Word: actorly
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Dates: during 2000-2009
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...stars have burnished their luster. Tucker, the falsetto funnyman whose career was launched with sharp supporting roles in Money Talks and Friday, had made no non-Rush Hour films, none, in a decade. By some accounts Tucker is the world's highest paid actor, getting a reported $25 million for RH 3; yet he seems a star in seclusion from his own celebrity...
...director Roman Polanski as a police inspector with a sideline in proctology; Noemie Lenoir as a chanteuse whom Carter has a dalliance with before suspecting that she's a female impersonator ("I went to second base with a man! It's The Crying Games! I'm Brokeback Carter!"); and actor-director Yvan Attal (My Wife Is an Actress) playing a cab driver who switches from anti-Americanism to pro-Hollywoodism once he becomes embroiled in one of the Lee-Carter chase scenes. "Now I know what it is to be an American," he says as he merrily dodges...
...since Latin female stars have higher wattage than ever, it would seem felicitous timing. But you won't find one of them in this movie. And not just because of the budget. It used to be that playing a romantic lead was a rite of passage for any actor who wanted be on the A list. But in a world saturated with details of what sweatpants and cereals celebrities choose, it's hard for actors to get people to pin their romantic dreams on them. And there have been so many romantic duds, it's a risk they will take...
...biggest obstacle to such a pact is Sittar's regionalism; he's powerful in Anbar, but not so much in other provinces dominated by Sunnis like Diyala and Salahuddin. There are questions of Sittar's ability to function as a reasonable political actor in Baghdad since at present his power and influence flows chiefly from a personal army that is at bottom a tribal militia. He has no presence in parliament or any other trappings of officialdom. In other words, Sittar is more warlord chieftain than national statesman. Moreover, Maliki's own Dawa party may blanch at the idea...
...also lassoed bigger stars, when he wanted them; he knew that marquee names would help raise financing and lure audiences. He would go for the hot new actor: Delon after Rocco and His Brothers, Richard Harris after This Sporting Life, David Hemmings and Vanessa Redgrave in their first bloom for Blowup and later, in 1975, Jack Nicholson for The Passenger...