OlderAngelina Jolie: Lust is Ruthless
Check out this new poster for Angelina Jolie’s upcoming animated feature Beowulf, which is getting the deluxe IMAX treatment. Looks a little Tomb Raider-ish, no?
The Robert Zemeckis‘ (Forrest Gump, Polar Express) film will be released simultaneously in IMAX 3D and regular theaters on Nov. 16.
“IMAX 3D has enabled us to tell stories in a whole new way, and we are very excited to offer moviegoers a chance to experience Beowulf in this incredible format,” said Zemeckis. “IMAX lends itself to the incredible image detail in Beowulf and in 3D, it will transport the audience directly into the story.”
Beowulf will also star Ray Winstone as the warrior Beowulf, Anthony Hopkins, Crispin Glover, and John Malkovich. Sounds like there are a lot of baddies in this movie. Love it!
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I wonder why that is? Is he boring? He’s only as interesting has his girlfriends.
he was boring before angie and now he has some edge to him. As soon as they breakup he’ll go back to being the same o boring guy.
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he’s dumb. A laid back stoner who the most interesting things he says is while stone or drunk just then he’s funny as hell.
I hear Paramount Pictures chief Brad Grey was on the phone today talking up his studio’s release of the mega-blockbuster Transformers when, all of a sudden, helicopters swooped out of nowhere and drowned him out. “It’s Jeffrey and David,” he quipped to the caller. After all, DreamWorks has been accusing Grey of trying to grab credit for its movie product because theirs are performing fab while Paramount’s films flop. But the messy integration and hurt feelings ever since DreamWorks sold their studio to Paramount 18 months ago may be easing. That’s because, after trying to boss DreamWorks behind the scenes for months and months, Grey finally gave up. Since April, Paramount has been issuing tortured clarifications to ensure DreamWorks gets its glory. Now Brad stays politic instead of constantly proclaiming he’s in charge. Grey is telling people that, “right now, everybody is getting along, we’re in a good place”. The last time Paramount was sitting higher than 3rd place in studio market share was 2001. Well, next week, Paramount will be in 1st place. That’s why DreamWorks has Paramount cowed.
I’m told that, when the slightest thing goes wrong, the DreamWorks toppers complain straight to Katzenberg, who complains straight to Grey. And then, if it’s not handled quick enough, the very scary Geffen gets on the phone to Grey. “It’s brutal,” a source describes. It doesn’t help that many DreamWorks execs are now doing jobs as part of Paramount “and there’s an invisible tether back to DreamWorks,” an insider explains. The other day, DreamWorks’ Justin Falvey and Darryl Frank, the pair running TV production, were renegotiating their deal. Soon, Brad was hearing that Paramount wasn’t being generous enough. “DreamWorks is just a freight car but they’re driving the whole damn Paramount train,” a source puts it. “You can’t ignore them, or they’ll grind everything to a ******* halt.”
So now Brad looks like Hollywood’s newest hero sitting on top of the heap. Oy, that doesn’t sit well with Spielberg, Katzenberg and Geffen. Used to be, every day a new rumor surfaced that Brad was getting dumped. Fortunately for him, Grey has a good relationship with Philippe Dauman, the No. 2 at parent company Viacom. “Philippe loves him. They have the same temperament,” a Paramount source explained to me. “But Brad’s biggest problem is not Viacom. It’s DreamWorks.” From now until Christmas, DreamWorks will supply most of Paramount’s high-profile product, culminating with Sweeney Todd directed by Tim Burton and starring Johnny Depp. Not until next summer’s Indiana Jones and Star Trek sequels does Paramount put out a complete slate. Until then, Grey will still be drowned out by his billionaire colleagues
After all, DreamWorks has been accusing Grey of trying to grab credit for its movie product because theirs are performing fab while Paramount’s films flop. But the messy integration and hurt feelings ever since DreamWorks sold their studio to Paramount 18 months ago may be easing. That’s because, after trying to boss DreamWorks behind the scenes for months and months, Grey finally gave up. Since April, Paramount has been issuing tortured clarifications to ensure DreamWorks gets its glory
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Brad Grey trying to get credit he doesn’t deserve? ala The Departed and Dreamgirls all over again. Katzenberg and Geffen are way too big fishes for litlle Brad, I still think he will get fired sooner or later.
kulelat!bastarde.
124 No sanctification implied : 07/04/2007 at 4:27 pm
Neither woman is a saint, neither woman is a sinner. One woman has been too honest, one woman has been less than honest. They are just two women who have very different outlooks, viewpoints and interests in life. One woman is a uniquely rare beautiful person who values her family most of all, one woman is an attractive person who has taken the time and effort to make the most of her looks who values her career and friends. They are both driven people who have very different goals and priorities. They are who they are.
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Interesting analysis. I especially like the above paragraph. However, I do enjoy Angie’s candid comments. I find it refreshing.
Thanks Jared for the new thread. Beowulf was not part of my school curriculum, so the earlier posts have been an education for me. I also look forward to seeing the movie.
When Brad Pitt hit the red carpet at the Cannes film festival last month looking like a modern-day Jay Gatsby, he sent a powerful signal to men across the world: dressing up is cool again.
Paris menswear designers on Friday showed a plethora of retro-favoured outfits that would not look out of place on the hero of F Scott Fitzgerald’s 1925 novel The Great Gatsby.
Louis Vuitton and Kris Van Assche both delved into black-and-white photo books for inspiration. Kenzo cited the Caribbean, in the days when legendary writers Ernest Hemingway, Noel Coward and Ian Fleming made it their playground.
Meanwhile, Franck Boclet brought tuxedo jackets and riding gear up to date in his well-received debut for Emanuel Ungaro.
“Men are paying more and more attention to their appearance,” the French designer said in an interview. “They want things that are personal, that are well-crafted.”
Jackets in sober shades of black and grey featured Boclet’s trademark crisp shoulders and nipped-in waist. Paired with wide-legged trousers and pointy brogues, they brought to mind the effortless elegance of matinee idol Cary Grant.
Boclet’s arrival caps a two-year turnaround at Ungaro under new ownership and management. He brings impeccable tailoring skills honed at Francesco Smalto, but also a taste for blending flawless classicism with rougher elements.
Van Assche similarly drew plaudits for his eponymous line, showcased in a dilapidated garage in eastern Paris.
A rising star of the menswear scene, the Belgian designer was recently appointed to replace his former boss Hedi Slimane as head of the men’s division at Christian Dior. He is scheduled to show his first separate collection for the luxury group on Sunday.
For his own label, Van Assche was inspired by German photographer August Sander’s turn-of-the-century images of peasants and aristocrats.
The outfits deftly blended old-world class with modern ease. They included cropped white cotton waistcoats, worn over sleeveless white T-shirts and grey trousers that were pleated at the hip in a refined take on the baggy jeans popular with teens.
A shirt, blazer and shorts combination came in matching lightweight cotton with shirt stripes.
“My aim is to get young people to wear suits, and if I have to make baggy trousers to go with the jacket or if I have to make the jacket out of shirt material, that’s fine by me,” Van Assche told reporters. “The aim is to make people more beautiful, more elegant.”
Kenzo set off its collection of lushly shimmering suits and faded knits with a presentation that had models posing inside wooden crates filled with tropical plants. Highlights included bermuda shorts in shiny silk taffeta woven into a geometric motif.
Vuitton conjured images of Biarritz in the 1930s with sky blue cotton chinos, scallop-patterned jackets and shirts made from panels sewn together in a technique inspired by parasols.
Transparency has emerged as a key trend for next summer, evidenced here by a pearl-finish trench coat and translucent blazers that exposed shoulderpads and seams.
“I liked the floods,” front-row guest Kanye West told the AP, referring to the cropped pants that were perfect for beach-combing.
The style-conscious rapper is preparing for the upcoming release of his album Graduation and has tapped Japanese artist Takashi Murakami, a longtime Vuitton collaborator, to design the cover.
It seems that winning Grammys is no longer enough - West revealed that he wants to follow in the footsteps of fellow rap star Pharrell Williams by designing a collection with Vuitton.
AP
Grey won’t be fired as long a the head of Viacom likes him. Heck all CEO get credit for what others do that’s just business
Boy I am so looking forward to Beowulf. I love epic movies and with Angelina in it, it’s just marvellous ! And I am still hoping for Atlas Shrugged to be made one day (soon) :)
Leonardo has been Gatsbying it up for a while now
Oh and I love the poster, BEAUTIFUL ! :)
lela, you are wrong i’m only 2 years old. STUPID LELA !
149 troy : 07/04/2007 at 5:03 pm
I wonder why that is? Is he boring? He’s only as interesting has his girlfriends.
he was boring before angie and now he has some edge to him. As soon as they breakup he’ll go back to being the same o boring guy.
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he’s dumb. A laid back stoner who the most interesting things he says is while stone or drunk just then he’s funny as hell.
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I’ve noticed that his humor is very childish. Only a fellow stoner would find his words funny as hell.
I love the quotes. Thanks for posting.
160 Toker : 07/04/2007 at 5:24 pm
149 troy : 07/04/2007 at 5:03 pm
He is laid back but i think that’s just his nature, he’s not dumb. he was only 3 credits shy of getting his BA when he decided to give hollywood a try. I guess he was smart enough to make the right choice. And now he’s made another good choice by being with Angie and having a family
153 Thank You : 07/04/2007 at 5:15 pm
Beowulf was not part of my school curriculum
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Get a good translation. The translation will make it or break it for you. Check out some reviews on Amazon and see what they have to say about the translations before you buy it.
Also, an excellent Beowulf story is John Gardner’s “Grendel”, which tells the story in reverse from the POV of the monster.
Angelina is playing Grendel’s mother? Now THAT oughta be interesting!
160 Toker :149 troy
Stop responding to your own post. Go back to FF and have you scorn women meeting.
lela
Have you been ingesting explosives? Do you have to stoop this low as to call people kindergartenes? Does doing so make you feel more superior than others ?
One more thing, why cant you be yourself, you certainly dont look like you’re a Yale law school candidate judging by the way you wrote. so dont lie. It’s so obvious.
Wait until the movie comes out and look at the gross before you start calling it a flop. Right now, you are just spouting things with NO supporting data. If you want people to think you’re law school material, act like one, that is talk with SUPPORTING DOCUMENTS, otherwise it doesnt carry any weight.
troy and Toker are the same person. Ignore!!!
Feb7,2006
Quint has your first look inside the offices of Robert Zemeckis’ BEOWULF!!!
Ahoy, squirts! Quint here taking a break from the Santa Barbara Film Festival for the day to tell you about a small detour I took on my way up here from LA.
I was drawn to Ventura on my way up the 101 to Santa Barbara where I was ambushed by a crazed individual with a wicked gleam in his eye. I recognized this madman as none other than Roger Avary. He held me hostage at a ’50s themed diner for a whole meal and then leaned in close as The Platters began TWILIGHT TIME and said, “I have something to show you.”
Images of SILENT HILL ran through my head. I had talked to this happy lunatic before about the video game adaptation and after having seen the trailer for Christophe Gans’ flick it has shot up into my top 2 or 3 most anticipated films of ‘06. Avary had looked further into the future than I had, though.
In 2007 Robert Zemeckis is releasing his next film, an adaptation of BEOWULF that was scripted by Roger Avary and Neil Gaiman. The cast includes Crispin Glover as the monstrous Grendel (the first time Glover has reteamed with Zemeckis since all that bad blood surrounding BACK TO THE FUTURE 2), Ray Winstone as Beowulf, Angelina Jolie as the demonic mother of Grendel, Anthony Hopkins as the King being tormented by Grendel. Also in the cast is Brendan Gleeson, Alison Lohman, John Malkovich and Robin Wright Penn.
There has been some concerned discussion about this film online since it was announced. People are worried it will be watered down or kiddie friendly because of Zemeckis choosing to make this story using the process he calls Performance Capture, which he used recently on the kid’s book turned holiday family film POLAR EXPRESS. I’d be lying if I said I was a little disappointed that he wasn’t filming it live-action as I’ve always wanted to see this story done balls to the wall in flesh and blood on the big screen.
When we walked into the unassuming Beowulf offices the first thing I saw was an L shaped set-up going along two walls with a flat panel big screen TV on each wall, connected to at least 10 computers manned by around 6 people. The rest of the office walls were covered with posters for BACK TO THE FUTURE and its sequels, and various other Zemeckis films. There was a sweet-ass BACK TO THE FUTURE pinball machine in the meeting room down the hall from this set-up. I didn’t play it, but I really, really, really wanted to.
I was introduced to Christopher Browne, the post production coordinator, who led Avary and myself to a back room where the “Beowulf Bible” was sitting on the conference table. It was bound in thick, brown weathered leather with the title BEOWULF imprinted on the cover and was about as thick as a big city phone book. Within this tome was the movie told in 8X10-ish sized color stills, concept art and computer tests.
I was looking at Ray Winstone as Beowulf, one of the first pics, and was marveling at his costume and Viking beard. I was assuming it was a lighting study or costume design test, a model for the animators. Browne then told me that what I was looking at wasn’t a still, but a computer generated image, a test shot of what the final product will look like. I looked closer and I didn’t believe him. I’m not exaggerating when I say this still was photoreal.
Browne told me about how Zemeckis took the criticisms of POLAR EXPRESS to heart, specifically the “dead eye syndrome.” The animation work on POLAR EXPRESS was pretty phenomenal, but even the biggest fans of that movie can’t deny there was this doll-like feeling to the characters, that there wasn’t anything behind their eyes, making it really really creepy to watch these otherwise living beings with no spark of soul or humanity in their eyes.
So for Beowulf they used this process called OEG (electro oculography) which maps the actor’s eye movements, down to eye-lid flutters. They place three sensors on the skin around the actor’s eyes that pick up electrical pulses given off by the eye muscles and surrounding nerves.
They showed me a side-by-side comparison of Ray Winstone before this new technology gave him human eyes and after. The difference in realism is astonishing. The “after” shot looked photoreal and the before shot looked like a top of the line computer game character. The secret to realism with these CG creations is all in the eyes, commonly referred to as the windows to the soul. Weta Digital got that with Gollum and King Kong and Lucas with Yoda in Episode 3.
I saw Hopkins as the King, Gleeson as a Viking (of course he’s a Viking) and an example of how you can take away or add on years to an actor using a still of Robin Wright Penn. One pic had her subtly wrinkled, aged in her 50s and another was the same exact pose, shot, lighting, everything but had her looking like she did in her PRINCESS BRIDE days. I would have believed either as a real photograph.
Then there is Angelina Jolie as the demon mother. Good God. If you’ve ever thought Jolie was attractive at all you will explode when you see her in this. The stills they showed me had her naked with this T-1000 like liquid gold covering parts of her body. There were 3 photos with varying degrees of skin shown, the last just barely covered what the skimpiest of bikini bottoms would cover. Her face is absolute evil seductress, as pretty as she’s ever appeared on film before. Va-va-voom!
And Grendel. Everybody wants to hear about Crispin Glover as Grendel. When I flipped the page to the monster I immediately bent down, nose near the plastic to take a close look at him. In my mind I had Grendel pictured as this long taloned, large beast… muscular, cool looking, viscous, but sleek, you know?
What I saw was much more disturbing.
In the concept art, Grendel seems to stand about 15 feet tall and is almost completely hairless. His arms and legs are long, ending in arthritic looking knuckled hands and feet. He looks bent and awkward, his body covered in tumorous lumps. His skin is gangrene green and covered in sores and splotches. His teeth are crooked, broken and protruding from his maw. He looks a little like what I pictured the Slow Mutants in Stephen King’s Dark Tower series to be.
The thing about the design of Grendel I loved the most was that his gut is misshapen and protruding unnaturally, almost like a starving Ethiopian. The skin on the gut is just translucent enough so you can see the intestines underneath. Yeah, it’s really damn disgusting.
My favorite piece of production art involving Grendel was his shadow massive on a wall with some terrified men with swords running about. The shadow showed an action… Grendel had his arms up in a Y shape. Both hands had something gripped in them, but it wasn’t until taking a closer look at the left hand that you can make out what it is. You can see legs hanging down. He had just ripped a man in half. I desperately wanted to steal this out of the office, but I was under too much scrutiny. Sorry.
Grendel looks absolutely nothing like Crispin Glover, at least in the stills I saw… well, he did look creepy and Glover is creepy, but it didn’t look like Crispin in make-up or a suit. Actually, if he shared a resemblance to any cast member I’d say there was a slight Anthony Hopkins look to his face. According to Avary, he and Neil Gaiman went to the original epic poem and did as literal a translation as possible, with the only liberties filling in holes in the story, either gaps in time or something left unexplained.
In this instance, they realized that Grendel was the son of the demon and The King, which would be the reason he’s tormenting his father, as well as dragging living men off to his mother.
I also saw much artwork on Beowulf’s dragon son, environment tests that ranged from snow-capped mountains to walled cities to Jolie’s skeleton-littered cave-like den. All of this was concept art. It looked good, but I can’t really get a feel for how it’ll look in the film itself. For instance, much of it looked painted (think Frazetta brush strokes) and with the technology at Zemeckis’ disposal he could very well translate that directly and make a moving painting or it could just be like regular concept art used for reference, colors, lighting, etc.
After I flipped through the whole book, I was led back out to the room with the L-shaped monitor and computer set-up I told you about earlier. In this room, we had layout artists: Trevor Tuttle, Matthew Ward, Harald Kraut and Jason McDade as well as integration artists Chad Lichty and John Meehan, all plugging away on their computers.
This is the stuff that blew me away, so pay attention…
I had always heard about how this kind of filmmaking gave an immense amount of freedom to the director, but I never realized how much.
Let’s start with capturing the performance… There were no cameras involved, with the exception of those that read the data from the mo-cap signals attached to the performer. They captured audio and their movements only. Since there is no camera that means there was no set-up, no framing, no stopping to get a different angle. The performers, I was told, treated it much like a play. They ran through whole scenes without stopping, their movements and voices being recorded.
So, after the story has been acted out what happens is the smart tech people take the mo-cap information and lay over a sort of rudimentary animation. This is what I saw. It was about on par with a decent PS2 cut-scene. Full environments, full color, fully costumed characters with the faces of those playing the roles. Nowhere near final, but you can see the whole scene.
868 Angelina is a mature woman : 07/04/2007 at 1:57 pm
It almost seems that Brad put all his love and energy for almost two years into renovating that huge beautiful house in LA, only to find that an empty house was no home at all for him. He walked away from that quiet big beautiful empty house to a noisy home filled with love and children and happiness and fulfilment. His home is now where ever his heart is.
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Wow…another interesting post. I especially like the above portion. Sweet. :-)
Okay, time to get some fresh air. Looking forward to seeing more interesting posts tonight. :-)
162 Isabelle II
Isabelle II you can give that person all the facts you want but it will not change. She is angey with a person she is never met. Thus she has the problem not Brad.
They then set up what I guess would be called a virtual studio with this information. On the ceiling was a contraption that consisted of 3 long vertical bars that were crossed with two short horizontal bars (almost like a number sign - #). There are sensors on those bars.
Underneath this contraption, on the floor, was a digital video camera with the lens-cap permanently attached. This lens cap had been whited out and the word “Zemeckavision” was written across it. The camera isn’t important, it’s actually doing nothing. All the info comes from a 3 inch big sensor attached to front of the camera. I was told they had previously used a coffee cup instead of a camera, but just mentally using a camera made things easier.
What happens here is the computer geniuses set up a sequence with the aforementioned rudimentary animation and Zemeckis picks up the video camera, which is being tracked by the sensors above. Those sensors tell the computers where the camera is within this virtual set and on the two widescreen monitor son the walls you see what the camera would see in this virtual set.
Essentially, Zemeckis is floating around this virtual set. He’s able to move around until he finds the perfect angle and then they’ll run the scene, recording the angle of the camera. It’s almost like Matrix-time. The world is frozen, each character in the scene is frozen in their starting point and you can move around them, in the environment and see them from whatever angle you want. When you’re ready they hit play on the world and everything unfolds, but from whatever point of view you’ve chosen.
Pretty cool, eh? I can see how addictive this must be to someone who wants to control every aspect of filmmaking. You can literally walk around a set and pick whatever angle you want from the very best performance your actors gave, all without having to relight and place the camera again.
I was also told that they can program a dolly move, map it out through the scene where you just stand in one place and tilt up or down or pan as the dolly rolls through the scene.
Essentially they have all this raw material that Zemeckis shapes scene by scene, shot by shot and slowly assembles a rough cut of the movie. That is gathered together and then moment by moment it’s animated using, to its full extent, all the motion capture information, including the OEG information and the result is what we’ll see in the theaters next year.
The first scene that they showed me this technology with was set in a barroom, with Beowulf arguing with a group of men, one that stuttered very badly. The rest of the group makes fun of him. There’s also a barmaid (with ample cleavage), scrubbing down a table that gets a few cat-calls.
I asked if I could hold the camera and give it a shot. They obliged me and I walked throughout the frozen scene, going for close-ups on random characters, trying dutch angles, zooming into the cleavage… I might be a perv, but it did get a laugh. Then they ran the scene with me whipping awkwardly from character to character. They didn’t record it, but it was really neat to get to play in the sandbox a bit.
The next scene (Slight spoiler here if you don’t know the tale) they showed me was a sequence that happens immediately after Beowulf cuts Grendel’s arm off and nails it to a board that is hung up within the King’s building. The scene has Anthony Hopkins up on a platform giving a speech, the beast’s arm hung up above and behind him. Beowulf and his men stand in front of the King’s platform. Hopkins says something like, “This place for me has been a hall of sadness… but today the monster’s rule has ended!” He gives his thanks to Beowulf and offers him many women as a token of his gratitude.
After they showed me this sequence, they asked me if I wanted to have a go at actually directing this scene. How could I not accept?
They set it up to record my camera movements. I took off my glasses and put my eye up to the eye-piece (the info on the widescreen monitors was seen there as well) and tried to pick an interesting angle. I decided to place the camera low, looking up at Hopkins with Grendel’s arm in the background screen left. I told them I was ready, but they wouldn’t let me continue unless I called, “Action!” I think they were just trying to make me sound like a moron, you know… have a laugh at the geek, but I played along.
The scene unfolded and I moved the camera over only when Hopkins leaned down to put his hand on Beowulf’s shoulder, which resulted in Grendel’s arm being framed between Beowulf and The King. It was a happy accident, but one that looked really good.
Of course they were just entertaining a visitor, so I don’t harbor any expectations that my framing will make it into the film, but it really was a rush. And hey… it exists on that hard drive somewhere. I was also told that Steven Spielberg had come in the Monday before and set-up a shot in the film, so whether it makes it or not, I got to play with the same toys as some of my childhood heroes.
As of my visit they were only just beginning their work, with absolutely nothing final that moved. As great as the stills were, the real test is when they make them move. The stills are impressive, but to trick the eye with a moving character is a lot more difficult.
I also talked to them about a rumor I heard about a possible dual release that would see the PG-13 version go wide and an NC-17 IMAX version go limited. They’re still in talks and this is a very delicate proposal as far as the MPAA goes. They haven’t approved of this before, worried that impressionable youths will go to see the NC-17 by accident, I guess. No matter what, they’re definitely considering an unrated cut for the DVD.
So, that’s what’s going on with BEOWULF right now. I’m a pretty old fashioned guy. I still prefer film over the best of HD technology, I still like well-done practical effects over CG, I think matte paintings look better than digital backgrounds. I don’t think this kind of filmmaking should be the norm, but I think it opens the doors to some amazing advancements in filmmaking. If they get to a point where this really gets to be photoreal, then just the deaging or aging technology is amazing.
This might be the future, either in full or in part. It might just be a new form of animation, a new way to tell a story. I have no real way of telling until I see at least a few minutes of finished animation cut together. What I can say is seeing the rough designs and tools that are being used to tell this story has me drooling in anticipation of seeing the final product. The passion of everyone involved, from Roger Avary to the tech guys who showed me all the toys, is contagious and strong enough to seep into the film itself.
A heartfelt thanks to Roger Avary for setting this whole thing up. Thanks also to Christopher Browne for leading me though everything, Matt Markwalder for keeping the line of communication open between Roger and myself, to the tech guys for letting me get a glimpse at the cool **** they get to do every day and, of course, to Robert Zemeckis for approving my visit and letting you AICN readers get the first look inside this project.
I hope you guys enjoyed this first look into Robert Zemeckis’ BEOWULF. I’m hoping to trick some concept art out of the production in the coming weeks, but it’s been hard going so far. I won’t give up the good fight, though. Hopefully I’ll have something to show you soon. ‘Til then this is Quint heading off to more flicks at the Santa Barbara Film Festival, bidding you a fond farewell and adieu.
stop with all the damn quotes!
163 Jill : 07/04/2007 at 5:33 pm
Get a good translation. The translation will make it or break it for you. Check out some reviews on Amazon and see what they have to say about the translations before you buy it.
Also, an excellent Beowulf story is John Gardner’s “Grendel”, which tells the story in reverse from the POV of the monster.
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Oops, almost missed you. Thank you so much Jill. :-) I’ll check it out.
quote from COLIN POWELL
COLIN POWEL : 07/04/2007 at 3:57 pm
“She’s absolutely serious, absolutely informed,” says former secretary of State Colin Powell. “Her work with refugees is not something to decorate herself. She studies the issues.” Powell has spoken with Jolie several times over the years, and they’ve been honored together at benefits for refugee causes. There is, he says, no sanctimony about her. “For her, it’s not about saving the world, it’s about saving kids,” he says. “She doesn’t need this. This needed her.”
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