Clive James: my gateway to infinity

Thursday, May 15th, 2008

In 2005 I finally managed to buy my domain name, clivejames.com, back from a British pirate. Before the pirate got hold of it, my domain name belonged to another Clive James, a jet-ski instructor in Miami. I waited a long time for him to have his accident, but when I lunged forward to grab the vacant domain name, it turned out that the pirate had already bought it. He sold it to me for only slightly less than it would have cost to sue him, but it was worth it.

My fledgeling multimedia website could now carry my name, an attribute that might come in useful when trying to attract the attention of anyone who remembered it from the days when I had my face on the box in the corner of the room, instead of on the screen of a computer.

By that time my plans for the website were already changing. My first idea was to set up an online archive of everything I had ever written. There were practical reasons for doing so. On the web, your books can be made available while occupying no physical space at all: a humble aim, surely. But I have to admit that megalomania was part of the initial impulse.

I was building a memorial to myself: not a very charming idea even when the pharaohs did it. Luckily I soon realised that the project might be more useful if I included the work of other people. Some of my own work included other people anyway.

I was already, in the Video section of the site, running little no-budget television interviews that I was making in my living room. Jonathan Miller, Cate Blanchett, Terry Gilliam, Julian Barnes, Ruby Wax, Ian McEwan, Martin Amis and others (the complete line-up of 25 half-hour interviews is still on the site, and still growing, with a new series of nine to be uploaded soon) all contributed their services for not much more than a takeaway Chinese meal and cab fare.

In the Audio section, I had been streaming dozens of radio dialogues that I had done with Peter Porter for the ABC in Australia. I had a Gallery section, and all its painters, sculptors and photographers were my guests (there are now 17 of them, with seven pages each).

Worldwide, there were journalists and essayists who were taking their business seriously. I wanted to help to shine a light on their best work. When I was a journalist, I had always thought that an individual piece was like an individual poem: if it was well enough done, it deserved to live. On the web, nothing need disappear.

There were poets who deserved a world stage. I wanted to help to provide that. If I could load my website with enough permanently valuable material, people from all over the world might visit, not just because it was an example of one writer expressing himself, but because the site itself was expressing a wide range of human creation.

A limitless range, in fact: because there were already countless good things glittering among the junk out there on the web, so a site’s grizzled proprietor could turn his years to use by guiding visitors to the treasure.

You could say that this was megalomania taken to a further stage and disguised as altruism. But whatever the motive, after five years of steady construction the site has become the focus of my later life. I used to do several different things for a living.

But they were all linked by writing, and now they are all happening in the one place, and I have to do a lot of extra writing to explain what’s going on. By the nature of the web, this explanatory writing has to be terse, but that requirement never hurts.

The site’s comprehensive redesign, which has just been completed, looks a lot less tentative. It looks, as we used to say in television, “meant”. And so it should, because a lot of people are giving their efforts to it for small financial reward.

They are headed by my copy editor, Cécile Menon, who can also converse with computers fluently enough to run the site. Powerfully persuasive for someone no bigger than a piaf, she recruits out in cyberspace the ghostly technical experts whose time is worth a fortune. Somehow she persuades them to work, like her, for a pittance. She is also gifted with adventurous taste.

Many of our painters and sculptors are found by her. Sometimes she has to convince me, but only by making me look more closely, and invariably they prove to have a quality that my unaided eye might have skated over. Thus my education continues, and I get the chance to write outside my usual frame of reference. In this way, one’s mental range is increased. It’s the thing I like most about the web. It can get you beyond yourself.

In that question lies the only thing for the aspiring webster to be scared of. You can throw a party, and nobody might come. There are at least seven million websites in the world, and about 90 million blogs, and it’s already obvious that when everyone on Earth is building a personal display case they won’t have time to look at anybody else’s.

As many lone bloggers have already found, their regular audience is only going to be a handful of people like them. Some of the handful are in Iceland or Venezuela, which can be a thrill, but on the whole, no matter how well the bloggers write, if they haven’t got a selling point beyond their own opinions they are digging their own graves under the impression that they are putting up a building.

But when I wake up sweating in the night, wondering if I am going broke to no purpose whatever, I can check the viewing figures and remind myself that at any given moment, as the sun comes up around the world, there are people online to find out what we’ve got to offer. Not a lot of people, perhaps, but they come from more than 50 countries.

Since most of them, if they decide to browse around, will read as well as look and listen, it’s a safe assumption that they are good at English, which they got from books. The fear that the web necessarily erodes the ability to read is groundless. The web is fundamentally literate, even if at a low level.

At an even lower level, alas, it is also frightening, because a huge percentage of it consists of pornography, eked out by masterclasses in bomb-making, conspiracy theory and religious terror. The word “jungle” is almost too genteel to apply. But if the whole thing really is a lethally dangerous primeval forest, then a crucial battle will be lost if clearings are not provided in which people can find nothing but civilisation.

I suppose the most glittering prize the web offers is that it gives you a chance to put your life on the line in a constructive way. Even the brightest young people, wherever they come from, are more likely to find an older voice worth listening to if it is talking about something beyond wealth and power. It can talk about value, saying not just “This is what I have done” but “This is what others have done, and I find it valuable beyond price”.

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Eyes wide open

Friday, March 14th, 2008

Otherworldly supermodel Gemma Ward talks to Christine
Sams about her shift from planet fashion to indie
films.
Five minutes into meeting Gemma Ward, I start measuring the
centimetres between her eyes. It could be five centimetres, it
could be seven, but her eyes are so wide set, it’s like being drawn
into the twilight zone.
Her fame as the hot new covergirl of the world’s best-known
magazines (she’s appeared on 24 Vogue covers around the
world) has recently been overshadowed by her association with Heath
Ledger - the two Perth expats were seeing each other just before
the actor died.
Ward, 20, initially asked for no personal questions during the
interview - her grief about Ledger is still raw. Instead, Ward
wants to talk about her career shift into films and the Australian
movie The Black Balloon in which she stars. (It has
already won the Crystal Bear for best feature at the Berlin Film
Festival).
But it’s obvious that Ledger was a big influence on Ward’s
approach to her fledgling film career. Speaking directly of Ledger
for the first time since his death, Ward says: “I think he operated
from the heart.
“He really, really knew that if he was going to make a decision
to be in a film, then he needed to be really committed to it. He
wasn’t afraid to fight with people involved, he wasn’t afraid to
perhaps piss people off.
“He told me to always be a punk and ’stand up for yourself’,”
says Ward softly, her surprisingly deep, sleepy voice still holding
firm to an Australian accent.
Ward has relied on family to help pull her through a tough time.
Her older sister Sophie has now moved in to share her
multimillion-dollar triplex in New York. It’s not immediately
apparent, but across the room from where we are sitting (inside the
club lounge at Sydney’s Hotel InterContinental) a relaxed family of
four sits waiting for Gemma - very tall Perth GP Garry Ward,
elongated blonde mother Claire, and Oscar and Henry, two teenage
boys with strangely familiar eyes, playing games on their mobile
phones.
“Yeah, that’s them over there, they’re my brothers, they just
turned 17 (they’re twins),” she says. “Through my whole career,
that’s been a major thing - bringing my family with me.”
After appearing on the cover of Vanity Fair in November
2006 with George Clooney, Ward could have had her pick of “pretty
girlfriend” roles in Hollywood, but instead she took a role in an
Australian-made production, one which centres on a family living
with autism.
She certainly didn’t do it for the money, or the marquee value.
Her decision could have been influenced by old loyalties - director
Elissa Down cast Ward in a minor role in the short film Pink
Pyjamas when the future supermodel was 13, long before the
fashion world discovered her.
“It’s an incredibly touching film, you can tell it’s from the
heart,” says Ward of Black Balloon. “It’s not only a piece
of artwork, it’s a story that needs to be told.”
But then, Ward has never been mainstream. Her
multimillion-dollar modelling career is based on looking
beautifully weird.
Even her fans - the international fashion editors and designers
and photographers who clamour to work with her - call her an alien,
a bug, a creature from another dimension. Russell Marsh, the man
who launched her career when he cast the then-unknown 15-year-old
in a Prada ad campaign in October 2003, said that Ward “challenged
the concept of beauty. She’s quite strange-looking.”
Ward’s “alien” look may have come in handy at first, because
this shy Perth girl felt as if she were on another planet.
“It was the best and darkest of times, especially in the
beginning,” she says. “The day after my sixteenth birthday, I left
to go to New York and I ended up staying from then. Especially
because I was younger, it felt very much like I was learning a new
way of being.
“You don’t really question what’s happening because you’re just
soaking it in. So I kind of just accepted it, but it did take a
little while. It was hard to be alone at that age, coming from a
family that was very, very, very close.”
She might be a supermodel, but she has a refreshingly balanced
view of her image.
“I have felt it,” she says, of the pressures of fame and
recognition. “But it’s kind of dying now, because I realise you
can’t ever please everyone. Sometimes when people are constantly
wanting the fantasy or the illusion, you have to break it to them
that it’s not real, you know what I mean?” she says.
“It’s hard if you start believing that you should be really that
perfect fantasy ideal, that people start believing because of all
of the retouching.
“You can delve into that fantasy world and play with it, but
when you walk away, that’s not you. Other people can’t really
differentiate sometimes - there are a lot of young girls that I’ll
meet on the street, that’ll know me, and they’ll say ‘oh, you don’t
seem at all like a famous model’. And I’m like ‘well, that’s the
job and this is me’. We can all play dress-ups, we can all make
ourselves look like that.” Earning an estimated $US3.4 million
($A3.6 million) a year, according to Forbes magazine, Ward
has perfected her jetset chic - immaculate skin, platinum blonde
hair and a boho outfit comprising jeans and a tie-dyed t-shirt
(with a peace symbol on it), a yellow scarf wrapped artfully around
her neck.
“I’m not really sure how it has changed me,” she says of her
fortune. “The first thing might sound a little bit horrible, but I
don’t often ask how much I’m getting paid for certain things … I
know it might come back and slap me in the face when somebody rips
me off or something,” she says.
“I’m very aware of my spending, but I’m not very aware of my
income. There are certain times when I speak to my accountant, or
something will pop up, and I’ll be like ‘oh’ but it’s not really a
frontrunner in my head.”
At least her success as a model allows Ward to make a credible
shift into film, rather than just doing something to raise profile
or earn extra cash.
The film world hardly ever takes models seriously when they try
to enter the acting business. It was a stereotype that her
director, Down, had to fight when she screen-tested Ward for the
role of Jackie.
“Of course there were people who said ‘why would you want her?
She’s a model, not an actor’,” Down says. The director freely
admits that many models-turned-actors have crashed and burned, but
insists that Ward has the right stuff.
“She did exactly what I wanted. She knew the character and
really embodied it. It’s a film with Toni Collette in it, so it’s a
real performance piece. But Gemma more than holds her own.”
Casting Ward took just one phone call. “I just called her up and
said, ‘hey Gem, are you still interested in acting?’, because the
whole Gemma Ward bubble had blown up,” Down says.
“She was like ‘of course’. She was really hoping that modelling
would lead to acting and so I sent her the script and she loved it,
and came on board from the beginning.”
For her own part, Ward is hoping to emulate the decisions - and
values - of some of our biggest acting stars.
“I’ve always admired Cate Blanchett and the roles she chooses,”
says Ward. “I think she’s got an incredible discipline in a way,
with choosing roles that are going to help her grow and bring
something interesting to the world.”
Collette, who also stars in The Black Balloon, left a
real impression on Ward - even before they shared the same film
set.
“I remember Toni Collette as being one of the people who first
made me want to be an actress, because I watched The Sixth
Sense and I was blown away by her performance. I remember it
was one of the first times I watched the Oscars because I was just
desperate for her to win,” says Ward. “She’s just so gentle and
supportive of all of us; she really did look after us all (on
The Black Balloon set).”
Behind the famous names, says Ward, there are people often
filled with insecurities, just like everyone else.
“I’ve learnt, through modelling as well, that we place a lot of
emphasis on not only celebrities, but designers and people that we
all admire. How fast you learn when you work with these people that
they can be just as self-conscious or shy or just as normal and
goofy as anyone. I mean, when I met George Clooney, same thing - he
was just such a goofy guy, not at all what you’d think,” says Ward,
laughing. So she wasn’t chatted up by Clooney, then? Does Ward, as
a supermodel, have rich and famous men chasing after her all the
time? Ward laughs uproariously, looking a touch embarrassed by the
topic.
“In New York, you do have certain guys that are like that. But I
don’t really dress up to that,” she says.
Ward, who attended the premiere for The Black Balloon
in Sydney last week, will continue to base herself in New York,
although it is clear she has a huge affection for Western
Australia.
She’s still a supermodel - she stars in Karl Lagerfeld’s spring
2008 campaign - but her long-term goal is a serious acting career.
“I definitely have gone through some ups and downs, and sometimes I
find the easiest way is not to ever think (about the scrutiny) …
you kind of feel embarrassed or ashamed if somebody else is
expecting something or watching you,” she says. “It’s about being
comfortable, however you are.”
The Black Balloon is out now.
MODELS TURNED ACTRESSES
From posing to emoting
Lauren Bacall got her break when Howard Hawk’s
wife Slim spotted teenage model Betty Jane Perske on the cover of
Harper’s Bazaar. The ingenue got a screen test, a new
name, and ultimately a role in To Have and Have Not
(1944), opposite Humphrey Bogart. Those sultry looks belied a
steely will and she is still working.
Kim Novak’s icy blonde looks got her a job as
Mrs Deepfreeze for a fridge company before Hollywood called.
Columbia gave her a contract, but made the pneumatic model change
her first name from Marilyn so she wouldn’t seem like a wannabe
Monroe. Novak proved the better actress anyway, starring in films
such as Picnic, The Man with the Golden Arm and
Vertigo. Hitchcock didn’t think Novak was that talented:
“You think you’re getting a lot,” he said, “but you’re not.”
Cybill Shepherd started working as a model at
16, after she became Miss Teenage Memphis 1966. She featured on
dozens of magazine covers over the next four years before director
Peter Bogdanovich cast her in The Last Picture Show after
seeing her on the cover of Glamour magazine. Although she
portrayed various ethereal blondes in the 1970s, her acting career
didn’t take off until she played Maddie Hayes on TV’s
Moonlighting, opposite then-unknown Bruce Willis.
Jessica Lange posed for Karl Lagerfeld in Paris
in the early ’70s before moving to New York to work the catwalk and
take acting lessons. Her first role, as King Kong’s
plaything, in 1976, gave no sign that she would eventually win two
Oscars, one for best supporting actress for Tootsie, the
other for best actress for Blue Sky. Look for her later
this year as mad-cat “Big” Edith Bouvier Beale in a remake of
Grey Gardens.
Isabella Rossellini didn’t start modelling
until she was 28, but soon became one of the best-known models of
the 1980s, especially once she agreed to be the face of Lancome. It
only took one role, as the masochistic nightclub singer in Blue
Velvet, to erase any doubts that she could act. Rossellini
continues to choose unsettling roles, notably the baroness with
glass legs full of beer in The Saddest Music in the World
(2003).
Uma Thurman followed her modelling mother on to
the catwalk when she was 15 and by the age of 17 had been cast as
the goddess Venus in Terry Gilliam’s 1988 flop The Adventures
of Baron Munchausen. But her career was launched when she
appeared as John Malkovich’s eager pupil in Dangerous
Liaisons, released in the same year. She now works as an
actress (Kill Bill, The Producers) and a model (Lancome,
Louis Vuitton), but apparently struggles with the belief that she
is fat and ugly.

Tags: , , , , , , , , , , , , ,

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Eyes wide open

Wednesday, March 12th, 2008

Otherworldly supermodel Gemma Ward talks to Christine
Sams about her shift from planet fashion to indie
films.
Five minutes into meeting Gemma Ward, I start measuring the
centimetres between her eyes. It could be five centimetres, it
could be seven, but her eyes are so wide set, it’s like being drawn
into the twilight zone.
Her fame as the hot new covergirl of the world’s best-known
magazines (she’s appeared on 24 Vogue covers around the
world) has recently been overshadowed by her association with Heath
Ledger - the two Perth expats were seeing each other just before
the actor died.
Ward, 20, initially asked for no personal questions during the
interview - her grief about Ledger is still raw. Instead, Ward
wants to talk about her career shift into films and the Australian
movie The Black Balloon in which she stars. (It has
already won the Crystal Bear for best feature at the Berlin Film
Festival).
But it’s obvious that Ledger was a big influence on Ward’s
approach to her fledgling film career. Speaking directly of Ledger
for the first time since his death, Ward says: “I think he operated
from the heart.
“He really, really knew that if he was going to make a decision
to be in a film, then he needed to be really committed to it. He
wasn’t afraid to fight with people involved, he wasn’t afraid to
perhaps piss people off.
“He told me to always be a punk and ’stand up for yourself’,”
says Ward softly, her surprisingly deep, sleepy voice still holding
firm to an Australian accent.
Ward has relied on family to help pull her through a tough time.
Her older sister Sophie has now moved in to share her
multimillion-dollar triplex in New York. It’s not immediately
apparent, but across the room from where we are sitting (inside the
club lounge at Sydney’s Hotel InterContinental) a relaxed family of
four sits waiting for Gemma - very tall Perth GP Garry Ward,
elongated blonde mother Claire, and Oscar and Henry, two teenage
boys with strangely familiar eyes, playing games on their mobile
phones.
“Yeah, that’s them over there, they’re my brothers, they just
turned 17 (they’re twins),” she says. “Through my whole career,
that’s been a major thing - bringing my family with me.”
After appearing on the cover of Vanity Fair in November
2006 with George Clooney, Ward could have had her pick of “pretty
girlfriend” roles in Hollywood, but instead she took a role in an
Australian-made production, one which centres on a family living
with autism.
She certainly didn’t do it for the money, or the marquee value.
Her decision could have been influenced by old loyalties - director
Elissa Down cast Ward in a minor role in the short film Pink
Pyjamas when the future supermodel was 13, long before the
fashion world discovered her.
“It’s an incredibly touching film, you can tell it’s from the
heart,” says Ward of Black Balloon. “It’s not only a piece
of artwork, it’s a story that needs to be told.”
But then, Ward has never been mainstream. Her
multimillion-dollar modelling career is based on looking
beautifully weird.
Even her fans - the international fashion editors and designers
and photographers who clamour to work with her - call her an alien,
a bug, a creature from another dimension. Russell Marsh, the man
who launched her career when he cast the then-unknown 15-year-old
in a Prada ad campaign in October 2003, said that Ward “challenged
the concept of beauty. She’s quite strange-looking.”
Ward’s “alien” look may have come in handy at first, because
this shy Perth girl felt as if she were on another planet.
“It was the best and darkest of times, especially in the
beginning,” she says. “The day after my sixteenth birthday, I left
to go to New York and I ended up staying from then. Especially
because I was younger, it felt very much like I was learning a new
way of being.
“You don’t really question what’s happening because you’re just
soaking it in. So I kind of just accepted it, but it did take a
little while. It was hard to be alone at that age, coming from a
family that was very, very, very close.”
She might be a supermodel, but she has a refreshingly balanced
view of her image.
“I have felt it,” she says, of the pressures of fame and
recognition. “But it’s kind of dying now, because I realise you
can’t ever please everyone. Sometimes when people are constantly
wanting the fantasy or the illusion, you have to break it to them
that it’s not real, you know what I mean?” she says.
“It’s hard if you start believing that you should be really that
perfect fantasy ideal, that people start believing because of all
of the retouching.
“You can delve into that fantasy world and play with it, but
when you walk away, that’s not you. Other people can’t really
differentiate sometimes - there are a lot of young girls that I’ll
meet on the street, that’ll know me, and they’ll say ‘oh, you don’t
seem at all like a famous model’. And I’m like ‘well, that’s the
job and this is me’. We can all play dress-ups, we can all make
ourselves look like that.” Earning an estimated $US3.4 million
($A3.6 million) a year, according to Forbes magazine, Ward
has perfected her jetset chic - immaculate skin, platinum blonde
hair and a boho outfit comprising jeans and a tie-dyed t-shirt
(with a peace symbol on it), a yellow scarf wrapped artfully around
her neck.
“I’m not really sure how it has changed me,” she says of her
fortune. “The first thing might sound a little bit horrible, but I
don’t often ask how much I’m getting paid for certain things … I
know it might come back and slap me in the face when somebody rips
me off or something,” she says.
“I’m very aware of my spending, but I’m not very aware of my
income. There are certain times when I speak to my accountant, or
something will pop up, and I’ll be like ‘oh’ but it’s not really a
frontrunner in my head.”
At least her success as a model allows Ward to make a credible
shift into film, rather than just doing something to raise profile
or earn extra cash.
The film world hardly ever takes models seriously when they try
to enter the acting business. It was a stereotype that her
director, Down, had to fight when she screen-tested Ward for the
role of Jackie.
“Of course there were people who said ‘why would you want her?
She’s a model, not an actor’,” Down says. The director freely
admits that many models-turned-actors have crashed and burned, but
insists that Ward has the right stuff.
“She did exactly what I wanted. She knew the character and
really embodied it. It’s a film with Toni Collette in it, so it’s a
real performance piece. But Gemma more than holds her own.”
Casting Ward took just one phone call. “I just called her up and
said, ‘hey Gem, are you still interested in acting?’, because the
whole Gemma Ward bubble had blown up,” Down says.
“She was like ‘of course’. She was really hoping that modelling
would lead to acting and so I sent her the script and she loved it,
and came on board from the beginning.”
For her own part, Ward is hoping to emulate the decisions - and
values - of some of our biggest acting stars.
“I’ve always admired Cate Blanchett and the roles she chooses,”
says Ward. “I think she’s got an incredible discipline in a way,
with choosing roles that are going to help her grow and bring
something interesting to the world.”
Collette, who also stars in The Black Balloon, left a
real impression on Ward - even before they shared the same film
set.
“I remember Toni Collette as being one of the people who first
made me want to be an actress, because I watched The Sixth
Sense and I was blown away by her performance. I remember it
was one of the first times I watched the Oscars because I was just
desperate for her to win,” says Ward. “She’s just so gentle and
supportive of all of us; she really did look after us all (on
The Black Balloon set).”
Behind the famous names, says Ward, there are people often
filled with insecurities, just like everyone else.
“I’ve learnt, through modelling as well, that we place a lot of
emphasis on not only celebrities, but designers and people that we
all admire. How fast you learn when you work with these people that
they can be just as self-conscious or shy or just as normal and
goofy as anyone. I mean, when I met George Clooney, same thing - he
was just such a goofy guy, not at all what you’d think,” says Ward,
laughing. So she wasn’t chatted up by Clooney, then? Does Ward, as
a supermodel, have rich and famous men chasing after her all the
time? Ward laughs uproariously, looking a touch embarrassed by the
topic.
“In New York, you do have certain guys that are like that. But I
don’t really dress up to that,” she says.
Ward, who attended the premiere for The Black Balloon
in Sydney last week, will continue to base herself in New York,
although it is clear she has a huge affection for Western
Australia.
She’s still a supermodel - she stars in Karl Lagerfeld’s spring
2008 campaign - but her long-term goal is a serious acting career.
“I definitely have gone through some ups and downs, and sometimes I
find the easiest way is not to ever think (about the scrutiny) …
you kind of feel embarrassed or ashamed if somebody else is
expecting something or watching you,” she says. “It’s about being
comfortable, however you are.”
The Black Balloon is out now.
MODELS TURNED ACTRESSES
From posing to emoting
Lauren Bacall got her break when Howard Hawk’s
wife Slim spotted teenage model Betty Jane Perske on the cover of
Harper’s Bazaar. The ingenue got a screen test, a new
name, and ultimately a role in To Have and Have Not
(1944), opposite Humphrey Bogart. Those sultry looks belied a
steely will and she is still working.
Kim Novak’s icy blonde looks got her a job as
Mrs Deepfreeze for a fridge company before Hollywood called.
Columbia gave her a contract, but made the pneumatic model change
her first name from Marilyn so she wouldn’t seem like a wannabe
Monroe. Novak proved the better actress anyway, starring in films
such as Picnic, The Man with the Golden Arm and
Vertigo. Hitchcock didn’t think Novak was that talented:
“You think you’re getting a lot,” he said, “but you’re not.”
Cybill Shepherd started working as a model at
16, after she became Miss Teenage Memphis 1966. She featured on
dozens of magazine covers over the next four years before director
Peter Bogdanovich cast her in The Last Picture Show after
seeing her on the cover of Glamour magazine. Although she
portrayed various ethereal blondes in the 1970s, her acting career
didn’t take off until she played Maddie Hayes on TV’s
Moonlighting, opposite then-unknown Bruce Willis.
Jessica Lange posed for Karl Lagerfeld in Paris
in the early ’70s before moving to New York to work the catwalk and
take acting lessons. Her first role, as King Kong’s
plaything, in 1976, gave no sign that she would eventually win two
Oscars, one for best supporting actress for Tootsie, the
other for best actress for Blue Sky. Look for her later
this year as mad-cat “Big” Edith Bouvier Beale in a remake of
Grey Gardens.
Isabella Rossellini didn’t start modelling
until she was 28, but soon became one of the best-known models of
the 1980s, especially once she agreed to be the face of Lancome. It
only took one role, as the masochistic nightclub singer in Blue
Velvet, to erase any doubts that she could act. Rossellini
continues to choose unsettling roles, notably the baroness with
glass legs full of beer in The Saddest Music in the World
(2003).
Uma Thurman followed her modelling mother on to
the catwalk when she was 15 and by the age of 17 had been cast as
the goddess Venus in Terry Gilliam’s 1988 flop The Adventures
of Baron Munchausen. But her career was launched when she
appeared as John Malkovich’s eager pupil in Dangerous
Liaisons, released in the same year. She now works as an
actress (Kill Bill, The Producers) and a model (Lancome,
Louis Vuitton), but apparently struggles with the belief that she
is fat and ugly.

Tags: , , , , , , , , , , , , ,

Related posts

Eyes wide open

Tuesday, March 11th, 2008

Otherworldly supermodel Gemma Ward talks to Christine
Sams about her shift from planet fashion to indie
films.
Five minutes into meeting Gemma Ward, I start measuring the
centimetres between her eyes. It could be five centimetres, it
could be seven, but her eyes are so wide set, it’s like being drawn
into the twilight zone.
Her fame as the hot new covergirl of the world’s best-known
magazines (she’s appeared on 24 Vogue covers around the
world) has recently been overshadowed by her association with Heath
Ledger - the two Perth expats were seeing each other just before
the actor died.
Ward, 20, initially asked for no personal questions during the
interview - her grief about Ledger is still raw. Instead, Ward
wants to talk about her career shift into films and the Australian
movie The Black Balloon in which she stars. (It has
already won the Crystal Bear for best feature at the Berlin Film
Festival).
But it’s obvious that Ledger was a big influence on Ward’s
approach to her fledgling film career. Speaking directly of Ledger
for the first time since his death, Ward says: “I think he operated
from the heart.
“He really, really knew that if he was going to make a decision
to be in a film, then he needed to be really committed to it. He
wasn’t afraid to fight with people involved, he wasn’t afraid to
perhaps piss people off.
“He told me to always be a punk and ’stand up for yourself’,”
says Ward softly, her surprisingly deep, sleepy voice still holding
firm to an Australian accent.
Ward has relied on family to help pull her through a tough time.
Her older sister Sophie has now moved in to share her
multimillion-dollar triplex in New York. It’s not immediately
apparent, but across the room from where we are sitting (inside the
club lounge at Sydney’s Hotel InterContinental) a relaxed family of
four sits waiting for Gemma - very tall Perth GP Garry Ward,
elongated blonde mother Claire, and Oscar and Henry, two teenage
boys with strangely familiar eyes, playing games on their mobile
phones.
“Yeah, that’s them over there, they’re my brothers, they just
turned 17 (they’re twins),” she says. “Through my whole career,
that’s been a major thing - bringing my family with me.”
After appearing on the cover of Vanity Fair in November
2006 with George Clooney, Ward could have had her pick of “pretty
girlfriend” roles in Hollywood, but instead she took a role in an
Australian-made production, one which centres on a family living
with autism.
She certainly didn’t do it for the money, or the marquee value.
Her decision could have been influenced by old loyalties - director
Elissa Down cast Ward in a minor role in the short film Pink
Pyjamas when the future supermodel was 13, long before the
fashion world discovered her.
“It’s an incredibly touching film, you can tell it’s from the
heart,” says Ward of Black Balloon. “It’s not only a piece
of artwork, it’s a story that needs to be told.”
But then, Ward has never been mainstream. Her
multimillion-dollar modelling career is based on looking
beautifully weird.
Even her fans - the international fashion editors and designers
and photographers who clamour to work with her - call her an alien,
a bug, a creature from another dimension. Russell Marsh, the man
who launched her career when he cast the then-unknown 15-year-old
in a Prada ad campaign in October 2003, said that Ward “challenged
the concept of beauty. She’s quite strange-looking.”
Ward’s “alien” look may have come in handy at first, because
this shy Perth girl felt as if she were on another planet.
“It was the best and darkest of times, especially in the
beginning,” she says. “The day after my sixteenth birthday, I left
to go to New York and I ended up staying from then. Especially
because I was younger, it felt very much like I was learning a new
way of being.
“You don’t really question what’s happening because you’re just
soaking it in. So I kind of just accepted it, but it did take a
little while. It was hard to be alone at that age, coming from a
family that was very, very, very close.”
She might be a supermodel, but she has a refreshingly balanced
view of her image.
“I have felt it,” she says, of the pressures of fame and
recognition. “But it’s kind of dying now, because I realise you
can’t ever please everyone. Sometimes when people are constantly
wanting the fantasy or the illusion, you have to break it to them
that it’s not real, you know what I mean?” she says.
“It’s hard if you start believing that you should be really that
perfect fantasy ideal, that people start believing because of all
of the retouching.
“You can delve into that fantasy world and play with it, but
when you walk away, that’s not you. Other people can’t really
differentiate sometimes - there are a lot of young girls that I’ll
meet on the street, that’ll know me, and they’ll say ‘oh, you don’t
seem at all like a famous model’. And I’m like ‘well, that’s the
job and this is me’. We can all play dress-ups, we can all make
ourselves look like that.” Earning an estimated $US3.4 million
($A3.6 million) a year, according to Forbes magazine, Ward
has perfected her jetset chic - immaculate skin, platinum blonde
hair and a boho outfit comprising jeans and a tie-dyed t-shirt
(with a peace symbol on it), a yellow scarf wrapped artfully around
her neck.
“I’m not really sure how it has changed me,” she says of her
fortune. “The first thing might sound a little bit horrible, but I
don’t often ask how much I’m getting paid for certain things … I
know it might come back and slap me in the face when somebody rips
me off or something,” she says.
“I’m very aware of my spending, but I’m not very aware of my
income. There are certain times when I speak to my accountant, or
something will pop up, and I’ll be like ‘oh’ but it’s not really a
frontrunner in my head.”
At least her success as a model allows Ward to make a credible
shift into film, rather than just doing something to raise profile
or earn extra cash.
The film world hardly ever takes models seriously when they try
to enter the acting business. It was a stereotype that her
director, Down, had to fight when she screen-tested Ward for the
role of Jackie.
“Of course there were people who said ‘why would you want her?
She’s a model, not an actor’,” Down says. The director freely
admits that many models-turned-actors have crashed and burned, but
insists that Ward has the right stuff.
“She did exactly what I wanted. She knew the character and
really embodied it. It’s a film with Toni Collette in it, so it’s a
real performance piece. But Gemma more than holds her own.”
Casting Ward took just one phone call. “I just called her up and
said, ‘hey Gem, are you still interested in acting?’, because the
whole Gemma Ward bubble had blown up,” Down says.
“She was like ‘of course’. She was really hoping that modelling
would lead to acting and so I sent her the script and she loved it,
and came on board from the beginning.”
For her own part, Ward is hoping to emulate the decisions - and
values - of some of our biggest acting stars.
“I’ve always admired Cate Blanchett and the roles she chooses,”
says Ward. “I think she’s got an incredible discipline in a way,
with choosing roles that are going to help her grow and bring
something interesting to the world.”
Collette, who also stars in The Black Balloon, left a
real impression on Ward - even before they shared the same film
set.
“I remember Toni Collette as being one of the people who first
made me want to be an actress, because I watched The Sixth
Sense and I was blown away by her performance. I remember it
was one of the first times I watched the Oscars because I was just
desperate for her to win,” says Ward. “She’s just so gentle and
supportive of all of us; she really did look after us all (on
The Black Balloon set).”
Behind the famous names, says Ward, there are people often
filled with insecurities, just like everyone else.
“I’ve learnt, through modelling as well, that we place a lot of
emphasis on not only celebrities, but designers and people that we
all admire. How fast you learn when you work with these people that
they can be just as self-conscious or shy or just as normal and
goofy as anyone. I mean, when I met George Clooney, same thing - he
was just such a goofy guy, not at all what you’d think,” says Ward,
laughing. So she wasn’t chatted up by Clooney, then? Does Ward, as
a supermodel, have rich and famous men chasing after her all the
time? Ward laughs uproariously, looking a touch embarrassed by the
topic.
“In New York, you do have certain guys that are like that. But I
don’t really dress up to that,” she says.
Ward, who attended the premiere for The Black Balloon
in Sydney last week, will continue to base herself in New York,
although it is clear she has a huge affection for Western
Australia.
She’s still a supermodel - she stars in Karl Lagerfeld’s spring
2008 campaign - but her long-term goal is a serious acting career.
“I definitely have gone through some ups and downs, and sometimes I
find the easiest way is not to ever think (about the scrutiny) …
you kind of feel embarrassed or ashamed if somebody else is
expecting something or watching you,” she says. “It’s about being
comfortable, however you are.”
The Black Balloon is out now.
MODELS TURNED ACTRESSES
From posing to emoting
Lauren Bacall got her break when Howard Hawk’s
wife Slim spotted teenage model Betty Jane Perske on the cover of
Harper’s Bazaar. The ingenue got a screen test, a new
name, and ultimately a role in To Have and Have Not
(1944), opposite Humphrey Bogart. Those sultry looks belied a
steely will and she is still working.
Kim Novak’s icy blonde looks got her a job as
Mrs Deepfreeze for a fridge company before Hollywood called.
Columbia gave her a contract, but made the pneumatic model change
her first name from Marilyn so she wouldn’t seem like a wannabe
Monroe. Novak proved the better actress anyway, starring in films
such as Picnic, The Man with the Golden Arm and
Vertigo. Hitchcock didn’t think Novak was that talented:
“You think you’re getting a lot,” he said, “but you’re not.”
Cybill Shepherd started working as a model at
16, after she became Miss Teenage Memphis 1966. She featured on
dozens of magazine covers over the next four years before director
Peter Bogdanovich cast her in The Last Picture Show after
seeing her on the cover of Glamour magazine. Although she
portrayed various ethereal blondes in the 1970s, her acting career
didn’t take off until she played Maddie Hayes on TV’s
Moonlighting, opposite then-unknown Bruce Willis.
Jessica Lange posed for Karl Lagerfeld in Paris
in the early ’70s before moving to New York to work the catwalk and
take acting lessons. Her first role, as King Kong’s
plaything, in 1976, gave no sign that she would eventually win two
Oscars, one for best supporting actress for Tootsie, the
other for best actress for Blue Sky. Look for her later
this year as mad-cat “Big” Edith Bouvier Beale in a remake of
Grey Gardens.
Isabella Rossellini didn’t start modelling
until she was 28, but soon became one of the best-known models of
the 1980s, especially once she agreed to be the face of Lancome. It
only took one role, as the masochistic nightclub singer in Blue
Velvet, to erase any doubts that she could act. Rossellini
continues to choose unsettling roles, notably the baroness with
glass legs full of beer in The Saddest Music in the World
(2003).
Uma Thurman followed her modelling mother on to
the catwalk when she was 15 and by the age of 17 had been cast as
the goddess Venus in Terry Gilliam’s 1988 flop The Adventures
of Baron Munchausen. But her career was launched when she
appeared as John Malkovich’s eager pupil in Dangerous
Liaisons, released in the same year. She now works as an
actress (Kill Bill, The Producers) and a model (Lancome,
Louis Vuitton), but apparently struggles with the belief that she
is fat and ugly.

Tags: , , , , , , , , , , , , ,

Related posts

Eyes wide open

Monday, March 10th, 2008

Otherworldly supermodel Gemma Ward talks to Christine
Sams about her shift from planet fashion to indie
films.
Five minutes into meeting Gemma Ward, I start measuring the
centimetres between her eyes. It could be five centimetres, it
could be seven, but her eyes are so wide set, it’s like being drawn
into the twilight zone.
Her fame as the hot new covergirl of the world’s best-known
magazines (she’s appeared on 24 Vogue covers around the
world) has recently been overshadowed by her association with Heath
Ledger - the two Perth expats were seeing each other just before
the actor died.
Ward, 20, initially asked for no personal questions during the
interview - her grief about Ledger is still raw. Instead, Ward
wants to talk about her career shift into films and the Australian
movie The Black Balloon in which she stars. (It has
already won the Crystal Bear for best feature at the Berlin Film
Festival).
But it’s obvious that Ledger was a big influence on Ward’s
approach to her fledgling film career. Speaking directly of Ledger
for the first time since his death, Ward says: “I think he operated
from the heart.
“He really, really knew that if he was going to make a decision
to be in a film, then he needed to be really committed to it. He
wasn’t afraid to fight with people involved, he wasn’t afraid to
perhaps piss people off.
“He told me to always be a punk and ’stand up for yourself’,”
says Ward softly, her surprisingly deep, sleepy voice still holding
firm to an Australian accent.
Ward has relied on family to help pull her through a tough time.
Her older sister Sophie has now moved in to share her
multimillion-dollar triplex in New York. It’s not immediately
apparent, but across the room from where we are sitting (inside the
club lounge at Sydney’s Hotel InterContinental) a relaxed family of
four sits waiting for Gemma - very tall Perth GP Garry Ward,
elongated blonde mother Claire, and Oscar and Henry, two teenage
boys with strangely familiar eyes, playing games on their mobile
phones.
“Yeah, that’s them over there, they’re my brothers, they just
turned 17 (they’re twins),” she says. “Through my whole career,
that’s been a major thing - bringing my family with me.”
After appearing on the cover of Vanity Fair in November
2006 with George Clooney, Ward could have had her pick of “pretty
girlfriend” roles in Hollywood, but instead she took a role in an
Australian-made production, one which centres on a family living
with autism.
She certainly didn’t do it for the money, or the marquee value.
Her decision could have been influenced by old loyalties - director
Elissa Down cast Ward in a minor role in the short film Pink
Pyjamas when the future supermodel was 13, long before the
fashion world discovered her.
“It’s an incredibly touching film, you can tell it’s from the
heart,” says Ward of Black Balloon. “It’s not only a piece
of artwork, it’s a story that needs to be told.”
But then, Ward has never been mainstream. Her
multimillion-dollar modelling career is based on looking
beautifully weird.
Even her fans - the international fashion editors and designers
and photographers who clamour to work with her - call her an alien,
a bug, a creature from another dimension. Russell Marsh, the man
who launched her career when he cast the then-unknown 15-year-old
in a Prada ad campaign in October 2003, said that Ward “challenged
the concept of beauty. She’s quite strange-looking.”
Ward’s “alien” look may have come in handy at first, because
this shy Perth girl felt as if she were on another planet.
“It was the best and darkest of times, especially in the
beginning,” she says. “The day after my sixteenth birthday, I left
to go to New York and I ended up staying from then. Especially
because I was younger, it felt very much like I was learning a new
way of being.
“You don’t really question what’s happening because you’re just
soaking it in. So I kind of just accepted it, but it did take a
little while. It was hard to be alone at that age, coming from a
family that was very, very, very close.”
She might be a supermodel, but she has a refreshingly balanced
view of her image.
“I have felt it,” she says, of the pressures of fame and
recognition. “But it’s kind of dying now, because I realise you
can’t ever please everyone. Sometimes when people are constantly
wanting the fantasy or the illusion, you have to break it to them
that it’s not real, you know what I mean?” she says.
“It’s hard if you start believing that you should be really that
perfect fantasy ideal, that people start believing because of all
of the retouching.
“You can delve into that fantasy world and play with it, but
when you walk away, that’s not you. Other people can’t really
differentiate sometimes - there are a lot of young girls that I’ll
meet on the street, that’ll know me, and they’ll say ‘oh, you don’t
seem at all like a famous model’. And I’m like ‘well, that’s the
job and this is me’. We can all play dress-ups, we can all make
ourselves look like that.” Earning an estimated $US3.4 million
($A3.6 million) a year, according to Forbes magazine, Ward
has perfected her jetset chic - immaculate skin, platinum blonde
hair and a boho outfit comprising jeans and a tie-dyed t-shirt
(with a peace symbol on it), a yellow scarf wrapped artfully around
her neck.
“I’m not really sure how it has changed me,” she says of her
fortune. “The first thing might sound a little bit horrible, but I
don’t often ask how much I’m getting paid for certain things … I
know it might come back and slap me in the face when somebody rips
me off or something,” she says.
“I’m very aware of my spending, but I’m not very aware of my
income. There are certain times when I speak to my accountant, or
something will pop up, and I’ll be like ‘oh’ but it’s not really a
frontrunner in my head.”
At least her success as a model allows Ward to make a credible
shift into film, rather than just doing something to raise profile
or earn extra cash.
The film world hardly ever takes models seriously when they try
to enter the acting business. It was a stereotype that her
director, Down, had to fight when she screen-tested Ward for the
role of Jackie.
“Of course there were people who said ‘why would you want her?
She’s a model, not an actor’,” Down says. The director freely
admits that many models-turned-actors have crashed and burned, but
insists that Ward has the right stuff.
“She did exactly what I wanted. She knew the character and
really embodied it. It’s a film with Toni Collette in it, so it’s a
real performance piece. But Gemma more than holds her own.”
Casting Ward took just one phone call. “I just called her up and
said, ‘hey Gem, are you still interested in acting?’, because the
whole Gemma Ward bubble had blown up,” Down says.
“She was like ‘of course’. She was really hoping that modelling
would lead to acting and so I sent her the script and she loved it,
and came on board from the beginning.”
For her own part, Ward is hoping to emulate the decisions - and
values - of some of our biggest acting stars.
“I’ve always admired Cate Blanchett and the roles she chooses,”
says Ward. “I think she’s got an incredible discipline in a way,
with choosing roles that are going to help her grow and bring
something interesting to the world.”
Collette, who also stars in The Black Balloon, left a
real impression on Ward - even before they shared the same film
set.
“I remember Toni Collette as being one of the people who first
made me want to be an actress, because I watched The Sixth
Sense and I was blown away by her performance. I remember it
was one of the first times I watched the Oscars because I was just
desperate for her to win,” says Ward. “She’s just so gentle and
supportive of all of us; she really did look after us all (on
The Black Balloon set).”
Behind the famous names, says Ward, there are people often
filled with insecurities, just like everyone else.
“I’ve learnt, through modelling as well, that we place a lot of
emphasis on not only celebrities, but designers and people that we
all admire. How fast you learn when you work with these people that
they can be just as self-conscious or shy or just as normal and
goofy as anyone. I mean, when I met George Clooney, same thing - he
was just such a goofy guy, not at all what you’d think,” says Ward,
laughing. So she wasn’t chatted up by Clooney, then? Does Ward, as
a supermodel, have rich and famous men chasing after her all the
time? Ward laughs uproariously, looking a touch embarrassed by the
topic.
“In New York, you do have certain guys that are like that. But I
don’t really dress up to that,” she says.
Ward, who attended the premiere for The Black Balloon
in Sydney last week, will continue to base herself in New York,
although it is clear she has a huge affection for Western
Australia.
She’s still a supermodel - she stars in Karl Lagerfeld’s spring
2008 campaign - but her long-term goal is a serious acting career.
“I definitely have gone through some ups and downs, and sometimes I
find the easiest way is not to ever think (about the scrutiny) …
you kind of feel embarrassed or ashamed if somebody else is
expecting something or watching you,” she says. “It’s about being
comfortable, however you are.”
The Black Balloon is out now.
MODELS TURNED ACTRESSES
From posing to emoting
Lauren Bacall got her break when Howard Hawk’s
wife Slim spotted teenage model Betty Jane Perske on the cover of
Harper’s Bazaar. The ingenue got a screen test, a new
name, and ultimately a role in To Have and Have Not
(1944), opposite Humphrey Bogart. Those sultry looks belied a
steely will and she is still working.
Kim Novak’s icy blonde looks got her a job as
Mrs Deepfreeze for a fridge company before Hollywood called.
Columbia gave her a contract, but made the pneumatic model change
her first name from Marilyn so she wouldn’t seem like a wannabe
Monroe. Novak proved the better actress anyway, starring in films
such as Picnic, The Man with the Golden Arm and
Vertigo. Hitchcock didn’t think Novak was that talented:
“You think you’re getting a lot,” he said, “but you’re not.”
Cybill Shepherd started working as a model at
16, after she became Miss Teenage Memphis 1966. She featured on
dozens of magazine covers over the next four years before director
Peter Bogdanovich cast her in The Last Picture Show after
seeing her on the cover of Glamour magazine. Although she
portrayed various ethereal blondes in the 1970s, her acting career
didn’t take off until she played Maddie Hayes on TV’s
Moonlighting, opposite then-unknown Bruce Willis.
Jessica Lange posed for Karl Lagerfeld in Paris
in the early ’70s before moving to New York to work the catwalk and
take acting lessons. Her first role, as King Kong’s
plaything, in 1976, gave no sign that she would eventually win two
Oscars, one for best supporting actress for Tootsie, the
other for best actress for Blue Sky. Look for her later
this year as mad-cat “Big” Edith Bouvier Beale in a remake of
Grey Gardens.
Isabella Rossellini didn’t start modelling
until she was 28, but soon became one of the best-known models of
the 1980s, especially once she agreed to be the face of Lancome. It
only took one role, as the masochistic nightclub singer in Blue
Velvet, to erase any doubts that she could act. Rossellini
continues to choose unsettling roles, notably the baroness with
glass legs full of beer in The Saddest Music in the World
(2003).
Uma Thurman followed her modelling mother on to
the catwalk when she was 15 and by the age of 17 had been cast as
the goddess Venus in Terry Gilliam’s 1988 flop The Adventures
of Baron Munchausen. But her career was launched when she
appeared as John Malkovich’s eager pupil in Dangerous
Liaisons, released in the same year. She now works as an
actress (Kill Bill, The Producers) and a model (Lancome,
Louis Vuitton), but apparently struggles with the belief that she
is fat and ugly.

Tags: , , , , , , , , , , , , ,

Related posts

Eyes wide open

Sunday, March 9th, 2008

Otherworldly supermodel Gemma Ward talks to Christine
Sams about her shift from planet fashion to indie
films.
Five minutes into meeting Gemma Ward, I start measuring the
centimetres between her eyes. It could be five centimetres, it
could be seven, but her eyes are so wide set, it’s like being drawn
into the twilight zone.
Her fame as the hot new covergirl of the world’s best-known
magazines (she’s appeared on 24 Vogue covers around the
world) has recently been overshadowed by her association with Heath
Ledger - the two Perth expats were seeing each other just before
the actor died.
Ward, 20, initially asked for no personal questions during the
interview - her grief about Ledger is still raw. Instead, Ward
wants to talk about her career shift into films and the Australian
movie The Black Balloon in which she stars. (It has
already won the Crystal Bear for best feature at the Berlin Film
Festival).
But it’s obvious that Ledger was a big influence on Ward’s
approach to her fledgling film career. Speaking directly of Ledger
for the first time since his death, Ward says: “I think he operated
from the heart.
“He really, really knew that if he was going to make a decision
to be in a film, then he needed to be really committed to it. He
wasn’t afraid to fight with people involved, he wasn’t afraid to
perhaps piss people off.
“He told me to always be a punk and ’stand up for yourself’,”
says Ward softly, her surprisingly deep, sleepy voice still holding
firm to an Australian accent.
Ward has relied on family to help pull her through a tough time.
Her older sister Sophie has now moved in to share her
multimillion-dollar triplex in New York. It’s not immediately
apparent, but across the room from where we are sitting (inside the
club lounge at Sydney’s Hotel InterContinental) a relaxed family of
four sits waiting for Gemma - very tall Perth GP Garry Ward,
elongated blonde mother Claire, and Oscar and Henry, two teenage
boys with strangely familiar eyes, playing games on their mobile
phones.
“Yeah, that’s them over there, they’re my brothers, they just
turned 17 (they’re twins),” she says. “Through my whole career,
that’s been a major thing - bringing my family with me.”
After appearing on the cover of Vanity Fair in November
2006 with George Clooney, Ward could have had her pick of “pretty
girlfriend” roles in Hollywood, but instead she took a role in an
Australian-made production, one which centres on a family living
with autism.
She certainly didn’t do it for the money, or the marquee value.
Her decision could have been influenced by old loyalties - director
Elissa Down cast Ward in a minor role in the short film Pink
Pyjamas when the future supermodel was 13, long before the
fashion world discovered her.
“It’s an incredibly touching film, you can tell it’s from the
heart,” says Ward of Black Balloon. “It’s not only a piece
of artwork, it’s a story that needs to be told.”
But then, Ward has never been mainstream. Her
multimillion-dollar modelling career is based on looking
beautifully weird.
Even her fans - the international fashion editors and designers
and photographers who clamour to work with her - call her an alien,
a bug, a creature from another dimension. Russell Marsh, the man
who launched her career when he cast the then-unknown 15-year-old
in a Prada ad campaign in October 2003, said that Ward “challenged
the concept of beauty. She’s quite strange-looking.”
Ward’s “alien” look may have come in handy at first, because
this shy Perth girl felt as if she were on another planet.
“It was the best and darkest of times, especially in the
beginning,” she says. “The day after my sixteenth birthday, I left
to go to New York and I ended up staying from then. Especially
because I was younger, it felt very much like I was learning a new
way of being.
“You don’t really question what’s happening because you’re just
soaking it in. So I kind of just accepted it, but it did take a
little while. It was hard to be alone at that age, coming from a
family that was very, very, very close.”
She might be a supermodel, but she has a refreshingly balanced
view of her image.
“I have felt it,” she says, of the pressures of fame and
recognition. “But it’s kind of dying now, because I realise you
can’t ever please everyone. Sometimes when people are constantly
wanting the fantasy or the illusion, you have to break it to them
that it’s not real, you know what I mean?” she says.
“It’s hard if you start believing that you should be really that
perfect fantasy ideal, that people start believing because of all
of the retouching.
“You can delve into that fantasy world and play with it, but
when you walk away, that’s not you. Other people can’t really
differentiate sometimes - there are a lot of young girls that I’ll
meet on the street, that’ll know me, and they’ll say ‘oh, you don’t
seem at all like a famous model’. And I’m like ‘well, that’s the
job and this is me’. We can all play dress-ups, we can all make
ourselves look like that.” Earning an estimated $US3.4 million
($A3.6 million) a year, according to Forbes magazine, Ward
has perfected her jetset chic - immaculate skin, platinum blonde
hair and a boho outfit comprising jeans and a tie-dyed t-shirt
(with a peace symbol on it), a yellow scarf wrapped artfully around
her neck.
“I’m not really sure how it has changed me,” she says of her
fortune. “The first thing might sound a little bit horrible, but I
don’t often ask how much I’m getting paid for certain things … I
know it might come back and slap me in the face when somebody rips
me off or something,” she says.
“I’m very aware of my spending, but I’m not very aware of my
income. There are certain times when I speak to my accountant, or
something will pop up, and I’ll be like ‘oh’ but it’s not really a
frontrunner in my head.”
At least her success as a model allows Ward to make a credible
shift into film, rather than just doing something to raise profile
or earn extra cash.
The film world hardly ever takes models seriously when they try
to enter the acting business. It was a stereotype that her
director, Down, had to fight when she screen-tested Ward for the
role of Jackie.
“Of course there were people who said ‘why would you want her?
She’s a model, not an actor’,” Down says. The director freely
admits that many models-turned-actors have crashed and burned, but
insists that Ward has the right stuff.
“She did exactly what I wanted. She knew the character and
really embodied it. It’s a film with Toni Collette in it, so it’s a
real performance piece. But Gemma more than holds her own.”
Casting Ward took just one phone call. “I just called her up and
said, ‘hey Gem, are you still interested in acting?’, because the
whole Gemma Ward bubble had blown up,” Down says.
“She was like ‘of course’. She was really hoping that modelling
would lead to acting and so I sent her the script and she loved it,
and came on board from the beginning.”
For her own part, Ward is hoping to emulate the decisions - and
values - of some of our biggest acting stars.
“I’ve always admired Cate Blanchett and the roles she chooses,”
says Ward. “I think she’s got an incredible discipline in a way,
with choosing roles that are going to help her grow and bring
something interesting to the world.”
Collette, who also stars in The Black Balloon, left a
real impression on Ward - even before they shared the same film
set.
“I remember Toni Collette as being one of the people who first
made me want to be an actress, because I watched The Sixth
Sense and I was blown away by her performance. I remember it
was one of the first times I watched the Oscars because I was just
desperate for her to win,” says Ward. “She’s just so gentle and
supportive of all of us; she really did look after us all (on
The Black Balloon set).”
Behind the famous names, says Ward, there are people often
filled with insecurities, just like everyone else.
“I’ve learnt, through modelling as well, that we place a lot of
emphasis on not only celebrities, but designers and people that we
all admire. How fast you learn when you work with these people that
they can be just as self-conscious or shy or just as normal and
goofy as anyone. I mean, when I met George Clooney, same thing - he
was just such a goofy guy, not at all what you’d think,” says Ward,
laughing. So she wasn’t chatted up by Clooney, then? Does Ward, as
a supermodel, have rich and famous men chasing after her all the
time? Ward laughs uproariously, looking a touch embarrassed by the
topic.
“In New York, you do have certain guys that are like that. But I
don’t really dress up to that,” she says.
Ward, who attended the premiere for The Black Balloon
in Sydney last week, will continue to base herself in New York,
although it is clear she has a huge affection for Western
Australia.
She’s still a supermodel - she stars in Karl Lagerfeld’s spring
2008 campaign - but her long-term goal is a serious acting career.
“I definitely have gone through some ups and downs, and sometimes I
find the easiest way is not to ever think (about the scrutiny) …
you kind of feel embarrassed or ashamed if somebody else is
expecting something or watching you,” she says. “It’s about being
comfortable, however you are.”
The Black Balloon is out now.
MODELS TURNED ACTRESSES
From posing to emoting
Lauren Bacall got her break when Howard Hawk’s
wife Slim spotted teenage model Betty Jane Perske on the cover of
Harper’s Bazaar. The ingenue got a screen test, a new
name, and ultimately a role in To Have and Have Not
(1944), opposite Humphrey Bogart. Those sultry looks belied a
steely will and she is still working.
Kim Novak’s icy blonde looks got her a job as
Mrs Deepfreeze for a fridge company before Hollywood called.
Columbia gave her a contract, but made the pneumatic model change
her first name from Marilyn so she wouldn’t seem like a wannabe
Monroe. Novak proved the better actress anyway, starring in films
such as Picnic, The Man with the Golden Arm and
Vertigo. Hitchcock didn’t think Novak was that talented:
“You think you’re getting a lot,” he said, “but you’re not.”
Cybill Shepherd started working as a model at
16, after she became Miss Teenage Memphis 1966. She featured on
dozens of magazine covers over the next four years before director
Peter Bogdanovich cast her in The Last Picture Show after
seeing her on the cover of Glamour magazine. Although she
portrayed various ethereal blondes in the 1970s, her acting career
didn’t take off until she played Maddie Hayes on TV’s
Moonlighting, opposite then-unknown Bruce Willis.
Jessica Lange posed for Karl Lagerfeld in Paris
in the early ’70s before moving to New York to work the catwalk and
take acting lessons. Her first role, as King Kong’s
plaything, in 1976, gave no sign that she would eventually win two
Oscars, one for best supporting actress for Tootsie, the
other for best actress for Blue Sky. Look for her later
this year as mad-cat “Big” Edith Bouvier Beale in a remake of
Grey Gardens.
Isabella Rossellini didn’t start modelling
until she was 28, but soon became one of the best-known models of
the 1980s, especially once she agreed to be the face of Lancome. It
only took one role, as the masochistic nightclub singer in Blue
Velvet, to erase any doubts that she could act. Rossellini
continues to choose unsettling roles, notably the baroness with
glass legs full of beer in The Saddest Music in the World
(2003).
Uma Thurman followed her modelling mother on to
the catwalk when she was 15 and by the age of 17 had been cast as
the goddess Venus in Terry Gilliam’s 1988 flop The Adventures
of Baron Munchausen. But her career was launched when she
appeared as John Malkovich’s eager pupil in Dangerous
Liaisons, released in the same year. She now works as an
actress (Kill Bill, The Producers) and a model (Lancome,
Louis Vuitton), but apparently struggles with the belief that she
is fat and ugly.

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Mysterious death of troubled star in his New York apartment

Thursday, January 31st, 2008

LESS than three months ago, Heath Ledger spoke candidly of his
struggle with insomnia and stress over two demanding film roles. He
said he had become sleepless playing a “psychopathic,
mass-murdering, schizophrenic clown with zero empathy” %26#151; his
description of his role as the Joker in the new Batman
film.
Insomnia was limiting him to an average two hours’ sleep a
night. He had taken a controversial drug, Ambien, sold in Australia
as Stilnox, which can have side effects including hallucinations
and breathing difficulties.
The drug didn’t help: one pill was ineffective and after a
second he slept for an hour but then woke, his mind racing. “I
couldn’t stop thinking. My body was exhausted, and my mind was
still going,” he told The New York Times.
Yesterday, hours after shocking news broke that the Perth-born
star had been found dead in his New York apartment with
prescription drugs nearby, more details of his troubles
emerged.
On his recent visit to Australia to have Christmas with his
family, the 28-year-old actor had seemed anxious and distressed
about being separated from his two-year-old daughter, Matilda,
following the breakdown in his relationship with the child’s
mother, actress Michelle Williams.
Australian model Sophie Ward, whose supermodel sister Gemma was
recently dating Ledger, said the star had been “a bit edgy” during
his time in Perth. “We went to the movies and just did normal
stuff,” Ms Ward said. “He said he was going to London, but was
quite upset because he couldn’t see his daughter as much as he’d
like to.”
Amid the personal troubles, Ledger’s career seemed to be
continuing its upward trajectory. The assignment in London that was
keeping him from his daughter was a role in The Imaginarium of
Doctor Parnassus, directed by Monty Python’s Terry Gilliam.
News of Ledger’s death shocked an Australian acting fraternity
that would otherwise have been celebrating news of Cate Blanchett’s
dual Oscar nominations. Blanchett, who along with Ledger and others
portrayed Bob Dylan in I’m Not There, was among the dozens
of Australian and Hollywood actors, directors and politicians who
paid tribute yesterday to a man who seemed to be universally
regarded as a true artist.
Blanchett said she was “shocked and very saddened” by Ledger’s
death. “I deeply respect Heath’s work and always admired his
continuing development as an artist.”
A mourning Naomi Watts reportedly pulled out of all engagements
at the Sundance Film Festival in Utah after the death of her former
lover, whom she met in 2002 on the set of Ned Kelly and
dated for 16 months.
New York Police deputy commissioner Paul Browne said Ledger’s
housekeeper found him unconscious about 3.30pm when she went to
tell him his masseur had arrived for an appointment. He was
unresponsive and pronounced dead shortly after.
Mr Browne said the cause of death would not be known until
determined by a medical examiner. “He was found face down on the
floor at the foot of the bed. He had no clothes on.” There were no
signs of foul play.
The New York Post website reported that Ledger’s
apartment, which he rented for $US23,000 a month, looked “like a
temporary crash pad”. The bed was a mattress on the floor with
plain white sheets, and the apartment was not decorated.
Generic forms of Xanax and Valium, both anti-anxiety drugs
prescribed in Ledger’s name, were found in the house, along with
Ambien, according to law-enforcement sources.
Last year, Australia’s Therapeutic Goods Administration put
extra warnings on Ambien after hundreds of adverse reactions during
sleep were reported. These include driving, having sex, fighting
and binge eating.
Drug and alcohol expert Paul Dillon said using Ambien while
suffering pneumonia, which Ledger was reportedly fighting, was not
recommended.
Unlike many Hollywood stars who cultivate an easy-going image to
mask difficult personalities, Ledger’s discomfort in media
interviews and disputes with paparazzi photographers may have
coloured perceptions of a man described by friends as private and
sensitive. Noni Hazlehurst, who starred with Ledger in
Candy, said he was a “kind and sensitive” man who simply
wanted to do good work.
“He was uncomfortable with celebrity, which made him a target
for fools, preferring to focus on being the best actor he could
be,” she said. “For that, he will always have the respect and
admiration of those who knew, understood and admired him.”
Fellow Australian actor Geoffrey Rush said he “admired Heath
enormously” and that he was “such a sensitive and committed and
daring actor”.
Prime Minister Kevin Rudd and Arts Minister Peter Garrett joined
the tributes. Mr Rudd said: “It is tragic that we have lost one of
our nation’s finest actors in the prime of his life.”
The media frenzy generated by his passing yesterday was far
greater than anything Ledger would have had to confront in life.
Soon after news of his death broke, the New York police erected
barricades outside his apartment building as hundreds of media
representatives and onlookers gathered.
It was only after the morbidly curious had drifted into the
night that there seemed to be a moment of simple compassion and
unabashed sadness.
For maybe an hour, Lesleigh Valette and Ileana Diaz waited
opposite the five-storey Soho loft building, clutching a bouquet to
lay at its door. The pair, both theatre students, had come from
Harlem to pay their respects.
“We expected him to win an Oscar in our presence, but we didn’t
expect him to pass like this,” said Ms Valette, 18.
A Perth woman, Daleen Kupsch, 31, now living in lower Manhattan,
said at the scene that his death had devastated her. She said she
had grown up in Morley, near Ledger’s home town of Guildford. “I
feel so sorry for his little girl,” Ms Kupsch said.
A friend quoted by the New York Post website claimed
Ledger was battling depression. “I was hearing that he was
depressed,” said actor Jonathan Zarin. “I’m sure he must have been
in a really bad place. I’d been hearing that for a while.”
When asked about the rumours circulating that Ledger had a drug
problem, Zarin responded: “Everyone in Hollywood experiments with
drugs.”
Reports of his troubles came months after Ledger split from
Williams, who played his wife in Brokeback Mountain.
Williams was said to be “devastated” over his death and was flying
back to New York from Sweden, where she has been filming.
The couple lived together in Brooklyn with their daughter until
their separation. In a recent radio interview, Ledger discussed the
impact of his daughter on his life. “I feel good about dying
because I feel like I’m alive in her,” he said. “But at the same
time you don’t want to die because you want to be around for the
rest of her life.”
Ledger’s family yesterday denied speculation that he had killed
himself, saying he was not a suicidal type. Family representatives
said police had advised them his death was entirely accidental, the
TMZ.com website reported.
The results of an autopsy on Ledger are due this morning,
Melbourne time. Ledger’s family is expected to arrange for his body
to be flown back to Perth, where he will be laid to rest.
In a statement read out in Perth by his father, Kim, the actor’s
family yesterday thanked well wishers for their support. “He was a
down-to-earth, generous, kind-hearted, life-loving and selfless
individual who was extremely inspirational to many,” Mr Ledger
said.
“Please now respect our family’s need to grieve and come to
terms with our loss privately.”
Ledger had a broad range of artistic interests. He directed
music videos for Sydney hip hop artist N’fa %26#151; a close friend
who was too distraught to comment yesterday %26#151; and recently
founded a music label with US star Ben Harper.
It also emerged yesterday that Ledger had recently shot and
edited a music video for a decades-old song by Nick Drake, the
English singer-songwriter who died in 1974 at 26.
The video, never seen in public, was reported by music channel
MTV to be a stark black-and-white composition, consisting mainly of
the director turning the camera on himself.
At the end of the video, Ledger drowns himself in a bathtub. The
song Black Eyed Dog was the last recording Drake made before
overdosing on pills.
With THE WEST AUSTRALIAN, NEW YORK TIMES, TMZ.com,
AGENCIES

Tags: , , , , , , , , , , , , , , ,

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Mysterious death of troubled star in his New York apartment

Thursday, January 31st, 2008

LESS than three months ago, Heath Ledger spoke candidly of his
struggle with insomnia and stress over two demanding film roles. He
said he had become sleepless playing a “psychopathic,
mass-murdering, schizophrenic clown with zero empathy” %26#151; his
description of his role as the Joker in the new Batman
film.
Insomnia was limiting him to an average two hours’ sleep a
night. He had taken a controversial drug, Ambien, sold in Australia
as Stilnox, which can have side effects including hallucinations
and breathing difficulties.
The drug didn’t help: one pill was ineffective and after a
second he slept for an hour but then woke, his mind racing. “I
couldn’t stop thinking. My body was exhausted, and my mind was
still going,” he told The New York Times.
Yesterday, hours after shocking news broke that the Perth-born
star had been found dead in his New York apartment with
prescription drugs nearby, more details of his troubles
emerged.
On his recent visit to Australia to have Christmas with his
family, the 28-year-old actor had seemed anxious and distressed
about being separated from his two-year-old daughter, Matilda,
following the breakdown in his relationship with the child’s
mother, actress Michelle Williams.
Australian model Sophie Ward, whose supermodel sister Gemma was
recently dating Ledger, said the star had been “a bit edgy” during
his time in Perth. “We went to the movies and just did normal
stuff,” Ms Ward said. “He said he was going to London, but was
quite upset because he couldn’t see his daughter as much as he’d
like to.”
Amid the personal troubles, Ledger’s career seemed to be
continuing its upward trajectory. The assignment in London that was
keeping him from his daughter was a role in The Imaginarium of
Doctor Parnassus, directed by Monty Python’s Terry Gilliam.
News of Ledger’s death shocked an Australian acting fraternity
that would otherwise have been celebrating news of Cate Blanchett’s
dual Oscar nominations. Blanchett, who along with Ledger and others
portrayed Bob Dylan in I’m Not There, was among the dozens
of Australian and Hollywood actors, directors and politicians who
paid tribute yesterday to a man who seemed to be universally
regarded as a true artist.
Blanchett said she was “shocked and very saddened” by Ledger’s
death. “I deeply respect Heath’s work and always admired his
continuing development as an artist.”
A mourning Naomi Watts reportedly pulled out of all engagements
at the Sundance Film Festival in Utah after the death of her former
lover, whom she met in 2002 on the set of Ned Kelly and
dated for 16 months.
New York Police deputy commissioner Paul Browne said Ledger’s
housekeeper found him unconscious about 3.30pm when she went to
tell him his masseur had arrived for an appointment. He was
unresponsive and pronounced dead shortly after.
Mr Browne said the cause of death would not be known until
determined by a medical examiner. “He was found face down on the
floor at the foot of the bed. He had no clothes on.” There were no
signs of foul play.
The New York Post website reported that Ledger’s
apartment, which he rented for $US23,000 a month, looked “like a
temporary crash pad”. The bed was a mattress on the floor with
plain white sheets, and the apartment was not decorated.
Generic forms of Xanax and Valium, both anti-anxiety drugs
prescribed in Ledger’s name, were found in the house, along with
Ambien, according to law-enforcement sources.
Last year, Australia’s Therapeutic Goods Administration put
extra warnings on Ambien after hundreds of adverse reactions during
sleep were reported. These include driving, having sex, fighting
and binge eating.
Drug and alcohol expert Paul Dillon said using Ambien while
suffering pneumonia, which Ledger was reportedly fighting, was not
recommended.
Unlike many Hollywood stars who cultivate an easy-going image to
mask difficult personalities, Ledger’s discomfort in media
interviews and disputes with paparazzi photographers may have
coloured perceptions of a man described by friends as private and
sensitive. Noni Hazlehurst, who starred with Ledger in
Candy, said he was a “kind and sensitive” man who simply
wanted to do good work.
“He was uncomfortable with celebrity, which made him a target
for fools, preferring to focus on being the best actor he could
be,” she said. “For that, he will always have the respect and
admiration of those who knew, understood and admired him.”
Fellow Australian actor Geoffrey Rush said he “admired Heath
enormously” and that he was “such a sensitive and committed and
daring actor”.
Prime Minister Kevin Rudd and Arts Minister Peter Garrett joined
the tributes. Mr Rudd said: “It is tragic that we have lost one of
our nation’s finest actors in the prime of his life.”
The media frenzy generated by his passing yesterday was far
greater than anything Ledger would have had to confront in life.
Soon after news of his death broke, the New York police erected
barricades outside his apartment building as hundreds of media
representatives and onlookers gathered.
It was only after the morbidly curious had drifted into the
night that there seemed to be a moment of simple compassion and
unabashed sadness.
For maybe an hour, Lesleigh Valette and Ileana Diaz waited
opposite the five-storey Soho loft building, clutching a bouquet to
lay at its door. The pair, both theatre students, had come from
Harlem to pay their respects.
“We expected him to win an Oscar in our presence, but we didn’t
expect him to pass like this,” said Ms Valette, 18.
A Perth woman, Daleen Kupsch, 31, now living in lower Manhattan,
said at the scene that his death had devastated her. She said she
had grown up in Morley, near Ledger’s home town of Guildford. “I
feel so sorry for his little girl,” Ms Kupsch said.
A friend quoted by the New York Post website claimed
Ledger was battling depression. “I was hearing that he was
depressed,” said actor Jonathan Zarin. “I’m sure he must have been
in a really bad place. I’d been hearing that for a while.”
When asked about the rumours circulating that Ledger had a drug
problem, Zarin responded: “Everyone in Hollywood experiments with
drugs.”
Reports of his troubles came months after Ledger split from
Williams, who played his wife in Brokeback Mountain.
Williams was said to be “devastated” over his death and was flying
back to New York from Sweden, where she has been filming.
The couple lived togethe