Angelina Jolie: Four Weeks To Go!

From Time Mag

Clint and Angelina Bring a Changeling Child to Cannes
Tuesday, May. 20, 2008 By RICHARD CORLISS Angelina Jolie in The Changeling.
Universal Pictures / EverettArticle

At the wedding of art and industry that is the Cannes Film Festival, Clint Eastwood is by far the most famous bridesmaid. Since 1985 this Hollywood legend has brought five films to Cannes - not as special screenings, where he has nothing to lose, but in the ego-bruising competition for the top prize - and the first four times (with Pale Rider, Bird, White Hunter Black Heart and Mystic River he’s gone home empty-handed. It’s not that the old cowboy needs another trophy: he’s twice won Oscars for best director and best picture, with Unforgiven and Million Dollar Baby. Perhaps the businessman in him knows that his movies will get more free publicity when he stands on the Grand Palais steps, and his image is broadcast around the world, than he would if they were to win the Palme d’Or.

And so on Tuesday night he will stride across the red carpet, accompanied by that nonpareil paparazzi magnet Angelina Jolie, for the screening of Changeling. The speculation is that Eastwood has a better shot at winning this year because the head of the festival Jury is Sean Penn, who won the best actor Oscar for Mystic River and may think he owes Clint a favor. It’s also the consensus that this session of Cannes, where more than half the competing films have already been shown, is a relatively weak one, and that Eastwood’s most acclaimed competitor so far is the Israeli animated documentary Waltz With Bashir. We’ll see. Only the rash try to read the minds of the jurors, and every year’s awards list brings surprises and disappointments.

Changeling is an epic, fact-based story - depicting sadistic, systematic corruption in the municipal government, the police department and the medical establishment of 1920s Los Angeles - that has the novelty of being virtually unknown today. It juggles elements of L.A. Confidential, The Black Dahlia, The Snake Pit and any number of serial-killer thrillers. But at its center are the heartache and heroic resolve of a woman who has lost the one person she loves most and is determined to find him, dead or alive, against all obstacles the authorities place in her way. In that sense the movie is a companion piece to last year’s Cannes entry A Mighty Heart, in which Jolie played the wife of kidnapped journalist Daniel Pearl - except that Changeling is far more taut, twisty and compelling.

Christine Collins (Jolie) works as a supervisor at Pacific Telephone and Telegraph, where she patrols the operator bank on roller skates. She’s a conscientious employee, but her life is devoted to her nine-year-old son Walter (Gattlin Griffith), whose father walked out when the child was born. One day Christine returns home to find Walter missing. As the days and months drag on, his disappearance becomes big news, and when word comes that the boy has been located, the press is there en masse at the train station. Instantly she sees that this “Walter” (Devon Conti) is not her son; but the police insist that he’s Walter - case closed.

The officer in charge, Capt. Jones (Jeffrey Donovan), dismisses Christine’s evidence of differences between the two boys: this one is a few inches shorter, his dental records don’t match Walter’s, his teacher doesn’t recognize him … and he’s been circumcised! When Christine presses her objections, Jones has her confined to the psychopathic ward of the Los Angeles Hospital, in the company of other women with the potential to embarrass the cops. (”If we’re insane,” says Amy Ryan as a prostitute subjected to electroshock therapy for her outspokenness, “nobody has to listen to us.”) Her only ally is a preacher and radio crusader, Gustav Briegleb (John Malkovich), who sees Christine’s case as another heinous example of the Police Dept.’s venality.

Meanwhile, a vagrant boy (Eddie Alderson, the best of a very strong bunch of child actors here) directs a police detective to a chicken ranch in Wineville, about 40 miles west of L.A. There, a Canadian named Gordon Northcott (nicely played by Jason Butler Harner as a man who tries to hide his darkest impulses under the aw-shucks amiability of a Gary Cooper rube) has committed atrocities on some 20 kidnapped boys. Are these crimes related to Walter’s disappearance? And if so, will the cops bring the matter into the glare of publicity, or suppress the awful information?

A movie with all these gruesome elements could easily be sensational. Maybe it should be. Maybe the telling should have a little flair, and a headlong rush toward dreadful truths. But that’s not Eastwood’s way. He just wants to tell the story, in uninflected, police-procedural fashion; the movie is like a flatfoot following a suspicious trail with no special intuition but an admirable doggedness. It doesn’t hurtle, it ambles.

You will look elsewhere (on the Internet) for documentation about the Wineville Chicken Coop matter, and the criminality of then-Mayor George Cryer as a pawn of the Crawford mob, of the L.A.-wide corruption that makes Al Capone’s Chicago a shining city on a hill by comparison. Eastwood is after just the facts, ma’am - with occasional prime emoting from Jolie.

With flaring red lipstick on a face that hasn’t seen much time in the California sun, and with a grieving matched in severity only by her will to learn the truth, Jolie carries the burden of the first hour. As the story expands, and finds new avenues of real-life horror, Jolie can coast on the narrative instead of having to push it with her grit and tears. The movie becomes an ensemble piece, with a dozen or so character actors carrying the storyline. In other words, Changeling is exactly as good as its makings. By the end, with its purposeful accumulation of depravities, both individual and institutional, Eastwood’s non-style has paid off; the story’s weight could come close to burying you in despair.

You may ask: There’s that much evil in the world? And Clint, thinking more about storytelling craft than Cannes crockery, would say, Sure. But there are heroes too. And this time, the righteous gunslinger is a mom with no weapon but her inexhaustible love.

http://i271.photobucket.com/albums/jj138/idycroft/17-1.jpg

I don’t know if it’s true but Angie’s doing her interview for Wanted at Cannes right at this moment. Could this be the reason she is doing those interviews right now since she’s almost due on June. let’s wait ans see. although Ok mag is much better than the other tab. but still unreliable.

Cannes Film Fest 2008 (In Competition)–Clint Eastwood had done it again. Dramatically and artistically, his new period thriller, “The Changeling,” based on an actual case that helped bring down a corrupt police force and ushered a new era of greater legal equality, is right up there with his seminal, Oscar-winning features, “Mystic River” in 2003 and “Million Dollar Baby” in 2004

Though a historical piece set in the particular socio-cultural context–Los Angeles in March 1928–”The Changeling” is a dramatically gripping, supremely acted, technically accomplished picture that bears relevant contemporary meanings due to its central set of significant issues that continues to resonate in our lives today: the definition and structure of family as a social institution, the ineffectiveness and corruption of our main guardian institution, the police force. Add to it a strong female protagonist (splendidly played by Angelina Jolie), who begins as a misfit and weakling only to find strong reserves within herself and become a genuine heroine, and you also have a film about the nascent feminist movements of the late 1920s, with insights about the position of women (and other minorities) in society back then, with strong implications for today.

Clearly on a roll over the past decade, in which he has helmed “Mystic River,” “Million Dollar Baby,” and the back to back war films that are really companion pieces, “Flags of Our Fathers” and “Letters from Iwo Jima,” Eastwood is like a good old French wine, the more senior he gets in age and experience, the better, deeper, and more resonant is his work.

At 78, Eastwood is at the prime of his career. With the notable exception of John Huston, who had done some good films in his 70s and up to his death (”Wise Blood,” “Prizzi’s Honor,” “The Dead,” his very last picture), it’s hard to think of another major American director who has continues to evolve and sharpen his already commanding skills by applying them to a diversity of genres and stories.

The collaboration of Eastwood, who here relies again on his long-time crew of cinematographer Tom Stern and editor Joel Cox, screenwriter J. Michael Straczynski (who amazingly comes from journalism and TV), and actress Angelina Jolie, who gives a stronger dramatic performance in this picture than in “A Mighty Heart” last year, results in one of the bets pictures to be seen in Cannes Fest. Indeed, as of Day 7, “Changeling” impresses as one of the highlights of a rather lukewarm competition. Alongside Desplechin’s delirious French ensemble film “A Christmas Tale and the Turkish entry “Three Monkeys,” it’s one of the top contenders for the prestigious prize Palme d’Or.

Universal will bow the film in the late fall, the prime season for serious “meaty” movies and Oscar contenders. With strong critical support and the right handling and marketing, “The Changeling” has a good chance to receive multiple Oscar nominations in the most important categories: Picture, Director, Screenplay, Actress, and several Supporting Actors. (I realize this is only late May, but the same prediction was made in this column last year out of Cannes Fest for the Coen brothers’ “No Country for Old Men” and Schnabel’s “The Diving Bell”).

Before I begin my analysis, a word about the title and context of viewing Eastwood’s landmark movie. In French, the film is called “L’echange,” which translates into “The Exchange,” a better, more apt title than “The Changeling,” which brings connotations of the horror genre; the movie has its share of horrific moments but it certainly is not a horror flick.

It just happened that I saw “The Changeling” early in the morning, right after a late night screening of James Gray’s “Two Lovers,” which is also in the main competition. Eastwood’s work would have shone in any context, but coming after yet another disappointing film from Gray, the contrast was all the more striking (Yes, I know, Gray is much younger, and has made only four films, but he shows few signs of improvement as writer or director).

The new saga begins on a sunny Saturday morning in a modest home in a working class suburb of Los Angeles, when single mother Christine Collins (Jolie) says goodbye to her nine-year old son Walter, sending him to school, before she leaves for her job as a telephone operator. Hours later, when Christine returns home, she faces the worst nightmare any parent can experience: the vanishing of her son.

Walter has disappeared without a trace. The initial search for him proves fruitless. Devastated, Christine refuses to accept the new reality but begins to realize that Walter will never be found. However, when a boy claiming to be Walter was discovered in DeKalb, Illinois, Christine and the others involved in the search wait with bated breath. Letters and photos were exchanged, and the authorities believed the missing person case had been solved. Collins scrapped together the money to bring the boy home, and LAPD organized a very public photo-op reunion with the found child and anxious mother. Hoping to put a stop to the scrutiny surrounding their inability to solve this case (and others) and desperate for uplift from human-interest success to counter the string of corruption scandals, members of the department hope the reunion would spell public redemption for LAPD’s top brass.

Dazed and bewildered by the turns of events and swirl of cops, reporters, and photographers, Christine is persuaded to take the boy home. Confused and disoriented, she agrees, and the case presumably closed. Or did it? The “only” problem is that the child who arrived home was not Walter. Nonetheless, despite her immediate and repeated declarations that the boy is not hers, Collins is rebuffed by Captain J. J. Jones, the officer in charge of the case. Christine is told-and that was recounted from the City Council hearing transcripts–to “try him for a couple of weeks.”

However, from the first moment of reencountering the boy, her emotions are conflicted, and in her inner heart, she begins to suspect that the boy is not her Walter.

While pressuring the authorities to keep looking for her real son, Christine learns some realities about the position of women in Prohibition-era Los Angeles, particularly single women of the lower classes. And in is in these chapters, that the real dramatic conflicts begin to unfold. Women are not supposed to challenge the system and its mainstream institutions. Like other femme (and minorities), Christine is subject to profiling and rigid stereotyping: She is slandered as unfit, deviant, and delusional. Needing support, Christine finds an ally in Reverend Gustav Briegleb (John Malkovich), a community activist who helps her to fight the city authorities in looking for her missing son.

Eastwood and his scenarist are excellent at showing both the workings (and corruption) of the police department and the political machine, forces that continue to question Christine’s sanity, and the mass public’s thirst for sensationalism on the one hand and eagerness for happy (fairy-tale like) endings to problems on the other.

Bridging the personal and the political domains, the filmmakers place the case against the broader context of Los Angeles in its formative era, during years of personal and public scandals, such as the kidnapping of evangelist Aimee Semple McPherson in 1926. Polanski’s seminal noir, “Chinatown,” about city corruption vis-à-vis real estate and water supply is set a few years later, in the early Depression.

Back in 1928, L.A. was in the grips of a despotic political infrastructure, led by Mayor George E. Cryer and enforced by Police Chief James E. “Two Guns” Davis (often photographed in a gunslinger pose with his weapons) and his sanctioned gun squad that terrorized the city at will. That despotic rule began to unravel with the Collins and other cases. After months of fruitless searching, the police had nothing to show, save an onslaught of negative publicity and mounting public pressure to find a solid lead in the kidnapping.

But what counts the most in “The Changeling” is the dramatic center: The gripping tale of a scandal and the emergence of a new type of heroine. Indeed, in her indefatigable search, and through dealing with various, insurmountable obstacles, Christine evolves into an unlikely, almost reluctant heroine, a spokesperson for the poor classes and downtrodden individuals who have been consistently and methodically abused, ignored, and swept aside by the police, political, and other authority machines.

In her one-woman’s quest, Chritsine joins a whole line of American working class heroines, such as Norma Rae (Sally Field), Karen Silkwood (Meryl Streep), Erin Brockovich (Julia Roberts), and most recently Charlize Theron as a coal miner activist in “North Country.” Each of these women is an idiosyncratic individual in her own right, and I don’t want to suggest that they represent the same type, only to suggest the notion of misfit, disenfranchised women who embark on a journey of self-discovery through which they commit themselves to the welfare of a larger cause than their personal problems. In this respect, “The Changeling” could have easily be retiteld or subtitled, “Christine Collins.”

Thematically, “The Changeling” bears resemblance to Agniezska Holland’s French film, “Olivier, Olivier,” as well as Ben Affleck’s “Gone Baby Gone,” which also revolves around the missing of a young girl and the police role in the kidnapping. Linking those two pictures is the great Amy Ryan, who was nominated for an Oscar for playing the irresponsible mother in “Gone Baby Gone,” and in “The Changeling” plays Carol Dexter, a fellow innocent prisoner, who helps Christine during her lockdown in a mental ward.

Just in case you thought is a solely femme-driven saga, the accomplished ensemble includes half a dozen fully developed male characters, such as Captain J. J. Jones (Jeffrey Donovan), as the head of the LAPD Juvenile Investigation Unit assigned to find Walter, and Detective Lester Ybarra (Michael Kelly), who plays the crucial role of the officer, who is the first to suggest a link between Walter’s disappearance and another crime.

Other impressive roles include LAPD Police Chief James E. Davis (Colm Feore) the head of the corrupt department, and a serial killer, Gordon Northcott (Jason Butler Harner), who may or may not have clues to Walter’s vanishing.

Cast

Christine Collins - Angelina Jolie
Rev. Gustav Briegleb - John Malkovich
Capt. J.J. Jones - Jeffrey Donovan
Det. Lester Ybarra - Michael Kelly
Chief James
E. Davis - Colm Feore
Gordon Northcott - Jason Butler Harner
Carol Dexter - Amy Ryan
S.S. Hahn - Geoff Pierson
Dr. Jonathan Steele - Denis O’Hare
Ben Harris - Frank Wood
Dr. Earl W. Tarr - Peter Gerety
Mayor Cryer - Reed Birney
Walter Collins - Gattlin Griffith
Arthur Hutchins - Devon Conti
Sanford Clark - Eddie Alderson

Credits

A Universal release of a Universal Pictures and Imagine Entertainment presentation in association with Relativity Media of a Malpaso production. Produced by Clint Eastwood, Brian Grazer, Ron Howard, Robert Lorenz.
Executive producers: Tim Moore, Jim Whitaker.
Directed by Clint Eastwood.
Screenplay, J. Michael Straczynski.
Camera: Tom Stern.
Editors: Joel Cox, Gary D. Roach.
Music: Clint Eastwood.
Production designer: James J. Murakami.
Art director: Patrick M. Sullivan Jr.
Set designers: Adrian Gorton, Dianne Wager.
Set decorator: Gary Fettis.
Costume designer: Deborah Hopper.
Sound: Walt Martin; supervising sound editor, Alan Robert Murray; co-supervising sound editor, Bub Asman; re-recording mixers, John T. Reitz, Gregg Rudloff.
Visual effects supervisor: Michael Owens.
Visual effects: CIS Vancouver, Pacific Title and Art Studio.
Stunt coordinator: Buddy Van Horn.

MPAA Rating: R.
Running time: 142 Minutes

emanuellevy.com

# 5 buckeyegurl @ 05/21/2008 at 2:42 am

I know the JPs would never speak to the tabloids but the rags were the ones who broke the news re: the twins.

http://news.google.com/news?tab=wn&ned=us&hl=en&ned=us&q=Angelina+jOlie&btnG=Search+News
(Nice interview of Cannesgelina)
Angelina Jolie is full of joie de vivre at Cannes

By Anthony Breznican, USA TODAY
CANNES, France - Festival-goers call the craze “Cannes-gelina.”
Even with the mountains of attention directed at Indiana Jones and the Kingdom of the Crystal Skull, Jolie has been the standout star. After finishing an interview at the Hotel Carlton, she wandered into the hall and caused a stir among Crystal Skull’s George Lucas, Karen Allen and Harrison Ford, who flashed his wry smile and enveloped her with a hug and kiss on the cheek.

By TODD MCCARTHY
A thematic companion piece to “Mystic River” but more complex and far-reaching, “Changeling” impressively continues Clint Eastwood’s great run of ambitious late-career pictures. Emotionally powerful and stylistically sure-handed, this true story-inspired drama begins small with the disappearance of a young boy, only to gradually fan out to become a comprehensive critique of the entire power structure of Los Angeles, circa 1928. Graced by a top-notch performance from Angelina Jolie, the Universal release looks poised to do some serious business upon tentatively scheduled opening late in the year.

Constructed around the infamous “Wineville Chicken Murders” in Riverside County, Calif., which achieved great notoriety at the time and, surprisingly, have never inspired a film before, the outstanding screenplay by J. Michael Straczynski (creator of TV’s “Babylon 5″) has deceptive simplicity and ambition to it, qualities the director honors by underplaying the melodrama and not signaling the story’s eventual dimensions at the outset. Characters and sociopolitical elements are introduced with almost breathtaking deliberation, as dramatic force and artistic substance steadily mount across the long-arc running time.

With a melancholy mood set by Eastwood’s typically spare guitar-and-piano score, the languid opening stretch stresses the ordinary nature of life for single mother Christine Collins (Jolie) and her 10-year-old son Walter (Gattlin Griffith), who share a modest house in a quiet neighborhood in Los Angeles. Christine has the photogenic job of telephone supervisor on roller-skates, overseeing dozens of female operators as they connect calls at a giant switchboard. Early sound films were loaded with scenes of smart-talking women handling phone lines; Eastwood takes advantage of the inspiration of skates to cover them in neat tracking shots.

One day when Christine is late getting home from work, Walter is gone. Nearly five months later, Christine is informed that her son has been found in Illinois. With all attendant hoopla for the benefit of the press and police, a reunion is arranged at the train station, but, as soon as the boy steps onto the platform, Christine knows this kid is not her son.

The police, fronted by Capt. J.J. Jones (Jeffrey Donovan), insist otherwise, waving off definitive evidence relating to physical discrepancies. Even when Walter’s dentist, teacher and fellow students insist he’s not the right boy, the replacement himself remains maddeningly resolute, driving the otherwise level-headed Christine to distraction.

Or at least that’s the way it looks to the cops, who promptly throw her in the psycho ward for her alleged delusion. Fears that the story is now destined to veer off into “The Snake Pit” or, given Jolie’s presence, “Girl, Interrupted” looney-bin horrors prove largely unfounded, despite a couple of brief electroshock scenes. Rather, this is where the picture really spreads its wings, as ramifications of this tragic but unexceptional case seep through the police department, the legal system, the medical establishment and City Hall in entirely unexpected ways.

Initially, this is due to the tireless efforts of a crusading radio evangelist, the Rev. Gustav Briegleb (an intent, focused John Malkovich), one of whose missions is to expose what he sees as the complete corruption of the LAPD under Chief James E. Davis (Colm Feore). On Christine’s side from the beginning, the pastor persists in using her case to spotlight the department’s malfeasance, and the character is notable as one of the few screen depictions of a righteous Christian leader of this period (the era of Aimee Semple McPherson) to be cast in an entirely favorable light.

Irrevocably setting the judicial machinery in motion is a boy in his early teens (Eddie Alderson, extraordinary) who movingly tells police about some horrific murders of kidnapped boys he’s unwillingly participated in with an unhinged young man, Gordon Northcott (Jason Butler Harner), out in the desert. What happens next — to Capt. Jones, the police chief, the mayor and the murderers, among others — is all part of the public record and the less than salubrious history of Los Angeles politics.

The intercutting of two heavyweight proceedings, a murder trial and a landmark City Hall hearing, provide the story’s dramatic crescendo, although even greater tension stems from what comes thereafter. In the end, “Changeling” joins the likes of “Chinatown” and “L.A. Confidential” as a sorrowful critique of the city’s political culture.

A dozen filmmakers could have taken a dozen different approaches to the same material — sensationalistic, melodramatic, expose-minded, a kid’s or killer’s p.o.v., and so on. Perhaps the best way to describe Eastwood’s approach is that he’s extremely attentive — to the central elements of the story, to be sure (with its echoes of “A Perfect World”), but also to the fluidity between the private and the public, the arbitrariness of life and death, the distinct ways different people view the same thing, the destructive behavior of some adults toward children and the quality of life in California around the time he was born.

Despite the material’s dark themes, the Los Angeles setting helps make “Changeling” one of Eastwood’s most visually vivid films; cinematographer Tom Stern’s mobile camera has a graceful elegance, and several panoramic CGI vistas merge smoothly with location lensing to unemphatically evoke the dustier, less congested city of 80 years ago. Production designer James J. Murakami’s many sets impressively create a constant play of light and dark environments, and further period verisimilitude stems from Deborah Hopper’s costumes and the occasional presence of the extinct Red Car trolleys.

As she did in “A Mighty Heart,” Jolie plays a woman abruptly and agonizingly deprived of the person closest to her. But impressive as she may have been as the wife of Danny Pearl, her performance here hits home more directly due to the lack of affectation — no accent, frizzed hair or darkened complexion, and no attempt to consciously rein in emotion. There are inevitable one-note aspects to her Christine Collins, as she must exasperatedly repeat her positions to the authorities again and again. But Jolie makes it clear Christine maintains a grip on her sanity in the face of many assaults on its stability.

Pic offers a wealth of sterling supporting turns, from significant ones down to fleeting bit parts. The pressure felt by the police to toe the party line is deftly expressed in different ways by Donovan, Feore and Michael Kelly, the latter very fine as the cop who unearths the evidence at the murder site. Harner is startlingly unpredictable as the showboating but wimpy killer, while Geoff Pierson is commandingly charismatic as the eminent lawyer who calls the city big shots to account.

Postscript noting the fates of certain characters conveniently elides the sad and/or ironic destinies awaiting some of them.

http://news.google.com/news?tab=wn&ned=us&hl=en&ned=us&q=Angelina+jOlie&btnG=Search+News
(Nice interview of Cannesgelina)
Angelina Jolie is full of joie de vivre at Cannes

By Anthony Breznican, USA TODAY
CANNES, France - Festival-goers call the craze “Cannes-gelina.”

Angelina Jolie has been the belle of the Cannes International Film Festival, endearing the crowds as she promotes two new films while displaying a prodigious belly of twins.

First came Kung Fu Panda’s premiere last week, and tonight is Changeling, a Clint Eastwood-directed drama opening Nov. 7 about a mother in 1928 Los Angeles whose child disappears, but the boy returned to her is not her son.

She says she’s responding to the crush of attention with calm: “It has been lovely. I did my first day, then got to get home for dinner and got to hang out and play Barbies and things” with Maddox, 6, Pax, 4, Zahara, 3, and Shiloh, 1.

The key, she says, is to enjoy the festival’s circus-like atmosphere instead of fighting it. “It has been really nice. With a film like Kung Fu Panda, it’s so easy and fun. Even doing the red carpet - people can tend to get very serious about that, with competition - but we got to go up with a (costumed) panda,” she says with a laugh. “It all remained fun and in the spirit of kids’ movies.”

Another important part of being a festival star: comfortable shoes. She recommends a low heel with a Nike sole.

Even with the mountains of attention directed at Indiana Jones and the Kingdom of the Crystal Skull, Jolie has been the standout star. After finishing an interview at the Hotel Carlton, she wandered into the hall and caused a stir among Crystal Skull’s George Lucas, Karen Allen and Harrison Ford, who flashed his wry smile and enveloped her with a hug and kiss on the cheek.

Jolie says the attention has not been overwhelming. “It’s not such hard work. I’m sitting and talking a lot, and people are being very nice to me. If I was feeling too pregnant, everybody said I didn’t have to come. So I was feeling all right,” she says. “The photography and all that can be something that is not fun to live with, (but) when you come here and you’re proud of something … then it’s a positive thing.”

Jolie doesn’t want to announce the gender of her twins, and she says she and partner Brad Pitt haven’t decided where she’ll give birth.

“Because we have twins, we have to get to know a doctor wherever we’re based, just in case they come early,” she says.

The secrecy is partly about avoiding the paparazzi, the actress adds. “It’s not as much focused on the whole celebrity side of it. It’s about wanting the experience of birth, and also spending time with the other children. It just should be a very beautiful time, for any woman.”

Before daughter Shiloh was born, the family set up in a remote town in Namibia. “We spent our days with the children on safari, or in the dunes, or painting, or just having a beautiful time. When she was born, we were the only people in this tiny little clinic where there was only one anesthesiologist in the town, only one pediatrician in the town,” she says.

“It was just very intimate. It wasn’t about avoiding the outside world. It was just making it as beautiful an experience as we could. This time we are limited because we can’t be as adventurous in where we go because when there’s two, you have to be more careful.”

While in Cannes, she also is doing interviews for the action-thriller Wanted (June 27), in which she plays a Dodge Viper-driving, gun-blazing assassin.

She points out that she’s not doing anything all that extraordinary; it’s what many women do up until they give birth. “I just have to do my job.”

Night and day with Angelina Jolie

http://www.usatoday.com/life/people/2008-05-19-angelina-day-by-day_n.htm?loc=interstitialskip

is that a new pic?i guess not.that was taken last week

http://www.dailymail.co.uk/tvshowbiz/article-1020814/Heavily-pregnant-Angelina-looks-Demis-Roussos-fashion-inspiration-red-carpet.html

Heavily pregnant Angelina looks to Demis Roussos for fashion inspiration on the red carpet

By Richard Simpson
Last updated at 8:53 AM on 21st May 2008

Having shown off her growing bump on the Cannes red carpet earlier this week, Angelina Jolie clearly feels her unborn twins are already getting too much attention.

Which is no doubt why she trod the famous Croisette for the second time tonight in a much less revealing gown which might have looked more at home on Demis Roussos.

Miss Jolie presented her new film Changeling to the festival on the French Riviera yesterday.

During the launch press conference, Miss Jolie said that she could not imagine anything worse than losing a child.

Directed by Clint Eastwood, the movie is based on the real-life story of working class single mother Christine Collins (Jolie), whose nine-year-old son Walter goes missing.

Five months later a child claiming to be the boy is returned and police are eager to bask in a public relations coup of reuniting mother and son. Christine takes the boy home, but knows in her heart he is not Walter.

The film is set in Los Angeles in 1928 and tells how the woman’s invincible spirit brought down a police department and ushered in a new era of equality.

Jolie said: “To lose a child, I can’t imagine anything worse, especially not knowing the fate of that child.”

She said: “I lost my own mother a few months before the film… My mother was very passive in many ways and very sweet, but when it came to her children, she was a lion.”

She said Christine reminded her of her mother Marcheline Bertrand and it was a way of re-visiting her. Marcheline Bertrand died after a seven year battle with ovarian cancer in January 2007.

Eastwood talked about the serial killer element in the film, saying it was more devastating because it was a paedophile situation.

He said: “Crimes against children are to me the most heinous crimes that there are. It never ceases to surprise you how cruel humanity can be. It’s an important subject to take up but it’s not going to be the last story like this in history.”

Eastwood was asked about rumours he is to re-visit his role in Dirty Harry, which he is introducing a special screening of at Cannes. But Eastwood replied: “No, that rumour’s incorrect.”

Jolie joked: “I am.” To which Eastwood responded: “Dirty Harriet.”

He continued: “Dirty Harry would not be in a police department at my age.”

Miss Jolie and partner Brad Pitt have been in the area for several weeks staying at a villa belonging to Microsoft billionaire Paul Allen.

The couple went out for dinner on Monday night with Eastwood and Rolling Stone Mick Jagger.

Jagger briefly attended the Chopard party afterwards but opted not to join his daughter Jade’s party to promote vodka brand Belvedere. Instead she danced with DJ Mark Ronson and Sean ‘P Diddy’ Combs.

===================================================

if you go to the site their is picture of Angie taking chocolate

Eastwood Says He’s Too Old for Dirty Harry, Jolie Might Give Try

CANNES, France — Clint Eastwood will not be back as Dirty Harry, but Angelina Jolie might want to give it a try.

Eastwood was asked Tuesday at a news conference at the Cannes Film Festival if he would be reprising the role of Harry Callahan, the renegade cop of “Dirty Harry” and four sequels.

As he laid to rest the notion that he might revive Harry, Jolie chimed in: “I am.”

“Dirty Harriet and the `Tomb Raider’ will play it,” Eastwood joked about Jolie, whose screen credits include the “Lara Croft: Tomb Raider” flicks.

Eastwood was at Cannes for the premiere of his missing-child drama, “Changeling,” starring Jolie. The 32-year-old actress was in Cannes for both “Changeling” and her animated comedy, “Kung Fu Panda,” which premiered at the festival last week.

Eastwood, who turns 78 on May 31, went on to add that “Dirty Harry would not be on the police department at my age, so we’ll move on from that.”

The Cannes lineup this year features a retrospective of Warner Bros. classics, including 1971’s “Dirty Harry,” which comes out in a new DVD edition with the other four films in the series on June 3.

The character has become an icon: a vigilante cop fighting bureaucracy on behalf of victims. For Eastwood, though, it was an exciting detective story first and foremost.

“Whatever reaction it had, it was great fun at that time,” Eastwood said. “It was a fantasy role. You point a .44 Magnum at someone and say, `Do you feel lucky?”‘

http://www.foxnews.com/story/0,2933,356792,00.html

me @ 05/21/2008 at 3:04

You’re sick ?? my A S S .. If you are SICK of them you WOULDN’T BE here posting and telling us you’re sick YOU ARE A BIG FRAUD/LIAR as your IDOL .. go back to FUGLY FEMALE (FF)

Why is she using botox while pregnant?

That could be dangerous to the unborn.

KElly @ 05/21/2008 at 5:15 am

I heard Angelina has ruined another movie with her lousy acting ability.

I also heard that you can see on the big screen how much plastic work was done on her face.
——————————————–

looks like you’re talking about your idol.