Penélope Cruz, in the midst of the dizzying heat of Cannes, is Tatler's August issue cover star https://t.co/nwz0kg2XJu pic.twitter.com/xjkZH5VzDe
— Tatler (@Tatlermagazine) June 21, 2019
Penélope Cruz sets pulses racing in a VERY sultry photoshoot https://t.co/Vaf6jLGgIl
— Daily Mail Celebrity (@DailyMailCeleb) June 22, 2019
The Toronto International Film Festival rounded out its 2012 program Tuesday with new titles by master directors like Michael Haneke and Bernardo Bertolucci as well as a star-studded guest list spanning Robert Redford, Penelope Cruz, Johnny Depp and Vanessa Redgrave.More at that top link.
Organizers unveiled a slate of announcements, including final additions to the festival's movie lineup, details of its popular Mavericks talk series, its annual list of expected attendees and news that the fest was opening up its previously industry-only documentary conference to the public.
Set to present 372 films in total (289 feature-length and 83 short films), TIFF expects a galaxy of international stars to descend on Toronto for this year's festivities.
When "Pirates of the Caribbean: At World's End" debuted in May 2007, many critics derided the third installment in the Disney franchise, calling its plot incomprehensible and 169-minute running time torturous. Newsweek prayed it was the final movie in the series; the New Yorker said a monkey delivered the best performance in the film; and Time suggested an alternative title for the picture: "Pirates of the Caribbean: At Wit's End."That "Fast Five" is of the "Fast and Furious" series, which has already made a cool $140 million and could get a sixth installment.
Yet rather than sheath their swords, Johnny Depp and Co. restocked the eyeliner supply and relaced the corsets, signing on a little more than one year later for a fourth go-round. The copious haul of doubloons that Capt. Jack Sparrow pocketed worldwide suggested that with a little freshening of the franchise, audiences might be lured back aboard for yet another film.
"Even though the reviewers weren't crazy about the third one, it did almost a billion dollars. That's a big movie," says "Pirates" producer Jerry Bruckheimer, who, along with Disney, a new director ("Chicago" helmer Rob Marshall) and a new supporting cast, including Penélope Cruz, will bring another adventure in the eye-patch saga to theaters this week. "If we do a little less [money] on the fourth one, we'd be happy."
The return of "Pirates of the Caribbean" on Friday (this one is titled "On Stranger Tides") is part of a major shift in Hollywood, with studios now routinely pursuing a fourth picture in a series, often after an extended layoff — or even a fifth, in the case of Universal's current hit "Fast Five."
The last year and a half has been a transformative time for Penélope Cruz. Her comically unhinged performance in Woody Allen’s Vicky Cristina Barcelona (2008) netted her an Academy Award. She completed her fourth film with Pedro Almodóvar, Broken Embraces, and joined the star--studded ensemble cast of Rob -Marshall’s new screen version of the Broadway musical Nine. But perhaps most -significantly, the 35-year-old Cruz has both reestablished and reinvented herself as an actress. It’s safe to say that, not too long ago, Cruz’s appearances at the multiplex—though plentiful and numerous—were largely overshadowed by her appearances in the tabloids. This was due to a variety of factors, chief among them a string of not-so-good -movies—did anyone see Captain Corelli’s Mandolin (2001)? Waking Up in Reno (2002)? Head in the Clouds (2004)?—which, however unfairly, fueled the perception that she could only act in her native Spanish, but also a succession of relationships that Cruz was reported to have had with her leading men, including Matt Damon (All the Pretty Horses, 2000), Matthew McConaughey (Sahara, 2005), and of course, Tom Cruise (Vanilla Sky, 2001). (Which, just as unfairly, fueled another perception about her that needs no further fueling).This passage, toward the end of the interview, is my favorite:
COTILLARD: You said about your character in Vicky Cristina Barcelona, Maria Elena, that she thinks she will not be creative if she’s not torturing herself. Do you think we as actors need to keep the connection with our failures to be able to do our jobs with depth and authenticity—you know, the dark side?
CRUZ: Yeah, I mean, maybe. It’s actually a similar thing to the ego, because you don’t want to let that go. You have to look deeply inside of yourself to find something to use in your work. But the older I am, the more I refuse to treat my work as therapy and the more I think it’s less honest to do that, less about acting. When I was younger, I sometimes used personal things in creating characters, to the point where I thought maybe it was a little bit dangerous—at least for me. But I don’t feel that somebody can only be good in a character if they are really becoming that person or really suffering. I have played with that before, especially with emotional scenes, and there have been times when I have been close to throwing up because it was hard to get out of that place. It’s always a bigger challenge when it’s a dark character or something very emotionally difficult, but I think my purpose is to find a way where you can have a dance with that, where you go and you come back, instead of maybe being in that state for weeks.
