Entrevistas y reportajes

Dios está increible en esta entrevista, gracias por comentarla Shizu (:
Me vais a llamar loca pero cuando la ví me enteré de que era mami y que estaba casada...no lo sabia!! pero bueno mas vale tarde que nunca XD

PD: quelista la presentadora!! le cogeel culo!! ahi aprovechando jajajaSupongo que la tentación seria demasiado fuerte

pero lo mejor es la respuesta de Jenn ante ese agarron! jajaja
La verdad esque asi vestida no me asombra que tuviera la tentacion! dios mio que cuerpazo tiene!!!!!

No se si hablaremos del mismo hombre, yo creo que si aunq no estoy segura. en una de sus entrevistas Jenn se rie mucho perque resulta que ella de joven era la canguro de la hija del presentador. por eso tienen tan buen rollo.

Shizu es éste al que yo me refería

leonora escribió:Jennifer Beals - Interview: 'The Late Late Show' (2/10/2011)


o
https://www.youtube.com/watch?v=YSZmY65ql1k

jooo pues ahora no lo recuerdo bien.. jijiji creo que era un poco mas "gordito" :S lo siento no lo recuerdo. creo esta entrevista no es la que digo.

Aquí te dejo la que tu dices

Sii jajaj es este. pues yo lo recordaba mas gordito al presentador. jajaj que desastre!! como encontraste el video?

jajaj entonces no te costo mucho

http://readingeagle.com/article.aspx?id=286772
Jennifer Beals relies on her masculine side for new series
By Nancy Mills
New York Times Syndicate

"I've been in fights," Jennifer Beals said. "When I lived in New York, some guy tried to run me over. I banged on his car He got out of the car, and I was ready. For some reason the adrenalin just came up. A crowd gathered round, and I think maybe a cop might have arrived, and he got back in his car."

So could Beals, who looks more like a fashion model than a street fighter in her tastefully slinky pantsuit, have taken the guy?

"I would have gotten my (butt) kicked," she said. "Who am I kidding? I'm glad I didn't have to find out. I'd have gone to the hospital."

Nonetheless it's this confrontational instinct that makes Beals believable in "The Chicago Code," the new Fox series in which she plays Teresa Colvin, who as Chicago's first female superintendent of police is in charge of a 10,000-member force. The ensemble drama, which debuted Feb. 7, also features Jason Clarke as a cop who's her former partner and Delroy Lindo as a machine politician with plenty to hide.

"Teresa is very driven and very righteous," the 47-year-old Beals said between bites of a late lunch at a hotel in Pasadena, Calif. "She has a very strong moral compass that she's willing to follow at great personal cost. She's not very good at balancing family and friends with her job.

"Unlike other characters I've played, Teresa has a comfort with the physicality that's required of her in her job," Beals said. "She's not afraid to throw down. It's not something that she courts or wants. She could kick my butt any day of the week. I'm not as driven, and I'm certainly not as ambitious."

Like Teresa, however, Beals - whose only previous regular-series role was in the lesbian-themed ensemble drama "The L Word" (2005-2009) - is comfortable being surrounded by men.

"Every set is a man's world," she said. "Even on 'The L Word,' the crew was primarily men. The whole world is a man's world, unless you're in a nunnery. And even that is colored by what you're allowed, what doctrine you're allowed to practice.

"I really like men, and I really enjoy their company," Beals said, "but I don't feel intimidated by men. It's very easy for me to call it out. It's probably because of having (two) brothers. And my mom was always vocal."

Working on "The L Word" changed her perspective, Beals said.

"When I got on the set, it became clear to me how much of my life I had spent with men," she explained. "The cast would want to talk things through, and at a certain point I said, 'Let's stop talking about it and just do it.' "

Eventually Beals recognized this as essentially a masculine perspective, the product of a quarter-century spent on male-dominated sets.

"By the end of the show I realized that there is incredible value in talking and talking and talking and talking and talking," she said. "Not only do you learn about someone else's point of view and you're able to stop and listen, but all of a sudden you start to understand how you feel and what you think about something. It was a very valuable lesson."

Since becoming famous overnight as the welder-turned-dancer in "Flashdance" (1983), Beals has worked steadily if not spectacularly. She has chosen her projects carefully, often gravitating to independent films such as "In the Soup" (1993), "Mrs. Parker and the Vicious Circle" (1994) and "Rodger Dodger" (2002). Most recently she was seen in "The Book of Eli" (2010) with Denzel Washington and Gary Oldman, and also had a recurring role on "Lie to Me" (2009-2010).

The appeal of "The Chicago Code," she said, was its handling of topical issues.

"Part of what could interest people are the action scenes and the regular cop stuff that goes on," Beals said, "but we're also trying to clear up corruption in politics.

"I think that people right now have a sense that there's something terribly wrong going on, whether it's going on on Wall Street and how the administration is handling that or not handling that, or what's happening in Arizona. Everybody is culpable. A lot of people want to change that and feel that they don't know how.

"On our show we'll have entree into those back rooms and to see how deals are made," Beals said. "In our heart we all want to make things right, whether it's in our neighborhood, in our city or within ourselves and our families."

The actress almost sounds as if she were running for office, but she said that isn't in the cards.

"Too scary," she admitted. "In order to succeed as a politician, you have to have the willingness to do good for your constituency - but you also have to have a certain cunning in order to get the good accomplished. I don't think I could ever be in politics, because I don't have the stomach for it.

"But there are other ways to accomplish change. For instance, while we were shooting 'The Chicago Code,' we had a food drive for one of the social centers, and we filled up two SUVs with nonperishable goods.

"If you spent a lot of time organizing, think of all the things you could do," Beals concluded. "You could get recycling in the city of Chicago."

"The Chicago Code" represents a homecoming of sorts for Beals, who grew up in Chicago. Her Irish-American mother was an elementary-school teacher, while her African-American father, who died when she was 9, owned a chain of grocery stores.

Always independent-minded, Beals used her height - she is nearly 5-foot-9 - to start working in an ice-cream store when she was only 13, convincing her boss that she was 16.

"I thought it was important to have my own money so as to not burden my mom," she recalled.

At 15 she got a job as an extra in "My Bodyguard" (1980), and that led her to modeling. Her next step was to be Yale University, but fate intervened: The summer before she was scheduled to start college, the unknown Beals was cast by director Adrian Lyne as the lead in "Flashdance." He picked her out of 4,000 candidates, and suddenly she was on movie screens throughout America.

"I have no regrets," said Beals, who put off Yale for a semester but ultimately earned her degree in American studies. "Some things I would have done differently. I would have had more fun. And I would have been more social - I was never social, and I'm still not. I really don't know how to be social."

She is trying to learn, however, with the aid of her second husband, Canadian entrepreneur Ken Dixon, and their 5-year-old daughter.

"It starts with a dog at the dog park," Beals said, "and then you have a child. I enjoy small groups of people, but not large groups. Some of my friends who are actors have so many friends. It's very easy for them.

"I don't think of myself as an outcast," she hastened to add. "Maybe I'm a little bit of a hermit. I really like my own company, I think that's part of what it is. I enjoy walking in the woods by myself with my dog."

That taste for solitude is unusual in an actress, but Beals has no second thoughts about her chosen career.

"I recently filmed 'A Night for Dying Tigers,' " she said, referring to an upcoming drama co-starring Gil Bellows, Kathleen Robertson and Lauren Lee Smith, "and it changed my idea of what acting can be. Those actors raised the bar higher and higher every day.

"My character is married to a guy who's going off to prison for having killed someone that he perceived was attacking his lover, who is not me," Beals said. "I give him a dinner before he has to go to jail. It involves his family, all of whom are insane and brilliant. In the middle of the dinner party, in walks the girlfriend!"

Beals is positively gleeful as she describes the scenario.

"I like characters that are complicated," she said. "I act for the experience. Sometimes I don't even see the movie. Here's what I'm interested in: What do I have to offer? How will the experience transform me? What can I learn?"

Whether it will make her more famous is not on her list.

"I don't understand people who are so interested in fame," Beals said. "That must be a really trippy existence."

radioentrevista: the buzz

http://www.1037thebuzz.com/media-gallery/detail.asp?GalleryID=1430

Jennifer Beals sigue promocionando: The Marilyn Denis Show

VIDEO: --> http://www.marilyn.ca/Video.aspx#clip418711


FOTOS -->http://www.prphotos.com/store/category.cgi?category=search&query=^events.sql&q2=Jennifer%20Beals%20Appears%20On%20CTV%27s%20%22The%20Marilyn%20Denis%20Show%22%20In%20Toronto%20On%20February%2016%2C%202011

foto

http://www.thestar.com/entertainment/television/article/940134--jennifer-beals-from-ripped-sweats-to-dress-blues?sms_ss=twitter&at_xt=4d5c4e91bd06fcea,0

Jennifer Beals: From ripped sweats to dress blues

Jennifer Beals, in costume as Supt. Teresa Colvin, talks to Illinois Governor Pat Quinn on the set of The Chicago Code.
CHUCK HODES/FOX

By Rob Salem Television Critic

Jennifer Beals was born in Chicago and now, full circle, she’s back there again, starring in The Chicago Code, a terrific new cop-and-politics drama on Fox and Global Mondays at 9 p.m.

But in between, with all her Canadian connections, we could virtually claim her as one of our own.

The dance bar in her breakout film, 1983’s Flashdance, was ostensibly based on a Toronto strip club. In 1998, she married a Canadian, film technician Ken Dixon. She then spent five years in Vancouver, shooting the much-admired cable series The L Word.

She was here in Toronto last year to premiere her Canadian film, A Night for Dying Tigers, at the Toronto International Film Festival, and also to shoot a Hallmark Channel TV-movie, The Night Before the Night Before Christmas.

And this week she was back, on a promotional tour for Chicago Code.

“I am so happy to be here,” she enthused. “I was so excited . . . I was worried that the immigration officer at the border might not let me through.”

That will become increasingly unlikely as Chicago Code’s audience grows. As of the upcoming third episode (airing Monday, Feb. 21), the show really hits its groove. Generally speaking, other actors have told me, immigration officers tend to gush over travelling TV cops.

If not the real cops themselves, or worse, their more image-sensitive political masters.

For example, the city of Baltimore, which initially embraced the local production of both Homicide and The Wire, later came to regret it, ultimately, unsuccessfully applying pressure to move the latter to another city.

Chicago law enforcement is, of course, well known for its own historic dark side, dating back to Al Capone. And while not perhaps now as overtly corrupt as Baltimore’s . . .

“You mean it’s not depicted as being as corrupt,” Beals grins.

Point taken. But that still leaves a lot of room for institutionalized bad behaviour.

Not that anyone is apparently complaining. Over 100 local Chicago cops have been recruited for speaking roles or as background extras, and last September the governor of Illinois himself paid a goodwill visit to the set.

“So far the Chicago police department has been nothing but incredibly supportive,” Beals says. “They get screenings before each episode airs and (the reaction is) always incredibly positive.

“I think anybody who lives in Chicago has to know that it’s a corrupt system. And that, as corrupt as it is, there are also people trying to clean it up.”

One of those people, at least fictionally, would be Beals’ Teresa Colvin, a heroic street cop promoted up through the ranks to become, quite unexpectedly, the department’s youngest and first female superintendent.

“When she first gets into the job, she doesn’t quite know how to navigate that kind of leadership. She’s just really getting her bearings. But by Episode 3, I think, she really finds her power.”

Though initially she looks like a frightened little girl playing dress-up, there is an unshakable resolve and razor intelligence lurking just below the surface, waiting to be unleashed.

These are qualities largely shared by the actress herself who, at the height of the Flashdance phenomenon, set aside the temptations of sudden superstardom to complete her studies at Yale.

Meanwhile, even as Beals was busy putting Flashdance behind her, the movie went on to indelibly impact the pop culture of the early 1980s, from music video-style filmmaking to funky street fashion.

It’s her fault, I tell her, there are still people wearing leg warmers who have never seen the inside of a dance studio or gym.

“Yeah,” she winces. “I apologize for that.”

She can, however, legitimately take credit for the distressed, off-the-shoulder sweatshirt look that has remained even more entrenched.

“When I was in high school, I had a favourite sweatshirt that had remained in the dryer for too long,” she explains. “So the hole for my head was too small — I couldn’t get my head through. So I cut around the hole.

“I wore it to one of the auditions and they liked it.”

Even more fondly remembered, particularly by men of my approximate age, was that iconic Flashdance moment where, as dancer/welder Alex, she casually removed her bra, through the sleeve, from under that same stylishly ventilated sweatshirt.

That was all Beals too, from the days when she would layer her clothes to go from school to, say, horseback-riding, rather than take the time to change.

I thank her on behalf of an entire generation.

“You’re welcome,” she smiles. “Happy to oblige.”

rsalem@thestar.ca