Vanity Fair March 2011 : The Hollywood Issue by Norman Jean Roy

[nieska]

really? do you think he's funny?!

he's just a handsome and really HOT! actor but that's it

he was funny in that film with sandra bullock, and he is very handsome..but not a serious actor that is worthy (in my opinion) of being on vanity fair for the Hollywood Issue..actually, not a lot of these actors are worthy hahaha

 

[honeycombchild]

Got the issue today, and annoyingly, Natalie Portman has one shot inside the magazine and it's a reprint from her Marie Claire shoot from what I remember. Certainly not a new one..

 

[tarsha]

Big version of front cover



vanityfair.co.uk

 

[honeyisle]

Got the issue today, and annoyingly, Natalie Portman has one shot inside the magazine and it's a reprint from her Marie Claire shoot from what I remember. Certainly not a new one..

Don'y worry she'll get an issue all to herself after she wins the Oscar and has that baby.

 

[nieska]

I wish Natalie was on the cover! She deserves it very much

 

[Lanbim Cord]

^i know,she was amazing in 'Black Swan',but I reallyreallyreallyreallyreallyreally hope,that those rumors are true,that she's going to get one!

 

[ChillChaser]

For the people who have seen the mag already, who are the folks covered in the 2011 Hollywood Portfolio? Besides who's already been mentioned.

 

[Shelton123]

so Hollywood's just a bunch of boring white people? oh, and Anthony Mackie and Rashida Jones... sure. some ****ty narrow-minded casting if you ask me.

To answer your question, yes. That is actually true

 

[Label Basher]

Got the issue today, and annoyingly, Natalie Portman has one shot inside the magazine and it's a reprint from her Marie Claire shoot from what I remember. Certainly not a new one..

That's really odd. I can't recall VF ever using a reprint/outtake. It's usually another magazine who takes from VF. I'm guessing there was a really good reason her there was no time in her schedule to do a photoshoot. But see everyone was panicking for no reason. Natalie is inside the mag where she should be.

 

[honeycombchild]

This is the shot Vanity Fair have used, from Natalie's most recent Marie Claire shoot:


Marie Claire.com

 

[liberty33r1b]

^i love this shot, she looks really gorgeous here

 

[KKnardi]

I like the cover!

 

[Squizree]

Natalie Portman is pregnant, so she'd never work in a cover like that. She'll get her own cover though, VF likes her.

 

[nieska]

everyone likes Natalie..hahaha but yes that shot is cute from MArie Claire

 

[electrichearts]

I'd get this, if only for Andrew Garfield and JGL.

 

[Label Basher]

Hailee and Elle pic -


h-steinfeld.com

 

[Chiara 92]

Does Anne Hathaway have others pictures inside?

 

[Label Basher]

^ Just the behind the scenes pics that were previously posted.

 

[Chiara 92]

Too bad!
All right, thanks.

 

[Prairie]

The 2011 Hollywood Portfolio

THE MISFITS
Photographed by Annie Leibovitz in New York City.

David Fincher, Aaron Sorkin, and Jesse Eisenberg
Director, Screenwriter, and Star of The Social Network

The moral comes at the very beginning, as Boston University coed Erica Albright (Rooney Mara) dumps her Harvard beau, Mark Zuckerberg. “You’re going to go through life thinking that girls don’t like you because you’re a nerd,” Erica says. “And I want you to know, from the bottom of my heart, that that won’t be true. It’ll be because you’re an *******.” As conjured by screenwriter Sorkin and director Fincher, and as realized with unyielding flat-affect insolence by Eisenberg, Facebook founder Zuckerberg is a nightmare vision of the brainiac whiz kid who holds the keys to the world’s future but doesn’t give a damn about the implications. The movie itself is an adrenalized rush, unfolding at what a newspaper tech columnist would be obliged to call blazingly fast speeds. Such is the ingenuity with which these three men have tackled the unpromising raw material—computer coding, conference-room depositions, the wants and needs of callow campus twerps—that The Social Network, in spite of itself, paints a rather seductive portrait of nerdy-assholedom. Like Scarface and Mean Girls, it’s one of those movies that was conceived as a cautionary tale but will endure, to certain demographic groups, as an exhilarating how-to.

THE KING OF PAIN
Photographed by Rankin in London.

Colin Firth
Actor, Intellectual Heartthrob

Like Helen Mirren in 2006’s The Queen, Firth, in Tom Hooper’s The King’s Speech, gets the chance to give voice to a British monarch visually familiar from countless photographic images but a virtual mute where the American public is concerned. Unlike Mirren, whose Queen Elizabeth II exuded a sass, toughness, and sensuality unsuspected by her subjects, Firth, playing Lilibet’s sad-eyed dad, King George VI, known to his few familiars as Bertie, is a mess of insecurities. (To his wife, Firth-as-Bertie literally blubbers, “I’m not a king, I’m a naval officer!”) Most tellingly, Bertie has a severe stammer, a shortcoming for a king who needs to communicate to his people during wartime—and the obstacle that the film sets up Bertie to triumphantly overcome, with the help of Lionel Logue (Geoffrey Rush), a cunning speech therapist. But the king’s defect, though convincingly put across by Firth, isn’t one of those crass, Oscar-baiting disability gambits. It’s merely the most obvious element of an otherwise extraordinarily internalized performance: Firth’s second in as many years, on the heels of Tom Ford’s A Single Man. That movie’s bereaved gay expat has some of the same habits as the actor’s Bertie—the furrowed brow, the narrowed eyes betraying panic, the ciggies pulled on in a desperate bid for calm—but Firth, ever versatile, renders them this time in an entirely.

THE WORKING MOM
Photographed by Patrick Demarchelier in New York City.

Annette Bening
Actress

Where does one go at this point—after a career-making role two decades ago as a criminal-minded floozy in The Grifters and then a career-reviving role 11 years ago as an emotionally unyielding yuppie wife in American Beauty? For Bening, the mother of four children with husband Warren Beatty, the solution to Hollywood’s chronic problem—no decent roles for middle-aged and older women—lay not in a comfy TNT series but in an offbeat screenplay by director Lisa Cholodenko and her Kids Are All Right co-writer, Stuart Blumberg. It’s that old, familiar scenario: Bening, as Nic, the butch, breadwinning half of a married lesbian couple, finds her life turned upside down when her daughter and son track down the rascally hepcat (Mark Ruffalo) who had anonymously donated sperm that Nic and her wife, Jules (Julianne Moore), each used to conceive a kid. Through body language as much as dialogue—witness her firm, 10-and-2 grip on the wheel as she drives the family Volvo—Bening articulates her alpha-mom role beautifully, in perfect complement to Moore’s softer, zanier, more permissive beta. And when, as their picture-perfect PBS-coffee-mug life threatens to unravel completely, Bening is called upon to be vulnerable, she doesn’t hold back: the steel spine of the family melts, as does any sentient viewer of the movie.

THE COMEBACK KID
Photographed by Annie Leibovitz on the Warner Bros. studio lot in Burbank, California.

Ben Affleck
Actor

Affleck has accrued a lot of show-business experience since his precocious debut as the Oscar-winning co-screenwriter and co-star (with his pal Matt Damon) of the 1997 sleeper Good Will Hunting. He has appeared in a blockbuster (Armageddon), an Academy-approved hit (Shakespeare in Love), a flop (Forces of Nature), a cult classic (Dogma), another flop (Pearl Harbor), another cult classic (Jay and Silent Bob Strike Back), yet another flop (Daredevil), and, let’s not forget, the notorious Gigli. He has been paparazzi prey (the J.Lo years), a gambler, a playboy, a Harvey Weinstein protégé, and a reality-show kingpin (Project Greenlight). And now comes the sweetest part of a crazy career. With the one-two punch of Gone Baby Gone (2007) and The Town (2010), both directed by Affleck in what has come to be regarded as his trademark gritty Boston style, he is making a seamless mid-career transition from famous actor to famous auteur. A fast-moving, unpretentious, and very smart heist picture, The Town surprised the town of Hollywood when it pulled off the trick of winning critical raves while also winning its opening weekend at the box office.

THE NEW BREED
Photographed by Annie Leibovitz in New York City (Boyle in London).

Lisa Cholodenko, Tom Hooper, Danny Boyle, and Debra Granik
Directors

These four directors are similar to one another only in terms of their talent; the movies they sent out into the world in 2010 could not have been more different. The Oscar winner of the bunch, Boyle, made his mark with his kinetic style, something he had honed in 28 Days Later and Slumdog Millionaire and used to excellent effect in his man-versus-nature drama, 127 Hours. Up-and-comer Granik, the toast of the 2010 Sundance Film Festival, got critics and adventurous moviegoers to take notice with her celebrated neo-realist Ozark noir, Winter’s Bone. Cholodenko, who previously made the terrific High Art and Laurel Canyon, sneaked the sly wit of French-style sex comedy into The Kids Are All Right, a charming tale that pokes fun at the organic pretentions of haut bourgeois California. The cinematic throwback of this bunch is the youngest of them all: Hooper, a Londoner whose The King’s Speech possesses formal beauty without sacrificing a sense of outrageous fun. Long may they be nominated!

THE OLD SOULS
Photographed by Paola Kudacki in New York City.

Hailee Steinfeld and Elle Fanning
Actresses

Precocity isn’t the word for what these girls have; all child actors are precocious. Rather, Fanning and Steinfeld are naturals, each uncanny in her ability to internalize her director’s conceptualization of an unusual child character and to come out with a performance that is still convincingly, unphonily child-like. Fanning, in Somewhere, does it with softness, using twinkly kindness and the poise of a celebrity-rehab nurse to fill in the empty spaces in the life of her debauched actor dad (Stephen Dorff). Steinfeld, in the Coen brothers’ True Grit, does it with hardness, holding her face and spine firm, negotiating like an Old West Scott Boras, and attaching herself chigger-like to Jeff Bridges’s salty old U.S. marshal until he agrees to help her avenge her father’s murder. Fanning, who is 12, and Steinfeld, 14, have come by their professional good fortune very differently—the former as a seasoned juvenile pro and kid sister of a still-more-seasoned juvenile pro, the latter as a diamond in the rough, one of thousands of girls auditioned by the Coens’ people. But from here, for both girls, barring such nuisances as school and alternative career choices, the possibilities for further great performances are limitless.

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