The Eva Mendes/Roxanne Thread

[Reaper]

what, as in she's not white?

why you gotta go there

she also got no blondhair

his observation and concern is valid

.....she is hott though

 

[BIGGUN]

why you gotta go there

she also got no blondhair

doesnt matter....Roxanne was drawn w/ brown/red hair for most of the series.

 

[FlameHead]

Looks do not matter folks... it's the essence of the character that counts.

 

[Mr Nick]

Eva's a lovely, cool and talented lady. Personally, I'm very happy she's playing Roxanne.

And, Eva, if you're reading this, I am single.

 

[Punisher 04]

Did you guys see her on the Tonight Show, Wed. night. Wow, not only did show look good, she also mentioned Ghostrider.

 

[FlameHead]

I never seen it but I am curious as to what she said about the movie? Anything specific?

 

[Oldguy]

Ahhh....thanks fer the photos guys, saved me alot of time.

 

[Riding Ghost]

I never seen it but I am curious as to what she said about the movie? Anything specific?

I saw it too, she was on for about 15min. total and all that was mentioned was when Leno brought up that she has recently returned from Australia she said- yeah been filming a movie called Ghost Rider with Nic Cage its due summer 2006, its one of those big great comic book movies- then immediately started talking about when she got drunk and ate worms and kangaroo tail with some of the local tribes of women she encountered during a week off from filming in Australia.

 

[YJ1]

Yeah, she mentioned that Ghost Rider will be a huge hit next summer. She's absolutely adorable but I don't know why she was so eager to point out that she keeps backing out of her garage with her car before actually opening the garage door. I guess she crashes in to things a lot. Leno had a good line, "didn't the fact that it's dark in the garage give you any clues."

Still, it's good to know Ghost Rider is in the can and has a year to get the post-production right.

 

[FlameHead]

Yeah, a year in post is unheard of. I love it!

It's too bad that she didn't mention more about Ghost Rider... but then again, they probably aren't aloud to talk about it too much yet.

Thanks for the info guys.

 

["_____"]

she might be the only reason i see this movie cause she hot, i mean look at the fake looking rug on nic cages head.

 

[Mr Nick]

Oh no, not that old chestnut again. Cage is good and Ghost Rider's cool. Give it a chance, my unnamed friend.

 

[The Caped Knight]

From the SHH mainpage:

Eva Mendes Joins Ghost Rider

Source: Robert February 4, 2005


Fox News reports that Will Smith's "Hitch" co-star Eva Mendes has just signed to play a role in writer/director Mark Steven Johnson's Ghost Rider. Nicolas Cage plays the title role in the Columbia Pictures comic book adaptation, with Wes Bentley playing baddie Blackheart.

The Marvel Comics property centers on a motorcyclist who makes a pact with dark forces, gets double-crossed and battles the bad guys to protect the woman (Mendes perhaps?) he loves.

The movie is being produced by Michael De Luca, Avi Arad, Gary Foster and Ari Arad. Johnson rewrote a Shane Salerno script. Shooting begins this month in Australia.

Damn I wish I was Johnny Blaze, Eva is Hot Babe.

 

[FlameHead]

Yes, yes she is... and she seems very nice too. Quite personable and fun according to the audio interview that was recently released.

 

["_____"]

im not saying cage is a bad actor... i just think that rug on his head looks pretty bad

 

[AmerikazMostWanted]

that rugs on fire rugburn so who cares

 

[FlameHead]

Why are we talkin' about Cage's hair, when this thread is for discussin' this... I mean her.

 

[FlameHead]

An update from here; http://www.comicscontinuum.com/stories/0508/20/ghostrider.htm

Question: Eva, you get to play a lot of strong women in your roles. How does that compare to his role?

Mendes: What's really cool is about this role -- aside from the obvious, working with these right guys here and Nic and being part of the Ghost Rider in general -- is that the original Roxanne in the comics is my antithesis physically. She was blonde, white, and I'm not. I'd like to thank Mark for going outside the box and doing something different.

I didn't know about Ghost Rider, and I started going through the comic books, and I realized that she was a little bit victimy. She was like, "Johnny, no!" and a lot of tears and all that stuff. A conscious thing that Mark and I did was we though, "Let's make her a little badass. Let's make this contemporary."

Women now, we can juggle a lot of things. We're not just girlfriends or love interests. So that's really great to not just make her the chick and give her something to do.

Question: Eva, how did you like being in this movie, compared to others?

Mendes: Well, I'll you, I had the best time of my life making this movie. It sounds so corny, but you're out there filming in Australia and these people became my family. And we got along, and Mark was so supportive.

I'm the kind of actress that I'll get crazy ideas in the middle of the night. And I'd call him up a 3 or 4 in the morning and say, "Mark, what is Nic Cage calls me Roxie instead of Roxanne?" And I'd think I'd invent something really amazing, which is really silly of me. And I'm sure he's on the other end just rolling his eyes, going, "OK, all right."

Question: Will you have an action figure?

Mendes: Can I say? I don't think so.

Johnson: Did you get cyber-scanned?

Mendes: That's a personal question. (laughs). I did get cyber-scanned, but I'm not sure. I do want one.

 

[FlameHead]

This isn't much but we're pretty desperate. It's not about the movie directly but does give insight a little into Eva's technique.

Souce: http://www.theaustralian.news.com.au/common/story_page/0,5744,17031432%5E16947,00.html

Where's your motivation?
Sophie Tedmanson
October 29, 2005

ON a stiflingly hot weekday, dozens of people are sitting in a small theatre in a converted heritage-listed church, writing the same sentences over and over on pieces of paper: "I need you to love me [blank], I need you to protect me [blank]." The blanks are to be filled in with whoever pops into mind: lovers, family members, friends, enemies. There is silence but for the scratching of pens and pencils on paper, and the concentration is as thick as the heat in the air.

The exercise, writing an "emotional diary", is part of the Chubbuck Technique, created by Hollywood acting coach Ivana Chubbuck.

Chubbuck, who cites Halle Berry, Charlize Theron, Jim Carrey, Brad Pitt, Radha Mitchell and Kate Bosworth among her present and former students, is in Australia to conduct a week-long masterclass for 32 actors and many more observers at the Sydney Actors Centre.

No Shakespeare or Arthur Miller works are recited. Instead, scenes from well-known movies - including Closer, Monster, American Beauty and Pulp Fiction - are read by pairs of students and analysed by Chubbuck, who deconstructs the emotional make-up of the students in confronting ways.

These acting classes defy the cliches: they are not about learning lines and saying them loudly enough for people to hear in the back row, or acting like a tree to conjure up a character.



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At one point, Chubbuck makes the room blush in unison when she asks one student to imagine her scene partner - whom she has met less than an hour before - in her sexiest fantasy. Other times she urges the actors to reveal their innermost fears and emotions in order to pour their feelings into the character, to use their own pain "to win their character's goal".

It feels more like eavesdropping on a therapy session than watching a class in progress. One actor cries while talking about her bad relationship with her mother; another discusses his relationship with his abusive father; a third relates a frightening sexual encounter with some men in Japan. It's an uncomfortable yet fascinating experience. They must feel exposed.

"No, it's not confronting for me," says Jemma Wilks, a 20-something yoga and qigong instructor who has sung in musicals and played a martial arts-trained assistant in the 2003 Nick Giannopoulos comedy, The Wannabes. With her scene partner, Felicity Jurd, Wilks was the first to read in front of Chubbuck on the first day of the course and was reduced to tears after five minutes of questions about her family relationships.

"It's OK, because that's who I am, I'm an actor, and I'm not afraid to actually talk about myself," she says. "It was probably cathartic."

Chubbuck's technique is detailed in her new book, The Power of the Actor, which has just been released in Australia. Subtitled "The 12-step acting technique that will take you from script to a living, breathing dynamic character", the book is full of easily assimilable dot-pointed guidelines.

In the book, Chubbuck describes her method as helping actors to "find a way to psychologically personalise and feel their character's drive as if to win their own".

Most acting techniques are derived from the method created by Russian acting master Constantin Stanislavski. He created the famous approach known as "the Method" at the turn of the 20th century, challenging traditional stage techniques and encouraging actors to take their own personality and experiences on to the stage during a internal process of character development.

The Stanislavski method inspired the methods of many other famous acting teachers, including Lee Strasberg, Stella Adler, Sanford Meisner, Uta Hagen and Michael Chekhov. In the 1950s, film actors such as Marlon Brando, James Dean and Paul Newman - who had all studied at Strasberg's Actors Studio - brought the approach to the moody Hollywood new wave. The lineage can be traced to many acting schools - including Australia's National Institute of Dramatic Art - that now teach a mixture of these and other European approaches, encouraging students to try different techniques and settle on one, or a mixture, that suits them.

"We always take from the best of them and we go from there," she says. "It's like Jung was a student of Freud's, and he started off with a base of Freud and then created his own thing. There's always going to be a base of a previous master or masters that you use, and I think there's good stuff that comes from them, including Chekhov, Meisner and Uta Hagen. When I first came to LA, I was an actor so I was trying different classes and I was learning all sorts of different things."

Her students - including Australia's Anthony Wong, who was in The Matrix: Revolutions among other films and attended Chubbuck's workshops in LA and Sydney - say they prefer the Chubbuck technique because it's a much more rounded approach.

"What I like about Ivana's approach is it brings all the other techniques together in the one place," Wong says. "Some of the others are really strong about how to elicit emotions, or how to analyse script, but [this] works because it's drawing on our own life experience and your own emotions, and it's readily available."

Chubbuck says her background in psychology and behavioural science, which she studied at university, helps bring a more anthropological approach to her teaching.

"In order to recreate human behaviour, you have to go to the source of what makes a person behave," she says. "I use that as my background, to look at the psyche of the character and figure out how that person, and the script, negotiates life.

"It's a pragmatic approach; it's an absolute way of getting to the place that you want to get to ... instead of a cosmic approach, which I find doesn't work."

Chubbuck, who began teaching 25 years ago, lives in Los Angeles with her film director husband, Lyndon Chubbuck, and teenage daughter Claire. She won't reveal her age, but, according to an old report, she could be in her early 50s.

Her hair is neatly coiffed and she is usually immaculately dressed in typical actor's style - dark jeans, dark top, and a sweater tied loosely around her slim waist. She talks loudly and has a crude sense of humour; she was the singer and tambourine girl in a political rock band, White Trash, in Detroit in the 1970s.

Now she is motherly, nurturing her students, yet she doesn't hold back when, for example, she says someone is acting woodenly. She brings her own experience of life into her lessons, referring to her dysfunctional father and her physically and emotionally abusive mother, which immediately earns the students' trust. They, in turn, can reveal their own demons.

On stage and off, her conversation is littered with references to her famous students. There's the story about how she helped Elisabeth Shue find her connection with Val Kilmer in The Saint: "A terrible film but they had great chemistry." Or how her 30-hour intensive workshop with Halle Berry, in preparation for the 2001 drama Monster's Ball, helped her win an Oscar for her performance; the actor thanked Chubbuck in her acceptance speech after winning the best actress award for the role.

There are month-long waiting lists for Chubbuck's classes, which are attended by up to 400 students a week. In between classes she gives guest lectures; earlier this month, she spoke at the famous Juilliard School in New York. She is also producing her husband's next film, October Squall, which is to star Berry.

Chubbuck gives private lessons to her better-known students, often on set, which takes her all over the world, including Australia. Earlier this year she coached Eva Mendes on the Melbourne set of Ghost Rider, then flew to Sydney to help Kate Bosworth become Lois Lane in Superman Returns. And while conducting her Sydney masterclasses earlier this month, she was also helping Australian Calvin Klein-model-turned-actor Travis Fimmel and his co-star, Stephen Moyer, on the set of Guests.

Now she is back in LA and has taken former Destiny's Child singer Beyonce Knowles under her wing, helping her prepare for her role as a Supremes-style singer in the upcoming musical feature Dreamgirls.

Asked if she finds it surprising that Oscar-winning actors such as Berry still call on her for help, Chubbuck shakes her head. "It was Jon Voight who told me, 'An actor never stops studying'," she says. "Pacino, De Niro ... all these people are constantly doing it. You never stop learning."

 

[Mr Nick]

Maybe I'll check that book out.
Ta.

 

[Uncanny Orb]

Ask Men, 2004: [size=-2](excerpt from article)[/size]

What was your experience like while filming the movie Urban Legends: Final Cut? Did you actually get scared at any point?
No, I didn't get scared, but I got excited. I had my first "girl on girl" screen kiss. Now that was fun.

Do you have anything in common with your character Vanessa?
Yes, we both have attitude, distinct style and love women.

How do you feel about on-screen sex? Are you looking forward to doing a love scene in the future?
On-screen love scenes are nerve-wracking! I've had to do those kinds of scenes with guys before and, honestly, it's uncomfortable. But doing them with girls is totally different. It's fun! It goes back to the play yard mentality: guys can be yucky, and girls are sweet, soft and smell good.

http://www.clublez.com/movies/lesbian_celebrities/tidbits/eva_mendes.htm

http://cityrag.blogs.com/main/2005/11/eva_on_eva.html

I had no idea.

 

[Mr Nick]

Oh boy. I'm all hot now.

 

[NDX]

I was expecting something else from that title, but I enjoyed this too.

 

[RedIsNotBlue]

Uhhh this has NOTHING to do with Ghost Rider...lol.

 

[FlameHead]

LOL. Nope, nothin' at all.

I'll probably get this one merged with Eva's thread in time.