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Thread: Warren Beatty [Actor]

  1. #346
    Elite Member HWBL's Avatar
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    Quote Originally Posted by Chalet View Post
    Now that was funny! People kept saying that Carly and Jagger looked alike.

    And even more unrelated gossip is that I never knew that Michael Caine and Bianca Jagger were an item pre-Jagger. Bianca and Shakira Caine looked alike too. Talk about having a type.
    Didn't you know Warren had a type, too?
    "Female and breathing"
    Warren Beatty: actor, director, writer, producer.

    ***** celeb

  2. #347
    Elite Member HWBL's Avatar
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    Found another article on the upcoming special edition
    DVD release of Bonnie & Clyde:

    Source: Remembering 'Bonnie and Clyde' - Los Angeles Times

    Remembering 'Bonnie and Clyde'

    Warren Beatty and Arthur Penn recall how their cinematic spree transformed Hollywood.

    By Geoff Boucher, Los Angeles Times Staff Writer
    March 23, 2008


    DUSK was approaching high up on the rim of Mulholland Drive and
    Warren Beatty, relaxed at poolside, looked down on the twinkling
    lights of the Valley before he recounted a quarrel he had four
    decades ago at the Warner Bros. lot in Burbank.

    "I was arguing with Jack Warner about 'Bonnie and Clyde,' and he
    said to me, 'Yeah, yeah, yeah, that's fine, kid, that's your opinion.'
    Then he says, 'You have your opinion, but you do know whose
    name is up on the water tower, right?' So I said, 'Yeah, hey, look,
    it's got my initials!' "

    Beatty is 70 now, and any animus he had toward the late mogul is
    long gone ("Really, he was kind of an enjoyable guy, and he said
    some funny things"), but that image of Beatty as the young-buck
    star and producer of "Bonnie and Clyde" playfully laying claim to
    the power structures of Old Hollywood is an irresistible metaphor.

    Old-man Warner and the other executives who released "Bonnie and
    Clyde" had absolutely no idea that the quirky gangster picture would
    become a commercial sensation, cultural flash point and generational
    battleground. The only thing that surprised them even more is that
    "Bonnie and Clyde" also became a pivot point in the business of
    Hollywood; within months, it seemed like the town belonged to a new
    maverick generation of filmmakers with "personal vision" and a glee for
    toppling every Hollywood convention. In hindsight, it's amazing they
    didn't pull down Col. Warner's beloved water tower.

    "Bonnie and Clyde" was released in 1967, but it was the following
    year, with America in turmoil, that the film surged into the public
    consciousness. The story was a mix of Robin Hood and Romeo and
    Juliet and more loose legend than real-crime; it starred Beatty and
    Faye Dunaway as Clyde Barrow and Bonnie Parker, the doomed
    Texas lovers who became a media sensation in the Great Depression.
    Beatty remembers that Warner grumbled that "these gangster movies
    went out with Cagney," but this film would have little in common with
    dated tommy-gun cinema.

    This film was jarring, and not just in its bloody realism. "I remember
    a creative impatience by almost everyone involved," Beatty said,
    "and there was so much energy on the screen." The really interesting
    thing, though, was how audiences latched onto "Bonnie and Clyde" as
    a flexible symbol. Already feeling far removed from the Summer of Love,
    young America embraced it as nihilistic thrill ride and anti-establishment
    poetry. Many film critics and older viewers, however, seized on it as
    entertainment-as-evidence, a sign of an amoral society in slide.

    The interest in the film endures and, if any aspect of it does feels
    dated now, that's primarily a function of so many imitators through
    the decades. Tuesday, Warner Home Video will release a lavish
    repackaging of the film that comes with a 36-page hardcover photo
    book and the new documentary "Revolution! The Making of Bonnie and
    Clyde."
    Then there's "Pictures at a Revolution," the acclaimed new book by
    Mark Harris that weaves together the history of 1967 best picture
    Oscar nominees "Bonnie and Clyde," "In the Heat of the Night" (which
    won) and "The Graduate" to show an industry amid sea change.

    The word "revolution" is part and parcel of the "Bonnie and Clyde"
    legacy, but Beatty said he can't say whether the movie was more
    seismograph or lightning rod. "It was Victor Hugo who said that there's
    nothing so powerful as an idea whose time has come," he said.
    "Something is going to happen, and certain things are going to be
    emblematic of that change, that flux. It was 1968. There was a storm
    in the world. If someone wants to give us credit for 'Bonnie and Clyde,'
    I'm happy to take it." Then he added, with a wink: "I don't want to
    overwhelm you with my attempt to be attractively humble."

    "Bonnie and Clyde" made him a wealthy man (his contract, in a nod
    to the studio's expectations, gave him a percentage of the gross
    instead of a minimum payout), and he became the career model for
    the now-common transition that sees cerebral stars step behind the
    camera. But "Bonnie and Clyde" was hardly a one-man show. In fact,
    sitting down to talk about the film, the first words out of Beatty's mouth
    were a question: "You already talked to Arthur, right?"

    The director

    ON the phone from Manhattan, Arthur Penn, 85, apologized for the
    catch in his throat. "I'm just getting over the flu; but I very much
    wanted to talk about this film. . . . It amazes me that 40 years have
    passed since 'Bonnie and Clyde.' It's almost beyond imagination."

    Penn had no interest in directing "Bonnie and Clyde" and, in fact, after
    the grueling production and disappointment of "The Chase," the former
    Tony winner was ready to return to the boards of Broadway. "I had to
    bludgeon Arthur to get him to direct 'Bonnie and Clyde,' " said Beatty,
    who had worked with Penn on the 1965 mob movie "Mickey One."

    In the end, Beatty won Penn over by promising daily screaming matches.
    As Penn remembered it: "He told he wanted to have an argument every
    day and then come to an agreement . . . and Warren is one of the most
    persuasive people you will ever meet."

    In origin the project was part Texas, part Paris. The script had come
    from magazine writer Robert Benton, who had grown up in East Texas
    and was well versed in Bonnie and Clyde mythology (his father attended
    Barrow's 1932 funeral), and his Esquire colleague David Newman. French
    New Wave director François Truffaut had flirted with the project but had
    moved on, although the film that "Bonnie and Clyde" became would certainly
    borrow the New Wave's jagged shifts in tone and choppy editing, especially
    in its famous climax when the lovers, after locking eyes, die in a hail of
    bullets.

    If the movie looked like a foreign film, it was cast like a New York stage
    play. Beatty and Penn both came from the theater, as did many of the
    actors they brought down to Texas. Gene Hackman (who had just been
    fired from "The Graduate") played Buck Barrow, Clyde's brother; Estelle
    Parsons was Buck's screeching wife, Blanche; and Michael J. Pollard
    was the quirky henchman C.W. Moss. "It was an extraordinary cast,"
    Penn said. He was proved right when all five main cast members were
    nominated for Oscars. "All of them! Just think of that."

    Gene Wilder was also lured from New York by the prospect of making
    his feature film debut. Wilder had a memorable cameo as a hostage
    snatched up by the Barrow gang, and Wilder didn't have much trouble
    feigning a look of shock on the set.

    As Parsons remembers it: "I remember Gene got there, and the first day
    he comes out and is ready to go and we're standing there in costume
    and then Warren and Arthur begin yelling at each other. Gene was
    horrified. 'What's happening, is this movie going to get made?' I told him,
    'Oh, don't worry. This happens every day.' "

    The angst went further. Dunaway (whose agent did not reply to interview
    requests) had a breakthrough performance, but, according to the Harris
    book, was "physically and emotionally fragile" during the shoot and, like
    her character, moody and volatile.

    The production, headquartered in Dallas, traveled each day to film in little
    towns such as Ponder, where local ambitions had been shuttered since
    the Depression. The idea of leaving the Warner back lot was not well
    received by executives, but Penn was resolute that the small towns
    would give a dusty stillness to the movie and enhance the sense of
    restless souls trapped in a dust-bowl wasteland. "One filling station,
    two hairdressers, maybe a drugstore," Parsons said. "That's what these
    towns were."

    Hackman said that on one afternoon, he was preparing for a scene
    when an elderly man ambled up and pointed at the hat on the actor's
    head. "He said to me, 'Buck Barrow was my cousin, and he would never
    wear a hat like that,' " Hackman remembered. "For the people there, life
    hadn't really changed all that much since the real Bonnie and Clyde had
    come through."

    Hackman said his most vivid memory of the shoot was the interaction
    with Penn and an ensemble engaged in the pure pursuit of "trying to
    solve acting problems."

    "I remember just sitting there in the car, the five principal actors, all of
    us there filming, and thinking to myself, 'Man, isn't making movies great?
    How terrific is this business?' I thought it was always going to be just like
    that." Hackman laughed and added: "It wasn't, I'm sorry to say. It was
    as good an experience as I've ever had."

    Hackman said that Penn had the approach of walking up just before a
    scene and whispering a simple phrase into an actor's ear that would
    help clear away intellectual clutter. "In Buck's death scene, Arthur came
    to me at the very last moment and just whispered 'a bull in a bull ring,
    wounded,' " Hackman said. "And that was exactly what I needed. I don't
    know if I have ever worked with a director that knew more about what
    an actor needed -- to be pushed, nudged, guided or given an image."

    The director crafted a film that would pull audiences in with humor and
    flirtation, then slap them back with violence. "That," Penn said, "is how
    the real world has always operated. It was vital to me that the film be
    a new American gothic. . . . The movie was released into a world where
    kids were burning draft cards and feeling beset by their own government.
    We rang a big bell with this film. A very big social bell. We had no idea
    how it would reverberate around the world."

    To further the realism, Penn insisted on using low light. This gave
    old-school cinematographer Burnett Guffey fits. Hunched over with
    ulcers, he quit the production but, somehow, the relentless Beatty
    talked him back.

    Hackman remembers that Beatty had most of the crew "looking at him
    out of the corner of their eye and grumbling." They found it shocking
    that a 30-year-old star would try to play first-time producer. Penn
    summed it up: "They were appalled that this snot-nosed pretty boy was
    making a movie when it was clear he had no idea that everything he was
    doing was completely wrong."

    'Conflict equals drama'

    BEATTY, a political junkie, said that much of the lore about the struggle
    to make and release "Bonnie and Clyde" reminds him of the election news
    cycle. "Conflict equals drama, drama equals story, and you need a story
    every day. There have to be problems because that makes it interesting."


    As nightfall approached, Beatty said there was "some truth" in the stories
    of the struggle to get the movie made, but really the more interesting
    conflict was after its release. The film was excoriated by Bosley Crowther
    in the New York Times, and that led to a pouncing by the "people who
    hold themselves up to judge culture." The film was diabolical, to some,
    because it charmed viewers with humor and then let blood splatter in
    their eye. Others pointed out that the film had little to do with the real
    robbers whose name it used. ("That was true," Parsons said, "they were
    pretty much psychopaths. The movie is what it is, but it isn't their story.")

    The polarized reviews hardly killed the film. The catchphrase "They're
    young, they're beautiful, they kill people" (cooked up by studio man Dick
    Lederer) caught the imagination of a young audience ready for a different
    type of entertainment. The retro wardrobes and Dunaway's berets even
    stirred a fashion trend.

    Some reviewers reconsidered the film.

    "A number of reviewers admitted they had got it wrong, they reevaluated
    it, which is very unusual," Beatty said with pride. Penn said the film came
    to be seen for what he and Beatty intended -- "a new American gothic."
    What he didn't expect: "I didn't know we would change the business.
    That was a surprise."

    The film benefited from great timing in another way. Jack Warner sold
    off a third of his shares in his company in November 1966, and Beatty
    worked all the offices during the corporate churn to keep his bold little
    film intact and in play. After a modest opening, the word of mouth (both
    good and bad) spread and the film had a slow-burn build. By 1972, it had
    grossed $70 million, huge for its era and budget.

    Somehow, "Bonnie and Clyde" was finally in tune with the mainstream
    -- or maybe vice versa. The movie was nominated for 10 Oscars in all,
    with Beatty up for two of them. Beatty was established as a force in
    Hollywood; in the next decade he appeared in such classics as "McCabe
    & Mrs. Miller," "Shampoo" and "Heaven Can Wait." "Bonnie and Clyde"
    also propelled Hackman into a top strata of actors, certainly, while
    Penn had notable films in the 1970s such as "Little Big Man" but nothing
    of such moment as "Bonnie and Clyde."

    In 1968, at the Oscars, the reluctant director and the pretty-boy
    producer didn't get to make a speech. The film did win two Oscars,
    one for Parsons and the other for, of all people, Guffey, the
    cinematographer who was so upset by the troublesome little film
    that he suffered internal bleeding.

    Up on Mulholland, Beatty slapped his knee and laughed thinking about
    the mixed messages of Hollywood and history. "You know the really
    great thing when Guffey won the Oscar? He got up there and he thanked
    . . . Jack Warner."

    geoff.boucher@latimes.com
    Warren Beatty: actor, director, writer, producer.

    ***** celeb

  3. #348
    Elite Member Chalet's Avatar
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    Quote Originally Posted by HWBL View Post
    Didn't you know Warren had a type, too?
    "Female and breathing"
    You are bad. I would love to be a fly on the wall when Ben Beatty asks his Daddy about sex.

  4. #349
    Elite Member HWBL's Avatar
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    Here's a very cute clip of a red carpet moment last week or so
    where Warren and Annette break up laughing from the same
    old questions (starts at around the 35 sec. mark):

    [YOUTUBE]http://www.youtube.com/watch?v=tHKJ4VgvKFw[/YOUTUBE]
    Warren Beatty: actor, director, writer, producer.

    ***** celeb

  5. #350
    Elite Member Chalet's Avatar
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    They are so adorable!

  6. #351
    Elite Member VenusInFauxFurs's Avatar
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    They're cute together.
    When your daughter plays "House," she pretends to be an annoying doctor with a pill-addiction and a limp.

  7. #352
    Elite Member Chalet's Avatar
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    This is where the age difference doesn't bother me at all. If I like BOTH of the people, I don't care. Live and be happy. Same with Bogie and Bacall and Eric Clapton and his wife (I think it's 30 years).

    Michael Douglas and CZJ, Harrison and Casticka, and all the rest just make me ill.

  8. #353
    Elite Member HWBL's Avatar
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    Happy Birthday Warren!


    ^Warren at 4, 16 (approx.), 22, 35,
    41, 53, 61 and 70!

    The prettiest male in movies ever (to each their own, I know) is 71 today!!!

    Warren Beatty: actor, director, writer, producer.

    ***** celeb

  9. #354
    Elite Member AllieCat's Avatar
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    ^ HOT!!! really had no idea how fine Warren was. when i was growing up I always saw the old warren. When he was younger OMG, he could get it any day of the week!!

  10. #355
    Elite Member HWBL's Avatar
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    Quote Originally Posted by AllieCat View Post
    ^ HOT!!! really had no idea how fine Warren was. when i was growing up I always saw the old warren. When he was younger OMG, he could get it any day of the week!!
    LOL, he sure was! I'm curious to know how old you are?
    I just posted in this thread some more comments by others about him
    Warren Beatty: actor, director, writer, producer.

    ***** celeb

  11. #356
    Elite Member Chalet's Avatar
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    Why is Warren's webwoman up so late?

  12. #357
    Elite Member HWBL's Avatar
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    Quote Originally Posted by Chalet View Post
    Why is Warren's webwoman up so late?
    Late? It's the weekend!
    Warren Beatty: actor, director, writer, producer.

    ***** celeb

  13. #358
    Elite Member AllieCat's Avatar
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    Quote Originally Posted by HWBL View Post
    LOL, he sure was! I'm curious to know how old you are?
    I just posted in this thread some more comments by others about him
    I'm 27. I remember him from movies like Dick Tracy, and Bullworth, and never really thought he was all that attractive, but looking at all the old pics of him when he was in his 20's and 30's..... all I can say is DAMN he has to be one of the most gorgeous men I've ever seen in my life.

  14. #359
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    Michelle Phillips, the last surviving member of The Mamas & The Papas, said actor Warren Beatty was the love of her life but that he lost her because he did not know how to treat women.

    In an interview with Vanity Fair magazine released this week, she said, "I was madly in love with him," but ultimately she was put off by what she called his passive-aggressive behavior.

    "I love (his wife) Annette Bening, and I pray for her every day! She can manage the guy, and I never could. He drove me nuts!"

    Phillips, 63, says she "fell off the couch laughing" years later when Beatty told Barbara Walters in a TV interview that his relationships with women often ended because "They broke up with me!"

    "That is what Warren makes his women do!" said Phillips, one of four members of the 1960s pop group.
    Prior to his 1992 marriage to Bening, who co-starred with Beatty in the film "Bugsy," the actor earned a reputation as a Hollywood lothario, having been linked romantically over the years with such stars as Natalie Wood, Joan Collins and Madonna.

    In the article, Phillips also discusses other loves of her life, including Jack Nicholson and Dennis Hopper and her relationship with ex-husband John Phillips, who died six years ago.

    On Nicholson, Phillips said, "He was a lovely guy. Charming, sweet, and fun to be with."

    But she added that all went wrong one morning when Nicholson received a call telling him that the woman he thought was his aunt was actually his mother and the woman he thought was his mother was actually his grandmother.

    Phillips, who has carved out a successful career in acting since The Mamas & The Papas ended, said as a result Nicholson lost all faith in women, including her.

    Mamas & Papas star says Warren Beatty her great love | Entertainment | Reuters



    Little Chynna looks smitten too.

  15. #360
    Elite Member HWBL's Avatar
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    ^Yeah, silly Michelle. Back then she said Warren was a better
    father to Chyna than John Phillips was, now she says conflicting
    stuff like him being the love of her life, but not ready to settle
    down (she didn't have any problems switching from Jack to Warren
    within a few months time, either. How's that for a good example
    for her daughter?)

    Here's a few more pix of them together:
    Warren Beatty: actor, director, writer, producer.

    ***** celeb

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