Robert Pattinson smoking.Robert Pattinson smoking on "New Moon" set.Robert Pattinson in "Dossier Magazine". Robert Pattinson in "Rolling Stone" magazine. Jake Gyllenhaal as Pilot in "Highway" (2002). Emile Hirsch smoking in "Alpha Dog" (2006).Shia Labeouf smoking in "Eagle Eye" (2008).Joaquin Phoenix smoking.Brad Pitt smoking.
Jake in his grey hoodie, with black derby hat and trainers, leaving a medical center in Beverly Hills, on 7th April, 2009. Pictures courtesy of Iheartjakemedia.com
"Gemma Arterton is everywhere at the moment! The young actress is inescapable whether heading to the cinemas – she currently stars in Richard Curtis’s new comedy The Boat That Rocked – or opting for some home entertainment snuggling up to James Bond (Daniel Craig) in Quantum of Solace new out on DVD. She recently picked up the Best Newcomer prize at the Empire film awards and has just wrapped shooting video game adaptation Prince of Persia with Jake Gyllenhaal. Whoa – I’m exhausted and need a little lie-down just thinking about it all. But Gemma has made time in her busy schedule to help launch the Virgin Media Shorts competition, an opportunity for aspiring filmmakers to get their work seen by important industry bods. And for the occasion, she has sought inspiration from one of her onscreen idols, emulating the immaculate Elizabeth Taylor in 1958 classic Cat on a Hot Tin Roof.In the MGM adaptation of the Tennessee Williams play, Taylor oozes irresistible sex appeal as Maggie ‘The Cat’ Pollitt, who draped on a brass bed and dressed in a white negligee tries to attract the attentions of her boozing hubby Brick (Paul Newman). And Gemma has faithfully recreated every detail of the scene, from the skimpy clothes to the alluring look". Source: boxwish.com
Scarlett Johansson and Jake Gyllenhaal at the MTV Movie Awards, on 5th June 5, 2004. "Scarlett Johansson is denying comparisons to the late Marilyn Monroe, and is insisting she shares very little with the former screen star. Johansson was compared to Monroe after an advertising campaign for Dolce & Gabbana was revealed last month, in which the actress poses seductively across silk bedsheets wearing just a corset. But Scarlett is adamant she wasn’t trying to channel Monroe in the sexy photos. She explains, "We really weren’t trying to recreate any particular image. It was just their idea of the iconic blonde, and naturally people think that’s Marilyn Monroe. "Having said that, I love Marilyn. I think she was incredibly beautiful and a very underrated actress. I am a curvy woman who is blonde, and perhaps we are both comfortable in our femininity, but I think that is as far as the comparison goes." Source: www.theinsider.com
"Beauty No. 2 premiered at the Cinematheque on July 17th and her onscreen appearance was compared to Marilyn Monroe's. As a result of her popularity, she was getting a lot of advice from people to leave Andy and become a proper star. One of the people advising Edie was Bobby Neuwirth who has been described as "Bob Dylan's right-hand man". Source: www.warholstars.org
"Edie's presence was magnetic, remembers John Cale, co-founder of The Velvet Underground who had a six-week affair with her. "Although desperate and on her last legs with Andy, she still possessed all the elemental magic, frayed beauty and presence of Marilyn Monroe." Source: www.independent.co.uk
"There seemed to be this almost supernatural glow to her that's hard to describe," wrote playwright Robert Heide. "Literally there was an aura emanating from her, a white or blue aura. It's as if Edie was illuminated from within. Her skin was translucent — Marilyn Monroe had that quality."In early 1965, Edie, who had just dropped out of art school, met pop artist Warhol at a party. "His x-ray spex saw through to her core and recognized there was a quark of great charm and spin," writes Dalton. "As a collector of damaged and luminous souls, he wanted to capture this rare creature on film.""She was just enchanting, and we were all in love with her," said journalist Danny Fields. "But you knew she was such damaged goods by the time we found her." Both Sienna Miller and Kate Moss have been responsible for bringing back the Sedgwick style recently — tights, boots, minidresses and chunky jewelry.
"All those girls are Edie prototypes," Dalton said. "The fascinating, doomed temptress that you can't resist".
"In the pantheon of American mythology, Sedgwick was one of the Tragic Muses, those women who did not so much make things happen as stand still and allow things to happen to them. Zelda Fitzgerald was one, Marilyn Monroe another.Edie Sedgwick as Susan in "Ciao! Manhattan". Natalie Portman photographed as the Factory's star.
"Ciao! Manhattan" is ultimately a testament to the odd, elastic nature of the '60s. The juxtaposition of Ciao!'s images illustrates more than the black-and-white/color, East Coast/West Coast dichotomies of its surface. It also shows just how fleeting and disposable were youth and glamour and La Dolce Vita in an age that supposedly prized those elements the most. That's what Warhol meant when he tossed off his greatly misinterpreted saw about everyone being famous for 15 minutes -- not simply that all of us will experience fame, but that the nature of fame is to use people up and spit them out in short, perfunctory order. In the end, Edie understood this and left us this assortment of before-and-after pictures as her epitaph". Source: www.popmatters.com
"Robert Downey Jr., with wife Susan by his side, celebrated turning 44 Saturday night at Beverly Hills's Thompson Hotel, in their second level BondSt Beverly Hills Lounge.
The party of 75 guests included pals Sting and wife Trudie Styler, Gwyneth Paltrow and Chris Martin, Reese Witherspoon and Jake Gyllenhaal, Ben Stiller and Christine Taylor, Jon Favreau and Sam Rockwell.
"Gwyneth and Jake talked for a while about an upcoming project," says a guest. And during the night, "Jake and Reese looked very in love. They were being super affectionate, holding hands as they sipped on glasses of wine. They laughed a lot!"
As for another hot A-list couple nibbling on BondSt sushi platters of spicy tuna, sesame crusted shrimp, and sun-dried tomato avocado rolls, says the source, "Gwyneth and Chris arrived and left together. And they looked very happy." At the end of the evening, guests toasted with hot sake, while Downey Jr. sipped espresso. And, to cap off the festivities, guests satisfied their sweet tooth with BondSt's individual chocolate meltdown cake. "He was very touched," the source says of being serenaded with "Happy Birthday." Source: www.people.com
Jake Gyllenhaal Rendition And the trickiest thing about Jake Gyllenhaal's work as a newly promoted CIA analyst in Rendition is that he's playing exactly that: not just an American but the American, our collective national stand-in onscreen. The movie, in which the CIA whisks Reese Witherspoon's Egyptian-born husband off to some unspecified North African country after intercepting a call to his cell phone from a known terrorist, means to explore the ethical justifiability of detainment and torture. But Gyllenhaal's character is no Jack Bauer improvising electroshock devices from desk lamps and ordering the suspect to start talking, now! He's permitted only to observe the interrogations and pose the occasional question, as a courtesy -- which means that Gyllenhaal spends much of Rendition standing in the corner of a dark room, watching as some poor soul gets beaten, doused, and fried. It's a near-silent performance, apart from some minor heroics near the end, and most actors would likely have felt the need to signal their disapproval to the audience via exaggerated winces. Gyllenhaal refrains, allowing us to project our own turbulent, conflicted emotions onto his placid expression. Knowing when to do nothing is one of the least appreciated of an actor's skills; here's one who's learned it early.
Emile Hirsch Into the WildThe beauty of Emile Hirsch's performance in Into the Wild, Sean Penn's generally sympathetic account of Christopher McCandless's ultimately fatal two-year journey across America, is that he manages to reconcile these apparently contradictory viewpoints. Sure, he stands near majestic vistas with arms outstretched and face turned to the sky while Penn swoops the camera around him, and his puppyish enthusiasm is infectious. But every so often -- sometimes in startling glances directly at the camera -- Hirsch hints at the way that McCandless's self-righteous passion could spill over into mania. Most impressive of all are his handful of scenes with Catherine Keener's surrogate mother, in which Hirsch subtly conveys this young man's obstinate refusal to acknowledge the family he's cruelly abandoned in the name of self-reliance. He creates a vivid, unforgettable character you at once admire and pity.
Robert Downey Jr. Zodiac "I am not Avery" read the lapel buttons sported by nearly every San Francisco Chronicle staff member. They were responding, only partly in jest, to a threatening postcard sent by the Zodiac killer to ace Chronicle reporter Paul Avery -- but as Robert Downey Jr. plays him, who would want to be this guy? Zodiac is less a portrait of a serial killer than an exacting obituary of the madman's other victims -- not the young lovers he shot and stabbed but the professional and amateur sleuths whose obsession with the case took a life-draining toll. Downey makes Paul Avery the movie's most poignant casualty. The actor has always excelled at sarcastic and motormouthed; what's new is seeing that live wire ever so gradually short-circuit, so that it's barely even flickering the last time we see Avery, now a cynical lush living on a houseboat and filing copy by rote for The Sacramento Bee. It's one of the most persuasive portraits of burnout ever committed to the screen and doubly amazing coming from an actor who, for all his real-life troubles, has never seemed anything less than fully engaged with the world. Source: www.esquire.com
"Kelly weaves into the life and experiences of the emotionally troubled Donnie Darko (Jake Gyllenhaal) beautiful themes of adolescence and adulthood, destruction and creation, dying and living, fear and love, and sacrifice. Professor of philosophy Heather Ross called the film “a work of art about a complex, sad … bizarro circumstance.” She talked about the Christ-like sacrificial figure of Donnie Darko, the emptiness that “has an evil quality about it” and the “awesomeness” of Darko’s English teacher, Karen Pomeroy. Evidently philosophers are allowed to make up words, presumably in an effort to overcome the boundary that language imposes on thought". Source: www.pointweekly.com "Weisman’s film of Edie’s last years Ciao Manhattan, memorably filmed in the bottom of an empty swimming pool. Edie’s appeal lies in the simple fact that being a muse is the road to ruin, a doctorate in destruction of self worthy of Artaud. In a CD included in Edie: Girl on Fire, she matter-of-factly steps outside her myth, deconstructing and destroying it.Those who associate Edie with giggly girlishness will be amazed at her patrician voice, full of Brahminesque authority. In a Christ-like manner, Edie conveys the sense that the ultimate form of selfishness is to give your persona to others to the point of self-destruction.So we will give Edie, as eternal muse, the coda, "I’d like to turn the whole world on just for a moment. Just for a moment." The life ends and the moment goes on". Source: www.artnet.com
Reese narrated: “But then I actually had to stand in front of a microphone and sing. It was really a rude awakening to me how incredibly terrible I was without any training. So it took seven months to train my voice and it made me completely appreciate how hard these singers work. In that sense, I had a good idea of how my voice sounds and how I can change my voice". As for the solidarity of women in Hollywood, Reese stressed: “It’s important that we all support each other. The better one woman does, the better all women do. The better Sarah Jessica Parker’s movie opens, the better it is for Julia and I and all the girls coming up. It’s important that women make those choices for themselves that are good, strong ones".
”Speaking of making good choices, she revealed to us what she will be portraying in director James Brooks’ comedy that’s tentatively titled “How Do You Know?”: “I’m playing a softball player. Paul Rudd, Owen Wilson and Bill Murray are in it". ”Reese, who turned 33 a couple of days after our talk, said she is wiser in a different way. She said, “I told somebody the other day, ‘I’m old enough now to know that I don’t know anything.’ I just feel like I know absolutely nothing. But now I understand that I know nothing. I used to think I knew everything.” Source: showbizandstyle.inquirer.net Reese Witherspoon's Prince of Persia verdict - Britney Spears new video, If You Seek Amy - Zac Efron in new movie talks...
Robert Pattinson smoking.
Robert Pattinson smoking on "New Moon" set.
Robert Pattinson in "Dossier Magazine".
Robert Pattinson in "Rolling Stone" magazine.
Jake Gyllenhaal as Pilot in "Highway" (2002).
Emile Hirsch smoking in "Alpha Dog" (2006).
Shia Labeouf smoking in "Eagle Eye" (2008).
Joaquin Phoenix smoking.
Brad Pitt smoking.
Jake in his grey hoodie, with black derby hat and trainers, leaving a medical center in Beverly Hills, on 7th April, 2009. Pictures courtesy of Iheartjakemedia.com
"Gemma Arterton is everywhere at the moment! The young actress is inescapable whether heading to the cinemas – she currently stars in Richard Curtis’s new comedy The Boat That Rocked – or opting for some home entertainment snuggling up to James Bond (Daniel Craig) in Quantum of Solace new out on DVD. She recently picked up the Best Newcomer prize at the Empire film awards and has just wrapped shooting video game adaptation Prince of Persia with Jake Gyllenhaal. Whoa – I’m exhausted and need a little lie-down just thinking about it all. But Gemma has made time in her busy schedule to help launch the Virgin Media Shorts competition, an opportunity for aspiring filmmakers to get their work seen by important industry bods. And for the occasion, she has sought inspiration from one of her onscreen idols, emulating the immaculate Elizabeth Taylor in 1958 classic Cat on a Hot Tin Roof.
In the MGM adaptation of the Tennessee Williams play, Taylor oozes irresistible sex appeal as Maggie ‘The Cat’ Pollitt, who draped on a brass bed and dressed in a white negligee tries to attract the attentions of her boozing hubby Brick (Paul Newman). And Gemma has faithfully recreated every detail of the scene, from the skimpy clothes to the alluring look".
Scarlett Johansson and Jake Gyllenhaal at the MTV Movie Awards, on 5th June 5, 2004.
"Scarlett Johansson is denying comparisons to the late Marilyn Monroe, and is insisting she shares very little with the former screen star. 
Johansson was compared to Monroe after an advertising campaign for Dolce & Gabbana was revealed last month, in which the actress poses seductively across silk bedsheets wearing just a corset. But Scarlett is adamant she wasn’t trying to channel Monroe in the sexy photos. She explains, "We really weren’t trying to recreate any particular image. It was just their idea of the iconic blonde, and naturally people think that’s Marilyn Monroe. "Having said that, I love Marilyn. I think she was incredibly beautiful and a very underrated actress. I am a curvy woman who is blonde, and perhaps we are both comfortable in our femininity, but I think that is as far as the comparison goes."
"Beauty No. 2 premiered at the Cinematheque on July 17th and her onscreen appearance was compared to Marilyn Monroe's. As a result of her popularity, she was getting a lot of advice from people to leave Andy and become a proper star. One of the people advising Edie was Bobby Neuwirth who has been described as "Bob Dylan's right-hand man". Source: www.warholstars.org
"Edie's presence was magnetic, remembers John Cale, co-founder of The Velvet Underground who had a six-week affair with her. "Although desperate and on her last legs with Andy, she still possessed all the elemental magic, frayed beauty and presence of Marilyn Monroe." Source: www.independent.co.uk
"There seemed to be this almost supernatural glow to her that's hard to describe," wrote playwright Robert Heide. "Literally there was an aura emanating from her, a white or blue aura. It's as if Edie was illuminated from within. Her skin was translucent — Marilyn Monroe had that quality."
In early 1965, Edie, who had just dropped out of art school, met pop artist Warhol at a party. "His x-ray spex saw through to her core and recognized there was a quark of great charm and spin," writes Dalton. "As a collector of damaged and luminous souls, he wanted to capture this rare creature on film."
"She was just enchanting, and we were all in love with her," said journalist Danny Fields. "But you knew she was such damaged goods by the time we found her."
Both Sienna Miller and Kate Moss have been responsible for bringing back the Sedgwick style recently — tights, boots, minidresses and chunky jewelry.
"In the pantheon of American mythology, Sedgwick was one of the Tragic Muses, those women who did not so much make things happen as stand still and allow things to happen to them. Zelda 
Fitzgerald was one, Marilyn Monroe another.
Edie Sedgwick as Susan in "Ciao! Manhattan".
Natalie Portman photographed as the Factory's star.
"Ciao! Manhattan" is ultimately a testament to the odd, elastic nature of the '60s. The juxtaposition of Ciao!'s images illustrates more than the black-and-white/color, East Coast/West Coast dichotomies of its surface. It also shows just how fleeting and disposable were youth and glamour and La Dolce Vita in an age that supposedly prized those elements the most. That's what Warhol meant when he tossed off his greatly misinterpreted saw about everyone being famous for 15 minutes -- not simply that all of us will experience fame, but that the nature of fame is to use people up and spit them out in short, perfunctory order. In the end, Edie understood this and left us this assortment of before-and-after pictures as her epitaph".
"Robert Downey Jr., with wife Susan by his side, celebrated turning 44 Saturday night at Beverly Hills's Thompson Hotel, in their second level BondSt Beverly Hills Lounge.
Gwyneth Paltrow and Chris Martin, Reese Witherspoon and Jake Gyllenhaal, Ben Stiller and Christine Taylor, Jon Favreau and Sam Rockwell.
At the end of the evening, guests toasted with hot sake, while Downey Jr. sipped espresso. And, to cap off the festivities, guests satisfied their sweet tooth with BondSt's individual chocolate meltdown cake. "He was very touched," the source says of being serenaded with "Happy Birthday."
Rendition 
And the trickiest thing about Jake Gyllenhaal's work as a newly promoted CIA analyst in Rendition is that he's playing exactly that: not just an American but the American, our collective national stand-in onscreen. The movie, in which the CIA whisks Reese Witherspoon's Egyptian-born husband off to some unspecified North African country after intercepting a call to his cell phone from a known terrorist, means to explore the ethical justifiability of detainment and torture. But Gyllenhaal's character is no Jack Bauer improvising electroshock devices from desk lamps and ordering the suspect to start talking, now! He's permitted only to observe the interrogations and pose the occasional question, as a courtesy -- which means that Gyllenhaal spends much of Rendition standing in the corner of a dark room, watching as some poor soul gets beaten, doused, and fried. It's a near-silent performance, apart from some minor heroics near the end, and most actors would likely have felt the need to signal their disapproval to the audience via exaggerated winces. Gyllenhaal refrains, allowing us to project our own turbulent, conflicted emotions onto his placid expression. Knowing when to do nothing is one of the least appreciated of an actor's skills; here's one who's learned it early.
Into the Wild
The beauty of Emile Hirsch's performance in Into the Wild, Sean Penn's generally sympathetic account of Christopher McCandless's ultimately fatal two-year journey across America, is that he manages to reconcile these apparently contradictory viewpoints. Sure, he stands near majestic vistas with arms outstretched and face turned to the sky while Penn swoops the camera around him, and his puppyish enthusiasm is infectious. But every so often -- sometimes in startling glances directly at the camera -- Hirsch hints at the way that McCandless's self-righteous passion could spill over into mania. Most impressive of all are his handful of scenes with Catherine Keener's surrogate mother, in which Hirsch subtly conveys this young man's obstinate refusal to acknowledge the family he's cruelly abandoned in the name of self-reliance. He creates a vivid, unforgettable character you at once admire and pity.
Zodiac
"I am not Avery" read the lapel buttons sported by nearly every San Francisco Chronicle staff member. They were responding, only partly in jest, to a threatening postcard sent by the Zodiac killer to ace Chronicle reporter Paul Avery -- but as Robert Downey Jr. plays him, who would want to be this guy? Zodiac is less a portrait of a serial killer than an exacting obituary of the madman's other victims -- not the young lovers he shot and stabbed but the professional and amateur sleuths whose obsession with the case took a life-draining toll. Downey makes Paul Avery the movie's most poignant casualty. The actor has always excelled at sarcastic and motormouthed; what's new is seeing that live wire ever so gradually short-circuit, so that it's barely even flickering the last time we see Avery, now a cynical lush living on a houseboat and filing copy by rote for The Sacramento Bee. It's one of the most persuasive portraits of burnout ever committed to the screen and doubly amazing coming from an actor who, for all his real-life troubles, has never seemed anything less than fully engaged with the world.
"Kelly weaves into the life and experiences of the emotionally troubled Donnie Darko (Jake Gyllenhaal) beautiful themes of adolescence and adulthood, destruction and creation, dying and living, fear and love, and sacrifice. 
Professor of philosophy Heather Ross called the film “a work of art about a complex, sad … bizarro circumstance.” She talked about the Christ-like sacrificial figure of Donnie Darko, the emptiness that “has an evil quality about it” and the “awesomeness” of Darko’s English teacher, Karen Pomeroy. Evidently philosophers are allowed to make up words, presumably in an effort to overcome the boundary that language imposes on thought".
"Weisman’s film of Edie’s last years Ciao Manhattan, memorably filmed in the bottom of an empty swimming pool. Edie’s appeal lies in the simple fact that being a muse is the road to ruin, a doctorate in destruction of self worthy of Artaud. In a CD included in Edie: Girl on Fire, she matter-of-factly steps outside her myth, deconstructing and destroying it.
Those who associate Edie with giggly girlishness will be amazed at her patrician voice, full of Brahminesque authority. 
In a Christ-like manner, Edie conveys the sense that the ultimate form of selfishness is to give your persona to others to the point of self-destruction.
So we will give Edie, as eternal muse, the coda, "I’d like to turn the whole world on just for a moment. Just for a moment." The life ends and the moment goes on".
Reese narrated: “But then I actually had to stand in front of a microphone and sing. It was really a rude awakening to me how incredibly terrible I was without any training. So it took seven months to train my voice and it made me completely appreciate how hard these singers work. In that sense, I had a good idea of how my voice sounds and how I can change my voice".
As for the solidarity of women in Hollywood, Reese stressed: “It’s important that we all support each other. The better one woman does, the better all women do. The better Sarah Jessica Parker’s movie opens, the better it is for Julia and I and all the girls coming up. It’s important that women make those choices for themselves that are good, strong ones".
”Reese, who turned 33 a couple of days after our talk, said she is wiser in a different way. She said, “I told somebody the other day, ‘I’m old enough now to know that I don’t know anything.’ I just feel like I know absolutely nothing. But now I understand that I know nothing. I used to think I knew everything.”
