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Angelina Jolie: Four Weeks To Go!

Angelina Jolie: Four Weeks To Go!

Angelina Jolie is this week’s glowing cover girl for OK! Magazine, which claims she only has four weeks to go!

In their ‘exclusive’ interview, they talk about her $300K birth plan, Brad Pitt‘s mom flying in, choosing the names for the twins and Shiloh‘s special gift.

“I never planned on having children biologically,” Angie said last week while in Cannes, France, for the annual film festival. “But that changes when you meet someone you love.”

To read more more of the article about Angie, visit

Just Jared on Facebook
Posted to: Angelina Jolie

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  • http://JUSTJARED.COM brad is rad

    1ST!!!! wow. yay i love herrrr

  • You/Me

    I bet they can’t wait! :-)
    The whole family is just waiting to hold the newest little JP babies!

  • Ellie

    i hope so! but i think shes still got a while to go…. =[
    cant wait

  • buckeyegurl

    Why does Jared have to post these tabloid threads? I doubt VERY highly that the JPs talked to OK. Oh well, it’s always nice to see Angie looking so happy.

  • legs

    is this really true? anyway, i couldn’t be more excited. :)

  • BAMPZS+2

    Well all my wish is safe delivery. May God continue to protect and guide and and her family. May all their wishes come through. I just like Angie because she is a strong woman and i prayer she will overcome all the hater like troll.

  • vidstr1

    Go Angie!!!!!!!!!!!

  • BAMPZS+2

    Extended Kung Fu Panda Scene
    Source: Yahoo! Movies
    May 21, 2008

    DreamWorks Animation has revealed an extended martial arts sequence from Kung Fu Panda, opening in conventional theaters and IMAX on June 6. The animated comedy features the voices of Jack Black, Angelina Jolie, Lucy Liu, Dustin Hoffman, Jackie Chan and Ian McShane.

    Who gets the dumpling? Find out in the clip below!

    credit dulcinea13 @jjb

  • BAMPZS+2

    From, here’s a walk down memory lane at Cannes. It’s a slideshow of their top 20 all-time men’s fashion moments. The old photos are great…even Mickey Rourke looks hot.

    credit dulcinea13 @ jjb

  • BAMPZS+2

    there is a picture of Pax playing at the Zoo last few days he is wearing same cloth Maddox wear when they are in NO before Pax was brought home.


  • hoho

    IVF IVF IVF!!!!…
    i love winding u loonies up. some of u guys on these threads are straight up nuts

  • BAMPZS+2

    Steve Jones

    Wednesday, May 21 2008, 06:14 BST

    By Nick Levine, Music Editor

    During his half-decade on T4, Steve Jones has interviewed just about every Hollywood A-lister you’d care to mention: he’s grilled George Clooney, chatted with Angelina Jolie and, ahem, got up close and personal with Pamela Anderson. Now he’s off to the Cannes Film Festival to interview another gaggle of superstar actors for T4. Does he still get nervous about meeting the Hollywood elite? We gave him a call to find out.

    So, what interviews have you got lined up in Cannes?

    “We’ve got some really good interviews actually. We’re going to be talking to the cast of the Indiana Jones movie, which properly kicks ass! We’ve got the cast of Kung Fu Panda too, so that’s Jack Black, Angelina Jolie and Dustin Hoffman, and the cast of Sex And The City as well. I’m really excited about it.”

    Which interview are you feeling most nervous about?

    “I’m nervous about Angelina Jolie because every time I’ve ever interviewed her I’ve made a pledge to the T4 audience that I’ll give her my phone number. The last time I interviewed her was a while back, but she’s got her kids now and apparently she’s married to some guy called Brad? I can’t quite remember the details. Still, I’ve made my pledge and it’s going to be very, very awkward.”

    Does she take your advances in good humour?

    “She’s always good-humoured. She laughs, puts my number in her pocket and probably throws it in the bin as soon as I leave the room.”

    Have you ever had a really bad interview experience?

    “Well, Vince Vaughn recently was horrific. He just didn’t get my humour. He thought I was trying to con him into saying something bad about Daniel Radcliffe. I was talking to him about the acting industry, how a lot of young actors are losing their cool and going a bit sex, drugs and rock ‘n’ roll, so I said: ‘David Radcliffe for instance, he’s out of control Vince.’”


    “See, you’re laughing because you realise it’s a joke. I know Daniel would laugh about it too, but Vince got angry and went into this tirade against interviewers: ‘You come here with your cards, thinking you’re so smart…’ It went on and on. I was interviewing him for a Christmas film, so I said: ‘One last question about Christmas, Vince?’ He just said: ‘No, I think we’re done here’ and put his hand out to shake mine. All I could think about afterwards was the little half-finger on his left hand – he touched Jennifer Aniston with that finger! Jennifer could do better! What a miserable bast**rd.”

    What happens if you have to interview him again?

    “I would like to interview him again. I wouldn’t shy away from it. Maybe he had a bad day, but he’s being paid millions to sit in a room and talk about a project that’s near and dear to him, so he should make some effort.”

    Who’s still on your interview wish list?

    “Well, Anthony Hopkins, because he’s just an absolute legend, and Jack White, because I’m a big fan of The White Stripes.”

    Well, maybe if you get them down to T4 On The Beach this year…
    “Yeah, if White Stripes do T4 On The Beach. It’s a big if, but you never know.”

    Have you thought about when you might leave T4?

    “Not really. I’m a guy who operates in the here and now. I don’t really think about the future and I don’t have ambitions as such. I love T4 so why would I not want to keep on doing it? I’ll do it for as long as it feels right and as long as I can really. If someone wants to come along and steal my crown, bring it on! Up until that point I’m staying.”

    Steve Jones presents T4 every weekend on Channel 4. This weekend he and the other T4 presenters report from the Cannes Film Festival.

    oliverbandit @ jjb

  • hmm

    maybe they should take a break and just enjoy this family.
    8 is alot of people to get to know. when a family is too big, they become distant with one another or teams start to form (i know what it’s like to come from a big family. it is hard…)

  • kathy

    OK lies to much..i dont believe a thing they print

  • lsam

    I don’t think this article is true. The tabs are always speculating. Just because they published that she is really having twins before, now they are elaborating from their “sources.” The only ones who know for sure would be Brad, Angie, and their doctor.

  • mizzjenn21


  • kaiagaia

    I hate Angelina as much I hate Brad…they were sucks…..desperately freaky parents

  • kaiagaia

    I HATE THEM>>>>>>>>>

  • BAMPZS+2

    Review from Empire

    Quite simply, Clint Eastwood’s new film Changeling is flawless, with Clint proving yet again that he is the true master of the great American film. The French title translates as The Exchange, which is a clearer reflection of this fascinating, multi-faceted drama, which begins in 1928 when single mother Christine Collins (Angelina Jolie) returns from work to find her son Walter missing. Several months later Walter is returned to her, but Christine isn’t too happy about it, chiefly because the boy is not her son: he’s a good three inches shorter, his dental records don’t match and his teacher swears blind that the kid has never set foot in her classroom.

    Early next year, it’s safe to say that Changeling will be in the Academy frame itself, when the 2008 nominations are announced, with likely places in the Best Picture, Best Actress, Best Supporting Actor (for John Malkovich as Christine’s champion), Best Screenplay and Best Score, for the haunting theme penned by Clint himself. No praise is too high for this thoughtful, engrossing, intelligent film. Brilliant, brilliant, brilliant.

  • BAMPZS+2

    Eastwood drama gets Cannes applause

    Changeling, Clint Eastwood’s latest film starring Angelina Jolie, got a warm round of applause at its press screening in Cannes where it is competing for the top prize.

    The Changeling, to get its official premiere later in the day, tells the story of single mother Christine Collins (Jolie) in 1920s California whose nine-year-old son Walter goes missing.

    Months later police turn up with a boy they say is Walter, whom Christine takes home, but she knows in her heart he is not Walter.

    Helped by community activist Gustav Briegleb (John Malkovich), she battles against all the odds to prove it and in doing so brings down an entire police department.

    Eastwood is back in Cannes vying for the Palme d’Or in spite of mixed acclaim here for his 2003 entry Mystic River.

  • BAMPZS+2

    Another review, this one from Glenn Kenny (

    Cannes, Competition: “Changeling


    Clint Eastwood opens his 1920s-’30s set film Changeling with a period logo of its studio-here, Universal, with its silvery, Deco-esque depiction of a small plane circling the globe. The slight but noteworthy irony here is that this picture is nothing like a Universal production of that era-it is instead, very much like a Warner Brothers production of that era and beyond. (Eastwood just recently stopped hanging his producing hat at Warner’s, alas.)

    For Changeling rings the muckracking bells of the likes of I Am A Fugitive From A Chain Gang, and the devoted-mother high notes of Stella Dallas. Its old-fashionedness, or I should say respect for verities, goes hand-in-hand with a particularly Eastwood-esque directness. The result is not as perfect a film as Eastwood has made, but it’s damn strong, both as a story and an exploration of the parent-child bond and a polemic. Because despite the fact that it deals with the corruption and venality of a past era, Changeling is at times a very angry picture; Eastwood’s angriest, I think, since Unforgiven.

    Changeling is based on the trus story of Christine Collins (Angelina Jolie), a single mom in Los Angeles whose young son is abducted while she’s away at work. Five months later, Police Captain J.J. Jones (Jeffrey Donovan) stages a press event to celebrate the discovery and return of the boy. Only Collins insists-and the audience knows-that the boy she meets at the train station is not her son. Collins insists on this fact, and for her trouble winds up locked up in the psycho ward of a mental hospital (shades of The Snake Pit, admitedly not a Warner picture, but you can’t have everything) that’s largely just a disguised repository for any woman who pisses off the cops. Intercut with her jaw-dropping travails is the discovery by an initially sceptical good cop (Michael Kelly) of a child-murdering psycho who operated on a remote ranch and may well have killed Collins’ real son. After a crusading preacher (John Malkovich) who’s on a campaign against police corruption gets Collins sprung from the asylum, the film’s storylines converge more closely, as Collins seeks justice for herself and tries to discern her beloved son’s true fate.

    Jolie’s performance as Collins is one of her best in years; no doubt channelling some fierce maternal instinct but at the same time dialing things down quite a bit, she very nearly transcends her somewhat otherworldly physical appearance and embodies a classic heroine. As nemesis Jones, Donovan shows his teeth a little too fiercely; as a friend observed, people don’t actually get up in the morning relishing the idea of how evil they’re going to be, the way this guy does. Far more evocative of heinous soul-crushing bureaucracy at its most rotted is Denis O’Hare’s slimy asylum head. Amy Ryan is her usual goods-delivering self as an inmate who hips Collins to the loony bin’s secret purpose, and her exchanges with Jolie flesh out the film’s powerful feminist sub-theme. I still haven’t quite processed Jason Butler Harner’s work as the genuinely deranged child-killer, but his final confrontations with Jolie do add up.

    For once, Eastwood’s musical score is a little inapt-the modal format and the instrumentation seem kind of anachronistic, and the music’s not as sparely used as it’s been in other recent works of his. But hell. The directorial mastery here culminates in a genuinely wrenching coda set in a police station, which brought real unashamed tears to my eyes.

  • Mediterranean

    If Angie has 4 weeks to go, she can’t fly anyway. She is going to give a birth here.


  • BAMPZS+2

    Pax at the zoo/park. A few days ago.

    credit sugar or spice jjb

  • BAMPZS+2
  • black

    David should pay more attention to his chest!

    Compared to the rest of his body it doesn´t look very developed.

  • BAMPZS+2

    That shirt he’s wearing is the same as the one Maddox wore in New Orleans when Shi was just a baby.

  • BAMPZS+2 by cinematica

    Clint Eastwood’s Changeling (which may or may not be now known as The Exchange), is a riveting drama about a missing boy and the undying constancy of a mother’s love. Angelina Jolie excels in a powerful performance as Christine Collins, whose nine-year-old son, Walter, disappeared in 1928. Five months later, police returned to her a boy they said was Walter; Christine alleged that the boy was not her son.

    At the time, the Los Angeles police department was under considerable pressure due to the efforts of a Presbyterian minister, Reverend Gustav Briegleb (John Malcovich), to expose corruption within the police force. Captain Jones (Jeffrey Donovan), who heads up the investigation, doesn’t particularly care whether the boy is or isn’t Walter Collins; he has a publicity campaign to manage that’s all about making himself look good, so he tries to convince Christine to accept the found boy as her son. When she fights back by going to the press, Jones has her committed to the psycho ward.

    The film is based on a the true story of the Wineville Chicken Coop Murders in the late 1920s; Gordon Stewart Northcott molested, tortured, killed and dismembered 20 or so young boys on his rural farm before his nephew confessed to police what was taking place there. Because the film is based on real events, we know going in how it’s going to end; the film’s tension rides, therefore, not in the destination but in the journey to get there. Eastwood controls the film’s pacing with a careful touch, letting us feel Christine’s anguish, and taking us all the way down into her dark night of the soul before granting the emotional release at the film’s somewhat redemptive end.

    Jolie portrays a classic tragic heroine in the film; a single mother abandoned by Walter’s father, she’s raised her boy alone, and he’s all she has. Her reaction to Captain Jones’s refusal to accept that the boy the police have brought home to her is not her son goes from earnest insistence to stark disbelief to anger. The police captain, unwilling to acknowledge the failings of his department, makes her the enemy rather than the victim, alternately painting her in the press as a negligent mother who simply doesn’t want to take responsibility for her son now that he’s found, or perhaps a hysterical woman with delusions of paranoia.

    This is a case of real life being stranger (or perhaps, more horrific) than fiction. If a screenwriter had written a script like this that was purely fictional, audiences would find it hard to accept. It seems rather fantastic to imagine that the police wouldn’t simply believe a mother who says, this is not my child. Of course she would know her own child; I’d know any of my kids in a pitch black room, by the outline of their profiles, the feel of their hair, their unique scents. It’s important to keep in perspective, though, that the film takes place in 1928, during a time with corruption on the police force was rampant, women were viewed as emotional and prone to bouts of hysteria, and people could be locked in a mental hospital to get them out of the way of those in power.

    Anytime a film centers on the idea of a child in peril, the dramatic tension stakes are raised accordingly, but the conflict in the film works on many levels: in Christine facing the police captain; in the captain versus the preacher; in good cop versus bad cop; and, of course, in the broader theme of Christine facing the challenges women of that time faced in society generally. Watching that very real history play out — the whole, “there now, be a good girl, keep your mouth shut and just do as you’re told” mentality, rankles me to my very core, as I expect it will to most modern women watching it.

    Eastwood relies largely on the strength of Jolie’s performance to carry the film, playing up the bully-victim relationship to the hilt to create a sense of opposing forces crashing into each other. Jolie’s mama-lioness performance is powerful — she plays Christine as both strong and vulnerable, a woman who is both tethered to the restraints of the society in which she must maneuver, and fiercely resilient in her search for the truth about what happened to her son. Jolie’s performance evokes her stylistically similar performance in A Mighty Heart; she spends most of the film wrenched in anguish that resonates to the core. In the latter third of the film, Christine undergoes a dramatic shift from the tragic woman who’s lost a child to a heroine who must advocate for the rights of other women in similar situations, and one can’t help but draw parallels to Jolie’s own personal activism.

    Donovan, as corrupt and dictatorial police captain, is infuriatingly smug, which is just as he should be for the role of a man who will stop at nothing — not even the life of a child — to protect his own sorry hide. John Malkovich sizzles as the preacher-with-a-cause, arcing his character nicely; Malcovitch’s Brieglib starts out feeling like a grandstander, but his sympathies for Christine’s plight ultimately shift his priorities. Amy Ryan sneaks in a nice supporting role as a former prostitute and fellow psych-ward detainee.

    My one beef with the performances was with Jason Butler Harner as the murderer; this is a wretched, morally abysmal character, yes, but Harner kind of looks and feels like Kyle Maclachlan if he went on a really bad lost meth weekend and never came all the way back. His hysterical craziness is just a bit over-the-top and detracts from the film, but I suppose when you’re playing a man who tortures little boys and chops them up with an ax, it’s hard to find a middle-ground.

    Regarding the other elements of the film, J. Michael Straczynski’s script is first-rate; he’s an excellent storyteller, and does a solid job of translating true events into a dramatic story. There’s no jarring wooden dialog here, no overt exposition; Straczynski knows how to show rather than tell, and the powerful script does much to carry the film. As with most of Eastwood’s films, it’s artfully shot and directed and very pretty to look at. Eastwood wrote the music for the film as well, and you could practically imagine the orchestra at the Oscars playing it in January; the film telegraphs “Oscar nominations” for Jolie and Eastwood, at the least, but of course, we’ll have to wait and see how the rest of the year pans out. Changeling opens November 7.

  • BAMPZS+2

    Another Rave: The Hollywood Reporter

    Bottom Line: Clint Eastwood again brilliantly portrays the struggle of the outsider against a fraudulent system.

    For only the second time in his filmmaking career, Clint Eastwood’s celebration of the loner who bucks the system, the “cowboy” who demands justice without concern for personal jeopardy, settles on a heroine. Like Hilary Swank’s boxer in “Million Dollar Baby,” Angelina Jolie’s single mother, Christine Collins, takes every punch thrown at her and comes back fighting. Her combat is not in a boxing ring — where fighting is supposed to take place — but rather in a corrupt police department, psychiatric ward and the court of justice where she demands to know one thing: What happened to her son?

    A true story that is as incredible as it is compelling, “Changeling” brushes away the romantic notion of a more innocent time to reveal a Los Angeles circa 1928 awash in corruption and steeped in a culture that treats women as hysterical and unreliable beings when they challenge male wisdom.

    Jolie puts on a powerful emotional display as a tenacious woman who gathers strength from the forces that oppose her. She reminds us that there is nothing so fierce as a mother protecting her cub.
    The combination of Jolie and Eastwood would ordinarily mean boffo boxoffice, but “Changeling” is a tricky movie to market as it touches on every parent’s greatest fear — the disappearance of a child — and is a period film that deals with a situation unimaginable in contemporary American society. Universal’s challenge is to make the film’s concerns connect with an audience more interested in the kind of police corruption usually found in Scorsese films.

    In March 1928, Christine Collins’ nine-year-old son Walter vanishes. Five months later, the LAPD, already under the gun for other unsolved crimes, calls out the press and delivers to Christine a boy who claims to be her son but is not. To avoid embarrassment, Captain Jones (Jeffrey Donovan) demands she take the boy home on a “trial basis.” When she continues to insist that the LAPD needs to find her real son, Jones does what the department always does with troublesome citizens — he locks her up in a psycho ward.

    A radio minister, Gustav Briegleb (John Malkovich), takes up her cause and challenges the police version of events. Meanwhile, another officer, Detective Ybarra (Michael Kelly), launches an investigation into a potential serial killer (Jason Butler Harner) that not only proves Christine’s contention but exposes the force, its chief and the mayor to the wrath of a citizenry feed up with living in a police state.

    This story, uncovered by screenwriter J. Michael Straczynski in the city’s own records and newspapers, adds a forgotten chapter to the L.A. noir of “Chinatown” and “Hollywood Confidential.” Christine’s utter intransigence and true-seeking in the face of absolute corruption does what no newspaper in that city is willing to do — challenge the official stories of City Hall.

    Sticking fairly closely to the facts, the movie necessarily drags us through a couple of courtrooms that cause the drama to sag momentarily. But Straczynski and Eastwood are good at cutting to the chase. Seldom does a 141-minute movie feel this short.

    Jolie completely shuns her movie star image to play a woman whose confidence in everything she thinks she knows is shaken to its very core. She can appear vulnerable and steadfast in the same moment. This woman has a depth she herself has never explored.

    Save for another incarcerated police victim played by the fabulous Amy Ryan, most other roles tend toward righteousness or badness without too many shades in between.

    The movie draws considerable strength from Eastwood’s own melodic score that evokes not only a period but also the mood of a city and even a country nervously undergoing galvanic changes. The small-town feel to the street and sets, seeming oh-so-quaint to modern eyes, captures a society resistant to seeing what is really going.

    So in “Changeling” Eastwood continues to probe uncomfortable subjects to depict the individual and even existential struggle to do what is right. Christine sees no other option. And in pursuing the truth, she forces a city to take a stand and demand accountably from its politicians and police. Her boy has been changed under her horror-stricken nose. But then again, so has she.

  • BAMPZS+2

    From the front page of Cannes Film Festival.


    Five years after premiering Mystic River at the Festival de Cannes, Clint Eastwood returns to Competition with Changeling, a thriller which takes place in the late 1920s in a working-class suburb of Los Angeles. Angelina Jolie stars as Christine Collins, a mother whose son Walter mysteriously disappears one day. After an intensive search effort lasting several months, a nine-year-old boy who says he is Walter is returned to her. Unfortunately, the boy is not her son. Christine, accused of being delusional and irresponsible, allies herself with a minister (played by John Malkovich). Together, they continue investigating the matter, eventually implicating the city’s legal officials.

    Based on a true story, the screenplay written by Joe Michael Straczynski immediately grabbed the attention of producers Brian Grazer and Ron Howard, as well as that of director Clint Eastwood. “I took it with me on a trip to Berlin,” recalls Eastwood. “On the way back on the plane, I read it and I liked it a lot. As soon as I got in, I called Brian and Ron and said, ‘Yeah, I’ll do this.’ And they said, ‘Angelina Jolie liked the script and wants to do this.’ I said, ‘She’d be great. I like her work a lot.’ And that’s how it came about – very quick and simple.” Clint Eastwood remarked, “Angelina Jolie is unique. She reminds me of a lot of the actresses from the Golden Age of movies in the 40s – Katherine Hepburn, Ingrid Bergman, Bette Davis, Susan Hayward, all of them. They were all very distinctive, and they all had a lot of presence. She’s a tremendous actress.”

    Jury President in 1994 and also present in Cannes for the out-of-competition presentation of Absolute Power in 1997; in Competition for Pale Rider in 1985; Bird in 1988 (which won the Commission Supérieure Technique Grand Prize), and White Hunter Black Heart in 1990, Clint Eastwood has a reputation for speed and efficiency on the set. He deliberately cuts down on rehearsal times to preserve the spontaneity and authenticity of the acting, and rarely does several takes. He arrived at this approach from his own preferences as an actor: “Everything I do as a director is based upon what I prefer as an actor. It’s all a learning process over the years. No matter how you plan it, things happen that either work for you or against you. So there’s always the excitement of trying to make it work, of taking a little stack of paper and make it into a living thing.

  • BAMPZS+2

    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.

  • BAMPZS+2

    new pixs of Brad and Angie on their balcony (not sure it its taken today)
    credit bbad @jjb

  • BAMPZS+2
  • what

    what idiot would hate brad and angelina when you don’t even know them? unless you are jen or brad or angelina, don’t pretend to even know what happened there and start posting bs. you should be wishing people good things or it’ll come back to bite you in the ass.

  • lulu

    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.

  • BAMPZS+2

    better not to give the troll attention they needed because they can do without coming to Brad and Angie thread with different name.

    Well my joy is the troll and hater misery. cry me a river

  • BAMPZS+2

    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.


    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


    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

  • BAMPZS+2

    Rave from Screendaily:

    Clint Eastwood’s late-life renaissance continues at full steam with a typically understated and emotionally wrenching drama based on true events from Los Angeles in 1928. Beautifully produced and guided by Eastwood’s elegant, unostentatious hand, it also boasts a career-best performance by Angelina Jolie who has never been this compelling. Like Mystic River in 1993, it should go all the way from the Palais to the Academy Awards next March.

    In box office terms, The Exchange, only recently retitled from Changeling, has some challenges, notably a long running time and a harrowing subject matter which will make parents everywhere think twice before seeing it. But like other Eastwood films before it – Mystic River and Million Dollar Baby – it will ride on a wave of critical acclaim and awards, and rack up hefty grosses domestically. Mystic River grossed $90m domestically and $66.5m in international, Million Dollar Baby did $100.4m and $120m respectively.

    Eastwood wastes no time in setting the scene. Jolie plays a working class single mother called Christine Collins who takes the tram every morning, drops off her nine year-old son Walter off at his school and goes on to her job as a telephone operator.

    One Saturday (March 10 to be precise), Christine is called in to work and leaves Walter at home. When she returns, he has disappeared. An exhaustive search follows for several months to no avail, but five months later, when she has all but given up hope, police captain JJ Jones (Donovan) arrives at her workplace to announce that the boy has been found in Ilinois.

    However, when he reaches Union Station in Los Angeles in a mass of cops, reporters and photographers, Christine is shocked to see that the boy isn’t Walter. Afraid that he and the force will be embarrassed, Jones persuades her to take the child home, but, her worry for the real Walter reignited, she returns to the police the following day with irrefutable proof that the boy isn’t hers – he is not only three inches shorter than Walter but he is circumcised whereas Walter wasn’t.

    As her despair for her son and her anger at the captain’s inaction intensifies, she is approached by a community activist (Malkovich) who has a weekly radio broadcast in which he rails against the city’s notoriously corrupt police force. He helps her mount a campaign to take on the system which is now questioning her sanity and fitness as a mother.

    If the synopsis sounds like a woman-against-the-system story a la Erin Brockovich, the similarities end there. As played by Jolie, Collins is no vulgar broad with a push-up bra and shovelfuls of sass but a dignified, quiet woman whose fury is tempered by her maternal fears for her son’s safety.

    Nor does the Collins story proceed in a conventionally inspiring way. As Jones has her committed to a sanatorium and she begins a period of menacing incarceration, Eastwood concurrently introduces another plotline in the desert outside Los Angeles where Detective Lester Ybarra (Kelly) is pursuing an illegal teen from Canada for deportation and stumbles across a horrifying crime spree.

    Eastwood’s forte has always been as a storyteller with the most unobtrusive style. Yet he records the events in front of the camera with such a humanist eye that the resultant power of his material is immense. Indeed, for all the battle against injustice in this story, his compassion for a mother longing to have her son back is always his primary concern.

    Jolie plays along with the general restraint, giving her most internal performance to date, while the supporting cast – notably Donovan, Kelly and Amy Ryan as a prostitute also wrongly incarcerated by the police – is uniformly fine.

  • wow

    # 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.

  • BAMPZS+2

    Exchange Praise

    Just spoke to a British journalist who’s just come out of Clint Eastwood’s The Exchange. “Absolutely first-rate,” he said. “It’s long” — 141 minutes — “but it’s very strong, very moving. There’s not a weak point in the entire film.” Like Mystic River before, which also dealt with a missing child and the violations that result, The Exchange is a genre piece — a kidnapping whodunit, set in 1928 — but, the journo said, Eastwood mines the material for a good deal of “complexity and emotional depth.”

    Angelina Jolie, he emphasized, “is very, very good,” he said. Ditto John Malkovich as an activist minister who helps Jolie’s character, Christine Collins, uncover the truth of what’s really happened to her kidnapped son. J. Michael Straczynski’s script hammers the old-time LAPD for the corruption that was rife in that period, but “its much more of woman’s film,” the Brit emphasized. “And much more than what the plot suggests.”

    Eastwood “is amazing,” he said. “He just keeps getting and better the older he gets. What is he…close to 80 now? I think he might pull of a Best Director win next weekend.”

  • BAMPZS+2
    (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.

  • BAMPZS+2

    you can spot Zahara here with her dad

  • BAMPZS+2 variety

    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.

  • BAMPZS+2
  • BAMPZS+2
    (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.”

  • karen

    another pix of Brad the great dad

    sorry but thats old picture.that was last week ago

  • BAMPZS+2

    Night and day with Angelina Jolie

    By Anthony Breznican, USA TODAY
    CANNES, France — It’s almost like royalty returned to France for a few days. Angelina Jolie has caused a sensation wherever she has gone at the Cannes International Film Festival. She’s presenting two new movies — the animated Kung Fu Panda (due in theaters June 6) and the 1920s missing-child drama Changeling (opening Nov. 7) — and doing interviews for a third, Wanted (June 27). USA TODAY’s Anthony Breznican and Jesseka Kadylak recap her Cannes moments so far:

    May 14, morning

    She appears with co-star Jack Black on NBC’s Today show to promote Panda, and Black’s casual mention of twins launches a thousand headlines that she and partner Brad Pitt will be adding two to their brood of four (Maddox, 6; Pax, 4; Zahara, 3; and Shiloh, who turns 2 on May 27).

    May 14, afternoon

    Jolie and Black bump bellies and talk about kids during a USA TODAY interview and photo shoot.
    FIND MORE STORIES IN: China | France | Nike | Brad Pitt | Angelina Jolie | Burma | Clint Eastwood | George Lucas | Indiana Jones | Jack Black | Maddox | Zahara | Shiloh | Crystal Skull | Dirty Harry | Kung Fu Panda | Pax | Wanted | Cole Haan | Changeling | Cannes International Film Festival

    May 15, morning

    Jolie and Black bump bellies again as they arrive at the photo call for Kung Fu Panda.

    May 15, afternoon

    At a news conference with the Panda stars, Jolie responds with mellowness and charm to journalists’ questions, answering each politely, even when she was being obviously baited.

    On attending the festival when there are crises elsewhere in the world: “This is my job, and I’m very fortunate to be an artist, and I don’t look down on people who are fortunate to have a lot in life. At the same time, I expect them, as I would expect with myself, to be as generous as possible with all that we’ve been fortunate enough to be blessed with.”

    She also notes her work as a goodwill ambassador with the U.N. High Commissioner for Refugees and says she hopes the governments of Burma and China will permit the international group to deliver aid to the suffering.

    She signs autographs for fans as she leaves the conference.

    May 15, evening

    She wears a forest-green empire-waist gown with Cole Haan shoes with a Nike sole for the red carpet-walk with Pitt, who otherwise stayed out of the public eye during the trip. Jolie says he has been busy watching the kids.

    May 15, post-premiere

    At the Panda party, she spends much of the evening charming George Lucas, who brought Indiana Jones and the Kingdom of the Crystal Skull to the festival. The topic of discussion: “We both have adopted children,” says Jolie. “He is somebody who is very strong on paternal rights, as well as maternal rights. … He is an extraordinary father. He’s kind of led the way for adoption for men.”

    Pitt joined them and asked advice on parenting teens. “We spent half an hour talking basically about what’s the best way to handle them when they get to this stage or that stage,” Jolie says.

    May 16

    Jolie and her family retreat to their temporary house in the south of France to relax before her next Cannes appearance Tuesday for Clint Eastwood’s Changeling. Paparazzi photograph her topless on the balcony.

    May 17

    Jolie, Pitt, Shiloh and Maddox are spotted shopping for the soon-to-be-born twins at the Bonpoint children’s clothing boutique in Cannes, leaving with several all-white outfits, People reports.

    May 19

    Jolie and Pitt are snapped all dressed up and hand-in-hand leaving their hotel — no kids. Dinner date?

    May 20

    Jolie returned to the red carpet for Changeling with director Clint Eastwood.

    At a Q&A with reporters, he denied the buzz that he’d make another Dirty Harry (the 1973 original will be shown Thursday night here on the beach), saying, “The rumor is incorrect.”

    “I am,” Jolie joked.

    Eastwood looked at her and corrected himself: “Dirty Harriet.”

  • http://yahoo Yes

    OK magazine knows nothing.


  • karen

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

  • BAMPZS+2

    i dont know but the picture look like the picture of the date we have the blue dress huging Brad gate this is the clear view