Entrevistas y reportajes

julia escribió:Ooohhhhh cuantas noticias de Jennifer!!! Muchísimas gracias Leonora por ponernos al día. Se te echaba de menos

gracias Julia, yo también echaba de menos el foro y fue una sorpresa muy grata descubrir que habíais vuelto y estoy muy alegre de que al final todo se haya solucionado:)).
intenté poner más o menos las novedades que me he ido encontrando durante el último mes y medio, te agradecería que mantuvieras un ojo a mis post y que borres cualquier material que te parezca que pueda traer problemas... ya sabes, a veces queriendo poner todo lo que me encuentro puede que se me pierda la noción y no quiero infringir involuntariamente algún derecho intelectual con algún enlace :)

No te preocupes, cuando se infringen derechos de copyright avisan para que lo arreglemos, se arregla, y ya está. Ya nos pasó una vez, como bien sabes, y no hubo ningún problema. Aunque a mi me molestó un poco el tono totalmente injustificado en que la persona afectada hizo la reclamación, pero ya está olvidado.

Hay más problemas con el tema de descargas, ese fue el causante de que nos cerraran provisionalmente el foro. Pero todo es negociable, y al final también se solucionó. Eso sí, eliminando todos los enlaces de descarga Pero buscaremos una alternativa cuando yo tenga más tiempo.

http://www.more.com/2049/25833-jennifer-beals-is-packing-heat


Jennifer Beals Is Packing Heat
by Meryl Gordon



She doesn’t do nudity, but she’s filmed some wildly sexy scenes. She gained international fame as a teen (in Flashdance) but never became a tabloid fixture. Meryl Gordon spends a revealing day with a stunning star who’s always had her feet planted firmly on the ground.

On a scorching hot day in Chicago, Jennifer Beals is standing on a bridge that overlooks a river and a dusty boatyard, preparing to film a scene for her new series, Ride-Along. In her role as Teresa Colvin, the city’s tough-minded police superintendent, she is wearing heavy cop regalia (black leather boots, pants-and-vest uniform, maroon shirt), and her long curly hair is tamed in an ornate bun under a police cap. She’s about to witness a car being dredged up from the river below with a dead body inside.

This tough cop is a 180-degree career turn from her last major role: the ­lipstick-lesbian museum curator Bette Porter, whom she played on The L Word for six years. For the new show, premiering on Fox in early 2011, Beals has uprooted her life, moving with her husband, Canadian entrepreneur Ken Dixon, and their five-year-old daughter from Vancouver to her hometown of Chicago, a place filled with echoes from her past. “Oh my God, my younger self is around all the time,” she says. “I’ll get a memory of a certain place. I may not remember precisely what happened at that location, but I’ll have a feeling about it.”

Ride-Along creator Shawn Ryan (The Shield) views Beals’s local-girl status in Chicago as a plus. “Jennifer is steeped in the city and the culture,” he says. But there’s one native advantage that Beals is comically lacking. “In the fourth grade, I decided that I would never sound like I was from Chicago, so I erased my accent,” she says. “For this show, I need to relearn it.”

With the heat index expected to reach 105 degrees, newscasters are urging people to stay inside, but Beals and the rest of the cast and crew are spending five hours under the sun’s brutal rays, without air-conditioned trailers or even bathrooms nearby. Knocking back Gatorade and joking with crew members (“Are you looking for an even hotter place to stand?”), Beals exudes good cheer. “I love the heat, I really do,” she insists. She knows that this is an impromptu character test, since the top-billed actors set the tone of a production. “How do you treat people around you as you are experiencing discomfort?” she says later. “Do you take it out on them or try to help them through it?” She chooses to be as upbeat as possible, cavorting in the actors’ “cooling tent,” a flimsy three-sided canvas area with two hoses ineffectively shooting out chilled air. “Jennifer and Jason [Clarke, who plays a detective] are dancing in front of the hoses, trying to cool off, while running their lines,” says the episode’s director, Lesli Linka Glatter, who’s also co–executive producer on the series. “She’s been outside on the three hottest days shooting in these disgusting places. She’s been extraordinary.” As Beals is summoned to the set again, a makeup artist rushes over to mop off the sweat, then powder her forehead.

Unlike so many other actresses, she has a face that moves freely, and when I mention this later, she says with a laugh, “Yeah, everything’s moving—frankly, downward.” But she does not see Botox or plastic surgery in her future: “That’s not what I wish for myself.”

famous as a teenager can bring blessings and burdens, and Beals has experienced both. In 1983, Flashdance turned her into an international star and style icon overnight (that ripped sweatshirt! that sexy poster!) in her first year at Yale. A serious student who modeled as a teen to earn college tuition, she was startled by the media attention. “What’s surreal is that you experience yourself in the abstract,” she recalls. “People on the street think they know you, but they know this person that they visited with on the screen for an hour and a half.” She was never tempted to go the Hollywood wild-child route that has derailed such promising talents as Lindsay Lohan. “To get sucked into that, you have to believe the glamour is real,” she says. “If you have your eye on a different prize, you don’t get sucked in. I was so excited to go to college.”

Fellow Yale alum Jodie Foster, a friend who was a few years ahead of her, recalls that Beals downplayed her newfound fame. “She was a girl who played basketball and wore sweats and Converse sneakers,” Foster says. “She took photographs. I never believed she was going to be an actress; it didn’t seem to fit her personality. She’s not somebody who needs to dance on a table with a lampshade on her head to get attention.” That said, Beals is not shy about expressing her feelings. “What’s funny about her is that she can have a temper,” Foster says, laughing. “She can get into fights with cabdrivers. There’s a real fire in her.”

An entire generation fell in love with the fire Beals brought to her first major screen character, Flashdance’s gorgeous dancer-welder Alex, then watched her move to indie films (Mrs. Parker and the Vicious Circle, Roger Dodger), TV series (The L Word, Lie to Me) and the occasional big-budget epic (The Book of Eli). “She has a profound, intuitive intelligence,” says Allen Hughes, co­director of The Book of Eli, in which Beals played a blind survivor in a post­apocalyptic world. “She did this audi­tion; it was so uncanny and different. It challenged me to look beyond my preconceived notion of what the part should be.” For Ride-Along, Ryan needed an actress to portray “a new breed of police leader,” he says, one who could navigate the “male bastion” of the Chicago police force. “As soon as I heard Jennifer saying the words, I knew she was right for it.” He also applauds the fact that Beals “isn’t completely tied up with the business and stardom. She’s a consummate pro on the set, but that doesn’t interfere with her being a wife and mother.”

Beals and Dixon have been married for 12 years (her first marriage, to director Alexandre Rockwell, lasted 10 years). “We met through a mutual friend,” she says of Dixon, “and when I saw him ice-skate—yeah, he’s Canadian—that sealed the deal.” She flashes a mischievous grin. “It was an ease, a body ease in the world.”

Outspoken and self-confident, Beals deals with public scrutiny by teasingly playing around with how much she will conceal. On The L Word, which featured a weekly cornucopia of breasts, “Jennifer didn’t do nudity,” says Ilene Chaiken, the series’ creator. “But she did some of the most compelling and sexy scenes, because she made them so real.” Says Beals, who declined to screen-test for Flashdance until the director said he’d use a body double for the sex scenes: “Usually you don’t need to do [nudity]. I don’t think it was necessary to the stories I was part of.” Similarly, in conversation with me she ducks some questions, such as those about her family (“Their lives are their own,” she says), yet offers up revealing anecdotes about her own experiences.

For Beals, an acting job isn’t just a gig; it’s an opportunity to shape attitudes and break stereotypes. Which is why she remains upset over the controversial final season of The L Word, when this show about female love turned into a backstabbing murder mystery. “Do you know the lobster theory?” Beals says when asked about the series’ ending. “When you cook a pot of lobsters and they’re all male, you need to put the top on, because if one male gets out, he’ll try to help all the others get out.” She pauses, then adds, “But if you’re cooking a pot of female lobsters, you don’t have to put the top back on, because if one female starts trying to get out, the others will try to drag her back into the pot. Isn’t that awful?” She hated the way the plot forced the women to turn on one another. “My point is, we’re not lobsters,” she said. “It would have been nice to end it differently.”

Chaiken defends the plot (“I always did my best to tell the best stories, the right stories,” she says) and adds that she appreciated Beals’s passion for her character. “Jennifer can be very exacting. She’s constantly attuned to whether the words and the ideas are worthy of the character, worthy of her. It’s a lovely thing and a very challenging thing.” Beals was the first actress cast for the show, and her presence gave the series a huge boost, Chaiken says. “Showtime wasn’t sure I would get any big names. It really meant a lot to me to get some­one who had a presence, a following. Jennifer set the bar, and she had no qualms about playing a lesbian.”

Beals used her star clout to help shape her character’s story line, requesting that she be explicitly biracial. “It became one of the most important aspects of the character,” Chaiken says. This is drama by way of autobiography: Beals is the daughter of an Irish-American schoolteacher and an African-American grocery-store owner who died when she was only nine. “We think it was a stroke,” she says. She lobbied to make her Ride-Along character biracial as well. “I think it’s interesting to explore, and it’s not explored very often.”

At the time we spoke, she didn’t know whether she would get her wish, but two weeks later Ryan tells me he has agreed. “I thought it was a perfectly legitimate question, since we planned to do a story line where you met her family,” he says. “Jen­nifer is biracial, she grew up that way, we’re playing it that way. Chicago is an interesting, complicated town in terms of race relations. It affects the character.”

Beals, who also played a biracial woman passing for white in the 1995 drama Devil in a Blue Dress, says she hasn’t experienced overt prejudice, but she admits that as a child she grappled with “feeling different.” She credits her mother with helping her create a positive identity by reading her stories from Greek mythology, in which “being different meant that you had some kind of gift. So it wasn’t a detriment.

“I’ve never lived my life to please someone else, trying to fit in,” she adds, “because that’s just a huge waste of time and causes all sorts of unnecessary anguish.”

It's 7 pm, and the production has moved a few miles away to a modern municipal building masquerading as police headquarters. Sitting in “video village,” an area tucked into a ground floor alcove filled with TV monitors and director’s chairs stenciled with the cast’s names, Beals jokes with the dialogue coach about the Chicago attitude—smiling on the outside, scheming on the inside—she wants to convey in the next scene. She’s been snacking all day (“I don’t want to lose too much weight with this heat”), and now she wanders off in search of a plate of cottage cheese. Moments later, a five-foot-long metal pole comes flying off the balcony, landing with a clang on Beals’s chair.

Everyone in the vicinity is shaken up, yet Beals, informed of her close call, is remarkably unfazed. She’s had near misses before. “I was supposed to be at the World Trade Center on 9/11,” she says, prompting Glatter to reply, “I’ve got chills going up my spine.” Beals and Dixon were visiting New York and had planned to eat breakfast at Windows on the World, at the top of the north tower, then watch the opening bell ring at the stock exchange. When she woke at 7:30, she noticed that her usually fastidious husband had left his clothes on the floor. Beals recalls that she heard a voice in her head say, He’s worked so hard, let him sleep. “Luckily,” she adds with understatement, “I listened.”

By the time filming wraps, it’s 10:30. She’s exhausted but still game to meet me for a late dinner at the Four Seasons Hotel. She has changed into straight-leg jeans and a soft gray Marc Jacobs knit top (“I stole it from Pam Grier during The L Word”), and she’s slipped her gold-and-platinum wedding band back on. We talk about the pleasures of her top-cop role in Ride-Along, which gives the actress, who has competed in triathlons, a chance to get physical, brandishing a gun and subduing suspects. “Teresa will throw down,” Beals says cheerfully. “I got to really clock someone the other day. I get to express rage, which women are often reluctant to do.” Comparing Teresa with The L Word’s Bette, Beals adds, “They’re both incredibly strong; they’re both righteous. Teresa is like Bette on steroids. She’s even more driven, not as tenderhearted.”

To prepare for the role, she did a real-life ride-along with Chicago detectives, responding to a call that a man had been shot. “He was bleeding profusely and about to pass out,” she says. “I got to see how a crime scene is set up, who puts up the tape barriers, the detectives following the trail of blood. I helped find the shell casings.” That search sparked a flashback. “I remember on New Year’s Eve, my dad and the people in the neighborhood on the South Side used to fire their guns,” she says. “In the morning, the kids would go out and find the shell casings.”

I ask if her father kept a gun at home to protect the family, and Beals laughs. “Yes. Are you an American? Is it a foreign idea to keep a gun?” she says. “I grew up in an apartment building, and everyone we knew had a gun. My mother taught on the South Side, where kids would bring guns to school on a relatively regular basis. One of the first lessons she would teach the kids was how to dial 911.”

Her dad is long gone, but she feels that his spirit is still with her. Small wonder it’s so emotionally powerful for her to be back in Chicago, a place she hasn’t lived in for nearly three decades but where she is confronted daily with her past. “The thing about death,” she says, grappling for the right words, “in some ways they are there; you just don’t see them necessarily. I don’t believe it just ends when somebody dies.”

Beals grew up in a nonreligious household; her mother is a lapsed Catholic who wouldn’t let her daughter attend church or synagogue. “I really wanted to know who God was,” the actress says. “So I would read the Bible at night to myself. It horrified her that I was collecting different Bibles; I’d find them at the flea markets, and I loved the ones with family photos.” She even wrote away for catechism instruction. Beals’s friends describe her as spiritual—a woman who meditates, gives crystals as gifts and is interested in alternative medicine. “She knows everything about Tibetan herbs,” says Foster. Adds the actress Elizabeth Berkley, a pal for a decade: “She’s a seeker in a beautiful way.”

As much as she enjoys acting, Beals also likes looking through the other side of the lens. A talented photographer, she often takes her Leica to work and recently published a book of candid, luminous shots of the cast of The L Word, with proceeds going to charities including the Matthew Shepard Foundation. “She has such an eye,” Foster says. “The first photographs I ever bought, when I turned 21, were Jennifer’s. She wanted to give them to me, but I wanted to be the first to pay for them.” On 9/11, Beals tells me, she took her camera downtown to make her own record of that fateful day.

The waiter removes our plates. Beals orders cheesecake and then cancels: “I don’t want to desert you, pardon the pun, but am I going to regret this in two hours? I’ll stay with my green tea.” It’s now after 12:30 am, and she’s ready to go home, aware that she’ll be awakened early by her daughter. I ask whether there’s anything else we should know about her: Does she tap-dance at 3 am, collect stamps, have unusual hobbies? Beals gives a surprisingly serious response, circling back to her ongoing search for meaning.

“The impulse to want to know who God is, is kind of still there,” she says. But she stresses that she has made some discoveries in her quest. “Whether it’s that moment in acting when everything is suspended and you’re not yourself, or breaking through the veil of a very long run or swim, or hearing my daughter laugh—they are all pathways to what I think God must be.” She pauses, then says with a smile, “That original journey has not ended.”

Meryl Gordon profiled Laura Linney for the September issue of More.

Originally published in the December 2010/January 2011 issue of More.
First published December 2010

que fantastica!!!!
gracias leonora

http://digital.modernluxury.com/publication/index.php?i=56776&m&l&p=160

CS Magazine's January 2011

graduada con honores de la Universidad de Yale

http://www.thelwordonline.com/Cubecart/index.php?act=viewProd&productId=38



The Advocate - January 31, 2006
Featuring interviews with Jennifer Beals and Ilene Chaiken

Soul of The L Word
We may argue about The L Word, but on this we all agree: Jennifer Beals takes our breath away. The star opens up about shooting sex scenes, being a new mom, and giving lesbians what they want

By Anne Stockwell

Excerpted from The Advocate, January 31, 2006

By virtue of her acting chops and star power, Jennifer Beals unshakably anchors the L Word ensemble as lipstick lesbian dynamo Bette Porter, who aspires to run the world and never break a sweat. Born in Chicago, her mother Irish and her father African-American, Beals was 19 years old when she ripped the neck out of a sweatshirt and aerobicized herself into film history with 1983’s Flashdance. Directed by Adrian Lyne and cowritten by Joe Eszterhas, this was just one of a crop of would-be imitators of Saturday Night Fever. With her model’s stature and wounded eyes, Beals turned it into something else again.

The “wounded eyes” thing shows up in every story ever written on Beals, and no wonder. Those liquid brown eyes are a gift of nature, and Beals—an agile intellect who majored in American literature at Yale—deploys them to stunning advantage. In The L Word, Beals has put The Eyes in the service of lesbian fans everywhere, using that smoldering gaze to create some of the most erotic woman-to-woman love scenes in memory. Even Chaiken can’t explain how Beals works her magic. “I’ve never met anybody else,” says L Word creator Ilene Chaiken simply, “who can do it like she can.”

Do people still assume that you have to be a lesbian to play one on TV?
No, not at all. At least they don’t say that to me. I heard a rumor that somebody—a studio executive in L.A. who saw some of the show—assumed I was bisexual. Which was a huge compliment to me, because oftentimes I will go Leisha or Kate or Ilene or Rose Troche most often and ask, “OK, is this the right thing to do? Is this not the right thing to do? Am I going to seem like a total chump if I do this?” And so I feel really proud, actually, that somebody would think that I was bisexual—I was pleased with myself. And I don’t care, frankly. But I think mostly people will ask the question to get a titillating lead for their article. My older brother is a journalist, so I know how the game works.

Some in the lesbian community have said, “Everyone’s too pretty, too rich”—all of that. But on this season there’s going to be a more explicit look at butch and femme roles.
Yeah, I think Ilene’s explored that so far. But, you know, it is TV. I don’t know any group of people in New York who look like the characters on Friends either. But I take their point. It excites me that if people don’t like something, they voice their opinion about it. Because this, by and large, is a group that’s never been represented. And instead of just saying, “Oh, we’re so thrilled to be represented and we’ll take whatever we can get,” there are very specific opinions of how people want to be represented.

Let’s talk about season 3. Your character, Bette, is at a crossroads. The job’s gone. Her father has died. Her relationship with Tina has to be rekindled. And then there’s a new life that requires more commitment than she’s ever given anybody.
Yes, it’s true. It’s the curveballs that come, one after the other. The second season was definitely the trials of Job in a way, and then this season has its own trials that aren’t as necessarily evident but are profound nonetheless.

In what direction does Bette most need to grow at this point?
[Sighs] I don’t know. It’s hard for me to presume to say how someone needs to grow. Then I’m standing back and judging her, which is a tricky thing to do as an actor. I think she needs a really good attorney at this point. [Anne laughs]

Having seen the first couple of episodes, I can only say that baby Angelica is a gorgeous, beautiful baby.
Oh, that kid is just—her name is Olivia, and she’s just such a delight. She makes me laugh so hard, and she’s been so patient with all of us. Oftentimes, working with children can be very hard. They don’t know where they are, they don’t know why they’re there, and they don’t enjoy it. But she clearly enjoys being around.

http://www.dailymakeover.com/hairstyles/all_womens_looks/jennifer_beals_sept_13_2008?tid_ref=766


Soft curls and rounded volume add to Jennifer Beals' curvy hairstyle.
Styling Tip

Step 1: Apply a handful of volumizing mousse onto damp hair. Blow-dry two-inch sections of hair with a round brush applying upward tension at the root for lift, then turn the brush several times to add subtle roundness to the length.

Step 2: Spritz the lower part of a two-inch section with styling spray and wrap around a medium curling iron. Hold in place for a few seconds to set curl, release and repeat all over. Curl face-framing sections away from your face.

Step 3: Run fingers through hair to break up the curls and coax fullness.



http://www.dailymakeover.com/hairstyles/women_hairstyles/jennifer_beals_oct_15_2007?tid_ref=766


Undone Texture
Styling Tip
Show off your natural curl by liberally applying curl-enhancing lotion mixed with leave in conditioner, combing through to evenly distribute. Use a diffuser on your blow-dryer and lightly scrunch hair while drying.




---------------------------------------------


http://www.dandelionkids.ca/blog/2008/04/15/enroute-magazine-actress-jennifer-beals-commercial-drive/




http://www.thedrive.ca/press25.shtm


EnRoute Magazine, April 2008
Actress Jennifer Beals' Commercial Drive

Jennifer Beals was propelled to fame as a welder in the 1983 film Flashdance. Now whe's better known as workaholic Bette Porter in The L Word. Entering its 5th season, the TV drama is set in West Hollywood but filmed in Vancouver, where Beals shares a home with her husband and two-year-old daughter.

Britannia Centre
It's the centre of everything. Ther's ice-skating, a pool and a gym, and it all costs about $5. The whole notion of a community centre was a revelation to me, you wouldn't find this in L.A.

Joe's Cafe
The Drive is so ethnically diverse and driven by music and people and soccer. I used to live in the area, and during the world cup, it's just so alive. Joe's Cafe is a popular place for games, and they have great coffee.

Dandelion Kids
They have fun toys and clothes and carry a lot of wooden items and things you won't find anywhere else, like unusual puzzles and mobiles.

Havana
At almost any restaurant on the Drive, you'll usually hear live music playing or people talking about their band or a short movie they just made. This place has a warm atmosphere, the food is cuban-and-latin-influenced and one of the cool things about it is the art gallery in the back.

Little Nest
This is a comfortable new cafe that's really family-oriented. There's a play area, which is fun for kids. It's like eating in a living room. They server great sandwiches and soup.

me he encontrado con un artículo más dedicado al estilo de JB (como sabemos, ella misma fue impulsora de una moda a lo flashdance en los 80 y además es conocida por su gusto por los accesorios, supongo que nos encontraremos con muchos artículos y fotos dedicados a eso), tal vez deberíamos abrir un nuevo tópico para artículos que no son ni entrevistas ni reportajes, para no tenerlo todo mezclado ..
si lo considerais oportuno, ruego que algún moderador mueva estos últimos posts sobre estos temas en un tópico nuevo :)-

también, tal vez, las galerías de fotos también deberían estar organizadas por décadas y teniendo en cuenta que alguna son de actriz, otras de modelo.., porque son casi 30 años y se hace difícil buscar cuando alguien quiera ver algo concreto, aunque eso tal vez sería mucho tabajo para los moderadores para reordenar lo que se ha acomulado hasta ahora..

Leonora, tu misma puedes abrir los temas de jennifer que creas oportuno, y como es verdad que para las modes va a ser mucho trabajo reorganizar los temas, te animo a que seas moderadora del foro de Jennifer Beals, nadie como tu conoce el tema. Sí, ya sé que últimamente se han incorporado muchas moderadoras al foro, pero la idea es que nos repartamos el trabajo, y que cada una se dedique a unos temas específicos.

Si me dices sí, te hago moderadora del foro de Jennifer, y luego hablamos de como se puede reorganizar. Estoy dispuesta a escuchar tus ideas

Gracias Julia, gracias por la confianza, me encantar ayudar en todo lo que pueda para esta sección, que creo que se nota es la más interesante para mi :) porque la verdad no son muchos los lugares en español sobre JB y a mi el inglés me resulta algo difícil..Y no creas que sé tanto sobre JB, muchas cosas las he aprendido aquí, gracias a las cosas que habeis reunido y traducido, y los comentarios...
No sé si sería un buen moderador, pero podría intentarlo, aunque no sé exactamente el tiempo del que dispondría con lo cual lo de reogranizar temas enteros como las galerías iría poco a poco en el tiempo, empezando a partir de dentro de una semana al menos...

dice que lleva power balance