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jamiebamberdaily · 4 months

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A Year in Review : Jamie's 2023

Welcome to our look back on Jamie’s 2023! It’s been a tough year for the entertainment industry in general, with the SAG-AFTRA strike taking place from July all the way through to November, and we know that this impacted Jamie as he chose to take a stand along with many of his other acting peers. Yet despite this, Jamie has accomplished a lot in this year & it’s time to look back at some of the highlights!

February saw the release of Beyond Paradise on BBC1. Jamie played Archie Hughes, an ex flame of Martha’s who joined forces with her in getting her new business in Shipton Abbott up and running. Unfortunately for Archie, Martha had moved back to Shipton Abbott with her fiance, Humphrey and the two didn’t quite see eye to eye. This was such a fun role for Jamie and a complete joy to watch.

April was an exciting month which saw Jamie celebrating his 50th birthday and as always we marked the occasion with a birthday video which many of you took part in! He also travelled over to Cannes to premiere Cannes Confidential at the 6th Canneseries Festival alongside co-stars Lucie Lucas and Tamara Marthe.

May saw Jamie treading the boards once again in Uncle Glen’s Menagerie at the Arcola Theatre which we were lucky enough to go and watch. Such an incredible evening of ad-lib comedy and superb acting from an incredible group of actors and comedians. As ever we want to thank Jamie for his time that he spent chatting with us before and after the show too.

In June finally came the UK release of Cannes Confidential on Acorn TV and we LOVED Harry King from the moment we met him. Such a fun, easy watching show and such a complex character in which Jamie got to show off all sides of his talent, from comedy through to some really beautiful emotional moments, especially in scenes with his on-screen daughter Emilie who was played by his real life daughter Ava in a brilliant debut performance. June also saw the release of Trader over in Russia - a project which Jamie filmed alongside his amazing wife Kerry all the way back in 2019! And of course, we cannot forget the epic BSG reunion which took place when Jamie headed over to Phoenix Fan Fusion. #SoSayWeAll

July brought some incredible news as Jamie announced that he was taking part in Kenny Logan’s RWC Challenge - an epic 700 mile cycle & walking challenge from Edinburgh to Paris, all to raise money for the My Name’5 Doddie Foundation. Throughout July all the way through to October when the challenge took place, Jamie was training hard to ensure that he was ready for the mammoth challenge ahead.

August saw the release of Who Is Erin Carter? on Netflix - a twisty, fast paced thriller from the mind of Strike Back writer, Jack Lothian. Jamie played DI Jim Armstrong, a mysterious figure from Erin’s past. Though he was only in two episodes. We LOVED this character and with the series being left open ended, we really hope we get to see more of Jim in the future.

In September, Jamie attended the National Television Awards alongside his Beyond Paradise cast mates as the show was nominated for Best New Drama (which sadly it didn’t win).

And onto October which was such an important month for Jamie as all the training paid off when he & so many other incredible people including Kenny & Gabby Logan, Ally McCoist, Jason Fox and Jimmy Nesbitt started their gruelling trek on bike and foot from Murrayfield Stadium in Edinburgh to the Stade de France in Paris. This challenge was hugely life changing for the whole team (as well as a whole lot of fun!) and they smashed their target of raising £555,555 between them for the My Name’5 Doddie Foundation. We were honoured to be able to cheer them all on for a small part of this journey when we saw them off in York on day 3 and welcomed them back as they ended the day at the beautiful Belvoir Castle. To top off an incredible achievement, Jamie was also asked to become an ambassador for the foundation - a role we know that he will embody so well.

October also saw Jamie joining Cameo, giving fans the opportunity to get a personalised video message from him (which we of course took advantage of also!) and to round off the month, Cannes Confidential aired on French TV, renamed Cannes Police Criminalle, with the entire show having been dubbed into French by the original cast.

November saw Jamie as a guest on fellow RWC Challenge team mate Archie Curzon’s podcast, The Rig Biz Pod, which was a brilliantly funny interview.

And to round the year off, December gave us announcements of not one but two new projects to look forward to in 2024! Firstly, Heavyweight, starring and produced by Jamie’s Marcella co-star Nicholas Pinnock, will be a gritty London drama focusing on the mental state of a boxer and his cornermen backstage before the fight as the clock ticks down.

With the strike finally over, Jamie travelled to Bulgaria to film Strangers alongside Sienna Guillory, Emmett J Scanlan and Jon Voight. The project is described as an action thriller and will be released in 2024 on Paramount Plus.

As well as these two exciting announcements, AKA Blackbird, the brainchild of BSG alumni James Callis was finally released as an audiobook! With so many former BSG stars taking part in it, including Jamie and Kerry, it’s definitely not one to be missed.

And there you have it! Despite some difficult times, Jamie really did achieve a lot this year and with 2 projects already to look forward to, we can’t wait to see what else 2024 has in store.

As ever, we would like to thank you for all the support of our page over this past year and wish you all a very happy new year!

Jemma and Sophie. xx

#Jamie Bamber #A Year In Review #Beyond Paradise #Canneseries #Uncle Glen's Menagerie #Battlestar Galactica #Phoenix Fan Fusion #Cannes Confidential #Trader #трейдер #Kenny Logan's Rugby World Cup Challenge #Who Is Erin Carter?#National Television Awards #Cannes Police Criminelle #My Name'5 Doddie Foundation #Rig Biz Podcast #Heavyweight #Strangers

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mermaidinthecity · 1 year

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Outside the Martinez Hotel in Cannes during the 50th Cannes Film Festival - November 5, 1997

#spice girls #spicegirlsedit #mine #edits #sgap1997 #spicegirls #sadbeautifultragic

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heavenboy09 · 1 year

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Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊 To A Very Most Elegant Asian Beauty & Highly Regarded Amazing Actress Of Remarkable & Critically Acclaimed Roles In Both National of Her country & International Roles in the US & etc.

She is A Chinese Born Actress & Singer

She was born in Wuchang, Heilongjiang, China. She initially had no intention of becoming an actress and enrolled specifically in a high school for prospective school teachers. However, upon graduation, she discovered her interest in acting and was eventually persuaded by a friend to join the Shanghai Theatre Academy in 1993.

She rose to fame after starring in Zhang Yuan's Seventeen Years (1999), which won her the Best Actress Award in the 1999 Singapore Film Festival. In 2001, She starred in the television series Young Justice Bao, which propelled her to become one of the most famous actresses in China.

She was subsequently labelled as an "action actress" as she starred in a number of wuxia television series, such as Taiji Prodigy and Eight Heroes.

She achieved breakthrough with her performance in Feng Xiaogang's A World Without Thieves. She then starred in Dayyan Eng's romantic comedy film Waiting Alone, for which she received her first Best Actress nomination at the Golden Rooster Awards.

In 2009, She won Best Actress at the 46th Golden Horse Film Awards for her performance in The Message, about Japanese invaders in China who try to ferret out a spy among their Chinese collaborators.

She then starred in Tsui Hark's 2010 action-mystery film Detective Dee and the Mystery of the Phantom Flame. She played Shangguan Jing'er, a fictional character based on Shangguan Wan'er, a prestigious politician during the Tang Dynasty. She established her studio in the same year, co-starring and co-producing the film 1911 with Jackie Chan, which was released in September 2011 to celebrate the 100th anniversary of the Xinhai Revolution.

Her first-time in an English-language film is Wayne Wang's Snow Flower and the Secret Fan, adapted from Lisa See's 2005 novel of the same title. The film premiered at the 2011 Cannes Film Festival. She started to gain recognition in Hollywood after starring in Resident Evil: Retribution, playing Ada Wong. The same year, she was cast in action fantasy film 400 Boys, directed by British director Alastair Paton.

In 2013, She attended the 4th Annual US-China Film Summit and received the East-West Talent Award. Hollywood magazine Variety also named her Asian Star of the Year. The following year, She was featured in Transformers: Age of Extinction, the fourth installment of the film franchise. This helped solidify her success overseas.

In 2015, she was cast in 3D science fiction thriller Nest (also known as Guardians of the Tomb), a Chinese-Australian co-production that was finally released in January 2018. The same year, it was announced that She would play China's first female superhero in upcoming film Realm, written by Stan Lee.

In 2018, She starred with Jason Statham in The Meg, an American-Chinese shark film based on Steve Alten's 1997 novel Meg: A Novel of Deep Terror.

Her Best Well Know Role Is In the 2008 Martial Arts Film

Starring Jackie Chan & Jet Li

THE FORBIDDEN KINGDOM

As She Played The Iconic & Infamous China's Villainous Character in Chinese Martial Arts Films.

THE WHITE HAIRED WITCH 🧙‍♀️

She Is A Very Well Know Established Actress In China 🇨🇳 1 of the Many Great Actresses today

& A Charity Ambassador Of The Shanghai World 🌎 Expo & A Goodwill Ambassador Of UNEP

Even though she may not look it. She has aged Very Gracefully & Amazingly over the many years. As A Bad@$$ Action Actress In Wushia

Please Give A Very Well Round of Applause & A Very Happy Birthday Wishes To

The 1

& The Only

MS. LI BINGBING / BING BING LI

HAPPY 50TH BIRTHDAY 🎂 🥳 🎉 🎈 🎁 🎊 TO YOU MS. BINGBING & Here's To Many More 💖

#Li BingBing #SoundCloud

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whileiamdying · 2 years

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‘The Fifth Element’: How Luc Besson’s Space Opera Conquered Cannes 25 Years Ago

The film's lead producer explains the nine-year development process behind a movie that would become the most expensive in European history, attract attention from Sylvester Stallone (who wanted the main part) and culminate in a $1 million party on the Croisette.

BY ALEX RITMAN

Luc Besson and Milla Jovovich at the 1997 world premiere of 'The Fifth Element' in Cannes. COURTESY ARNAL-CATARINA-CHARRIAU/GAMMA-RAPHO VIA GETTY IMAGES

It takes a lot to crack the top list of Cannes parties. But an event costing a festival record $1 million and featuring a Jean-Paul Gaultier fashion show, a futuristic ballet and guests including the biggest A-list couple on the planet, not to mention dinner, fireworks and tickets in the form of a specially made Swatch watch, certainly sounds like it has the right sort of ludicrous credentials.

The party in question was for The Fifth Element, which opened the 50th Cannes Film Festival in 1997 in extravagant, star-studded style and now firmly resides on the list of cinema’s cult classics. Luc Besson’s wild space opera brought lead star Bruce Willis and his then-wife Demi Moore — plus co-stars Gary Oldman, Chris Tucker and Milla Jovovich (wearing a loincloth-style skirt and little else) — up the Palais steps for the world premiere, followed by a grand post-screening shindig for 1,000 guests by the seafront in a specially built space of more 100,000 square feet. And all this glitz was a precursor to a global box office in excess of $260 million, making it the ninth-highest-grossing film of the year.

In the 25 years since its release, much has already been written about the making of The Fifth Element and how it began its epic journey, culminating on the Croisette, as an idea in the imaginative head of Besson when he was just 16 years old. But it wasn’t just a cinematic odyssey for the director, who was 38 when it hit cinemas. French studio Gaumont took the project on when it was still in infant form and spent a full nine years developing it — during which time Besson made three other films — before a camera was even picked up. The company even stumped up the lion’s share of the budget that, at the time, made it the most expensive European film in history.

According to then-Gaumont head and The Fifth Element’s lead producer Patrice Ledoux, he first optioned the rights to Besson’s wildly colorful sci-fi adventure — or at least the idea for it — back when the director was developing his 1988 free-diving aquatic drama The Big Blue, the film many consider his international breakout. The company had backed his previous, and debut, feature, the French box office smash Subway, a film — later Oscar-nominated — that marked the director out as a fast-rising star (the “enfant terrible” badge was already being heavily overused) and a pivotal figure of the new, highly visual and pop-soaked Cinéma du look movement.

With Besson initially focused on making his second feature, which was shooting on the Greek island of Amorgos, Gaumont hired a team of creatives to begin putting together the script for The Fifth Element. “We had a lot of people working on the writing,” notes Ledoux. But even once The Big Blue was completed (it screened out of competition in Cannes) and with numerous hands, including Besson’s, on board, the film was still proving to be something of a monster, impossible to contain in one manageable feature.

“At one point, we had two scripts of 300 pages,” says Ledoux, who acknowledges it was always going to be a “very, very ambitious project” (while he says that Besson would have likely gone for it, Gaumont was never going to agree to split the story into two features). The ideal size was 120 pages, so there was a lot more work still to do.

With Besson itching to get behind the camera and the development work for his magnum opus still rumbling on, he wrote and directed two more live-action features for Gaumont in 1990’s La Femme Nikita and 1994’s Leon: The Professional, which Ledoux produced. He also squeezed in time to make the 1991 underwater documentary Atlantis.

But — eventually — The Fifth Element was whittled down to an acceptable size, with Ledoux agreeing on a budget of around $90 million. “Which for a French company was absolutely insane,” he admits.

So the producer went with cap in hand to the U.S. and to Sony’s Columbia Pictures, which had taken both The Big Blue and Leon, and it agreed to hand over $25 million for the U.S. rights. “But $90 million minus $25 million still leaves a lot to make up,” he notes. Although there were a few presales and other investments, Gaumont paid the — then European record-breaking — rest.

While he says it was a “big risk,” it wasn’t his first risk with Besson. “We were pretty confident we could succeed.”

Ledoux also notes that Besson was no longer the young upstart filmmaker behind The Big Blue, but the director responsible for Leon, which had become a major critical and box office hit around the world.

The Columbia deal came with conditions, however, not least the casting of a Hollywood star of a certain caliber to fill the lead role of taxi driver turned savior of mankind Korben Dallas.

“Luc’s initial idea was Mel Gibson,” claims Ledoux, who adds that the actor made frequent visits to Besson’s house in L.A. But Gibson eventually turned it down. A major name who was interested, however, was Sylvester Stallone, who the producer says heard about the film and approached independently. “It was very strange, and Luc was actually annoyed because although Stallone was a big star at the time, he wasn’t the right guy for the movie.”

Several stories have emerged over the past quarter-century as to how Bruce Willis eventually joined The Fifth Element, but in the one Ledoux tells, it was actually his then-wife, Demi Moore, who first told the Die Hard star about this crazy project from Besson, who had become “very fashionable” in L.A. thanks to Leon and Nikita. The two met up.

However, there was a problem: At the time, thanks to the likes of Pulp Fiction and 12 Monkeys, Willis was one of the biggest stars on the planet and, despite the already oversized budget, the production couldn’t afford him. “I said to him, ‘Bruce, we don’t have the money to pay you, it’s just not possible for us,'” claims Ledoux. But Willis was still interested, so sent his agent to discuss how much Gaumont could actually afford.

“It was very bizarre, because one day Luc went to a hotel with a script, which he gave to Bruce and then waited in the corridor until he finished reading it. Then he came back in and Bruce finally said, ‘Yes, I agree to it’.”

With Willis officially signed, the rest of the cast — including Milla Jovovich, Gary Oldman and Chris Tucker — were much more straightforward and required far less intense negotiations, claims Ledoux, who adds that they were all hand-picked by Besson.

And while Willis may have taken a pay cut, Ledoux asserts that he was “very well taken care of,” with his family, coach, cook, secretary and two bodyguards all paid to accompany him to London, where most of the 21-week shoot took place (there was a brief jaunt to Mauritania for the scenes set in Egypt). Although Besson had wanted to film in France, the country at the time had no experience when it came to making major sci-fi features, so he had to turn to Pinewood, where the production took over most of the soundstages — including the enormous 007 stage — and where Ledoux says there were as many as nine sets running at the same time.

When shooting started in January 1996, Ledoux handed over the reins to veteran line producer Iain Smith, whom he hired after first meeting him in Costa Rica where he was working on Ridley Scott’s Christopher Columbus drama 1492: Conquest of Paradise (another Gaumont title). “I came to supervise production, and he served us chicken with mint, and I thought, ‘If this guy can get us chicken with mint in central Costa Rica while shooting this film, he’s the right guy for us.’”

But despite taking a back seat for the production as Smith oversaw proceedings at Pinewood, Ledoux had a firm grasp of the immensity of the project he had greenlit. “In the middle of the shoot, there were weeks when I was signing a daily payroll that had more than 1,000 names on it,” he says, adding that the VFX work — which took place in California — involved 400 people working at the same time. But he says that The Fifth Element never went over budget. “I had put my reputation and position on it,” he says.

And Ledoux still had one major trick up his sleeve — getting The Fifth Element to Cannes as the curtain-raiser. As it happened, despite a loud, colorful and campy sci-fi movie not seeming standard opening-night material for a festival more focused on art house, it proved relatively easy.

First up, the film’s French credentials — The Fifth Element being the biggest and boldest production in history from the best-known French studio. “Cannes was very happy to show the world what we can do,” notes Ledoux. “But the second thing was that I brought Bruce Willis and Demi Moore, and at that time, if you were to tell the Cannes Film Festival that you could bring Bruce Willis and Demi Moore to the opening … let’s just say they were enthusiastic!”

There was also the not-inconsiderable fact that Gaumont spent $1 million on the opening party.

But Ledoux says there was a method to this flashy madness, with Cannes effectively serving as The Fifth Element’s condensed international press tour. “We knew it would be impossible to take Bruce Willis around the world with the film, so instead we invited everyone who had bought it to Cannes to spend a couple of days with him,” he claims. “So the expense was not actually that huge if you think about it. Sure, we did spend a lot of money. But it was spectacular. And everyone who came said, ‘Yeah!’”

#the hollywood reporter #the fifth element #luc besson #space opera

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littlemissidontcare · 1 year

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It’s not that deep.

You forget, these are the same ppl who think instead of her most story being about Seb it was a homage to the 50th anniversary of a letter someone wrote about scandal involves the Cannes Film Festival. Even tho they themselves had to google the quote, find the letter, read the letter then look up Cannes. But liking a dog pic can't just be she liked a dog pic.

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bajecnaeats · 2 years

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iced latte and chocolate cake at 葉子咖啡. the atmosphere was really nice (50th cannes film festival poster, yay!), wi-fi fast and prices reasonable. 200TWD.

#taiwanese food #taipei

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only-johnny-deppp · 3 years

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24 years ago, on this day (May 10), Johnny attended the 50th Cannes Film Festival, in Cannes, France.

On that day, Johnny debuted as director to present his movie “The Brave” which was selected to be in competition and also competed for the 1995 Palme d'Or. During the photocall, Johnny posed with his friend Iggy Pop who had a small cameo and composed the music for the movie.

#Johnny Depp #Raphael #The Brave #50th Cannes Film Festival #Director #Director Debut #Iggy Pop #May 1995 #Photocall #Dressed in Black #Cannes #France

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captainofhopes · 5 years

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Monica Bellucci at 50th Cannes Film Festival, 1997.

#monica bellucci #1997 #1990s #cannes #cannes film festival #50th cannes film festival #france #festival #1990s fashion #1990s models #bellucci #actress

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iloveyoujohnnydepp · 3 years

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Johnny Depp and Kate Moss attends a festival gala during the 50th Cannes Film Festival where The Brave directed by Johnny Depp was competing for Palme d’Or in Cannes, France. (May 11, 1997)

Re: Johnny Depp as Raphael in The Brave (1997) dir. Johnny Depp

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generallynaive · 2 years

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Monica Bellucci at the 50th Cannes Film Festival in 1997

#Monica Bellucci

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pretonobranco77 · 3 years

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Monica Bellucci at 50th Cannes Film Festival, 1997

#mónica bellucci

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jacksonprince · 3 years

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Michael Jackson Attending the 50th Cannes Film Festival in France 1997

#michaeljackson #michael jackson #mjj #mjjfans #mjjforever #mj #kingofpop #music #art #pop #love #michael #jackson

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skippyv20 · 4 years

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Some of the greatest gowns worn by a Royal

KEYSTONE-FRANCEGETTY IMAGES Princess Elizabeth and Princess Margaret, 1949 - Then-Princess Elizabeth and Princess Margaret went glamorous for a royal variety performance in London. The sisters each wore an elaborate ball gown with fur wraps.

ULLSTEIN BILD DTL.GETTY IMAGES Princess Margaret, 1951 - In 1951, Margaret posed for a birthday portrait taken by Cecil Beaton in a one-shouldered cream gown with gold embellishment by Christian Dior.

ULLSTEIN BILDGETTY IMAGES Princess Margaret, 1956 - Margaret posed for her 26th birthday portrait wearing a one-shouldered pink tulle gown. The dress featured elaborate flower embroidery and sequins.

BETTMANNGETTY IMAGES Queen Elizabeth, 1961 - American royalty met actual royalty when President John F. Kennedy and Jackie Kennedy visited Buckingham Palace for the first time. The Queen wore a blue ballgown by Norman Hartnell with white gloves for the occasion.

FOX PHOTOSGETTY IMAGES Princess Anne and Queen Elizabeth, 1969 - In May 1969, the monarch and her daughter, Princess Anne, went on a state visit to Austria. Both royals went full glamorous for an event at the British Embassy: Anne wore a white dress with a sash, gloves, and a tiara, while the Queen wore a lime green gown with a matching sash and jewellery.

TIM GRAHAMGETTY IMAGES Princess Anne, 1973 -Princess Anne wore a floral printed gown with a sleek updo to a film premiere in London with her husband, Mark Phillips.

TIM GRAHAMGETTY IMAGES Princess Anne, 1978 - Princess Anne, the Queen’s only daughter, wore a floral ruffled gown for an event at the Dorchester Hotel in London. The Princess finished the look off with elegant white evening gloves.

GETTY IMAGES The Queen Mother, 1980 - Queen Elizabeth, the Queen Mother, wore a white chiffon evening gown to her 80th birthday celebration in 1980. She paired the gown with a stunning tiara and necklace set.

TIM GRAHAMGETTY IMAGES Princess Diana, 1984 - Diana wore a pink and white dress by Catherine Walker to a ballet performance in London.

PRINCESS DIANA ARCHIVEGETTY IMAGES Princess Diana, 1985 - The Princess shined in a gold lame evening gown by Bruce Oldfield, which she wore to the premiere of the James Bond film

A View to Kill

in 1985.

TIM GRAHAMGETTY IMAGES Princess Diana, 1985 - The Princess chose a white, crystal-beaded silk chiffon gown by Japanese designer Hachi for an event at the National Gallery in Washington D.C.

TIM GRAHAMGETTY IMAGES Princess Diana, 1987 - Diana wore this memorable number to a gala during the Cannes Film Festival. The pale blue flowing chiffon dress was designed by Catherine Walker, one of Diana’s favourite designers.

TIM GRAHAMGETTY IMAGES Princess Diana, 1989 - During a royal visit to Hong Kong, the Princess wore a white silk dress with pearl and sequined detailing by Catherine Walker that is now called “The Elvis Dress” by many.

GETTY IMAGES Princess Margaret, 1990 - In the summer of 1990, Princess Margaret was on hand to celebrate the Queen Mother’s 90th birthday at the London Palladium. She wore this icy-blue number for the occasion, along with a blue necklace and earrings.

TIM GRAHAMGETTY IMAGES Princess Diana, 1992 - In 1992, Diana wore another Victor Edelstein design, this time a striking red gown.

TIM GRAHAMGETTY IMAGES Princess Diana, 1996 - Princess Diana wowed in an electric blue dress by Versace while at a dinner in Sydney, Australia in 1996.

ANWAR HUSSEIN GETTY IMAGES Queen Elizabeth, 2003 - In 2003, the Queen posed for a photo with Prince Philip, Prince Charles, and Prince William in honor of the 50th anniversary of the Queen’s coronation. The Queen chose a pale pink dress with dazzling details, worn with a diamond necklace.

ANWAR HUSSEIN GETTY IMAGES Camilla, Duchess of Cornwall, 2007 - The Duchess looked regal in a pale blue dress while at a dinner hosted by the King of Bahrain’s wife, Shaikha Sabika.

SAMIR HUSSEIN Queen Elizabeth, 2011 - The Queen paid tribute to her host country while on a royal visit to Ireland. The white evening dress was embellished with chiffon shamrocks, the national emblem of Ireland.

WPA POOL GETTY IMAGES Catherine, Duchess of Cambridge, 2011 - In one of her first appearances after her royal wedding in April 2011, Duchess Kate stunned in a blush Jenny Packham gown with elaborate detailing on the front.

KEVORK DJANSEZIAN Catherine, Duchess of Cambridge, 2011 - The Duchess looked regal in a pale purple gown by Alexander McQueen while attending BAFTA Brits To Watch event in Los Angeles during a royal visit to North America.

CHRIS JACKSON GETTY IMAGES Sophie, Countess of Wessex, 2012 - Sophie chose this pink one shouldered gown for the 2012 Paralympic Ball, which she attended with Prince Edward.

DANNY MARTINDALE GETTY IMAGES Sophie, Countess of Wessex, 2013 - In 2013, Prince Edward and Sophie, Countess of Wessex attended Princess Madeleine of Sweden’s wedding to Christopher O'Neill. The Countess wore a pale pink gown with lace detailing on the top.

MARK CUTHBERT GETTY IMAGES Catherine, Duchess of Cambridge, 2016 - In April 2016, Prince William and Duchess Kate went on a royal tour of India, where the Duchess wore this royal blue look by Jenny Packham.

ALEX BRAMALL/ROYAL COMMUNICATIONS VIA GETTY IMAGES Princess Eugenie, 2018 -The second dress Princess Eugenie wore to her royal wedding in October 2018 is one for the books. For her reception, the Princess changed into a blush tone draped gown designed by Zac Posen.

https://www.townandcountrymag.com/style/fashion-trends/g23324258/greatest-royal-gowns-of-all-time

Thank you....so beautiful....😊❤️❤️❤️❤️

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paralleljulieverse · 4 years

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This Day in Julie-history: Blake Edwards was born on 26 July 1922

In honour of what would have been Blake Edwards’s 98th birthday -- and continuing our tribute to this year’s 50th anniversary of Darling Lili -- here are a few behind-the-scenes shots of the director at work on Darling Lili.

Edwards’s struggles with this problem-fraught film are well-known. By his own admission, his bitter experiences with Lili formed much of the inspiration for his mordant 1981 revenge-satire, S.O.B. (Oldham, 40ff). But, even after “writing out his demons” with that later work, he continued to carry considerable unresolved conflict over Lili. In a candid response to a 1991 interview question about the film, he recalled:

“Darling Lili is one of those films that drives me crazy because it came to represent a major turning point in my personal life and my career working for a major studio. Unfortunately, I didn’t have final cut, and my prerogatives were usurped by a new regime that moved in. It’s an old story by now and people around are kind of tired of hearing it. I tried to do certain things with that film which I think would have made it a much, much better movie. So for me anyway there is a part of it that is a wonderfully disfigured beast. It has such interesting mood changes...But it’s hard for me to even describe. If it had been done today, it would have won, or certainly been nominated for, any number of Academy Awards. Like the cinematography, look at the original print of that film and show me somebody from that year that even came close to that kind of cinematography. We worked so hard to get such wonderful things from a great cast, the sound recording, and particularly the art direction and costumes. There is no doubt in my mind that film deserved half a dozen Academy Awards, leaving me aside. If they had allowed me to do certain things that I wanted to do, I am absolutely positive it would have been a commercial success. But they just destroyed it. Yet there still seems to be enough left there to make me sad, so it seems they didn’t destroy it completely. But I wish they had gutted it totally.” (Caputo, 25)

Not long after this interview, Edwards was in fact given the opportunity to revisit Darling Lili when Michael Schlesinger, head of Paramount's Repertory division, invited him to restore the definitive “director’s cut” of the film for a planned home video release (Oldham, xxiii). Edwards related that he still had a 16mm working print of “how he wanted the film to be” and would work from that (Cohn, 140). The resulting re-cut version of Darling Lili premiered at the 1992 Cannes Film Festival as part of a retrospective tribute to the director’s work (Liebensen, S5-3.). True to his maverick form, Edwards surprised audiences by eschewing the usual approach in a director's cut of putting footage in and instead excised “half an hour’s worth of scenes he says were added against his wishes” (Kehr, S1-20). The revised version is certainly better paced and possibly a little more evenly toned than the original 1970 release, but, having lost considerable portions of the musical sequences, it is not generally the preferred version of Julie Andrews fans.

Sources:

Caputo, Raffaele. “Topping the Topper: Blake Edwards.” Cinema Papers. 85. November 1991: 22-26.

Cohn, Lawrence. “Blake Edwards Stars in Retro.” Variety. 4 May 1992: 140.

Kehr, Dave. “Cannes Restores its Raison d’Etre.” Chicago Tribune. 13 May 1992: S1-20.

Liebensen, Donald. “10-Count ‘Em: Blake Edwards Films at Cannes Festival.” Chicago Tribune. 12 May 1992: S5-3.

Oldham, Gabriella, ed. Blake Edwards: Interviews. Jackson: University of Mississippi Press, 2018.

#julie andrews #blake edwards #Darling Lili #fiftieth anniversary #behind the scenes #old hollywood #classic film #film director #rock hudson #paramount #1970

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