [laughs] Thanks!
Sunday, December 21, 2008
Interw. Nylon Magazine 2007
Cuando Wood y Manson hicieron pública su relación a principios de año, fue algo impresionante. Doblaba la edad a Evan y su ex-esposa, Dita Von Teese, le acababa de presentar el divorcio. La pareja fue vista como una más de las tácticas de choque de Manson y, aunque la única relación a largo plazo de Evan haya sido con el actor Jamie Bell, ya se percata una precocidad sexual por su parte por los papeles que ha interpretado en algunas de sus películas. "fue el destino. Yo no iba a salir esa noche y por casualidad un amigo mío me invitó a una fiesta del hotel Chateau Marmont", dice de su encuentro con Manson. "no suelo salir, pero fue después de una sesión fotográfica y pensé, saldré''. ''Los dos (Manson y ella) estábamos en torno a un montón de gente y estábamos un poco escondidos en la misma esquina. Creo que él estaba sentado en el balcón y él se acercó a mí "... Ella dice que fueron amigos por un tiempo, pero luego empezó a darse cuenta de que tenían muchas cosas en común en gustos e intereses, y tenían tanto en común que daba "un poco de miedo".
"Nosotros fuimos al karaoke en Nueva York", continúa. Todo el mundo me dice:'Oh, no, no quiero ir'. "Así que a él si que lo convencí'' (ella sonríe). "Bueno, cuando cantas en un karaoke sueles cantar canciones ridículas, ¿verdad? Por lo tanto, Manson y yo cantamos Don't Stop Believing and Born to Run. Pero en medio de la noche, me miró y le dije Voy a cantar una de tus canciones. Y esto era sólo una amenaza como broma, pero luego vi Lunchbox en el libro de canciones. Él pensó que yo no me sabía la canción ". A Evan claramente le gusta sorprender a la gente. "Así que fui y cante la canción entera, él se sentó atrás, y él me miró y dijo'': " Estoy tan enamorado de ti. Ni te lo imaginas". Ella parecía estar flotando por encima de la silla." Fue realmente impresionante "
''Enamorarte es una de las cosas más difíciles que se pueden hacer por alguien pero también es la cosa más sorprendente que te pueda suceder''
''He crecido en un mundo adulto, por lo que soy bastante madura, pero al mismo tiempo no puedo negar mi edad".
"Me encantaría hacer un álbum pero yo nunca he conocido a gente que este interesada en hacer un disco que no consista en ser una diva del pop''.
Cuando el video heart shaped glasses fue lanzado, Evan admite, que nunca pensó que haría este tipo de cosas. ''Todo el mundo pensaba que estábamos tratando de explotar nuestra relación y estaban viendo el vídeo como una cinta de sexo", dice. "Pero no se han parado a echar un vistazo a nuestras vidas. ¡Es tan sólo un vídeo musical!".
Puedo decir que esta es una de las entrevistas a Evan que más me han gustado, sobretodo cuando dice que fue al karaoke con Manson, y se terminó enamorando de ella, cuando empezó a cantar Lunchbox, quedaría alucinado cuando vio a su nueva ''amiga'' cantando una de las canciones más míticas del grupo.
_______________________
great interview for the Nylon magazine.
When Wood and Manson announced their relationship earlier this year, was something impressive. Twice the age at Evan and his ex-wife, Dita Von Teese, he had just submitted a divorce. The couple was seen as one of the tactics of shock and Manson, but the only long-term relationship of Evan has been with actor Jamie Bell, and realizes a sexual precocity by his part for the roles she haves been interpreted in some of their films. "was the destiny. I wasn't going to leave that night and by chance a friend invited me to a party of the Chateau Marmont hotel," she says of his encounter with Manson. "I don't often go out, but it was after a photo shoot and I thought, I will go out.'' ''The two (Manson and she) were around a lot of people and were a bit hidden in the same corner. I think he was Sitting in the balcony and he came up to me ... She said they were friends for a while, but then began to realize they had much in common tastes and interests, and they had so much in common that it gave "a little scared."
"We went to karaoke in New York," he continues. Everybody tells me: 'Oh, no, I do not wanna go'. "So what if it convinced''(she smiles)." Well, when you sing in a karaoke sing songs typically ridiculous, right? Therefore, Manson and I sing Do not Stop Believing and Born to Run. But in the middle of the night, he looked at me and I told him I'm going to sing one of your songs. And this was only a threat as a joke, but then I saw Lunchbox in the book of songs. He thought that I would not know the song. "To Evan clearly likes to surprise people." So I went and sing the whole song, he sat back, and he looked at me and said: "I'm in love with you. Neither you imagine. " She seemed to be floating above the chair. "It was really awesome"
Fall in love''is one of the hardest things you can do for someone but it is also the most surprising thing that can happen to you''
''I grew up in an adult world, so I'm quite mature, but at the same time I can not deny my age. "
"I love to do an album but I've never met people interested in making this a disc that doesn't consist of being a pop diva.''
When the video was released heart shaped glasses, Evan admits that she never thought he would do this kind of thing. ''Everybody thought we were trying to exploit our relationship and were watching the video as a sex tape, "she says." But it doesn't have stopped to take a look at our lives. It's just a music video. "
I just can to say that, this is one of my favourite interviews about Evan , especially when she says that she went to karaoke with Manson, and ended falling in love with her, when she began to sing Lunchbox, would be Shocked when Manson saw her new ''friend'' Singing one of the most mythical songs of the group.
Saturday, December 20, 2008
Across The Universe NY Screening 2007
Estaba guapísima con ese pelo, su cara pálida y los labios rojos que siempre son un acierto, además me gustó mucho el vestido y la elección de los guantes.
____________ ♥
She was beautiful, with that hair, his pale face and red lips that are always a success, I also liked the choice of clothing and gloves.
____________ ♥
She was beautiful, with that hair, his pale face and red lips that are always a success, I also liked the choice of clothing and gloves.
Thursday, December 18, 2008
16th, Premiere for The Wrestler in Los Angeles
Evan, acudió a la premiere de The Wrestler en Los Angeles, estaba muy guapa, me gusta mucho su look vintage, además adoro su pelo, es precioso ese color.
__________ ♥
Evan, attended the premiere of The Wrestler in Los Angeles, she was very pretty, I love her vintage look, I also like his hair color.
With Mickey Rourke, Darren Aronofsky and Marisa Tomei
With Jared Leto
__________ ♥
Evan, attended the premiere of The Wrestler in Los Angeles, she was very pretty, I love her vintage look, I also like his hair color.
With Rachel Weisz
With Mickey Rourke, Darren Aronofsky and Marisa Tomei
With Jared Leto
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