Captain_Lydia
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She has such an adorable smile. She seems like such a warm sweet person. I'd love to meet her. 

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*AVAkoe* said:shes like the dark-haired Kate Winslet, they are both so alike, not just physically
February 26, 2006
The Rachel Papers
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Raymond Meier
Yves Saint Laurent bolero jacket $1,760. At Yves Saint Laurent stores.
By LYNN HIRSCHBERG
Rachel Weisz has a tattoo of a ladder on her hip. It's a symbol of her Cambridge days as a co-founder of Talking Tongues, an ambitious theater troupe that incorporated a ladder into one of its productions, and also of the spirit behind that endeavor. The tattoo is a reminder to have guts, take chances and throw yourself into what's scary and hard. "It's very difficult to get great roles," Weisz said in early January, over a late-afternoon tea of yogurt and orange juice (she was five months pregnant) at a coffee shop near her Manhattan home in SoHo. Weisz can look smoky and irresistibly alluring on film, which seems to bring out the dark lushness of her hair and eyes, but in person she has a lovely, fresh-scrubbed quality. On the day we met, this was accentuated by a white wool sailor cap and an oversize blue-and-white-striped nautical sweater. Although she had just returned from a Christmas holiday in sunny Jamaica with her fiancé, the director Darren Aronofsky ("I'm in charge of the wedding," she explained about the reverse order of baby first and ceremony later, "and I haven't figured all that out yet"), Weisz was alabaster pale and looked less like a siren and more like a radiant English schoolgirl, home from university.
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Raymond Meier
Azzedine Alaia knit dress, $2,540. At Barney's New York.
While no one would admit it, Weisz (pronounced VICE) might have initially been cast in films for her unique and startling beauty. "I was not one of those talented children who starred in every production at school," said Weisz, who is 34. "In 'Alice in Wonderland,' I was cast as the Dodo — a nonspeaking part. Later, when I played Ismene in 'Antigone,' which is the second lead and a great role, I wasn't very good. But I thought, This is where I want to be. Even if nobody else was saying that to me. My dad actually suggested that I think about other careers." She laughed. "I hadn't been the shining light, but I was still burning to pursue this profession. And then, with Talking Tongues, a plan was hatched."
There were only four members in the group, and they created a kind of extremely physical, highly personal theater based on improvisation and Eastern European techniques. "We'd hurl each other around the stage, and the dialogue was largely about how lovers try and possess each other," she said. "The plays don't read well — they had a kind of fraught naturalism."
After winning the student award at the prestigious Edinburgh Festival Fringe, the troupe performed at the Gate Theatre and, two years later, disbanded. Weisz then auditioned for an innovative production of Noël Coward's "Design for Living," directed by Sean Mathias, at the Donmar Warehouse. "It was a very romantic, very sexy production," she recalled between bites of fruit. "In the first scene of the play, I was wearing only a loose kimono, and I open a freezer and rub an ice cube between my legs because I'm hot and sore from sex." The Coward play is about a triad of ambitious artists, and it was a sensation in London. "Sean gave me wonderful advice," Weisz recalled. "He said: 'Stop trying to be so nice. Bring out the monster!' He'd scream, 'We're all monsters."' She paused. "I thought a lot about that when I was playing Tessa."
Tessa Quayle is the doomed, infuriating woman whom Weisz portrays in "The Constant Gardener." She fought to get the part, flying at her own expense to London to meet with the director, Fernando Meirelles, and then writing him long personal letters during the five months of casting. "I was passionate about this project," said Weisz, who was perhaps best known in films for playing the brainy, beautiful archaeologist love interest in "The Mummy." "Parts like Tessa don't come along very often. It was agony waiting to hear because it meant so much to me."
"The Constant Gardener" establishes Weisz as a complex cinematic presence. She won the Golden Globe for best supporting actress, and her work in the film has transformed her career: she can no longer be dismissed as just a thinking man's sex symbol. Her next film, "The Fountain," which is due in the fall, is directed by her fiancé, Aronofsky, and is even more ambitious. It tells interlocking stories, set in different eras and woven together like a braid: Weisz plays Queen Isabella in 16th-century Spain, as well as a girl who is dying of cancer in present-day America and also living in outer space in the future. "The title refers to the search for the fountain of youth," she said. The film has been in the works since her first meeting with Aronofsky five years ago. "Darren was never going to cast me," she recalled. "At the time, 'The Fountain' was to star Brad Pitt and Cate Blanchett." Weisz smiled. "But everything changed, and here we are."
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Raymond Meier
Azzedine Alaia dress, $3,830. At Barneys New York. Shoes by Lanvin. Fashion Editor: Tiina Laakkonen.
Weisz, whose mother is a psychotherapist and whose father invented an artificial respirator that is still used in emergencies, has often played characters who die. "I know," she said. "I keep dying. Tessa is murdered. And I'm about to die in 'The Fountain.' But then I've always had a preoccupation with death." This preoccupation, she said, is both good and bad: "Bad because it has sometimes led me into hellish places, as part of my quest to devour life. And good because I recognize that time is short, and we must act on our beliefs. We're all looking for something great — something singular — to push us out of what's safe and easy."