The iconic film legend and Oscar-winning director Clint Eastwood on his life, his musical tastes, his busy schedule and his new Frankie Valli biopic
At the age of 84, Clint Eastwood has become something of a national treasure in America, where he appeared in his first movie nearly 60 years ago.
He has been in 66 films, produced 40, directed 37 and won five Oscars. He has been equally active in his private life, having fathered seven children, aged from 17 to 50, by five women.
His 17-year marriage to Dina Ruiz, 35 years his junior, ended last year and he has since been linked to a couple of women. His latest girlfriend is said to be Christina Sandera, who works at Clint’s Mission Ranch Hotel in California.
He’s just finished shooting American Sniper in which a Navy SEAL, played by Bradley Cooper, recounts his career.
What led to you directing what is essentially a 1960s pop musical?
Quite simply I was asked if I was interested in doing it. I hadn’t seen the play so I went and saw it three times and said I’d love to do the film. The play had been in New York for nine years and in London for five or six, and I thought it had a good international feel to it.
What did you know about Frankie Valli and the Four Seasons, and the music of the early 1960s, before you saw the play?
I was too much of a jazz freak to have been into their music and the rock era was not my favourite. I wasn’t a big fan of the music that came out of the 60s, but I think the Four Seasons did some great stuff. Can’t Take My Eyes Off You was probably the closest thing to a classic song that came out of the 50s and 60s.
Music has played a big part in many of your films, and more so in this than nearly any other that you have made.
I don’t really think of it as a musical. What was fun for me was that it’s about musicians, much as Bird, the movie I did in 1988 about Charlie Parker was about a jazz player. The Four Seasons had all these hit songs but they were just guys from the neighbourhood – a place where, if you were a singer, you were looked down upon as strange, unless you were Sinatra.
Feel-good: Jersey Boys
What are your memories of the 1960s as an era?
There were a lot of changes going on but I was a little slow so I didn’t catch on. When everybody else was experimenting with drugs, I was drinking beer. I was still liking Charlie Parker and jazz. Along the way I developed a love for country music, where they told a story and you could actually understand the lyrics.
Was it a good time for you?
Yeah, it was a good time. I was working in Rome and in London. It was also an interesting period culturally. But I was brought up during the 40s and 50s when you had great singers like Sinatra, Nat King Cole and Billy Eckstine, plus the women such as Ella Fitzgerald, Sarah Vaughan and Peggy Lee.
Apart from Christopher Walken, the Jersey Boys has pretty much an unknown cast. How did you manage to find them?
Most of them had been working in the play for years so I figured why not go and take advantage of them having that experience? I have always believed that if a film works, it has to work as an ensemble and you can have the biggest names in the world but it doesn’t make any difference if the picture doesn’t work.
What made you decide to have a Hitchcock moment – giving yourself a brief cameo appearance?
It was suggested that I join in on a production number, dancing down the street to run during the end credits, but I said, “No. A man must know his limitations.” Then one of the actors suggested that during a party scene he could be watching me in the old TV series Rawhide, so we did that. That was my way of having a Hitchcock moment without actually having to do anything.
Rex
Famous role: Clint as Dirty Harry
Do you have any other projects lined up after American Sniper?
I have a couple I’ve been looking at but I’m not going to do anything for the rest of this year. I’ve done two in a row and I’m just going to stand back and smell the roses a little bit. But if a good project popped up I’d probably change my mind.
How are you enjoying single life?
My single life? I’ve been working so much I haven’t had a chance to be fancy in any way. I’ve done two pictures in a row and just finished one a couple of nights ago.
What’s your secret for keeping so fit and youthful?
I believe in plenty of sleep. What keeps me going is my interest in the work I’m doing. My secret is never letting the old man in. I keep busy and I have done since Rawhide in 1959.
What’s important to you?
Family and friends, in that order. I’m always worried about getting back to family and friends again. You are always worried about their situation and hoping they have as nice a life as you are having.
FILE- This June 19, 2012 file photo shows LeVar Burton introducing the all new Reading Rainbow adventure app to the media, publishers and parents at the "Reading Rainbow Relaunch" event in New York. Burton's campaign to bring "Reading Rainbow" to the online masses is off to an impressive start. It reached its fundraising goal within hours of its launch on Wednesday, May 28, 2014, on Kickstarter, according to the fundraising website. (AP Photo/Reading Rainbow, file) Photo: Uncredited, Associated Press
LOS ANGELES (AP) — LeVar Burton'sfundraising effort to bring "Reading Rainbow" to the online masses is a by-the-book success.
The goal of raising $1 million by July 2 was reached within hours of the campaign's launch Wednesday on Kickstarter, according to the website. More than 23,000 donors had pledged $1.1 million and counting.
Burton was the host of "Reading Rainbow," the children's literacy program that aired on public TV through 2009.
"It was my mother who taught me that, by picking up a book, I could 'go anywhere' and 'be anything,' " Burton said in a posting on Kickstarter.
Contributors can claim rewards ranging from autographed memorabilia to a private dinner with Burton to a chance to put on the visor that the actor wore on "Star Trek: The Next Generation."
"We're not just getting pledges, but so much email love that our server froze," said Mark Wolfe, Burton's business partner. "I'm so happy to help. LeVar taught me to read," is among the typical messages, he said.
A tablet version of "Reading Rainbow" was released in 2012 and became a top-selling education app. It provides access to hundreds of books and Burton's videotaped "field trips" to historic and other places, said Wolfe, who co-founded the for-profit RRKidz company with Burton.
The Kickstarter campaign is intended to help bring an online version to more children for a $5 monthly subscription fee, Wolfe said. Many more families have access to computers than tablets, he said.
An educator-specific format will be created for schools and made available free to at least 1,500 of the neediest classrooms, RRKidz said.
Burton and Wolfe hold the global rights to "Reading Rainbow" in partnership with the show's creator, public TV station WNED in Buffalo, New York, according to a release.
Jonathan Yeo has painted Malala doing her homework (AP photo)
A portrait of Malala Yousafzai, the Pakistani teenager shot by the Taliban for championing education for girls, will be auctioned in New York and sales proceeds will go to Nigerian charities focused on education and advocacy for girls and women.
Jonathan Yeo, a leading British portraitist, painted Malala in 2013 shortly after she started attending a school in Birmingham, England, where she lives now.
Christie’s auction house is offering the Malala portrait, which shows the teenager doing her homework and has a presale estimate of USD 60,000 to USD 80,000.
Malala, 16, said she will donate all the proceeds from the auction later on Wednesday to Nigerian charities focused on education and advocacy for girls and women.
Last week, the Malala Fund launched a special fund in response to the crisis in Nigeria, where more than 200 girls by terrorist group Boko Haram.
“I was shocked and saddened when I heard about the abduction of more than 200 girls by terrorists in Nigeria. I am very concerned about these innocent girls – my sisters –whose only crime was going to school and learning,” said Malala.
“I believe it is our duty to stand together in solidarity with their parents, families and relatives. We all have a voice and we must speak up and call on the international community and the government of Nigeria to intervene and bring these girls back to their homes safely. Together we can create a world where no child will be out of school and no student will fear for her or his safety,” she added.
NEW YORK >> New York’s storied Four Seasons restaurant has for decades harbored one of the city’s more unusual artworks: the largest Pablo Picasso painting in the United States. But a plan to move it has touched off a spat as sharply drawn as the bullfight crowd the canvas depicts.
Pitting a prominent preservation group against an art-loving real estate magnate, the dispute has unleashed an outcry from culture commentators and a lawsuit featuring dueling squads of art experts.
The building’s owner says Picasso’s “Le Tricorne,” a 19-by-20-foot painted stage curtain, has to be moved from the restaurant to make way for repairs to the wall behind it.
But the Landmarks Conservancy, a nonprofit that owns the curtain, is suing to stop the move. The group says the wall damage isn’t dire and taking down the brittle curtain could destroy it — and, with it, an integral aspect of the Four Seasons’ landmarked interior.
“We’re just trying to do our duty and trying to keep a lovely interior landmark intact,” says Peg Breen, president of the conservancy.
The landlord, RFR Holding Corp., a company co-founded by state Council on the Arts Chairman Aby Rosen, says a structural necessity is being spun into an art crusade.
“This case is not about Picasso,” RFR lawyer Andrew Kratenstein said in court papers. Rather, he wrote, it is about whether an art owner can insist that a private landlord hang a work indefinitely, the building’s needs be damned. “The answer to that question is plainly no.”
Picasso painted the curtain in 1919 as a set piece for “Le Tricorne,” or “three-cornered hat,” a ballet created by the Paris-based Ballet Russes troupe.
The curtain isn’t considered a masterwork. Breen said it was appraised in 2008 at $1.6 million, far short of the record-setting $106.5 million sale of a 1932 Picasso painting at a 2010 auction.
Still, “it was always considered one of the major pieces of Picasso’s theatrical decor,” says Picasso biographer Sir John Richardson. “And it is sort of a gorgeous image.”
The scene depicts spectators in elegant Spanish dress socializing and watching a boy sell pomegranates as horses drag a dead bull from the ring in the background.
“Le Tricorne” has been at the Four Seasons since its 1959 opening in the noted Seagram Building. The restaurant, which isn’t affiliated with the Four Seasons hotel a few blocks away, is the epitome of New York power lunching, having served President Bill Clinton, Princess Diana, Madonna and other A-listers.
The curtain hangs in what’s become known as “Picasso Alley,” a corridor that joins the restaurant’s majestically modern, Phillip Johnson-designed main dining rooms.
Some argue that the painting, donated to the Landmarks Conservancy in 2005, is a vital piece of the city’s cultural landscape and the restaurant’s lauded decor.
Architecture critic Paul Goldberger decried the curtain’s potential move in Vanity Fair, saying the canvas helps make the Four Seasons “a complete work of art.”
Noted architect Robert A.M. Stern and Lewis B. Cullman, an honorary trustee of the Museum of Modern Art, both sent Rosen letters asking him to reconsider removing the curtain. Arts critic Terry Teachout blasted the potential loss of “Picasso’s most readily accessible painting” in The Wall Street Journal.
The landlords also have their defenders. In tony Town & Country, arts editor Kevin Conley cast the debate as a misplaced outpouring over a “second-rate Picasso.”
The debate has opened an uncomfortable divide in the city’s preservation circles. The Landmarks Conservancy honored Rosen in 2002 for restoring another important 1950s office building, Lever House, yet now publicly claims the major art collector dismissed the Picasso curtain as a “schmatte,” a Yiddish word for “rag.”
“They’ve elevated this into something that it shouldn’t be. ... Everybody says I hate Picasso,” Rosen lamented to The New York Times last month. ‘’But I live with five of them in my home.”
Rosen, whose spokesman didn’t return calls from The Associated Press, told The Times he aims to remove and restore the painting, then decide where it will go.
The controversy has drawn a stream of art students, history buffs and other sightseers to look at the canvas.
Breen, for one, isn’t surprised.
“Most people would be very happy to have the largest Picasso in America hanging in their building,” she said.
The mystery revolving what is going to happen to the late Paul Walker’s character in the upcoming Fast and Furious film has officially been solved.
A source reportedly told The New York Daily News that “They have hired four actors with bodies very similar to Paul’s physique and they will be used for movements and as a base.”
After Walker’s tragic death in November, dozens of rumors began to surface about what was going to happen to Brian O’Conner, Walker’s character. Many believed that in Fast & Furious 7 O’Conner would be retired.
“Paul’s face and voice will be used on top using CGI,” the source said.
The seventh installment of the film is set to resume filming again in April since it was put on hold back in December.
After almost one year past its original due date, Fast 7 is set to open in theaters on April 10, 2015.
The sources close to Universal tell The Daily News they are confident that fans will be happy with the choice the studio is making.
The singer-songwriter performed tracks such as Sister Midnight and Nightclubbing at the 24th Annual Benefit Concert for Tibet House US, a non-profit organisation charged with preserving Tibetan culture.
Iggy earned cheers and applause as he entertained the crowd with his wild dance moves.
"Good to see you! I needed this," he told the crowd at the 2,800-seat Stern Auditorium at Carnegie Hall in New York.
New Order stars Bernard Sumner,Phil Cunningham and Tom Chapman also took part in the concert, and American indie rockers The National performed three songs.
Patti Smith sang with her band, opening her set by paying tribute to the late Lou Reed with Perfect Day.
"We would like to dedicate this song to Lou's most wonderful wife, Laurie," she said. She ended with her hand in the air, saying: "Thank you, Lou."
Patti closed the show with Iggy, New Order, The National and others with People Have The Power.
As she was joined onstage by the night's performers, she yelled to the crowd: "Don't forget it - use your voice."
Iggy and Patti are regular performers at the annual benefit concert for Tibet, which is ruled by China.
Can you ever go back to the past after you've closed the book on it, and would you want to? Will you like what you find there?
These are not just the central questions in the movie "Veronica Mars," which premiered yesterday at SXSW, but questions that filmmaker Rob Thomas, his cast, and the audience who enjoyed the three-season TV series have addressed. After seven years, can you successfully return to the setting and characters of a TV show to make a low-budget feature film?
The answer is yes. Thomas and his co-writer Diane Ruggiero have penned a self-avowed love letter to the fans of the series, but grounded it in a solid thriller with compelling characters and bright comic moments.
After a short recap of Veronica's (Kristen Bell) high school private investigator days, the movie leaps ahead nine years after the last episode of the TV series to show us where the title character ended up. She left the bizarrely corrupt town of Neptune, CA and has closed the door very firmly on her past, as she prepares to take the bar exam and work as a high-powered corporate New York attorney. But it’s her past that's getting her in the door for job interviews, like it or not.
READ MORE: Jason Dohring on Stepping Back Into The Role of Bad Boy Logan Echolls For The 'Veronica Mars' Movie
After her old teen flame Logan (Jason Dohring) is accused of murdering one of their fellow high-school classmates, Veronica ventures back to Neptune, trying not to get sucked into a growing mystery. She's also hoping to avoid her 10-year high school reunion, but there's no way this film would miss the opportunity to show us such a quantity of characters from the TV series in a single setting.
Sequences like the reunion are part of the many ways Thomas caters to the "Veronica Mars" fanbase that funded the film in a record-breaking Kickstarter campaign. Fortunately, the film winks at the fans without patronizing them, and without making other audiences members feel left out. Minor but beloved characters appear briefly, and the theme song pops up unexpectedly (performed by Alejandro Escovedo). Thomas might have underestimated fans' enthusiasm, however, and doesn't allow enough time for audience reactions to happen without stepping on the next lines. (He needed maracas, a la "Some Like It Hot.")
A well-paced, well-structured mystery keeps the film exciting for all audience members, with shades of Hitchcock and "Charade" lurking around several scenes and characters. The dark silhouettes and sinister framing in several shots provide reminders that these mysteries are grim situations Nancy Drew never had to deal with.
It's the characters and their relationships that anchor "Veronica Mars," working in tandem with suspenseful aspects of the movie to keep it engaging. Veronica's relationship with her dad (Enrico Colantoni) has always been my favorite part of the series, and it's just as sweet and funny here. The scene where Veronica returns to her father's office for the first time to surprise him hits all the right notes... and economically shows the futility of her desire to shut out the past.
Veronica is far more interesting in Neptune than in New York. She has a smart mouth on her. She's absolutely fearless. She hates injustice and wants to get to the bottom of anything that smells fishy. This is a character I want to have a beer with (and not at a bad karaoke dive), as opposed to the corporate-lawyer-to-be in the prim suit with the boyfriend who works for "This American Life." It's easy to see that Veronica can't escape what's bred in the bone, to paraphrase Robertson Davies.
The supporting characters drawn with the broadest strokes work best in the film. Ryan Hansen as Dick Casablancas gives the film its goofiest comic moments... apart from a couple of cameos by familiar faces in a nightclub scene. Venal Sheriff Don Lamb (Jerry O’Connell), loopy groupie Ruby Jetson (Gaby Hoffman) and Krysten Ritter's party girl Chloe -- I mean Gia -- are over the top but entertaining. Unfortunately, Jason Dohring as Logan is a character whose passionate personality traits are talked about more than shown -- if you haven't watched the show, he seems little more than the Wronged Woman stereotype with a gender reversal.
Because the movie Veronica Mars is set nearly a decade after the TV show, it lacks the high school stratification setting many fans believed was integral to the series. (For those of us who prefer mysteries over mean girls, this is a boon.) And at times, the voiceover narration, a stock feature of the show, feels excessive and unnecessary here -- too much telling, not enough showing. On the other hand, the snappy dialogue, another carryover from the series, gives "Veronica Mars" a sassy edge, balancing suspense and smartassery quite successfully for all viewers.
Lindsay Lohan is reportedly about to sign a $1million deal to turn her rehab diary into a memoir.
The troubled star's reflections will be used as the basis for an autobiography, detailing her descent from child star to her spell in court-ordered rehab.
The deal is said to be ready to be signed with respected publisher HarperCollins, after Lohan's representatives offered sample pages of the proposed book.
Read all about it! Lindsay Lohan, seen on The Tonight Show on Thursday, is in talks to sign a $1m deal to turn her rehab diary into a memoir
'It’s more or less an autobiography, but she had a minimal number of sample pages,' a publishing source told the New York Post Page Six.
Lindsay’s agent, Scott Waxman, had meeting with various publishing houses.
But his initial attempts to win offers of $5million were unsuccessful amid concerns Lohan would not deliver the finished book.
'There was initial interest, but everybody backed off. There was concern she wouldn’t deliver,' the source told Page Six.
This Sunday Lohan's new reality series will premiere on Oprah Winfrey's OWN network.
Good times: This Sunday Lohan's new reality series will premiere on Oprah Winfrey's OWN network
In it she is seen reading sections of her journal to her mother.
Speaking to Jimmy Fallon on Thursday night LiLo
stressed that she and Oprah Winfrey have 'a really strong bond'.
Her claim belies a the tense trailer where the media mogul snaps: 'You need to cut the bulls***.'
'It is a television show so they want ratings,' reassured the troubled star, who scored a $2 million paycheck for the show.
'They picked the first two months after I got back to New York after I had been in treatment. I became really spiritual over this past year and I have been trying to find peace and serenity in my life.'
According to a new report from The New York Post's Page Six, Andrew Garfield was supposed to present at the Oscars with Miles Scott -- a.k.a. Batkid, the 5-year-old boy with cancer who played superhero in San Francisco -- but "refused" to go on when he didn't like his lines, according to Yahoo Celebrity.
"The Academy was going to make [Miles] an official superhero during the Oscar ceremony," a source told Page Six, noting that it had been coordinated with the Make-A-Wish Foundation, which also helped facilitate the little boy's dreams of being Batman. "Andrew Garfield was going to appoint him 'Batkid,'" the insider continued. "But, in the middle of the dress rehearsal, Garfield decided he didn't like his lines."
The source went on to say that the Spider-Man star "refused to go by the script" and instead came up with his own lines, which producers didn't go for. "Garfield had a tantrum. He stormed off," the source said, adding that Miles and his family "were devastated," Yahoo Celebrity reports.
The Associated PressLupita Nyong'o poses in the press room with the award for best actress in a supporting role for "12 Years a Slave" during the Oscars at the Dolby Theatre on Sunday, March 2, 2014, in Los Angeles. (Photo by Jordan Strauss/Invision/AP
NEW YORK (AP) — That’s a wrap, Lupita Nyong'o, but may all the best dresses keep coming your way.
With a supporting actress Oscar now in her possession, a tearful Nyong'o concluded a red-carpet season Sunday night as a fashion darling for sexy silhouettes and colors that wow.
She didn’t disappoint at the 86th Academy Awards, wearing a pale blue Prada goddess gown and a sparkly gold-and-diamond headband from Fred Leighton.
Nor did Jennifer Lawrence in a $2 million, 100-carat diamond necklace from Neil Lane to accent her girl-on-fire orange-red strapless dress from Dior. On Cate Blanchett’s ears were 33 carats of opal in a huge drop design that did justice to her beaded Armani gown in a light tan color.
Blanchett’s heavily embellished gown sparkled under the lights at the Dolby Theatre in Los Angeles when she collected her Oscar for best actress in ‘‘Blue Jasmine.’’
While she’s not under contract by Giorgio Armani, Blanchett does favor the house. ‘‘Armani has made donations to the theater that she and her husband run in Sydney, so she’s very loyal to him,’’ said Hal Rubenstein, editor at large of In Style magazine.
Muted colors, like those worn by Blanchett and Nyong'o’s ice blue, were one of the night’s big trends, said Estee Stanley, a stylist who worked with Portia de Rossi, in a regal Naeem Khan halter with beads and lace, and Jessica Biel, dressed in a metallic sparkler from Chanel dripped with diamond jewelry from Tiffany.
Fitted, body-conscious gowns prevailed on the red carpet, said fashion bloggers Tom Fitzgerald and Lorenzo Marquez.
‘‘The colors of the night were pinks and blues. Statement necklaces were back,’’ Fitzgerald said.
But Marquez mused: ‘‘A general sameness hung over the whole thing. There was not enough experimentation.’’
While some of the necklines plunged, said Rubenstein, ‘‘there was nothing overtly sexy. They were all fairly reserved.’’
Here’s our five to talk about:
LUPITA NYONG'O
‘‘I felt Lupita’s dress was glorious,’’ Rubenstein said. ‘‘She’s just not making a mistake.’’
He praised her color choice and the full-pleated gown with a plunging bodice. The color, he said, was perfect for her dark skin tone. He called her jeweled headband a nice touch of youth and wit.
‘‘There are now so many other awards shows where you can take chances. You can be silly, you can be funny. The Oscars is like coronation night. On Oscar night you look for classic glamour, you look for the glamour that really is defined for us by Hollywood, by the movies that we've seen. All those great Edith Head costumes. ... The way Grace Kelly was dressed by Hitchcock. That’s what we have drilled into our head as what glamour is and so many people reference that type of glamour,’’ Rubenstein said.
On this night, Nyong'o was among them.
‘‘She carries herself so beautifully. She has such poise. Such grace,’’ he said.
Marquez added: ‘‘I loved this, full stop. Every single bit of it. The color is perfect, the way the skirt flows and moves is sublime. She won the entire night as far as I'm concerned.’’
Fitzgerald said he ‘‘loved it, but not as much. I think the neckline is too plunging and too wide. Everything else about is pretty close to perfect, though. It’s a fresh take on the princess gown, with an even fresher take on the tiara.’’
JENNIFER LAWRENCE
Ok, so yeah, she tripped again, this time on the red carpet as opposed to running up the Oscar steps to collect a statuette, but she giggled it off and stunned in strapless Dior akin to the bright color of a Calvin Klein she wore in 2011.
Of a Lupita versus Jennifer smackdown, Rubenstein chided: ‘‘C'mon now, they both looked beautiful. Jennifer’s was also a beautiful color.’’
Lawrence, with a swept-back bob, pulled off a bit of ruffle at the hip. It was a form-fitting dress in contrast to her full gown at last year’s Oscars, when she stumbled as she made her way up the stairs to collect her award for ‘‘Silver Linings Playbook.’’
‘‘The Dolby is a very big theater and when you wear a dress with a lot of volume like she did last year, you kind of get lost in that volume,’’ Rubenstein said. ‘‘The more body-conscious dress really focuses on you.’’
Fitzgerald and Marquez were not quite as impressed.
‘‘I'll say it: I'm bored,’’ Marquez said. ‘‘It has none of the drama of last year’s Dior gown. It’s just another slinky gown on a night with more than enough of them.’’
Fitzgerald added: ‘‘I have to agree. And the red seems kind of done. It just doesn’t feel very fresh.’’
SANDRA BULLOCK
Was it Navy blue? Royal blue? Simply, dark blue? Whatever. It was a deep-tone Alexander McQueen and an example of an edgy fashion house offering up an Old Hollywood-style stunner, Rubenstein said.
Both Rubenstein and Stanley called the look Navy, noting a pleated draping that fell to one side. It was in line with a lot of blue, some green, and not quite so much red as in years and carpets past.
Marquez called it, ‘‘Another stunner for the night — and a personal best for her. She tends toward colorless, slinky dresses and pin-straight hair. It’s refreshing to see something with some shape.’’
Fitzgerald also lauded her loose, sideswept hair — a deep and dramatic side part another trend of the night.
He called the dress ‘‘crazy-dramatic. It’s the kind of look, top to bottom, that makes you step back and say ‘Now, that’s a movie star.'’’
CHARLIZE THERON
Black made a reappearance, said Rubenstein, and it remains a dynamic color.
Theron was elegant in black Dior, paired with a $15 million Harry Winston necklace that had a cluster of diamonds at the center.
‘‘Her simple dress and massive necklace was a classic yet fresh look,’’ Stanley said.
The look had invisible straps and a curvy plunge, clinging to her body with a partially sheer train in back.
‘‘As far as I'm concerned, this is the look that won the night,’’ Fitzgerald said. ‘‘She’s serving up serious Madame X here,’’ as in sexy, dark and mysterious.
Theron’s short hair fell over her forehead from the evening’s popular side part.
AMY ADAMS
She wore a blue column strapless by Gucci with a lapel-like, fold-over at the strapless part. It was another Navy and stuck close to the body, flowing into a short train at the hem.
‘‘There were columns, columns, columns,’’ Rubenstein said of that time-tested silhouette, and Adams was a prime example.
The simple silhouette left plenty of room for her Tiffany jewels. They included rhodochrosite, lapis and turquoise earrings with diamonds in 18-karat yellow gold, worth $35,000, and a $1.4 million yellow diamond bracelet, also in 18-karat yellow gold.
The results from toxicology and tissue tests conducted on late actor Philip Seymour Hoffman have revealed that the star died from a mixture of prescription drugs, cocaine and heroin.
Hoffman died a month ago of a suspected overdose in his New York City apartment, where his body was found with a needle still stuck in his arm.
The medical examiner's office conducted more tests after the initial autopsy results proved inconclusive, finding amphetamines, benzodiazepines for anti-anxiety, cocaine and heroin in his system.
The actor struggled with drug abuse in the past and had checked into rehab in 2013 after starting to take heroin again after 23 years of sobriety.
Hoffman's death was officially ruled an accident, and the official cause of death is listed as "acute mixed drug intoxication"
CNN's Dr. Sanjay Gupta explained how chronic drug users and addicts build up a tolerance to hard drugs like heroin and take more frequent doses, which spells trouble.
"They're not feeling [the effect of the drug], but it's still having an impact on their ability to breathe, and that's the real problem," he explained. "It's called stacking.
"You can stack the same drug too close together, or you can start to stack other drugs, one on top of the other. That's how people get into trouble," he adds. "They do call it accidental death as well."
Actors John Belushi and River Phoenix both died of mixing heroin and cocaine, better known as speedballing. News Source: www.starpulse.com
.jpg)
The results from toxicology and tissue tests conducted on late actor Philip Seymour Hoffman have revealed that the star died from a mixture of prescription drugs, cocaine and heroin..jpg)
