Brad Pitt Goes on ‘Parade’

120 hummmmmmm : 10/02/2007 at 3:09 pm
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Here:
http://www.youtube.com/watch?v=J9c7KtK2f2U
Enjoy!

Zahara smile in Prague:

http://i22.tinypic.com/11uj9m0.jpg

HATERS READ AND SEE INTERVIEWS THEY WANT TO SEE AND HEAR,AND THEN THEY WILL SAY ,WHY THEY NEVER TALK ABOUT IT AND THAT.SO PLEASE DON`T HAVE SELECTIVE MIND AND READ AND SEE ALL OF THEIR INTERVIEWS AND IF YOU DON`T FIND WHAT YOU WANT THEN COME HERE AND COMPLAIN.

isitreallythatserious? : 10/02/2007 at 2:59 pm
Once again, you are taking things to the extreme. Do you enjoy drama or something? I know they are INCREDIBLY famous and they can’t help being followed. But they can do as much as possible to shield their children from it. By the way, the paps did seem more respectful during photo ops where Brad’s mother was involved. I don’t see that sending their children to visit their grandparents or having the grandparents come to babysit is “pawning them off” in any way. It would be much easier for them to find an alternate form of schooling/play if the situation, at that particular time, warranted it. It would be much easier to explain something like that to a child then explain why those “strange men were screaming in their ears” and shoving hard pointy black things with flashing lights into their faces. I don’t see this a “sheltering” them I see this as protecting them. There are all sorts of situations where they could interact safely with kids outside of their family unit. It just needs to be planned by someone who wants to take the time to do it.

the woman that he loves:

http://i20.tinypic.com/2dca0xe.jpg

I never think that Zee scares of Papz,I thought she loves them but it seems she loves them when they are far from her face,it is really sad and that`s why they shouldn`t smile at papz when they have kids because If they smile for them,they will go to their home too.they(papz) have no shame.

HAPPY BLD AND LET`S CELEBRATE.

OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM

the woman that he loves:

http://i23.tinypic.com/53445c.jpg

HMMMMMMMMMMMM,
YOU MUST BE FROM ANOTHER PLANET. BECAUSE IF YOU ARE FROM PLANET EARTH LIKE THE REST OF US YOU RECALL HE STATED EXACTLY THAT NOT TOO LONG AGO.
YOU MIGHT BE SUFFERING FROM LOSS MEMORY OR LIKE ALL YOU MANISTON FANS YOU CANT RECALL ANYTHING POSITIVE CAN YOU.
THE SUPIDITY THAT EXIT WITH YOU MANISTON FANS IS BEYOND ME…

LARS=RITZY

FANS THIS IS OBVIOUS.SO IGNORE HER AND YOU WILL SEE SHE WILL VANISH,SHE HAS HABIT TO HANG WITH FANS ,SO DON`T ENGAGE WITH HER.

TWO QUEENS:

http://i20.tinypic.com/153tetg.jpg

Another one fom ntt this morning A MUST READ!!!

268 ntt : 10/02/2007 at 11:08 am
Angelina Jolie’s Hollywood exile
The most ferocious performer on film today is proof there are still big stars — it’s the pictures that got smaller.

By Allen Barra

June 11, 2005

One of my fondest memories of Pauline Kael was a weekend at her home in Great Barrington, Mass., just a few months before she died. Newsday critic Gene Seymour and I spent two nights catching her up on a fantastic new actress, Angelina Jolie, whom she had seen once in a Mike Newell comedy, “Pushing Tin” (1999), and been delighted with. Pauline didn’t care much for “Girl, Interrupted,” the film for which Jolie won the best supporting actress Oscar (neither did Seymour, who earned a hearty laugh by dubbing it “Snakepit 90210″), but she howled gleefully every time Jolie reduced one of the other actresses in the film to mere window dressing.

“Those poor actresses,” she said. “She’s absolutely fearless in front of a camera. This girl would scare the **** out of Jack Nicholson in ‘Cuckoo’s Nest.’” Kael’s favorite performance was Jolie as the doomed bisexual supermodel Gia in the HBO film. “My God,” she exclaimed, “this girl could play both the Brando and Maria Schneider roles in ‘Last Tango’! Where in the world did she come from?”

From where indeed? One of her earlier directors called her “an extraordinary-looking creature, like some weird, undiscovered orchid.” Never having attended college, Jolie is unencumbered by the jargon-riddled baggage that passes for modern education. The instinctual power of her work is refreshingly devoid of the anesthetizing layers that plague so much American acting. Her responses to everything are visceral and direct, a quality that has earned her a fandom that cuts across class, sex and even political lines. While other celebrities exhaust themselves trying to stay hip, Jolie, who offers no indication in her interviews that she has any knowledge or interest in popular culture, defines hip. Apparently oblivious to the mockery of a large portion of the mainstream press (such as the New York Times, which headlined a story “Can Angelina Jolie Save the World?”) and even the cheap collegiate cynicism of “Saturday Night Live,” Jolie, like the existential man whom French intellectuals used to worship, chooses her own loyalties and responsibilities without deference to conservative or liberal pieties.

She is often referred to in magazines as Hollywood royalty, but Angelina the actress isn’t really her father’s girl or anyone else’s. Like Athena, she seems to have sprung fully formed from the head of Zeus — except that her estranged father, Jon Voight, isn’t her Zeus; she inherited his talent but not his instincts. (Combine Voight with Jolie’s beautiful mother, the French Canadian Iroquois actress Marcheline Bertrand, and her uncle, Chip Taylor, the rock singer who wrote “Wild Thing,” and you might have something). Jolie is both her own Zeus and Athena, constantly re-creating herself. She may be the first great movie star ever to have no antecedents. Film critic Parker Tyler thought the pantheon of movie gods and goddesses in every era to be new versions of their predecessors; Marilyn Monroe was a reincarnation of Jean Harlow, Liz Taylor of Theda Bara, etc. But Jolie doesn’t evoke previous movie goddesses; there is a touch of her godmother, Jacqueline Bisset, who, like Angelina, was considered the most beautiful actress of her time but who was a dull screen presence compared to Jolie.

There is, perhaps, a hint of the spirit of another Hollywood brat, the young Jane Fonda, in her, though it’s difficult to picture Jolie ever settling into such a doctrinaire sociopolitical stance as Fonda’s in the late ’60s. Jolie is so independent she doesn’t even qualify as a feminist, unless the definition can be extended to a woman who loved so fiercely that she carried a vial of her husband’s blood around her neck. As for politics, Jolie’s activism hasn’t lent itself to easy answers and finger pointing but to front-line involvement (”My first job today,” she wrote in her journal about her U.N. missions, “Notes From My Travels,” “was measuring the medicine powder at the therapeutic feeding center. Under the age of five — extra nutrition. Pregnant — measured. I wanted to be careful not to measure a spoonful too short.”)

Unthinkable in almost any part played in recent years by Cameron Diaz, Halle Berry or Meg Ryan
One of the best examples of the jujitsu Jolie can do on our attitudes toward movie sexuality was her performance in the elegant thriller “Original Sin,” released in 2001. Instantly dismissed by critics — the fate of almost any film done in an odd style by an unknown director — “Original Sin” deserves a second look, particularly for the performances of Jolie and the sweetly reticent Antonio Banderas. Directed by Michael Cristofer, the playwright (”Shadow Box”) who had previously directed Jolie in “Gia,” “Original Sin” is a wonderful piece of stylish trash (”I loved it,” Kael wrote on the envelope when she returned the copy I loaned her) made from the noir mystery “Waltz Into Darkness,” by the cult favorite Cornell Woolrich (best known as the author of the story that became Hitchcock’s “Rear Window”). “Waltz Into Darkness” had been filmed before, most notably by François Truffaut in 1969 under the title “Mississippi Mermaid,” starring Jean-Paul Belmondo and Catherine Deneuve. Woolrich’s novel, set in late 19th century New Orleans, is about a widower who takes a chance on a mail-order bride who turns out to be an enigmatic adventuress — like all men in these kinds of stories, he is pulled into a web of deceit and murder.

Cristofer relocates the story to late 19th century Havana (actually shot in Mexico), probably to take advantage of the location and also to accommodate Banderas’ accent. Retooling the script around his female star, Cristofer retains its lurid pulp quality but turns the femme fatale theme on its head by letting Jolie’s character dominate the plot midway through the film. She stops being the victim or fantasy figure associated with the genre and becomes the protagonist. Jolie is terrific playing a character for which there is almost no movie precedent (the great Deneuve, in Truffaut’s version, played the role as the classic shallow man-trap). She is a woman who has suffered through every form of degradation, committed the grossest of crimes, and still believes in the possibilities of dignity and love. (In one remarkable scene, facing gang rape from vengeful gamblers whom she has cheated, she glares at her attackers as if to deny them, at least, the pleasure of seeing her suffer.)

“Original Sin” is often scary stuff, particularly in scenes that look as if they were intended to reflect the dark corners of Jolie’s psyche. For instance, a scene in which she bonds with a lover performing a ritual with knives, a practice Jolie had often discussed in interviews. And in a sly joke, concealed from all but those who happen to catch it in the credits, the character of Satan in a stage production who is also her lover is played by her brother, James Haven. It’s as if Jolie was giving the finger to a press that foamed at the mouth when she told the world how much she loved her brother after winning the Oscar.

If “Original Sin” had been a thriller in the traditional mode, it might have been a success, but critics and audiences alike were jolted by its weirder aspects and by the ways in which it subverted the noir themes — in other words, for probably the precise reasons that Jolie was drawn to the material in the first place.

It isn’t so much that most of her other movies have been bad as the way in which they are bad. The writing in American movies has never been more abysmal, the characters not really written but sketched into what is always an action or sex comedy framework. (Nearly all Hollywood films are action movies or sex comedies; “Mr. and Mrs. Smith” tries to up the ante by splicing the genres.) Real actors must essentially do the work that screenwriters used to do and create their own characters from whole cloth. (Mike Newell, who directed one of her best roles in “Pushing Tin,” conceded, “There really wasn’t much there on the page for her character. She filled in the blanks.”) Jolie has done this in a long series of films that are notable mostly for her performances, movies that you might not see at all if you didn’t stumble on them while perusing the vast left field of cable TV. The combination of the young Jolie and Joyce Carol Oates’ unsparing novel about a high school girl gang should have produced a film that made her the James Dean of the ’90s. If the rest of “Foxfire” (1996) has been as tough as her portrayal of “Legs” Sadovsky it would have, but the script’s touchy-feely mode was at odds with Oates’ and Jolie’s edges. Her best role and her best performance before “Gia” was in “George Wallace,” John Frankenheimer’s fine, too-little-seen television biography of the Alabama governor, in which Jolie played a status-hungry Southern girl forced into maturity when her husband is paralyzed by an assassin’s bullet.

It’s intriguing to think what directions Jolie’s career might have gone in had she hooked up with a strong director like Frankenheimer at an earlier age. Meanwhile, we’re left to wonder why Hollywood’s best directors don’t get off their asses and build projects around the movies’ most exciting actress. Can’t Martin Scorsese see that Jolie’s energy is precisely the cure for the slack in his recent work? (Jolie would have ignited the role of Jenny, the pickpocket, in “Gangs of New York,” but she would have looked as if she could have eaten Leonardo DiCaprio alive. Imagine if she had been paired off with Daniel Day-Lewis’ Bill the Butcher!) What’s wrong with Quentin Tarantino? Can’t he see that his work is now feeding off of itself and that what he needs to recharge is a dynamo like Jo

Hum. Wonder why no declarations of adoration or appreciation for Jolie or mention of their relationship. It sounds like it’s more of a business partnership, really. You’d think after all this time, especially in Parade, which is respectable and circulated EVERYWHERE for free and in the Sunday paper, that he would kind of acknowledge that he loves her, etc. I mean, she’s barely mentioned and if she is, it’s all about kids, kids, kids.
That would certainly have shut up any rumors of them not getting along. I still don’t understand why they don’t just get married. Is it that bad of an institution? I don’t think so.

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He doesn’t love her, that very clear. He defend Jen, he defends his mom, and cringes everytime someone tells him if angelina was a positive influence in his charity work, but no, he gets pissed and refuses to say so.

He’s slowly destroying her and after she moves on, he will play the victim card like no other.

Brad Pitt is angelina’s jennifer aniston.

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Brad will die first before he gives angelina the credit she deserves. Don’t worry, she knows and finally got tired of his games.