Archive through March 15, 1999

Planet Kilmer's Caffeine Cafe: Late Breaking News!!: Archive through March 15, 1999

Top of pagePrevious messageNext messageBottom of pageLink to this message   By Valteamo on Saturday, January 16, 1999 - 08:36 pm: Edit

Val was on Access Hollywood tonight-1/16/99.It was a short segment.In one scene, Val was wearing a brown jacket, black t-shirt and no glasses-he looked good! He talked about what a humbling experience it was to portray Virgil in AFS. In the other Val scene, he was at the AFS premiere chatting with Jaycee beside him.They also talked to Mira Sorvino for a minute and showed the Jennings at the premiere.

Top of pagePrevious messageNext messageBottom of pageLink to this message   By Valteamo on Wednesday, January 13, 1999 - 09:48 pm: Edit

Val On Charlie Rose TONIGHT!! on PBS

Val & Oliver Sacks on Charlie Rose TONIGHT on PBS.It's on at midnight in
Philly area (Thanks Teri)
VH! AFS Top Ten Countdown Special will be shown again on Friday,
Jan.15th ay 6PM EST (Thanks PSUMARY)
Mira Sorvino on the Today Show-Sunday, Jan.17th at 8AM EST

Top of pagePrevious messageNext messageBottom of pageLink to this message   By Valteamo on Tuesday, January 12, 1999 - 08:54 pm: Edit

Access Hollywood covered the premiere of AFS-it will be shown tomorrow Wed., 1/13/99.

ET had an AFS segment on TV tonight.They talked to Val and Mira and also Shirl Jennings and his wife Barbara (the real-life Virgil & Amy).Val talked about having contacts made to make him appear blind and about wandering around NYC as a "blind"man. Mira said that the Jennings were like two halves of a whole. Barbara Jennings said that AFS was very close to their actual real-life experience but that Shirl had laughed when his bandages were removed and she never knew why. Shirl said he really didn't know why-that he laughed because he was happy.

Top of pagePrevious messageNext messageBottom of pageLink to this message   By Valteamo on Monday, January 11, 1999 - 10:01 pm: Edit

MOVIELINE-Feb.1999
On page 12 there is an 11 by 8 inch color reproduction of the second AFS
poster.
On page 62- a SUPER-sexy picture of Val & Mira and a positive write-up
of AFS in an article titled "Sex'99-A survey of all sex,romance and
perversity known to be coming to theaters near you this year."
Also on page 66- an interesting article on Joel Shumacher titled
"Radiance and Shadow." A pic of Val from BF along with other stars on
page 69 of this article with the caption "Joel's beauties."
Sex '99-Excerpt from the Movieline article
AT FIRST SIGHT
Sex Objects: Mira Sorvino, Val Kilmer
Type of Sex: Romantic
Sex play: Sexuality enters into the story right at the beginning when
Mira Sorvino gets the world's most sensual massage from-get this-blind
masseur Val Kilmer.Now, if you were lucky enough to find a blind
masseur, would you try to convince him to have an operation to restore
his sight?Of course not.You'd start thinking up ways to render him deaf
and dumb, too.But this is the movies, so Sorvino falls in love with
Kilmer and actually talks him into a procedure that restores his sight
(the story is based on a case study by renowned neuropsychiatrist Dr.
Oliver Sacks,whose work also inspired the film Awakenings).The real
drama of At First Sight begins when Kilmer is overwhelmed by vision and
begins to crumble
psychologically.Fortunately,none of that prevents him from participating
in three full-on, between-the-sheets love scenes with Sorvino. [Note:
and a Super-sexy photo!]
ROLLINGSTONE-Feb.4,1999
page 72-there is a good review of AFS-blurb "Blind man finds love and a
miracle-formula freshened by star shine."


Type the subject for the new conversation:

Top of pagePrevious messageNext messageBottom of pageLink to this message   By Valteamo on Saturday, January 02, 1999 - 09:56 pm: Edit

EW Magazine, 1/8/99 Issue lists Mira Sorvino on Letterman on Jan.6th and Mira on Rosie O'Donnell on Jan.8th.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The new AFS trailer with the sexy shower scene and the bed scene can be
seen on VH1-they're showing it approximately 3 times per hour!!

Top of pagePrevious messageNext messageBottom of pageLink to this message   By Valteamo on Tuesday, December 29, 1998 - 09:40 pm: Edit

AU castigated as being anti-animal rights!

Val's beautiful and humane documentary Africa Unbottled was just nominated for a "Foe-Paw" award for being anti-animals' rights by The Ark Trust.The Ark Trust goes so far as to say that AU condones the killing of elephants as trophies! Whaa?!! Please read the full article in PKMail and suggestions for action.

Top of pagePrevious messageNext messageBottom of pageLink to this message   By Valteamo on Monday, December 28, 1998 - 10:50 pm: Edit

AFS Soundtrack will be released on Tues., Jan.12,1999

This soundtrack can be pre-ordered from Amazon.com for $12.99 plus $2.95 shipping and handling.

http://www.amazon.com

It can also be pre-ordered from CDnow for $12.99.

http://www.cdnow.com

Top of pagePrevious messageNext messageBottom of pageLink to this message   By Valteamo on Monday, December 21, 1998 - 11:32 pm: Edit

VAL MAY PLAY DRACULA ON BROADWAY!!-Read this article

FEATURESSaturday, December 19, 1998
Val Kilmer: 'It feels sort of weightless - there's no floor, there's no
ceiling, there's no walls. You're literally making it up out of thin
air' (Note: this is the caption under a great photo )



Val finds
his voice


------------------------------------------------------------------------
Val Kilmer talks to Penelope Dening about his latest film, the cartoon
The Prince of Egypt, in which he parts the Red Sea

It may not be Christian, but with the Bible at one end and DreamWorks,
run by Hollywood's holy triumvirate of Steven Spielberg, David Geffen
and Jeffrey Katzenberg, at the other, The Prince Of Egypt is guaranteed
to be this Christmas's biggest cinematic pull. From mass billboard and
TV advertising to the movie's unashamed pitch at the Top 10 (Mariah
Carey and Whitney Houston's When You Believe sung to the parting of the
Red Sea) there's as much chance of avoiding Moses as Santa this month.
As if to reinforce its this-ain't-just-kids-stuff aura of
professionalism, the cast of voices is as high-profile as any
live-action movie. Unlike the recent Antz, where Woody Allen's animated
hero remained resolutely Woody Allen with a few extra legs, the onscreen
characters in this story of Moses saving the Children of Israel remain
just that, even though they are played by actors whose voices are as
well-known as their faces: Ralph Fiennes, Helen Mirren, Jeff Goldblum,
Sandra Bullock, Michelle Pffeifer, Steve Martin and Patrick Stewart.
Heading the roll call of what is described "voice talent" is Val Kilmer
as Moses. Compared with his glitzy co-stars, the name hardly conjures up
an instant image.

Yet DreamWorks knew what they were doing. Alone among the American
actors in the cast, Kilmer is an actor first, rather than a star. His
portrayal of Jim Morrison in The Doors in 1991 - the descent of a
beautiful young man into a bloated alcoholic - was quite exceptional,
wholly convincing and brave; ditto Elvis Presley in True Kid. Even his
Batman was a triumph of acting over costume.

Few leading men of his generation are prepared to take on roles which
require such risk-taking. Yet those are the very roles that Kilmer
hankers after. Sadly, he says, such opportunities are all too rare. Of
the hundreds of movies made in the last decade "only seven or eight
movies show that kind of development of character. Three or four that
Ralph's done are really great. He's got a fantastic group of stories
already".

Val Kilmer's admiration of Fiennes, his English co-star, who voices the
pivotal role of Moses's foster brother and scourge of the Hebrews,
Rameses, is generous and unfeigned. In a very un-film starry phrase, he
tells me he thinks the world of Ralph. "He's so good. Easy to be
jealous, he's handsome and he's very witty and so talented." Kilmer is
intense rather than witty, but apart from slightly too showy teeth, he's
handsome enough. But there's something disconnected about him.
Throughout the interview he drinks organic apple-juice the colour of
sand, beams at me through gold-rimmed glasses like a youthful history
don, and runs fine fingers through flaxen hair that could do duty in a
shampoo ad. So why does he think he has just missed the really big time.
Lack of ambition, perhaps? "I am not like some actors who use themselves
very well - personality actors like Richard Gere, those actors who don't
actually do anything except play themselves. I enjoy developing
characters, in that way of meditating and creating the story through
various and different ways which made the Prince of Egypt so unusual
because it was just the voice. And that was hard."

Voice is only one element in an actor's arsenal - indeed, actors often
describe building a role from the shoes up: the walk is as important as
the talk. Then there are the outward manifestations of character:
hairstyle, costume, age, not to mention body language. The cast of The
Prince Of Egypt had nothing beyond its imaginations and, in Kilmer's
case, a re-reading of the Book of Exodus. "It feels like you're in a
vacuum," he explains. "Sort of weightless - there's no floor, there's no
ceiling, there's no walls. You're literally making it up out of the
air." Because - although drawn in the time-honoured, Disney-honoured,
frameby-frame way - the characters we see on the screen were not created
until after the actors had done their stuff: indeed, the players were
videoed while they were at the microphone, to allow animators to match
facial movements and body language to the dialogue. "It's a really odd
experience. The body that gets created isn't yours, it's sort of based
on a rendering out of a version of you," Kilmer says.

To make life still more difficult, the actors delivered their lines
largely on their own. Moses's relationship with his foster brother,
Rameses, is the emotional engine of the movie, yet Fiennes and Kilmer
never worked together and met for the first time last week at a press
conference in London. Kilmer recorded his dialogue first, with a
stand-in actor giving him the other lines.

"But then after Ralph recorded his part we'd go back and, based on his
interpretation, or on an inspirational moment, we'd re-record." Not
surprisingly, nuances brought to lines by individual actors could change
the whole feeling of a scene. And it's in this area, Kilmer believes,
that the quality of the actors comes across.

"The style is much more naturalistic than the high-volume,
comedic-style, energy acting we're used to in animation. So it was
really interesting to listen to the variety Ralph would bring to the
role. You never knew how he would play it. He would say one thing
completely dead-pan, or throw lines away; others were very high energy
and so dynamic that you completely change your idea." Then, when Fiennes
heard Kilmer's re-done lines, he too would re-record, like vocal version
of table tennis.

"In a very odd way we were actually working together: it was a very
slow-motion process because that's how the story gets made up. Like a
mosaic, or an impressionist painting, where it doesn't really make much
sense up close, but give it some distance - when the animation starts
getting done - and suddenly it's there." Kilmer belongs to the same
generation as Tom Cruise and Brad Pitt, yet in spite of having regularly
proved a more resourceful actor than either, he has never really hit
their heights. One reason, I suggest, is that earlier in his career,
when he was married to Joanne Whalley, he turned down films that became
major critical and box office successes, usually because they did not
dovetail into his wife's schedule.

"Many jobs I knew would have been a pretty surefire way to go about
making a lot of money, being recognised and gaining power in the
industry," he says. Jobs he passed up on include Dune, Blue Velvet,
Flatliners, Backdraft, Point break, In the Line of Fire and Indecent
Proposal. Yet he has no regrets about having put so much into his
private life. "If it hadn't been that marriage, it would have been
another way of living that would have been grounding and fortifying."

But there was one decision, before his marriage, which was, he says,
highly significant. "I turned down a role in The Outsiders, because I
was doing Shakespeare at the time and I thought it was right to stay
with the play. I don't think I would have made the same choice now.
Because great careers came out of that. Tom Cruise and a whole bunch of
actors." Another film he would like to have done, but was not in fact
offered ("I just didn't get hired") was Philadelphia. He believes
today's megastars - Tom Hanks included - have all come up through
television. "Theatre just doesn't carry any weight. Hollywood would
rather pay lip-service than have anything to do with acting." Even
though it's six years since he last performed on stage, theatre is still
his spiritual home: "It's a more satisfying experience - the lifestyle
as well. Movies are cut off, you really have to work at having a life.
You get up before the sun gets up and you get home after it's gone down.
I mean I filmed The Saint in London and you had to work to be involved
with London, to go out, because Saturday night comes around and you're
tired.

"Whereas in the theatre, although it takes so much physical energy and
you have to stay in shape like an athlete, you can be involved with
something in the day-time in relation to your life. I find it a much
more satisfying lifestyle." Kilmer made his first movie, the comedy Top
Secret, 15 years ago. "In that time some of my contemporaries have
already made 40 movies to my 15. I don't know how they did it and
survived. Because it's such a pounding on your psyche. But then also
they do different kinds of stories."

It's only with his most recent movie, At First Sight with Mira Sorvino,
that he has been just "normal" - "where I went to work every day and it
wasn't something supercharged to get ready for in some fashion, physical
or otherwise. It seems all the movies I have done until now are taxing
in some way."

Now, however, the two strands of his career are about to blend into one:
the offer to play Dracula on Broadway. He's thinking about it.

"It would be wonderful to get some real juice again on the New York
stage," he beams, as he downs the last of his own organic tipple.

•The Prince of Egypt is on general release
------------------------------------------------------------------------
© Copyright: The Irish Times
Contact: itwired@irish-times.com



Top of pagePrevious messageNext messageBottom of pageLink to this message   By Valteamo on Thursday, December 17, 1998 - 10:56 pm: Edit

POE Gets 2 Golden Globe Nominations

List Of Golden Globe Nominees

The Associated Press

ORIGINAL SCORE: Burkhard Dallwitz and Philip Glass, ``The Truman Show''; Jerry Goldsmith, ``Mulan''; Randy Newman, ``A Bug's Life''; Stephen Schwartz and Hans Zimmer, ``The Prince of Egypt''; John Williams, ``Saving Private Ryan.''

ORIGINAL SONG: ``The Flame Still Burns'' from ``Still Crazy'' with music and lyrics by Mick Jones, Marti Frederiksen, Chris Difford; ``The Mighty'' from ``The Mighty'' with music by Sting and lyrics by Sting and Trevor Jones; ``The Prayer'' from ``Quest For Camelot: The Magic Sword'' with music and lyrics by David Foster and Carole Bayer Sager (Italian translation: Alberto Testa and Tony Renis); ``Reflection'' from ``Mulan'' with music by Matthew Wilder and lyrics by David Zippel; ``Uninvited'' from ``City of Angels'' with music and lyrics by Alanis Morissette; ``When You Believe'' from ``The Prince of Egypt'' with music and lyrics by Stephen Schwartz.


Top of pagePrevious messageNext messageBottom of pageLink to this message   By Valteamo on Thursday, December 17, 1998 - 10:50 pm: Edit

POE Breaks Box-Office Records!

The Prince of Egypt' Opens Worldwide

LOS ANGELES--(ENTERTAINMENT WIRE)--Dec. 17, 1998--DreamWorks' epic drama "The Prince of Egypt" has begun its unprecedented worldwide release to record-setting numbers, it was announced Thursday by Gerry Lewis and Jonathan Chissick, co-heads of DreamWorks International Marketing and Distribution.

Opening the week before Christmas -- traditionally a quiet week at the international box office -- the film has already broken box-office records.

Premiering on Dec. 17 in Singapore, "The Prince of Egypt" had the biggest-ever opening day for an animated film -- including "The Lion King," "Aladdin" and "Beauty and the Beast" -- taking in an outstanding estimated gross of $72,065.

In Europe, the film began its run on Dec. 16 in France, Belgium and Switzerland with more record-setting returns and a combined box office cume of $883,726. In France, critical acclaim preceded an opening-day gross of $759,128, surpassing the recent opening of "Deep Impact," "The Truman Show" and "Mulan." In Belgium, "The Prince of Egypt" had an opening-day gross of $36,643.

In making the announcement, Lewis stated: "The strong opening of `The Prince of Egypt' in the international market shows that the movie's themes cross all boundaries. Its universal appeal allowed us to break traditional release patterns and give international audiences the first opportunity to see this epic drama."

Chissick added: "We are thrilled that worldwide audiences have embraced this film so enthusiastically. In any language, `The Prince of Egypt' is as entertaining as it is powerful, and we are excited to finally offer audiences around the world the opportunity to see it together."

"The Prince of Egypt" opens wide in 3,118 theaters in the United States on Friday, Dec. 18. By Dec. 26, it will have opened in more than 36 countries worldwide.

DreamWorks Pictures' "The Prince of Egypt" tells the story of two men -- brothers and princes of the greatest empire on earth. One will someday rule Egypt. The other will become one of the greatest heroes of all time. The epic journey of Moses from slave to prince to deliverer has been told and retold for centuries, inspiring generation after generation. Now this timeless story comes to the screen in a new form for audiences of every generation to experience.

"The Prince of Egypt" features the voices of Val Kilmer and Ralph Fiennes as Moses and Rameses, and also brings together the vocal talents of Sandra Bullock, Danny Glover, Jeff Goldblum, Steve Martin, Helen Mirren, Michelle Pfeiffer, Martin Short and Patrick Stewart.

The film presents six new songs written by Academy Award-winning lyricist Stephen Schwartz ("Pocahontas") and a score composed by Academy Award-winning composer Hans Zimmer ("The Lion King"). The film is directed by Brenda Chapman, Steve Hickner and Simon Wells, and produced by Penney Finkelman Cox and Sandra Rabins.

DreamWorks SKG was formed in October 1994 by its three principal partners -- Steven Spielberg, Jeffrey Katzenberg and David Geffen -- to produce live-action motion pictures; animated feature films and television programs; network, syndicated and cable television programming; home video entertainment; records; books; toys; consumer products; and interactive entertainment.

--30--SJK/la AJE/la