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Gender: Female Religion: Roman Catholic Race or Ethnicity: White Sexual orientation: Straight Occupation: Actor, Activist
Nationality: France Executive summary: Voulez-vous danser avec moi?
Arguably film's first sex kitten, Brigitte Bardot grew up in a wealthy, conservative French Catholic family. She was named for her mother's favorite doll, and as a child wore braces on her teeth and glasses to correct astigmatism. Bardot began studying ballet at the age of five, and at 13 she danced alongside Leslie Caron at the Conservatoire Nationale de Danse. At 14, she blossomed and was photographed for the cover of Elle magazine. At 15, Bardot met her future first ex-husband Roger Vadim, and attempted suicide when her parents refused permission for her to marry until she was 18. They married when she turned 18, and divorced five years later.
She moved from modeling to acting, and played a 17-year-old nymphet (at 22) in Vadim's And God Created Woman, a role that made Bardot known internationally. She embodied a natural yet innocent sexuality that was a precursor to the sexual liberation movement of the 1960s. The actress eschewed the Catholic principles of her childhood, saying "It is better to be unfaithful than to be faithful without wanting to be." Brigitte Bardot was one of the first women to wear a bikini, and later she and her friends would be the first to sunbathe topless at St. Tropez in the late 1960s. She was the first international star to be as popular as any homegrown pinup in the US.
Long prone to depression, Bardot has attempted suicide multiple times. "I really wanted to die at certain periods in my life. Death was like love, a romantic escape. I took pills because I didn't want to throw myself off my balcony and know people would photograph me lying dead below." On her 26th birthday she attempted her most publicly known suicide attempt, swallowing a bottle of sleeping pills and slitting her wrists.
Bardot retired from films at 39, to focus on her love of animals and her increasingly odd political activism. She sold her home, her jewels, and other personal effects in 1986 to start the Brigitte Bardot Foundation, which works for animal rights across the world. She has been outspoken to the point of causing international offense on the behalf of animals, and once stole a mynah bird on a French street because its owner, whom she beat with an umbrella, was "abusing" it by giving it a hamburger and fries.
Political incorrectness has dogged Bardot in recent years, being fined by the French government no fewer than four times in recent years for "inciting hatred" with her books. Her views that gays are "fairground freaks", that racially mixed marriages are an abomination, and that France is being "Islamized" have been problematic, as has her denunciation of the ritual slaughter of sheep during the Muslim feast of Eid. Bardot was an outspoken supporter of France's failed fascist presidential candidate Jean-Marie Le Pen.
Father: Charles Bardot ("Pilou", engineer) Mother: Anne-Marie Mucel Bardot (homemaker) Sister: Marie-Jean Bardot ("Mijarout") Husband: Roger Vadim (film director, m. 1952, div. 1957) Husband: Jacques Charrier (French actor, b. 1936, m. 1959, div. 1962)) Son: Nicholas Charrier Husband: Gunter Sachs (millionaire, heir to Fichtel & Sachs) Husband: Bernard d'Ormale (right wing, allegedly racist politician) Boyfriend: Serge Gainsbourg (singer) Boyfriend: Sacha Distel Boyfriend: Jean-Louis Trintignant (actor) Boyfriend: Luis Miguel Gonzalez Lucas (matador) Boyfriend: Marlon Brando Boyfriend: Warren Beatty Boyfriend: Mick Jagger Boyfriend: Sean Connery
Sea Shepherd Conservation Society Media and Arts Advisory Board Inciting Racial Hatred for her book A Cry in the Silence, 2003 Inciting Racial Hatred for her book Pluto's Square, convicted 2000 Inciting Racial Hatred convicted 1998 Inciting Racial Hatred convicted 1997 Suicide Attempt 28-Sep-1960 Suicide Attempt 1949 Risk Factors: Breast Cancer, Vegetarian, Smoking, Homophobia, Depression, Nudism
FILMOGRAPHY AS ACTOR Rum Runners (31-Oct-1971) Shalako (26-Sep-1968) Spirits of the Dead (17-May-1968) Viva María! (22-Nov-1965) Contempt (29-Oct-1963) A Very Private Affair (31-Jan-1962) The Truth (2-Nov-1960) Love Is My Profession (17-Sep-1958) ...And God Created Woman (28-Nov-1956) Helen of Troy (25-Jan-1956) Les grandes manoeuvres (25-Oct-1955) Doctor at Sea (26-Sep-1955) Act of Love (17-Dec-1953)
"I wake up around noon, light a cigarette, get a cup of coffee, sit in the bathtub for an hour and daydream, and I usually come up with some ideas... It's a very irresponsible life. The only decisions I make are about the notes I'm writing."-- Hans Zimmer
"My job is to look for something that doesn't exist yet in the film. I work a lot with friends --like Penny Marshall or Tony Scott-- so when Tony starts a movie, I know about it years before it starts shooting, and I hear the story every time I see him. So when I see the movie I find out what's left of the story he told me about, and what actually happened while he was shooting. And then I try to get back to the original reason why we were doing that movie. With music, you can express things far better, so what you try and do is express the things they haven't done eloquently. 'Yo, motherfucker!' is not a terribly eloquent line; I could write something much better."-- Hans Zimmer
"I don't drive, so one of my assistants drives me to my writing room, and I have a calendar on the wall telling me how much time I have left, and how far behind I am. I look at it and panic, and decide which scene to work on. And you sit there plonking notes until something makes sense, and you don't think about it any more. Good tunes come when you're not thinking about it."--Hans Zimmer
"I have all these computers and keyboards and synthesizers, and I rattle away. For instance, with The Lion King I wrote over four hours' worth of tunes, and they were really pretty --but totally meaningless. So in the end I came up with material I liked. We worked on The Lion King for four years, but I wasn't toying until the last three-and-a-half weeks properly. On Crimson Tide, on the other hand, I just went in and within seconds I knew what I wanted."--Hans Zimmer
Born September 12th, 1957 in Frankfurt, Germany, Hans Zimmer is a pioneer in the use of digital synthesizers, advanced computer technology, electronic keyboards and their successful integration with the traditional orchestra in music for film and television. Moving to London in the 1970's, Zimmer began composing jingles for "Air Edel Associates" and teamed up with Trevor Horn and Geoff Downes as "The Buggles" to produce the worldwide hit, Video Killed the Radio Star and subsequent album The Age of Plastic. By 1980, Zimmer was pioneering the use of computers live on stage while working with the group Ultravox. Then he enjoyed a period of stardom in Italy with the avant garde band "Krisma" before returning to London to develop his next project with Warren Cann of Ultravox, culminating in a series of unique concerts at the London Planetarium.
It was shortly after this that Zimmer met and began working with the film composer Stanley Myers. Realizing the importance of incorporating the two musical forms, electronic and classical, they set up "Lillie Yard Studio" in London with the very latest state of the art musical technology. Zimmer continued to work out of "Lille Yard Studio" as his partnership with Myers strengthened. They worked very successfully on Jerzy Skolimovshi's Moonlighting, Success is the Best Revenge and The Lightship, Nicholas Roeg's Insignificance, and The Castaway. They then went on the compose the music for the box office hit My Beautiful Launderette (Best Picture - Evening Standard Awards).
In 1986, he worked solo on Working Title's Vardo and he then went on to partner with Ryuichi Sakamoto and David Byrne to produce the soundtrack for the award winning epic The Last Emperor. This was followed by another teaming with Stanely Myers for the score to Nature and the Beast. He then wrote scores for Philip Saville's Wonderland and Paperhouse for director Bernard Rose at Working Title. For Vestron, he then composed the music for the Faye Dunaway, Klaus Maria Brandauer feature Burning Secret. In 1988 he was asked to compose the music for a small budget, ground breaking film about South Africa, A World Apart. Based on a true story, this film was not just a coming of age for the voice of the struggle, but a turning point in Zimmer's career. As a result, he was asked to write the Oscar nominated score for the box office smash Rain Man. The following year, he composed the scores for Ridley Scott's Black Rain and another Best Picture recipient, Driving Miss Daisy.
Zimmer would go on to score Paramount's race car drama Days of Thunder, John Schlesinger's Pacific Heights, Peter Weir's GreenCard (Golden Globe for Best Comedy), Ridley Scott's Thelma & Louise, Ron Howard's fireman epic, Backdraft, Richard Donner's film Radio Flyer, and Franc Roddman's mountaineering thriller, K-2. John Avildsen's The Power of One allowed Zimmer a unique opportunity to write both songs and music with a South African lyricist to create haunting tribal anthems. In 1992-1993, Zimmer would contribute to Penny Marshall's A League of Their Own and Calendar Girl, Barry Levingson's Toys (a score overshadowed by Enya songs), Point of No Return, True Romance, and he finished with the Disney surprise hit Cool Runnings, which did blistering business at both the box office and in the charts. Around his Academy Award winning success for The Lion King, Zimmer completed Bille Augusts' House of the Spirits, Nine Months (for which he wrote the theme before production started) and Something to Talk About.
Two enormously popular soundtracks by Zimmer were released in 1995. The score for John Boorman's Beyond Rangoon combines ethnic pipes and voice with synthesizer. Later in the year, the submarine thriller Crimson Tide was a huge success at the box office and Zimmer received high praise for his choral, action-packed score (including a Grammy win). Zimmer responded by writing a wealth of material for seven films in 1996, by far his most active. John Woo's Broken Arrow would have cues reused in the blockbuster film Scream. He next wrote two themes for the summer hit The Rock with Harry Gregson-Williams and produced a short recording for The Fan. His score for The Preacher's Wife, unreleased on commercial album, was nominated for an Academy Award, and he continued with what he considers his best score, Two Deaths. Other releases of the year included The Whole Wide World and Muppet Treasure Island. After contributing to Smilla's Sense of Snow, Zimmer's career hit an even higher gear, with the 1997 electronic score for The Peacemaker showing off his high octane, powerful synthesizer and choral writing in full force.
The 1997-1998 awards season represented the peak of Zimmer's award recognition in the decade. After a sweet score for As Good As It Gets, Zimmer would coordinate the massive DreamWorks musical The Prince of Egypt and finish 1998 with The Thin Red Line. While all three were nominated for Academy Awards, none of them won. After a break from large projects in 1999, Zimmer hit the charts running once again with The Road to El Dorado, Mission: Impossible 2, and the monumentally successful Gladiator for Ridley Scott in 2000. The latter two featured compositions and performances by Lisa Gerrard which launched record sales to a level that would ensure Zimmer comfortable wealth for his lifetime. After completing An Everlasting Piece for a fee of $1, he would enter the world of Hannibal and offer yet another album success. Later in 2001, Zimmer provided the music for Pearl Harbor, which was met with criticism and was overshadowed by the main song of the film, and Black Hawk Down, which was generally considered too experimental for mainstream listeners.
After teaming with Bryan Adams for yet another animated picture in 2002, Spirit: Stallion of the Cimarron, Zimmer dove head-first into The Ring, which offered him a long-awaited opportunity to further establish himself in the horror genre. He continues collaborating with his Media Ventures colleagues well into the 2000's, with the ethnically charged Tears of the Sun and The Last Samurai in 2003. Among the projects that Zimmer almost scored in the past decade, but didn't, included 1492: Conquest of Paradise (Vangelis), The Client (Howard Shore), and Enemy of the State (Harry Gregson-Williams).
Exploding into the world of film music after several years as a member of a 1980's rock band, Hans Zimmer has become a pioneer of the dynamic mix between synthesized and orchestral styles. His scores are broadly thematic, ethnically diverse, and immensly popular with a younger generation of film music fans. His Los Angeles based music studio, Media Ventures, is, as he deems it, a "School of Sound," and offers young, talented composers a place to jump-start their careers in Hollywood. He has collaborated with many of his friends, colleagues, and students for his scores after 1995. "I like working in a collaborative way," he says. "I'm not very ego-driven about being 'The Composer.' Whoever brings in great ideas should be welcomed." These collaborations culminated into an award-winning score for the blockbuster Gladiator in 2000, translating into one of the best selling film score albums of all time.
Zimmer and his producing partner, Jay Rifkin, custom built the Media Ventures studio complex in Santa Monica for the writing and production of music for film, television, and commercials. Composers best known for working with Zimmer are Mark Mancina, John Powell, Harry Gregson-Williams, Nick Glennie-Smith, Jeff Rona, Klaus Badelt, and Lisa Gerrard, some of whom travel from around the globe to work on projects for which Zimmer is the primary composer. In addition to his composing work, Zimmer heads DreamWorks' film music division. His appointment marks the first time that a composer has headed the music department of a major studio since the days of Dimitri Tiomkin at MGM and Alfred Newman at Twentieth Century Fox. So large is Zimmer's influence on audiences and potential buyers of film music albums, some record labels put Zimmer's name first and foremost on score albums for which he only played a minor coordinating role.
Among his roughly 100 feature film works, Zimmer has received major awards nominations for Rain Man, The Lion King, Crimson Tide, The Preacher's Wife, As Good As It Gets, The Prince of Egypt, The Thin Red Line, and Gladiator. While mainstream fans best know Zimmer for his Disney and DreamWorks animated picture scores, fans and industry insiders in the film music world credit Crimson Tide as a turning point in both Zimmer's career and the scoring business. The Grammy-winning score, often heard in trailers since, was a departure from the norm, making use of digital synthesizers, electronic keyboards, and the latest computer technology to digitally produce a rousing score with traditional orchestral arrangements. In the decade since, Zimmer has expanded his use of percussion and vocalists in ethnic and electronic arrays unheard in the history of film music.
His personality is different than those of many other mainstream composers; he is reluctant to perform his work in public, and does not conduct his own scores. Inspired by Ennio Morricone's The Mission, Zimmer is known to peacefully experiment on his Yamaha synthesizers with a cup of coffee nearby. One of his biggest fans (after first hearing Crimson Tide) is director and producer Steven Spielberg, whose friendship and loyalty toward John Williams is perhaps the only reason why Zimmer has not become a regular for Spielberg-directed films. Born in 1957, Zimmer still has many active years of teaching and scoring to come. His innovative integration of digital and orchestral elements will likely earn him continued success well into the digital age of film music.
FROM WIKIPEDIA: Easter Parade is a 1948 musical film starring Fred Astaire and Judy Garland. It features music by Irving Berlin, including some of Astaire and Garland's best-known songs, such as "Steppin' Out With My Baby" and "We're a Couple of Swells."
The film won the 1948 Academy Award for Best Scoring of a Musical Picture. It also received the Writers Guild of America Award for Best Written American Musical
Plot summary: Don Hewes (Fred Astaire), a Broadway star, is out buying Easter presents for his sweetheart, starting with a hat and some flowers ("Happy Easter"). Then he goes into a toy shop, and buys a cuddly Easter rabbit, after persuading a young boy to part with it and buy a set of drums instead ("Drum Crazy"). He takes the gifts to his dancing partner, Nadine Hale (Anne Miller). She explains that she has had an offer for a show, which would feature her as a solo star. Don tries to change her mind, and it looks as if he has succeeded ("It Only Happens When I Dance With You"), until an old friend of Don's, Johnny (Peter Lawford), turns up. Nadine reveals that she and Don are no longer a team. It becomes obvious that Nadine is attracted to Johnny.
Angry, Don brags that he does not need Nadine and that he can make a star out the next dancer he meets. That turns out to be a girl named Hannah Brown (Judy Garland). She performs a duet, singing a musical number with a member of the band (Norman S. Barker) on trombone, "I Want to Go Back to Michigan." The next morning, Don tries to turn Hannah into a copy of Nadine, teaching her to dance the same way and buying her dresses in a similar style. However, Hannah makes several mistakes and the show is a fiasco.
Hannah meets Johnny, who is instantly attracted to her and performs "A Fella With An Umbrella." Don realizes his mistake and starts over from scratch, creating routines more suited to Hannah's personality. Hannah sings "I Love A Piano", and she and Don work out a dance routine that proves much more successful than their earlier performance. The duo also perform "Snookie-Ookums", "The Ragtime Violin", and "When That Midnight Choo-Choo Leaves For Alabam".
At an audition for Ziegfeld Follies, where they perform "Midnight Choo-Choo", they meet Nadine, who is starring in the show. Hannah learns that Nadine is Don's former dancing partner, and demands to know if they were in love. Don hesitates, and Hannah runs out of the rehearsal, where she encounters Johnny. They go out to dinner. Back at the hotel, Don reveals that he has turned down the Ziegfeld show - Hannah and Nadine do not belong in the same show. At dinner with Johnny, after a comical routine by the waiter, Johnny reveals that he has fallen in love with Hannah, but Hannah says that she is in love with Don; she even admits to deliberately making mistakes when they rehearse so that she can be with him longer.
Meanwhile, Nadine's show opens, and Don goes to see it ("Shakin' The Blues Away"). He is the only member of the audience who seems unimpressed. Hannah goes to dinner at Don's, only to have him suggest a rehearsal. She is upset and tells him that he's "nothing but a pair of dancing shoes" and that he doesn't see her as a woman, but as a dancing aid. Hannah is particularly annoyed that Don doesn't notice her new clothes and all the effort she has made for him. She turns to walk out, but Don stops her as he finally realizes that he loves Hannah and they embrace. The couple take part in a variety show, with a solo by Don ("Steppin' Out With Ma Baby"), and then the most famous number in the film ("A Couple of Swells"), in which Don and Hannah play a pair of street urchins with vivid imaginations.
Don and Hannah go out to celebrate after the show, and end up watching Nadine perform. Nadine is mad with jealousy when the audience gives Don and Hannah a round of applause as they come in. Nadine is the star dancer in "The Girl On The Magazine Cover". The song features an ingenious stage act, in which women appear against backdrops that look like the covers of contemporary magazines. Nadine herself appears on the cover of Harper's Bazaar. Afterwards, she insists that Don perform one of their old numbers with her for old times sake - "It Only Happens When I Dance With You (Reprise)". When Don reluctantly agrees, Hannah becomes upset and runs out.
She ends up at the bar where she and Don first met. There she pours out her troubles to Mike, the bartender ("Better Luck Next Time"). Later that night, Don tries to explain that he was forced to dance with Nadine, but Hannah will not listen. She thinks Don used her to make Nadine jealous and win her back. Don tells her that he'll wait all night for her to forgive him, but just as Hannah opens the door, Don is kicked out of her building by the doorman, who has heard his yelling. Eventually, Don's apologies reach her and she arrives unexpectedly at his house the following morning, as if the argument had never happened. She brings gifts as well, including an Easter rabbit inside a new top hat. Don is a little confused by this turn of events, but is persuaded by his valet that he should just listen to Hannah and go out. As they walk in the Easter parade, photographers, echoing a scene with Nadine from the beginning of the film, take their pictures and Don proposes to her ("Easter Parade").
Cast Judy Garland as Hannah Brown Fred Astaire as Don Hewes. Gene Kelly was originally cast, but he was injured just prior to production and Astaire, who had announced his retirement from film, was coaxed back to replace him. (Astaire would "retire" several more times over the next decade, but he would also go on to make a number of additional classic musicals in between retirements.) Peter Lawford as Jonathan Harrow III Ann Miller as Nadine Hale. This film marked the major MGM debut of tap-dancer Miller (who had previously been under contract to RKO), replacing Cyd Charisse, who had to bow out of the production. Jules Munshin as François Clinton Sundberg as Mike the bartender
Musical numbers: All songs by Irving Berlin
"Happy Easter" "Drum Crazy" "It Only Happens When I Dance With You" "I Want to Go Back to Michigan" "A Fella with an Umbrella" "Vaudeville Montage: I Love A Piano / Snookey Ookums / The Ragtime Violin / When the Midnight Choo-Choo Leaves for Alabam'" "Shakin' the Blues Away" "Steppin' Out with My Baby" "A Couple of Swells" "The Girl on the Magazine Cover" "Better Luck Next Time" "Easter Parade" One musical number, a seductive performance of "Mr. Monotony" by Garland wearing the top half of a tuxedo and nylon tights (a style of dress which would become something of a trademark in later years after she wore the same outfit in 1950's Summer Stock), was cut from the film as it was deemed too risqué for a film supposedly set in 1912. Audiences finally got to see this number in the 1990s when an edited version was included in the 1994 compilation film That's Entertainment! III. The complete number was first seen as part of the extras on the VHS and Laser Disc special edition versions the following year. When Easter Parade was released to DVD, several minutes of outtakes, raw footage, and alternate takes of this performance were included in addition to the footage previously released.
No one ever thought this one would survive Helpless child, gonna walk a drum beat behind Lock you in a dream, never let you go Never let you laugh or smile, not you.
Well, I just want to walk right out of this world, 'Cause everybody has a poison heart I just want to walk right out of this world, 'Cause everybody has a poison heart.
Making friends with a homeless torn up man He just kind of smiles, it really shakes me up. There's danger on every corner but I'm okay Walking down the street trying to forget yesterday.
Well, I just want to walk right out of this world, 'Cause everybody has a poison heart. I just want to walk right out of this world, 'Cause everybody has a poison heart, a poison heart, a poison heart, a poison heart ... yeah!
You know that life really takes its toll And a poet's gut reaction is to search his very soul So much damn confusion before my eyes, But nothing seems to phase me and this one still survives.
I just want to walk right out of this world, 'Cause everybody has a poison heart. I just want to walk right out of this world, 'Cause everybody has a poison heart, Well, I just want to walk right out of this world, 'Cause everybody has a poison heart. a poison heart, a poison heart, a poison heart. a poison heart, a poison heart, a poison heart.
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