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MissMagAddict said:There's already a thread started on this...mods please merge
http://www.thefashionspot.com/forums/f78/t-nyt-style-magazine-spring-2007-robin-wright-penn-54104.html
The Girl Who Fell to Earth
Ph. Jean-Baptiste Mondino
Alien Status Burberry prorsum hand embroidered jewel Shift coat, $9,900. At Burberry stores. American Apparel lamé leggings, $36. Go to www.americanapparel.net. Balenciaga sunglasses. Nicholas Kirkwood platform shoes
Future Perfect Dolce & Gabbana metallic green minidress, $3,595. At Dolce & Gabbana stores. Select Nordstrom stores. Maxmara Swarovski embroidered belt, worn as necklace, $430. At Maxmara, 813 Madison Avenue
Versace silk-and-cotton-faille dress, $4,400. At select Versace stores. Gareth Pugh coat, $3,000. At Seven New York, 110 Mercer Street. Pierre Hardy shoes.
Robo-Shop Balenciaga by Nicolas Ghesquière stretch lamé jacket with metallic plates, $9,995, silk printed dress, $10,995, sequined tights, $19,500, sunglasses and shoes. At Balenciaga, 542 West 22nd Street.
Metallica Fendi perforated leather jacket, $4,430, rubber-and-chiffon dress, $4,310, and belt. At Fendi stores
Lanvin Black washed shantung coat, $4,463. At Barneys New York. Maxmara gold metallic silk dress, $635. At Maxmara. American Apparel silver lamé leggings, $36. Lanvin belt and shoes.
Sporty Spice
Ph. Nick Haymes
Personal Best The model Erin Wasson wears a Dries Van Noten dress, $1,425. Go to www.driesvannoten.be. What comes around goes around vintage t-shirt. Go to www.nyvintage.com. Maison Martin Margiela line 11 silk collar. American apparel socks. Chanel shoes.
Slam Dunk Miu Miu knit cotton mini-dress, $950. At select Miu Miu boutiques. Marni viscose-and-cotton leggings, $324. At Marni, 161 Mercer Street and Los Angeles. American Apparel socks. Maison Martin Margiela line 22 boots.
Jean Paul Gaultier sequin tunic, $1,685. At Ikram, Chicago. Ann-Sofie back shorts, $690. At Henri Bendel. American Apparel socks. Chanel shoes.
Scoring Points Maison Martin Margiela show collection silk striped top, $745. At Maison Martin Margiela, 803 Greenwich Street. Michael Kors Trompe L’oeil swimsuit, $198. At Michael Kors stores. Maxmara stretch silk drape skirt, $550. At Maxmara, Beverly Hills, Calif., and Palm Beach, Fla. Maison Martin Margiela line 11 belt. Absolute Vintage socks and shoes.
Maison Martin Margiela show collection bodice, $315, wrap shorts, $545, and skirt, $775. Absolute Vintage socks and shoes.
softgrey said:i can't find the name of the editor and hair and make up......
Acting Up
By LYNN HIRSCHBERG
Q & A: Although you've been working steadily in independent films, "Breaking and Entering," which opened last month, represents a kind of big-release comeback for you. Were you intentionally staying away from more mainstream films?
No, not intentionally, but I've always wanted to taste the unknown, and mainstream films do not usually channel the unknown. People say I turned a lot of parts down, and I guess I did. But film, as a medium, is, in my mind, about sharing. And if I don't have anything to share with a movie or a character, then what's the point?
Yes, but Anthony Minghella, who directs you in "Breaking and Entering," did offer you a role in "The English Patient," which eventually went to Kristin Scott Thomas. It was a great part, and she was nominated for an Oscar.
That's true, but in my life, my kids are top priority. When they sent me "The English Patient," I was either pregnant, or I'd just had the baby. I thought, Great script, but 16 weeks in Tunisia does not sound like the easiest place to have an infant. If you make the choice to stay at home, you lose position in the industry no matter how talented you are. It's all about box office, and when the audience no longer knows you, it's hard. The truth is, I got to do what I wanted to do, which was being a mom. So, when Minghella called this time, I said yes immediately. It also happens that my kids are now 15 and 13, and they're saying, "Get out of the house already — go back to work."
When you were around your daughter's age, you were "discovered" while you were roller-skating in a disco. A photographer suggested that you could be a model.
He actually did that cliché Hollywood thing where you frame someone's face and make a click like you're taking a picture. I had no idea what world I was entering, but I got jobs as a model. I went to Paris for almost a year, but I was too short, so I would only get work in catalogs. It was the most humiliating job: once, Patrick Demarchelier was casting a shoot for French Vogue, and he lined six of us up and said, "Let me see your breasts." I showed him. He shook his head: "Yours are not as good as hers." That's when you build a shield around you. The rejection is so destructive, and you insulate yourself in a kind of defensive cocoon.
But then you were cast as the pure, prototypical heroine in "The Princess Bride." She was anything but guarded.
I was 20 when I did it, and I had lost every part in every John Hughes movie ever made. When I auditioned for "The Princess Bride," I was Buttercup No. 537. The producers and the director were so tired. They saw me at the end of a long day on a Friday, and I think they just said, "We can't see another Buttercup, we'll take her."
Shortly after, you met your husband, Sean Penn. You co-starred in "State of Grace" in 1989, and he asked you out.
Actually, he told me to meet him at his hotel suite, and I sat there waiting. Eventually, he came out of the bedroom to greet me wearing a bolo tie, cowboy boots, a jock strap and a pith helmet. I started laughing hysterically. I said: "Oh, good. You're ready. Let's go."
He must have appreciated your sense of humor.
I guess. We're both very stubborn. For years, I felt that people were more interested in me as Sean Penn's wife than as a person in my own right. I love my husband, but I wanted to have my own identity.
I think your reserve, your reluctance to make mainstream films and your blondness have led the studios to see you as icy and somewhat disdainful.
I know — they never see me as funny. They think of me as a tragic heroine or, maybe, a hormonal mother. But I'm ready to not be so sad. I hate the idea that I'm glorifying sadness by portraying sad characters in films. It's what I resort to because, in a way, it's home. But I don't want to be that person anymore: it's too familiar.
Do you feel that independent films tend to stress darkness over light, whereas studio films tend toward happy endings?
I don't think about the work that way. It's the same with money: I never think about the budget of the film or what I'll be paid until I can't pay the water bill. Actually, it doesn't really matter because I no longer get offered big films. There was a time when I said no a lot, but I have no regrets: the happiest moments in my life were when I had my kids. That made a lot of decisions easy — any sort of movie role that I passed up is tiny in comparison.
Do you worry about Hollywood's tendency to shun actresses once they are past the so-called childbearing years, which they seem to think is around 35?
No. I think I have a couple of good years left. I say a couple of years because I won't get Botox or a face-lift. I hate all the surgery. We're conditioning society to think that aging is abnormal. I like my lines — I've earned them.
You're currently directing a documentary about women surfers. Are you interested in shifting professions?
Not really. I love to act. I'm about to turn 41, and I think I'm having a rebirth. I realize that acting has great meaning to me now in a way that it didn't when I was younger. So, I'm ready to work. I have other skills: I could sell real estate, I can knit, and I'm great at organizing a car pool. But I think I can act. That would be my choice.