What the Hell Happened to Kim Basinger?


She’s been a Bond girl, Batman’s girlfriend and a corpse in a Tom Petty video.  Most recently, she played Zach Effron’s mom.  What the hell happened?  The easy answer is that Kim Basinger was a sex symbol who got old.  But the story of Basinger’s career is far more interesting than the easy answer would lead you to believe.

Like a lot of the actresses, Basinger got her start as a model.  She then transitioned on to TV shows like Starskey and Hutch and Charlie’s Angels.  Following that, she broke into films with films like Hard Country and Mother Lode.

basinger - never say never

Basinger’s breakout role was opposite Sean Connery in Never Say Never Again.

After Diamonds are Forever, Connery had vowed never to play James Bond again.  However, he reconsidered.  And in 1983 he returned to the role.  The title is a winking nod to Connery’s earlier comments.

Never Say Never Again is an odd entry in the Bond franchise.  It was not produced by Eon Productions like most of the Bond films.  Instead, it was a remake of Thunderball based on a settlement deal surrounding Fleming’s original novel.

In the summer of 1983, Connery and Roger Moore had dueling James Bond films as a result.

As it turns out, there was room for two James Bond movies that summer.  Although Roger Moore’s Octopussy outperformed Never Say Never Again, both films were hits.

basinger - playboy

To promote Never Say Never Again, Basinger posed nude for Playboy.  Basinger actually credits the Playboy shoot with helping her land the role in Barry Levinson’s baseball film, The Natural.

Basinger - The Man Who Loved Women

But first, let me make a passing mention that in 1983 Basinger also appeared in the Blake Edwards comedy, The Man Who Loved Women starring Burt Reynolds.

Kim Basinger - The Natural - 1984

Kim Basinger – The Natural – 1984

Never Say Never Again, the Playboy shoot (and maybe even the Burt Reynolds movie) caught the attention of Barry Levinson.  When he was looking for a femme fatale to seduce Robert Redford in The Natural, he called upon Basinger.

Basinger was perfect for the role conveying the glamour of the era as well as the necessary sex appeal.  She was rewarded with her first Golden Globe nomination for Best Supporting Actress.

Kim Basinger - Fool For Love - 1985

Kim Basinger – Fool For Love – 1985

Up to this point, Basinger has worked with an impressive collection of directors.  Never Say Never Again was directed by Irvin Kirshner (director of The Empire Strikes Back), The Man Who Loves Women was directed by Blake Edwards and The Natural was directed by Barry Levinson.  But her next film, Fool for Love, was directed by none other than Robert Altman!

I haven’t done the research, but I venture to guess that no other actress has gone from Bond and Playboy to Altman in three films or less.

Fool For Love was not a box office hit.  But it got very positive reviews and helped to legitimize Basinger as an actress and not just a pretty face.

basinger - 912 weeks

In 1986, Basinger worked with another visionary director, Adrian Lyne, in the erotic drama, 9 1/2 Weeks.  Basinger and co-star Mickey Rourke played a couple who push their sexual boundaries until Basinger’s character reaches her limit.  The sex scenes were artfully done, but the film was scandalous at the time.

Reviews for 9 1/2 Weeks were mixed.  Some critics considered it borderline soft core porn.  But most praised the genuine performances by Rourke and Basinger.

At the time of its release, 9 1/2 Weeks bombed at the box office.  But it became very popular overseas and eventually developed a cult following.  A direct to video sequel and prequel were both eventually produced.

Next: Blind Date and My Stepmother is an Alien

Posted on February 5, 2012, in Movies, What the Hell Happened?, WTHH Actress and tagged , , , , . Bookmark the permalink. 459 Comments.

  1. alec baldwin career better then kim but to be honest his career is not so hot after clear and present danger he was on the verge of of being a list but most his leading roles flopped . He ended up going to bit parts and supporting roles decent roles he had in the last ten years was departed cooler and 30 rock now hes stuck doing bit parts in lame comedies


    • Alec Baldwin : Did he kill Kim Basinger’s career?


      I think she gave up acting for the most part when they married and she got pregnant.

      She was a beauty and had a certain flair for simple roles or comedic roles. She seems to have had some comedic timing, IMO. But she was not in any way a good actress. She got by, and she wasn’t terrible. But if her persona fit the role, she did fine. She was famous but was never going to be an aging actress who would get wonderful film roles. Her box office creds were her looks, sexiness, and comedic timing. All but the last fade with time.

      I think she’s startng to act again, though. She filed for bankruptcy a while back, I read.

      I never read him trashing her. They had fights when they got divorced, so there were comments about that, which is so often the case. He’s remarried, with another baby, and never speaks of her. The child he had with Basinger is almost grown, now, I think.


      • 10 Nastiest Celebrity Divorces:

        4 . Alec Baldwin And Kim Basinger (1993-2002)

        The most compelling aspect of this marriage gone bad would appear to be the general hatred the 2 parties feel – or at least FELT – for each other for a considerable amount of time.

        Baldwin met his future wife, actress Kim Basinger, when they played lovers in the film The Marrying Man. They married in 1993 and had a daughter, Ireland, in 1995. For a while they seemed like a consummate married couple maybe even a power couple as both of their careers were fairly hot and they remained in the public eye.

        But things eventually went off the rails and the catalyst seemed to be Baldwin’s famous temper which has been legendary in Hollywood for years. As the frustration in the proceedings mounted, Baldwin accused Basinger of blocking him from seeing or talking to his daughter, ignoring court orders and trying to turn Ireland against him. It reached it’s peak when a voice mail message of Baldwin calling his daughter a “rude, thoughtless little pig” was leaked to the media. Thankfully, it seems like things have calmed down as there have been no reported outbursts in quite a while.


        • I wouldn’t blame Kim’s male fanbase if they seriously wanted to kick Alec Baldwin’s ass for the way that he allegedly treated her (kind of like what happened w/ Jesse James after he was discovered to have been messing around behind his then wife, Sandra Bullock’s back). I mean, you’re married to one of the most beautiful and elegant women in the world (when most men would fantasize to spend a day w/ Kim Basinger), and you go out of your way to threat her like sh!t:


        • Baldwin +/- Basinger:

          A gossipist’s chronicle of Alec and Kim’s coupling and uncoupling.

          Sparring ex-spouses Alec Baldwin and Kim Basinger will take their feud to a Los Angeles court on May 4, when Baldwin will have to fight to resume contact with Ireland, the 11-year-old daughter he called a “thoughtless little pig” on a now-famous voice-mail message. Open combat is nothing new for the two, who have been brawling practically since the day they fell in love seventeen years ago.

          The meeting
          In The Marrying Man, he’s a playboy, she’s a hot nightclub singer. “You could feel the sexual tension between them,” a crew member says. Sometimes they appeared to work as an inseparable team, other times it was raw competition. “You’ve read about all the tantrums, the chair-throwing, the phone-smashing. Living it was 100 times worse. If Baldwin slammed a door, Basinger would slam another door harder. It was like they were two little kids, having a contest to see who could be the brattiest.”

          MARCH 1992
          The broken engagement
          Basinger calls off the wedding when she learns Baldwin had dinner with his ex-fiancée. She tells Baldwin, “You’re history now—the wedding is out the window.” He woos her back to the altar.

          AUGUST 1993
          The wedding
          They marry in East Hampton. The ceremony lasts seven minutes; four paparazzi helicopters hover. “It was a zoo with the media,” says Baldwin’s mother, Carol. “There was a man who posed as a cop who turned out to be from the National Enquirer.”

          OCTOBER 1995
          Ireland is born
          Coming home from the hospital, Baldwin scuffles with a photographer, who tumbles into some trash cans, breaking his glasses.

          SEPTEMBER 2000
          Baldwin threatens to flee the country
          He’s upset that George W. Bush might get elected. Basinger calls her husband “the biggest moralist that I know.”

          JANUARY 2001
          Basinger files for divorce
          Basinger calls Baldwin “a tin-pot tyrant and bully,” alleging mood swings and “irreconcilable differences.” They swap accusations of alcohol abuse. Baldwin is despondent. It felt like “someone punching me in the stomach as hard as they could right before I had to go and run the marathon,” he says. “Finding a new love is the most unimaginable thing to me. I need Kim back in my life.” Baldwin tells her Ireland is better off with him. She vows, “You’ll never get her—not while I’m breathing.”

          NOVEMBER 2002
          Divorce finalized, they have a custody agreement
          Baldwin agrees to go to anger therapy and parenting school and to restrict phone calls to Ireland to a 90-minute window a day. Basinger agrees to install a private phone line for Ireland (at his expense) and e-mail him weekly reports on their daughter’s activities.

          OCTOBER 2006
          Basinger faces contempt charges
          Baldwin goes after his ex-wife for allegedly obstructing his court-ordered visits and telephone calls. “Over and over,” he claims in court papers, “Ms. Basinger demonstrated that her resentments are more precious to her than the emotional well-being of her child.” Ultimately, he decides to table contempt charges in “an effort to make peace,” according to his lawyer.

          APRIL 11, 2007
          Baldwin calls Ireland a “little pig”
          “You have insulted me,” he says to her voice mail when she doesn’t pick up. “You don’t have the brains or the decency as a human being … I am going to get on a plane and I am going to come out there for the day and I am going to straighten your ass out when I see you … I’m going to let you know just how I feel about what a rude, thoughtless little pig you really are.”

          APRIL 19
          The “pig” voice mail is leaked
          Baldwin apologizes. Says rant was meant for Basinger. Blames her for leaking it to media. Blames divorce courts for ruining families. Fires agents. Vows to leave country, again. Tries to quit 30 Rock. Says on The View, “If I never acted again, I couldn’t care less.”


        • It’s too bad, I thought they really got along on “The Simpsons”, especially since Homer exploited them and tried to sell some of their belongings.


      • Re: Do you think it’s her choice not to work?


        She’s a legend. I cannot see a flaw in her face. I blame Alec Baldwin for her stagnation.

        I blame her average talent as an actress, for the stagnation. The men in her life, are not to blame. Do women always need to be propped up and a man has to do it for them? Lets blame the man, for not living up to expectations or giving the female what she thinks she is entitled too. I also can’t think for the life of me, why Basinger was worth as much as she was for her films:

        Hard Country (1981) $125,000
        Mother Lode (1982) $125,000
        Never Say Never Again (1983) $250,000
        The Man Who Loved Women (1983) $200,000
        The Natural (1984) $250,000
        Fool for Love (1985) $208,000
        Nine 1/2 Weeks (1986) $508,000
        No Mercy (1986) $1,000,000
        Blind Date (1987) $1,000,000
        Nadine (1987) $1,150,000
        My Stepmother Is an Alien (1988) $1,250,000
        Batman (1989) $3,000,000
        The Marrying Man (1991) $2,500,000
        Final Analysis (1992) $3,000,000
        Cool World (1992) $1,700,000
        The Real McCoy (1993) $3,000,000
        L.A. Confidential (1997) $3,000,000
        I Dreamed of Africa (2000) $5,000,000


    • The Marrying Man (1991) : trouble-plagued movie?


      Baldwin and Basinger made enemies out of both Neil Simon, Jeffrey Katzenberg and everyone else at Disney. Director Jerry Rees was making his first live-action film (before that he directed The Brave Little Toaster — one of the best animated movies ever made), and one person from the set claimed that at one point Basinger pushed Rees aside and tried to direct a musical number herself. Both stars regretted doing the movie.

      Rees appears to have been fond of the experience, though, and on his website he says he’s proud of the fact that he got Basinger to do her own singing in the movie. Interestingly, his first choice for her role was Julia Roberts. Katzenberg is the one who wanted Basinger.


    • I recently saw Alec Baldwin in “Mission: Impossible – Rogue Nation” and somebody on that movie’s IMDb board suggested that he could in theory, be an interpretation of an older version his Jack Ryan character from “The Hunt for Red October”:


  2. Technically, I would call that a comeback though. He was on the verge of being a big movie star after playing Jack Ryan, but took a different path and his leading roles fizzled out. He does 30 Rock and all the sudden everyone was talking about him again. Then it seemed like he was everywhere from The Departed to It’s Complicated to hosting the oscars. Some of the roles were supporting, but to go from being essentially a failed a-lister to starring on a wildly successful tv show and working with Meryl Streep is huge.


    • The Story Behind Alec Baldwin Losing The Jack Ryan Role After ‘The Hunt For Red October’:

      The submarine thriller The Hunt for Red October was a grand slam both critically and commercially for Paramount Pictures in 1990, and it was arguably the first blockbuster of the decade. The John McTiernan-directed film took its $30 million budget and turned it into $200 million at the box office. And when Oscar season rolled around, it picked up three nominations and took home one win for Best Sound Editing. Sean Connery was praised for his portrayal of Soviet Captain Marko Ramius and picked up a British Academy Award nomination for Best Actor.

      While the movie would go down as another successful entry on an already long list of hits for Connery, it was Alec Baldwin who had the most to prove with his role of mild-mannered CIA analyst Jack Ryan. The 31-year-old actor had already shown flickers of leading man potential with previous roles in Beetlejuice and Married to the Mob, but Red October provided him with the coveted ticket to board the franchise express. The Hunt for Red October was the first book in Tom Clancy’s series with Jack Ryan to be adapted for the big screen, but Baldwin would never get his chance to reprise the popular character. The part would be filled by other leading actors as the years rolled by: Harrison Ford (Patriot Games and Clear and Present Danger), Ben Affleck (The Sum of All Fears), and the newest Jack Ryan, Chris Pine (Shadow Recruit). So, how did Baldwin miss out on assuming the part of Clancy’s CIA hero in a string of films that grossed nearly a billion dollars? Well, as Baldwin puts it, “The studio cut my throat.”

      The missed opportunity to continue with the Jack Ryan character is something that Baldwin says he’s often asked about by fans, but he usually just gives a “half truth answer.” When Charlie Sheen told Two and a Half Men creator Chuck Lorre to f*ck off, Baldwin felt compelled to write a letter to the TV star, warning him of the mistake he was making. Baldwin recounted that in 1991, he was visiting his mother in Syracuse who had recently been diagnosed with cancer, when he received a call from John McTiernan letting him know that studio executive David Kirkpatrick was talking with an even bigger actor (Harrison Ford) about squeezing Baldwin out of the Jack Ryan role. That’s when things got ugly.

      “On the phone, John told me that during the period of the previous few months, he had been negotiating to do a film with a very famous movie star who had dropped out of his film days before so that he could go star in the sequels to The Hunt For Red October. John further told me that Paramount owed the actor a large sum of money for a green-lit film that fell apart prior to this, and pushing me aside would help to alleviate that debt and put someone with much greater strength at the box office than mine in the role. I sat there mildly stunned because not only was I in an active negotiation with Paramount, but for them to negotiate simultaneously with another actor was against the law.”


    • Re: Actors whose careers you would have thought would have been bigger


      30 Rock is the best thing that could have happened to Alec Baldwin. It let him be reevaluated by the public as a brilliant comic actor who just happens to have movie star looks instead of being the guy who could never quite carry a project on his own.


  3. your right but he had alot of flops during the period such along came polly cat in the hat going from somone who people thought would have a big career to tv star is kind of a down grade and most movies are still flopping


  4. i would put chris o donell on the list he was on verge of being huge with scent of a women and batman forever. then batman and robin and flops later he goes straight to a tv show no one cares about and yet it still stays on


  5. Lebeau, since you were talking about an a-lister opening a movie, do you think it was rachel mcadams’ name that brought people in to see red eye? i’m the first one to admit she’s never had a hit of her own, but i’m just wondering if you thought her sudden popularity after the notebook brought people in for red eye.


    • Short answer: No.

      Longer answer: Well, first of all, Red Eye wasn’t a smash. It was a bit of a disappointment overall. The idea was clearly that McAdams was hot and would sell a bunch of tickets. But that didn’t happen. And while she was a selling point for the movie, she wasn’t THE selling point. You had Wes Craven whose name was above the title of the movie and Cillian Murphy who was hot after 28 Days Later and Batman Begins. So even if the movie had hit big, McAdams would have to share credit.


  6. red eye made twice its budget this was before batman murphy wasnt big rachel was fresh off the success off notebook


    • Twice it’s budget isn’t bad. But when you factor in marketing costs, that’s about the break-even point for most movies. It wasn’t the huge hit a lot of people were hoping for.

      Batman Begins opened Jun 15. Red Eye opened Aug 19. Three years earlier, Murphy had starred in 28 Days Later. So he was a rising actor same as McAdams. If the movie had been a hit, it would have done a lot for both of their careers. But that didn’t happen.


  7. red eye had budget of 26 million made 95 that is a hit she fresh off notebook so maybe her brought some people in


  8. 95 mill on a 26 mill budget is more then twice its cost


    • That’s worldwide. Domestic it was 57 million. Not great. Not a disaster. Not a hit. Not a flop. Just somewhere in the middle. Expectations were higher. I would classify it as a box office disappointment.


  9. so u would sya she has no a list power her name was first in vow that was hit


    • I would say she was never A-list.

      The Vow was big. It set up McAdams and Tatum for stardom. Tatum was able to capitalize on that movie’s success. McAdams still hasn’t done so.


  10. she had hits before like sherlock holms midnight paris wedding chrashers but none of them were really on her name would u say gosling her notebook costar was a list


  11. fracture made a lot of money he turned down batman in the new movie it could gave him oppurtinity to be a lister


  12. it is he had mainstream hits before like notebook but rather hone his craft good for him his career him hes doing good daniel lewis is not a list is an indie king but respected actor a lot of respected actors like oldman bacon dillion


  13. Kim Basinger Joins Ryan Gosling, Russell Crowe in ‘Nice Guys’ (Exclusive):


    • Kim Basinger and Keith David to scrap with Shane Black’s NICE GUYS!


      Shane Black’s NICE GUYS has landed the female lead of BATMAN and the co-lead of THEY LIVE.

      Yesterday, we found out that Keith David was going to play a hitman alongside Beau Knapp in Black’s ’70s-set detective movie. The wording makes it seem like David and Knapp are the central villains of the piece, but I’ll bet that they are just hired guns for the real heavy hiding behind the curtain.

      Now, we’re hearing that Kim Basinger will also be playing a significant role, reteaming her with L.A. CONFIDENTIAL co-star Russell Crowe. She’ll be playing “the chief justice who is in be with criminals,” so I guess she won’t be on the side of Crowe and Gosling’s anti-heroic duo.

      David may not command multimillion-dollar paychecks, but he’s got a endless well of love from the fanboy community, and remains a hugely recognizable character actor due to memorable appearances in THERE’S SOMETHING ABOUT MARY, REQUIEM FOR A DREAM, CRASH, and a ton more. Surprisingly enough, this will be his first time delivering Black’s dialogue, and I have no doubt the two-time John Carpenter vet will acquit himself nicely to the screenwriter’s trademark interplay.

      As for Basinger, it’ll be great to see her in what is presumably more of a tough-girl role than she’s used to. She’s been utilized for her fragile, vulnerable qualities as much as anything else over the course of her career, but she won her Oscar playing world-weary Lynn Bracken in CONFIDENTIAL, so it’ll be cool to see her once-again playing someone who knows the score. If she turns out to be the big-bad of the piece, all the better; I can’t be the only one who would be down to see Basinger go full-on villain against Crowe and Gosling.

      This is looking more and more like Black’s follow-up to KISS KISS, BANG BANG, and the cast is getting increasingly impressive as the names trickle out to the public. Let’s see who else is going to break out the polyester and big hairdos alongside Gos, Crowe, Basinger, and David…

      NICE GUYS hopefully finish first on June 17th, 2016.


  14. Kim’s daughter Ireland recently deactivated her Twitter account. I’m guessing that she was tired of people “trolling” and attacking her over or “lesbian” relationship w/ Angel Haze as well as the usual attacks against her father, Alec Baldwin, and her weight. And I thought that I had it bad when Ireland got mad at me (asking me “What the hell was wrong w/ me!”) after I simply sent her the link to this article (Ireland got mad at me for showing her this article about her mother even though I didn’t write it and I deliberately mentioned LeBeau to further avoid confusion) via Twitter.


  15. Derailed Film Stars: Retracing Kim Basinger:

    A Hollywood icon and bona fide movie star, Kim Basinger’s only fault was being a sex symbol — and most female sex symbols come with an expiration date. Throughout her decades-long career, she has starred in some of our favorite most memorable films, but not without some stinkers along the way. While she has laid low for the past ten years, Kim is primed to make her comeback on the big screen with Anders Morgenthaler’s drama/suspense film I Am Here. While her ex-hubby Alec Baldwin was able to relaunch his career with 30 Rock, here’s hoping Kim will return to the spotlight where she belongs.

    Geared Up for No Mercy

    Having established her talents in Barry Levinson’s The Natural and pushed her limits in the erotic drama 9 1/2 Weeks, Basinger had proved she could carry a film, especially when baring more than her soul. Unfortunately she followed them up with No Mercy, a dumb formulaic thriller that plays like a retread of all the other movies that came before it. Basinger plays an illiterate hooker with a heart of gold who helps a cop — Richard Gere — avenge his partner’s death. The dialogue is almost as stinky as the Bayou they traipse around in, and the drama was panned by critics and bombed at the box office.

    Aliens Among Us

    One thing you can say about Basinger, no matter the script or co-star — she always throws herself into the role — even if that role is patently absurd. My Stepmother Is An Alien may not make much sense, but it’s chock full of bizarre moments. Basinger stars as a goofy alien learning to be a woman with a talking, phallic sidekick, while Dan Aykroyd is relegated to playing the straight man — when the roles should have been reversed. Stepmother bombed like all Dan Aykroyd comedies not co-starring a funnier SNL alum do, and Basinger’s career seemed to be veering into a questionable direction. The only silver lining was Aykroyd’s daughter, played by TV veteran Alyson Hannigan, who received an “and introducing” credit.

    Batman Pulls the Strings

    Despite the big name co-stars and Tim Burton directing, poor Kim wasn’t given much to do in Batman besides scream and be a damsel in distress; so much so that there’s actually a combined supercut of all of her 23 shrieks. It’s hard for any female character to make an impact when surrounded by the male-dominated world of superheroes. Despite her limited role, Basinger scored a big hit with the film, which went on to become the biggest movie of 1989, made Michael Keaton a household name and sparked a cultural phenomenon.

    Wayne’s World Megawatt Babeage

    After a series of stinkers throughout the early 90s, Basinger was unable to shed the “dumb blonde” sex kitten image that dogged her throughout her career. In another attempt to skewer her sexpot image, she turned to comedy once again — guest-starring in the 1993 Wayne’s World sequel as Garth’s (Dana Carvey) unlikely love interest and laundromat seductress Honey Hornee. Featuring the same iconoclastic spirit as its predecessor, the film was a relative success — partly due to Basinger’s willingness to go all-in when parodying the same type of made-for-TV femme fatale she got her start in. In addition to providing some “megawatt babeage,” she also gave us one of the most awkward kissing scenes in cinematic history.

    LA Confidential – The Win

    The 90s were a weird time for everyone, but particularly Basinger, who bombed at the box office time and time again, bought a town, embarked on one of Hollywood’s worst marriages and filed for bankruptcy. Battered and possibly broken, Basinger retreated from Hollywood for a few years until she made one hell of a comeback in Curtis Hanson’s gritty film noir, L.A. Confidential. Playing a glamorous, sexy femme fatale but with vulnerability, it was exactly the kind of more serious role she had always sought, and earned her an Oscar for her supporting role. The film also serves as a snapshot of rising talent — with Guy Pearce and Russell Crowe proving their chops to American audiences.


    • For the sake of the argument, I’m going to do a little run down/summary of what people on IMDb felt of Kim’s post-“LA Confidential” work:

      Personally, I thought Bless the Child was awful. Truly truly awful. Kim Basinger’s acting was so terrible, it was as if she was lifted from a bad ’70s action movie. I didn’t think any of the characters were that well-developed, and the filmmakers seemed to focus a lot of their attention on big explosions and action instead of plot.

      A few months after seeing this in the theaters, I read the book by Cathy Cash Spellman, which is the basis for this movie. At that point, my view on this movie took on a whole new dimension. The book is completely different, well-written, gripping, and a heck of a lot more believable than the film. Relationships between characters are completely different: Maggie is Cody’s grandmother in the book, for example, not her aunt, and there’s a lot more development of the priest’s character in the novel; he’s not just some wheelchair-bound theologian who is used entirely for exposition.

      If you actually liked this movie, read the book.

      “Seriously, if God and Christianity are nothing more than fairy-tales to you, than surely you could watch BTC with the same attitude you would toward Lord of the Rings or Harry Potter?”

      I can’t resist this. Dude, Lord of the Rings and Harry Potter are fairy tales; in order to watch Bless the Child with the same attitude as watching those movies, we’d have to think of it all as a fairy tale, or at the very least a complex myth.


      I always say: even when the script is weak, the director awful and the movie is going to sink, there’s always Kim Basinger to save the day. When the movie is good (e.g. LA Confidential), she’s wonderful, when it’s bad (e. g. this one), she makes it watchable. She’s a very special lady.


      Her performance was actually laughable. Me and a friend watched it and thought “How has she won an Oscar!?” She’s very dramatic in this film and not in a good way!!


      My god she was terrible! Why did she ever win an Oscar? I have no idea. She was so ridiculously over dramatic in this i didn’t care at all about her. I just wanted the crooked cops to get nailed. Her and her family? Whatever, didn’t care at all, and in fact i think i was hoping Statham would just shoot her already so i don’t have to hear those awful whimpers and stuttering of her ridiculous melodrama. Aside from her…i did enjoy the movie. pretty typical thriller, nothing original Whatsoever, but it is what it is. And for some reason i like Chris Evans. He’s not a great actor…yet…i think he’s got potential…but for some reason i enjoy his characters and think he’s pulls them off quite well enough. William H. Macy was good as usual, and Statham as always was fantastic. Weird seeing him as a bad guy, but of course most of his characters aren’t what you would call upstanding citizens so I don’t think this was a stretch for him at all, as he played it very well. Anyway…enough rambling…decent usage of an hour and 25 minutes if you have nothing else to do…and Kim Basinger sucks.


      Kim Basinger trembles and shiver like she has Parkinson’s. That’s her idea of acting. That’s all she does for no apparent reason. I like her a lot, but lately, most of her work has come down to this, “While She Was Out”, “Even Money”, “Cellular”……..


      Now I know it was a Lifetime movie, so I wasn’t expecting much, but COME ON! This was just horrible! Boring, not necessarily confusing, but we really didn’t even know what the movie or the movie title was about until the end. Which is still kind of weak. The place where it was filmed was beautiful, that was about it. And Kim, poor Kim, that hairdo and your skirts? puke What has your career come to honey? You must have needed the money! I kinda want to read the book just to see if Lifetime could really mess it up THAT BAD!!


      I can’t believe it
      Kim Basinger still gets a job?
      how is that possible?
      she cannot act
      she destroys the whole movie
      I saw it today and I was thinking what kind of individual likes this stuff?


      Kim Basinger is one of the most beautiful women ever, and a very good actress.

      It’s really sad there’s so few good roles out there for women over about age 40…(?) (or I wonder what the turning point is these days?)…

      She has to be one of the actresses near the top of the list for her age range, and she’s still stuck producing limp cr@p like this?

      She’s always had a very gentle, appealing presence. I feel sorry for her!

      EDIT: Why is she not featured on the audio commentary? At least hearing her talk about the production would be rewarding, even though the film’s not very good. The director and producer of this thing don’t have much that’s interesting or creative to say. I turned it off after a few minutes


      I think her last good role was The Door in the Floor. But how many 55+ year old women get starring vehicles for them anymore in Hollywood. I think Kim is just taking the best of the worst roles possible for at this point.


      Kim Basinger is too old for Austin Nichols, Gross! Her face is like a slate of plastic. She cannot move her eyebrows and her jowl is sagging.


      I saw the movie today & she did look incredible. She didn’t have that overly-stretched out face with the hanging, wrinkly neck which is a tell-tale sign of one’s actual age. I know she is an incredibly shy person and she did seem a little nervous in her opening scenes but settled in nicely.

      Also—I see her daughter Ireland played the “young” Sally character—I don’t remember seeing the young Sally??!! I didn’t fall asleep either, LOL.



    • 10 Hollywood Careers That Were Ruined By A Divorce:

      Alec Baldwin and Kim Basinger

      This Hollywood couple was one of the best looking in the business. They met on the set of The Marrying Man in 1991, and by 1995, the two welcomed a daughter named Ireland. However, the marriage soon started to crumble when rumors about Basinger’s mental health and Baldwin’s inability to control his temper became public. When the couple decided to divorce, their custody battle over their daughter went on for years. Remember when Alec left that angry voicemail for his young daughter, calling her a “rude little pig?” That certainly didn’t do much for his career, and the project he’s most remembered for these days is 30 Rock, which is in syndication. We haven’t heard much from Kim Basinger since the divorce either, which may mean that the mental instability rumors are true.


      • Basinger Denies Leaking Baldwin Rant


        Some of the stuff from “the net”…

        Baldwin was ordered to pay $4,500 to a celebrity photographer after he allegedly punched the man in eye for stalking the couple after Ireland was born and left the hospital.

        From 2005…

        In a statement released late yesterday, Basinger storms, “Everyone knows about Alec Baldwin’s behavioral problems – his anger, his rages – they are, unfortunately, legendary. If his relationship with his daughter is fractured, there is only one person to blame and it is himself.” The warring ex-couple are due back in court in Los Angeles next month to fight the custody battle

        He tells The New York Post, “It’s like being diagnosed with cancer. Something I realize I have to live with. But I’m keeping things in perspective. Not letting it consume me and eat me up with anger as it used to. I stopped that when one late night I was on the street so unhappy and filled with rage that, in a fit, I smashed my phone against a lamppost. A black lady walking by said to me, Alec Baldwin,’ you got to get hold of yourself.’ So I have.”

        From 2004…

        Hollywood beauty Kim Basinger yearned to kill ex-husband Alec Baldwin during their vicious custody battle for daughter Ireland. The 50-year-old actress confesses she found it “nearly impossible” to forgive Baldwin and fantasized about his death during their violent battle for the eight-year- old when she was branded a “black widow spider” and “nutcase” for accusing the Beetlejuice star of drunken wife battery.

        From 2003…

        Basinger claims her husband was “emotionally and physically abusive”. But after supermarket tabloid National Enquirer ran a story claiming Baldwin beat his wife in April 2002, the actor’s brother Billy Baldwin spoke out, branding Kim a “nutcase”. He told the Enquirer, “Is my brother a saint? No. Is he volatile? Yes. But he is not a wife-beater. I think what may have happened is that Kim may have taken a run at Alec during a fight, and he may have put his arm up to protect himself or push her off. But that’s not beating your wife.” In a statement to Page Six, Basinger’s publicist says, “An independent evaluator in the child custody case of Kim Basinger and Alec Baldwin’s daughter, Ireland, has recommended primary physical custody to Ms. Basinger and visitation rights to Mr. Baldwin. The report exonerates Ms. Basinger of all false allegations made by Mr. Baldwin and acknowledges that Ms. Basinger lived in an emotionally and physically abusive marriage for 10 years. Ms. Basinger has accepted this report.

        From 2002…

        Pals of Kim Basinger are blaming the actress’s chronic back problems on her ex-husband Alec Baldwin’s alleged violence. The L.A. Confidential star, who was married to Baldwin for nine years, underwent surgery in August to remove slipped discs and fuse together damaged vertebrae in her lower back. And according to American tabloid the Star, friends of the 48-year-old beauty claim Baldwin was shockingly violent to her during their union, leading to the injuries. Baldwin has always denied he was ever violent towards Basinger. A source says, “She claims he hit her more than once. And there were many instances when Alec was verbally abusive to her, even in public. She has extremely harsh feelings toward Alec. All the stress of being with him aggravated her back problems and led to the operation. The battles were no secret. Look how often Alec was caught on camera fighting with his wife in public.

        29 posted on 4/24/2007, 9:12:10 AM by Issaquahking (Duncan Hunter for president!)


  16. Black November by Nathan Rabin:

    Half passionate cinematic op-ed, half overheated exploitation movie, Black November opens with titles accounting for Nigeria’s status as one of the most populous, troubled, and explosive countries in the world, and establishing the Western oil establishment’s complicated (read: “evil”) relationship with it. Audiences who forget any of that chunk of exposition needn’t fret, however, as Black November is considerate enough to repeat the information early, often, and with as little subtlety as possible. The film is devoid of subtext, filled with cardboard stand-ins for contrasting viewpoints on the powder keg of social and political issues facing Nigeria.

    According to The Guardian, Black November is actually a radically re-shot and re-edited version of a 2011 film called Black Gold with 60 percent new footage (reportedly to make it more contemporary) with some cast members lost (Black Gold features the likes of Michael Madsen, Eric Roberts, Tom Sizemore, and Billy Zane, none of whom are in Black November) and some cast members gained. (Kim Basinger, Wyclef Jean, Anne Heche, and Akon all appear in Black November but not Black Gold.) Considering the film’s crazy-quilt construction, it’s probably a marvel it makes sense at all, but that’s a minor accomplishment. Perhaps a third attempt at this material would result in a film capable of more than strident sermonizing and action sequences that feel like they belong in a McBain clip from The Simpsons.

    The seams of the film’s bizarre production are all too apparent. In one scene, for example, Nigerian heroine Ebiere (Mbong Amata, wife of writer-director Jeta Amata) explains that she’s passionately agitating against the corrupt military establishment’s collaboration with evil Western oil companies, despite having attended a Western college on an oil company-funded scholarship. In the next, an underling explains to nefarious oil CEO Tom Hudson (Mickey Rourke) that Ebiere is passionately agitating against the corrupt military establishment’s collaboration with evil Western oil companies, despite having attended a Western college on an oil company-funded scholarship.

    The film opens with Hudson—who all but strokes an invisible mustache and chomps on a fat cigar to broadcast his status as a classical bad guy—being kidnapped in Los Angeles by rebels (including former hit-makers Jean and Akon) in retaliation for Big Oil’s support of a corrupt military dictatorship and its devastating treatment of Nigeria’s people and environment. Hudson’s company attempts to bribe Nigerians into acquiescence with their evil schemes, but when that doesn’t work, they aren’t above collaborating with a sinister government establishment on campaigns of violence, rape, and murderous deceit. Ebiere emerges as the heroine of the resistance, a firebrand who refuses to be bought or silenced, and becomes even more of a force for revolutionary good after the father of her unborn child is murdered.

    The marketing for Black November plays up the participation of Hollywood stars like Basinger, Heche, and Rourke. But that feels like a bait-and-switch, since Heche barely turns in a cameo, and Basinger, playing a reporter, disappears for long stretches of the film, and seems understandably confused as to why she’s even there. (She isn’t alone.)

    Of the former A-list actors, only Rourke makes much impression, but for all the wrong reasons. Once one of the most beautiful people in the world, Rourke looks more and more like Halloween villain Mike Myers with each passing year, and his villainy as the ghoulish face of American greed makes Myers’ slicing and dicing of oversexed teenagers seem understated by comparison. In his early scenes, Rourke exerts as little effort as possible while still remaining technically awake, but when he sees the errors of his ways late in the film, his feverish overacting incites nostalgia for the sleepy early scenes.

    Amata is appropriately passionate and fiery as a martyr whose strength and courage inspires those around her, but she’s more of an idea—i.e. the nobility of a Nigerian people who refuse to stand down in the face of rampant corruption and greed—than a character, just as Black November is more a manifesto than a movie. It doesn’t help that the film’s special effects, particularly its cartoonish explosions, are more befitting of a Sharknado sequel than a film that desperately wants to be taken seriously as both political advocacy and art.

    As well-intentioned as it is thoroughly inept, Black November would be a serious contender for year-end worst lists if it weren’t so painfully noble and sincere. It also benefits from timing: It’s is unlikely anyone is liable to remember the film in a week, let alone keep its hammy awfulness in mind 11 months from now.


  17. Stop The Press: Vicki Vale And The Superficial ‘Strong Female Character’:

    Ah, I thought, as the camera panned lovingly down Vicki Vale’s high-heeled, black-pantyhose-clad legs — here she is. The Strong Female Character. The 1989 model had fluffier hair than her successors, but that’s really the only significant difference. She establishes her Totally Empowered cred early, makes eyes at the hero, then gets the hell out of the way as he and the (male, naturally) villain go about the business of advancing the plot. She snaps a photo once or twice to remind us that she’s a globe-trotting photojournalist — the kind of photojournalist with no compunction toward sleeping with her subjects, but hey, whatever. She ends the film in the hero’s arms, fulfilling her role as reward for his victory, with nary a whisper of the professional goals that drove her to him in the first place. She is pretty and in need of rescue and almost entirely in service to the male characters’ plot and characterization—but she gets to be vaguely spunky and is slapped with a typically male career, so it’s totally okay.

    I can only imagine the interviews that took place upon the release of Batman, touting her modernity, her break with the damsels of the past, her ineffable 1989-ness. I’m sure the crew patted themselves on the back heartily for providing the women and girls of America with such a vibrant reflection and role model.

    I’m sure of these things because 25 years later, very little has changed regarding how women like Kim Basinger’s Vicki Vale are portrayed: superficially empowered and ultimately disposable.

    The Strong Female Character sucks. She is not strong, and she’s barely a character at all — although she is, as we are abundantly reminded, female. She is never the hero of the story, but nearly always the love interest and rarely a being of true agency. She is usually the only significant female character in the whole story, if not the only female character period. She is often introduced in ways that highlight her sex appeal (long, slow pans up her body as she strides sassily towards the camera seem perennially in vogue), but don’t you get any ideas, silly boys, because she’s an astrophysicist! Or a journalist, or a businesswoman, or a spy, or a hacker, or some other typically male, banally “badass” job that allows the director to feel his job is done as it regards positive female representation.

    She might die or suffer sexual assault to further the male character’s motivation, she might spend the last act in her underwear, most of her lines might as well be “TAKE ME NOW, YOU MUSTY STALLION,” but hey, she’s a five-time MMA champ fighter pilot who donates her salary to an orphaned ponies preserve! And she probably gets a feisty one-liner in about how no man tells her what to do!

    Sometimes she gets to punch a background mook, or kick a bad guy in the balls, or use her feminine wiles to distract the villain at a key moment, or some other inessential but highly-touted moment of violence.

    She is often sarcastic; the straight man in contrast to the male characters’ goofiness. In theory, these things excuse the fact that everything about her revolves around the male characters and the plot that they engage in — in practice, they slap a “Girl Power!” sticker on the same old crap we’ve been fed since man developed storytelling.

    She is always the love interest. Her goals and dreams, if they are mentioned at all, are left by the wayside by the story’s conclusion. She is often in need of rescue. She has no inner life. Quite frankly, she’s lucky if her characterization extends beyond “spunky and indistinctly intelligent.” She is eclipsed by the other supporting characters, who are free to develop actual personalities. She is no one’s favorite.

    Vicki Vale is a Strong Female Character through and through. We are informed that she is a celebrated photojournalist, but her ambitions go largely unsaid after her first few scenes — lost, as they are, in the wildly unprofessional whirl of her affair with Bruce Wayne, ostensibly the subject of her next project. Overcome by the erotic power of Michael Keaton’s perma-pursed lips, Vicki goes from competent woman of the world to hysterical schoolgirl before the movie is even half over. You can practically pinpoint the moment director Tim Burton threw up his hands and said, “Okay, I won at feminism! Let’s move the hell on.”

    Vicki spends the rest of her screen time being menaced by the Joker with increasingly sexual overtones, screaming in terror, screaming in surprise, occasionally snapping a photo and getting herself noticed by the bad guys, and swooning over Bruce.

    Even her wardrobe serves Bruce Wayne. She spends most of the film in girlish white dresses, symbolizing the sweetness and light she stands to bring to Bruce’s dark world as Batman (as Alfred notes, “There’s a certain weight that lifts when she is here.”) If there is a low point — and, simultaneously, an emblem of her role — it is when Bruce, struggling to admit that he is Batman to a confused Vicki, snaps, “You’re a real nice girl and I like you a lot, but right now, shut up.” Oh Vicki, no matter what your resume says you’re just a moody little miss at heart!

    There’s also the fact that Vicki is one of the only women in the movie. There’s, um, “Sugarlumps,” the Joker’s dotty moll played by Jeri Hall, who is later mutilated, presumably drugged into oblivion, and commits suicide. There’s also the ill-fated anchorwoman who spends most of her three minutes of screen time dying and dead. And… Bruce’s mom? Sure, let’s count Martha Wayne, who’s murdered on-screen, and the Martha Wayne-like woman who’s mugged at the beginning of the film. Collectively, these women account for maybe fifteen minutes of screen time and serve as decoration or plot device.

    Beyond their meager contributions, the movie is almost bizarrely devoid of women — shots of thronging reporters and bad guys are a sea of white dudes, and only a few female faces pepper crowds of confused bystanders and partygoers. Vicki isn’t just the main female character — she is the only female character of substance. She stands for her entire gender, for half the population — and she does so really, really badly.

    Strong Female Characters like Vicki Vale are the result of creators wanting the credit without doing the dirty work. They know relying on the wilting princesses and buxom housewives of yesteryear no longer flies, but they don’t actually want to think of women as people. So women, in movies (and books, and TV shows, and everything) are placed upon a different pedestal — one that allows them to be everything and nothing at all. They karate chop without ever delivering the deathblow, they suffer for other’s characterization, their bodies are splayed alluringly across any and all promotional material, but they will never be the star.

    Born, as I was, in 1990, I spent my early years confronted with Vicki Vales at every turn — though in children’s media they’re more commonly known as Good Role Models For Girls. They were frustrating when they weren’t boring. I clung to them at first, waiting for the moment when they would do more than just dance vaguely around with a wrench, proclaiming loudly that girls can fix cars TOO, you dummies! But the moment never came, and I grew bored. I gravitated towards stories like Sailor Moon, where the plethora of female characters are, by their manifold nature, allowed to develop naturally. I eschewed comics for the Warner Bros. cartoons based on the DC Comics heroes, where at least there were two girls on the Justice League and the Teen Titans. I learned to grit my teeth through otherwise interesting media that indulged the omnipresent flaw.

    And, in time, I learned that I was not alone in my frustration. No one really likes the Strong Female Character. No one leaves the theater talking about how fantastic her back story was or how moved they were by her heroism. She is, as female characters have been throughout history, a fantasy object for men — to be enjoyed, then disposed of (note how easily she is replaced by Catwoman in Batman Returns — although Vicki Vale warrants at least an awkward conversation about her absence, unlike countless Bond girls of cinema history).

    To women, the Strong Female Character is, under a particularly benign interpretation, a model to aspire to. More truthfully, she is an agent of control, albeit one in disguise. But her Krav Maga skills don’t liberate her — they just add to the laundry list of things women are supposed to be for men. She’s sexy, but not slutty. She’s smart, but not nerdy. She’s spunky, but not a bitch. In the years since Batman ’89 she’s become a badass — but never at the expense of the male hero.

    I am not the only person (and definitely not the only woman) to call bullsh*t on this, but the Strong Female Character endures. In superhero movies, she’s pretty much the only mold for female characters of any elevated prominence. She is nearly every major female character in the Marvel Cinematic Universe. She’s probably going to be Gamora in August’s Guardians of the Galaxy. I’d bet cold hard cash that she will be Zack Snyder’s Wonder Woman. In these kinds of films, the Strong Female Character is, effectively, all women. And yet year after year the reviews roll in, naming these characters as the weakest parts of the film, the romances they are so defined by boilerplate, and their scenes dramatically leaden.

    There is profit to be made in actual characterization. Witness the massive female following Mako Mori of Pacific Rim inspired nearly overnight. The parameters were barely shifted, but in getting a little more screen time, a little more independent characterization, and in being freed from the constraints of Love Interest, Mako gained a soul and made the movie better.

    Along those lines, we are asking, as we have always asked, to be afforded the respect so unthinkingly given to men. We are asking to be seen, and depicted, as individuals on our own terms. We are asking creators to make, in effect, more nuanced, more carefully crafted, more thoughtfully considered movies. Which is what they’re supposed to be doing anyway.

    There were a lot of things I enjoyed about Burton’s Batman. His Gotham felt right to me in a way no other director’s ever has. The art direction was incredible. I totally, shamelessly enjoyed Prince’s soundtrack. But Vicki Vale wasn’t just irritating to me as a feminist — she was irritating to me as someone who enjoys well-told stories. The Strong Female Character does not represent women, does not inspire girls, and does not entertain moviegoers. Twenty-five years after Batman ’89, It’s time for her to hang up her boxing gloves, put up her perfectly waxed legs, and retire for good.


  18. Alec Baldwin’s Daughter Ireland Checks Into Rehab:

    Alec Baldwin and Kim Basinger’s daughter Ireland Baldwin is in rehab.

    The 19-year-old model has checked into Malibu’s Soba Recovery Center, a drug and alcohol treatment center, for a two-week stay to “deal with some emotional trauma,” she said via her Twitter on Monday.

    Reports suggested that Ireland was seeking treatment for excessive partying, but she laughed off the speculation.

    Ireland, who reportedly checked into the $20,000-a-month rehab facility over the weekend according to RadarOnline, later explained her stay in a series of tweets.

    “I checked myself into Soba for two weeks to just get away for a little bit,” she tweeted. “I’m not much a party cat but I am here deal with… some emotional trauma and getting the intensive therapy I needed in order to recover.”

    “Someday I’ll feel ready to share my story… openly without feeling the way I do,” she continued. “Right now I just needed a breather. I need a change to work on myself and gather all the tools… I need to overcome everything that I had been through and rid myself of all the pain I locked away in unreachable places.”

    Before her official announcement, Ireland hinted at her new journey with several cryptic tweets over the past several days.

    In 2014, Ireland Baldwin sat down with ET to chat about getting into modeling. Watch the interview below.


  19. Things get ugly in The 11th Hour of this grim Kim Basinger vehicle:

    It’s never established exactly how old the protagonist of The 11th Hour actually is, but it’s a safe bet that she’s at least 15 years younger than the actress playing her. At 61, Kim Basinger doesn’t look a day—or even an hour—over 50. The question of age is relevant here because her character is at a point where she’s being told that it’s simply impossible for her to conceive a baby. As the film opens, high-powered businesswoman Maria (Basinger) has suffered her eighth miscarriage in a decade, prompting her husband to start muttering ultimatums.

    In another film, this could be the jumping-off point for a study of a relationship under stress, but director Anders Morgenthaler is determined to turn the material into a horror-show à la Repulsion—a portrait of a woman losing her grip on reality. Not only does Maria refuse to listen to her doctor or her partner, she also hears voices—a tiny little running monologue emanating from a glowing entity that comes to her in the middle of the night. The tension in the film comes from the ways that Maria’s tender fantasies of an unborn child pleading with her to be born bump up against the harsh realities of Europe’s black-market human trafficking rings. A last resort quickly takes on the shape of an obsessive quest.

    Morgenthaler is not an austere filmmaker. He shoots The 11th Hour almost exclusively in tight, disorienting close-ups that emphasize Maria’s exhaustion and desperation, and he fixates on the ugliness of the rural Danish highways and back roads that deliver her toward her destiny. He’s also whipped up a highly symbolic helper figure in the form of Petit (Jordan Prentice), a heroin-addicted dwarf whose physical and emotional vulnerability turn him into a kind of child surrogate—even as he talks dirty about wanting to have sex with the impoverished, drugged-out prostitutes whose babies are being sold out from under their noses.

    Beyond its basic structure as a road movie, The 11th Hour is primarily an exercise in dread: We know that something bad is going to happen to Petit and Maria, and there’s nothing for us to do but wait it out and wonder exactly how grotesque this fallout is going to be. Which, as it turns out, is pretty gosh-darned grotesque, although the director gets credit for keeping the very worst of it discreetly offscreen. The film is never quite convincing as either a critique of haves seeking to exploit have-nots or a case study of a woman at the mercy of her biological clock, but that’s not Basinger’s fault: She commits to the most unflattering aspects of the role and gives a tense, credible performance. By the time the film empties its inventory of shock tactics and reaches its (too calculated) ambiguous conclusion, we’re not sure if Maria deserves better, but it’s pretty clear that Basinger does.


    • The 11th Hour by Mike D’Angelo:

      At 61, most former Hollywood sex symbols have resigned themselves to making the transition from district attorney to Driving Miss Daisy. (That depressingly accurate précis of a Hollywood actress’ trajectory, spoken by Goldie Hawn, is The First Wives Club’s sole contribution to American culture.) Kim Basinger, however, isn’t ready to surrender just yet. It warms the heart, even as it chills the blood, to see her commit unreservedly to the lead role in a movie as warped as The 11th Hour, ready to go wherever button-pushing Danish filmmaker Anders Morgenthaler wants to take her. Morgenthaler was one of the contributors to the omnibus horror film The ABCs Of Death (he did “K”), and his 2006 animated feature Princess, about a man’s quest to destroy all evidence of the porn movies in which his late sister had starred, reportedly makes Ralph Bakshi look like Walt Disney. He’s not the kind of director an Oscar-winner usually seeks out, but Basinger was apparently content with the knowledge that even if The 11th Hour didn’t turn out to be a good movie—and it didn’t—it would at the very least be a memorable one.

      Impending obsolescence is its subject, in a sense. Maria (Basinger), despite her advancing age, desperately wants to have a child, and has been trying without success for a decade, suffering numerous miscarriages. When the latest failed pregnancy nearly kills her, she reluctantly agrees to heed her doctor’s warning and give up, but still wants to adopt. Her husband (Sebastian Schipper), however, declares himself no longer interested in child-rearing, moving into a hotel when Maria won’t take no for an answer. “Fortunately,” Maria works as the managing director for a German shipping company, and has just been asked to reroute traffic near the Czech-Slovak border, as the uptick in commerce there has led to an increase in child prostitution. Hearing that some of these teenagers have infants who may themselves wind up forced into sex work, Maria decides to drive to the region and either purchase or, failing that, kidnap a baby. She’s not sure she can do it alone, though, so along the way she finds a French-Canadian junkie dwarf named Petit (Jordan Prentice)—who’s first seen wearing a full-body panda costume, because “French-Canadian junkie dwarf” isn’t striking enough—and offers him 10,000 Euros to help her. (How, exactly, is unclear.)

      Right from the outset, The 11th Hour (which played Fantastic Fest last year as I Am Here, a better title) suggests that Maria is bonkers. Morgenthaler favors heavy abstraction—the film’s first lines of dialogue are barely audible through the amniotic fluid in which her doomed fetus is suspended—and Basinger plays the role with a manic intensity that makes the husband’s decision to bail seem justifiable. What’s more, Maria repeatedly hears a little girl’s whispering voice (“Come find me, mommy”), or feels a tiny pair of arms hug her from behind. This figure, which initially appears (just before the near-fatal miscarriage) as a fairy-sized girl engulfed in blinding light, seems to be a collective representation of all the potential children Maria has lost, as well as a clear indication that she’s gone off the deep end. Petit’s function in the story, on the other hand, is hard to discern. Is it supposed to be irrelevant that he’s a dwarf? (Unlikely, since the film’s working title was Petit.) Is he, too, meant to represent a child, symbolically, by virtue of his small stature? That would be ludicrous, but the likely alternative—“Hey, a dwarf would make this crazy tale even crazier!”—would have Peter Dinklage’s character from Living In Oblivion throwing another fit.

      Ultimately, The 11th Hour doesn’t succeed in being much more than the sum of its eccentricities, which eventually include Peter Stormare as a Russian thug who takes horrific revenge on Maria and Petit after they steal a hooker’s newborn infant. Both of the main characters are tissue-thin—Maria is defined entirely by her all-consuming desire for a child, while Petit is such a junkie cliché that he actually keeps saying “Never trust a junkie” out loud, at one point while talking to himself—and the film has nothing cogent to say about maternal anguish or postpartum depression. All the same, it’s bracing to see Basinger take on something this dark, even if the darkness is empty. The film’s ending, in particular, plays like a glib variation on the disturbing finale of Catherine Breillat’s Fat Girl, with the presence of a Hollywood celebrity (as opposed to Breillat’s unknown non-professional) providing a semi-subversive gut punch. Basinger may not have picked a winner this time, but at least she’s not settling for comfy irrelevance.


      • Kim Basinger made the time for low-budget ’11th Hour’:

        By Susan King contact the reporter

        Actor Kim Basinger confronted her fears to make the low-budget European film ’11th Hour’

        The first days of filming the low-budget indie “The 11th Hour” in Hamburg, Germany, were rocky for Kim Basinger.

        She and Danish writer-director Anders Morgenthaler “were not communicating well,” said Basinger, who won the supporting actress Oscar for her unforgettable turn as a prostitute in Curtis Hanson’s 1997 noir classic “L.A. Confidential.”

        “I didn’t think it was working. I had to ease into the [character].”

        Morgenthaler noted that the two had to “dance around each other. After two days, I went into her trailer and said you need to trust me completely. I want to be your friend on the movie.”
        ’11th Hour’

        “The 11th Hour,” which arrives in theaters and VOD on Friday, is an intense, difficult drama. (Brainstorm Media)

        After their frank discussion, “we started to form our own language, our own communication,” Basinger said. “We stood up, got our sea legs and then we just started to skate together beautifully.”

        “The 11th Hour,” which arrives in theaters and VOD on Friday, is an intense, difficult drama about a successful, fortysomething married business executive named Maria who, after suffering her eighth miscarriage, is told she is too old to carry a child to term. Devastated by the news, she sets out on a dangerous and terrifying quest to obtain a child.

        It was crucial for Basinger to buy into Morgenthaler’s vision because the director wrote the part of Maria specifically for the actress.

        “She has this special sensibility,” Morgenthaler said. “She is very, very fragile. Some interpret that as being weak, and some interpret that as being strong. I am one of these people who interpret it as being super-strong.”

        During a recent interview, the contemplative actress, who is still one of cinema’s great beauties at 61, admitted that fear was a big factor in her deciding to play Maria.

        “If I’m interested in something and there is fear involved, I will do it,” Basinger said. “I want to conquer all of my fears before I leave this planet. For me, the theme of the whole movie was finding the truth of one’s real being. She has to go to the abyss to find the truth.”

        “If I’m interested in something and there is fear involved, I will do it,” Kim Basinger said. “I want to conquer all of my fears before I leave this planet. (Jay L. Clendenin / Los Angeles Times)

        It took several years for Morgenthaler to obtain funding for the film. “I didn’t walk away from it ever,” Basinger said. “When it did actually come together, which kind of was the eleventh hour, I found myself on a plane to Hamburg.”

        “I actually went into this collaboration having had no experience with a star of her caliber,” Morgenthaler said. “I come from a European tradition where everybody is doing everything. So I told her this is going to be hard. This is not your typical American movie set where you get a lot of attention and a lot of service. This is going to be rough, low-budget European filmmaking.”

        And he found Basinger to be completely fearless. “She really just let go of her normal guards in terms of shooting a movie,” Morgenthaler said. “We did tons of improv. We did 10- to 20-minute takes.”

        Basinger noted that she wouldn’t have been able to give such a raw performance if not for Ireland Baldwin, her 19-year-old model daughter with ex-husband Alec Baldwin.

        “What I have learned about children is that they are our greatest teachers,” Basinger said. “You are in their classroom. If you miss out on that, then you have missed out on a full ride. I know she’s taught me a lot. I brought her up as a single mom, and we are attached at the hip.”

        Though Basinger has appeared in several movies since “L.A Confidential,” including reuniting with Hanson for 2002’s “8 Mile,” the actress turned down a lot of movies because she didn’t want to be away from Ireland for an extended time.

        “I was there for everything,” said Basinger, who is also an animal rights’ activist. “She played soccer, she played basketball. You don’t want to miss that. I felt it was so important at least for one parent to be there all the time.”

        Ireland Baldwin recently left rehab, where she had gone for treatment for emotional trauma.

        Her daughter, reported Basinger, is “doing great. Kids go through things. She’s only 19. We’ve all made choices and been around wrong people, and she took her own step in the right direction. She starts film school next week, and she wants to study psychology. If I didn’t know her, I would be happy to meet her.”

        Meanwhile, Basinger, who has a small part in the upcoming Russell Crowe-Ryan Gosling film “The Nice Guys,” is reading a lot of scripts. But acting isn’t her only interest these days.

        “I just love the journey of this life,” she said. ” I’ve got a lot to do. I don’t know exactly what that means. But I’ve always kind of held true to one thing — I just want to be of service. If I can be a spokesperson and speak up for women, men and animals or use any power that I have to bring more awareness to something that needs a little boost or assistance in my lifetime — that is really my passion.”


        • Kim Basinger on ‘The 11th Hour,’ Why the First ‘Batman’ Is Best, and Her Wild Time Dating Prince:

          The Oscar-winning actress opened up about her scary new film, “adorable” Ryan Gosling, and her many, many memorable film roles.

          Kim Basinger has some kinda resume. A Bond girl in Never Say Never Again, an S&M pioneer in 9½ Weeks, Vicky Vale in Batman, the icy femme fatale of neo-noir classic L.A. Confidential (which won her an Oscar), the list goes on. She is also, as ex-husband Alec Baldwin attested, “one of the most beautiful women that ever lived.”

          But it’s been a while since the acclaimed actress has been given a juicy role worthy of her talent—seven years, to be exact. The last was 2008’s The Burning Plain, where she inhabited the role of philandering mother to a disturbed young gal, played by a little-known actress named Jennifer Lawrence.

          The 11th Hour, in theaters June 12, rights this ageist-Hollywood injustice. Basinger appears in almost every scene of Anders Morgenthaler’s film as Maria, a successful business executive in Germany who’s struggled to have a baby of her own. So, she takes matters into her own hands, leading her down a dark road paved with desperate prostitutes and a crack-smoking dwarf named Petit (Jordan Prentice). It’s a staggering turn by Basinger, who vividly renders Maria’s demented, single-minded pursuit of the one thing missing in her life.

          In a wide-ranging conversation, The Daily Beast spoke to Basinger about everything from the unnerving film to that time she crossed off an item on many people’s bucket lists by dating The Purple One.

          The 11th Hour is a very disturbing film. It messes with your head a bit because you want her to succeed in her quest, so you’re empathizing with this person who’s mentally unstable, and it takes many dark turns.

          Look, here’s a tough businesswoman, yes, and you see that she wants a baby. A lot of working women have this want and this plight, and they come to this time where they reach the only window they have left, and they long for a baby. But I don’t think that’s what we were reaching for. I felt like I knew her for one reason: In a childlike way, in the fairy tale-ish part of this—not the insanity that I also had to display—she saw the truth. Her convictions were so astute and present that they could not be denied, even by her. You’re just propelled to keep going. One of my favorite films is Lars von Trier’s Breaking the Waves, and some people hated it, but I understood the whole journey of that woman, and the end was almost a celebration because it was so honest, and so true. With Maria, she too knows something within her that she can’t deny.

          I also viewed it as a commentary on how difficult it is for working women to also be mothers, and that this is due to societal double standards. In the world of this film, it’s not necessarily her that’s evil, it’s the world that is, and she’s forced to descend to the depths to extract a child. It has a bit of Dante’s Inferno to it.

          Absolutely. I totally agree with that. She has to enter that “Inferno” in order to have that moment of exaltation. She has to go to the depths, and she was willing to go there. And yes, I think it is a huge metaphor for businesswomen and making choices in life, because today, many professional women choose not to have families, and all of a sudden they wake up and they want that.

          But some don’t.

          Oh, completely. That’s why I’ve always admired professional women—and I’ve had a few around me—who decided not to have kids. They knew they either couldn’t handle it, or just didn’t have that maternal instinct, or it just wasn’t for them.

          You also just don’t see too many roles like this in mainstream Hollywood—that of a strong-willed, independent businesswoman of a certain age who takes matters into her own hands, and the story is completely hers. A lot of times in film, women like this are relegated to the sidelines, and their story is used to service the male lead’s.

          I know! I’m always talking about “evolved men,” and when I say that, I mean men who understand what it’s like to stand in each gender’s shoes. You have to try. There’s a masculine side to myself, too, and I try to understand men—and the mind of a man. And the director, Anders, really tried to capture the mind of this woman, so the camera was always very close to my face, which was a bit overwhelming at times!

          But I think it goes in cycles. I think there are tough women films about to come on the horizon. A lot. They’re doing an all-female Ghostbusters, and they’re writing these tough women. I think there’s a trend of “move over, macho” coming around the corner, and I like to be a part of that train, and I’m talking to several people about taking matters into my own hands, so to speak. I’m blessed to have the longevity that I’ve had and be in this business, but I still have great hope in the cycles for women. I think a lot of women do fall into the trap of thinking things aren’t as fair for women, but at the same time, it’s absolutely true.

          Right. There’s always been a Cary Grant or a Colin Firth on film romancing a twenty-something.

          Exactly! But it usually is that way in real life, too. So when you mix things up, it makes it so much more interesting. It’s like Harold and Maude, you know? That’s so much more interesting. I just don’t want to be pigeonholed in any way when it comes to Hollywood clichés about men, women, whatever.

          Have you seen Fifty Shades of Grey?

          You know, I was invited to a private screening but I haven’t seen it.

          I only ask because that film got me thinking about sexy films, and as far as modern sexy films go, 9½ Weeks is really up near the top.

          9½ Weeks is one of those that I’m so proud of. I know it took some hits initially—whether tomatoes were thrown—or that we stayed in a theater in Paris for a number of years, but I’m very proud of that collaboration with Mickey, and with [director] Adrian Lyne. I hadn’t seen Adrian Lyne since the day we wrapped, and the other day, I’m on the street in West Hollywood and I hear, “KIM! KIM!” and it was Adrian! And he hugged me, and I said, “That movie has taken me so far,” and he replied, “Me too.” And that’s all we needed to say. There’ve been a lot of sexy, nudie films around, but in some strange way, we pioneered our way into that arena, and I remember how welcomed I was—especially in Europe—with that character. And it strengthened my film and personal relationship with women.

          Speaking of sexiness, what was it like to date Prince? Because that is the coolest thing ever.

          [Laughs] Oh, really? Oh god! You sound like my teenage daughter! He’s a brilliant talent. There’s no doubt about that. You know that, I’m sure. Hey, listen, I don’t really have boundaries, so I enjoyed that time of my life. It was a really special moment in time, and I have great memories. I don’t put a lot of restrictions on myself, let’s just put it that way. If there’s someone I connect with, we’ll go on these rides together. So that was a neat time in my life.

          Was his whole house purple, still? I hear that’s what it’s like today.

          [Laughs] I… won’t touch that one! I’ll leave that one be! That’s not for me to comment on at all.

          There is that song that’s been immortalized, allegedly of you two making love—“Scandalous Sex Suite.”

          [Laughs] That song. Oh, I know. Oh dear! Ah, yes. Sex runs the world in a lot of ways! If only women knew how powerful they were, they’d just say “no, no more babies,” and then we’d run the world. So there you go!

          As far as legendary musicians go, you were also involved in what I consider to be one of the greatest music videos ever—Tom Petty’s “Mary Jane’s Last Dance.”

          Now that was one of the coolest things I’ve ever done in my life. It was classic, wasn’t it? He was a doll, and he was so sweet and asked me to do it, and both of us are extremely shy so we just said three words to each other the whole time. I’ll never forget how heavy that dress was! And I had to be dead the whole time. You know, it’s really one of the hardest things I’ve ever done in my life, because I had to be completely weightless to be in his arms the way I was. It won all those awards, and the kids love it—even today!

          Well, another thing the kids love today is Batman. Did you see the new Christian Bale ones?

          Yeah, I did. They’re beautifully, beautifully done—especially The Dark Knight, the Heath Ledger one. It was cinematically beautiful, and very well-written. But I’m still very proud that I was in the first one.

          Maybe it’s just because it’s the one I grew up with, but to me, the first Batman will always be THE Batman.

          Oh, me too. Michael Keaton and Jack Nicholson? Listen, if I were an audience member I’d say the same thing. Where do you go from Michael Keaton and Jack Nicholson? You don’t get better than that.

          Some serious dueling eyebrows.

          And Michael Keaton, I love him in that scene with Vicky Vale when she says, “Look, you can tell me anything! It’s OK. Are you married? Oh my god, are you married?!” And he goes, “N-n-n-no, b-b-b-but,” and he’s trying to say Batman. Nobody could deliver that better than Michael Keaton. Nobody.

          Another film that I really love that you were in is L.A. Confidential, which is not only one of the best movies of the ’90s, but one of the best film noirs.

          I agree with that, too. Whether I was in it or not, it doesn’t matter—it’s one of the most beautifully executed films.

          Totally. And the cast is perfect. I remember watching the Academy Awards as a kid and I was very bummed that Titanic won all the Oscars over it—except yours, of course.

          Well, thank you so much, because really, the truth of the matter was that every director across the board said that Curtis [Hanson] should’ve gotten that, and he certainly deserved it.

          You’re reuniting with Russell Crowe in Nice Guys, which is also a noirish flick.

          That’s a bit of a secret because no one knows I’m in that, and it kind of comes out of nowhere, so it’s a fun surprise. But it was really nice to work with Russell again, and meet Ryan [Gosling]. I love him. He’s a doll.

          All the ladies love The Gos.

          Oh, he’s just a sweet man. He’s a sweet person. I pray to god he’s that nice in life! He’s adorable, though. He’s for real. So, lucky… what’s her name? Eva? Lucky for her. He’s beautiful, she’s beautiful, and I’m sure they’ve made a really beautiful baby.

          Another film of yours that I grew up with was Wayne’s World 2, and you’re hilarious in that as the femme fatale Honey Hornée, who seduces Garth.

          God, you’re hitting all the high notes! With Honey Hornée, we made her up as we went along and just tried whatever we wanted. It was Lorne Michaels, and those two [Mike Myers and Dana Carvey], god, they were hilarious. They’d take any chance at all. I’ve really been blessed with all the characters I’ve played. I really have been blessed.


        • Good interview; I really liked “The Burning Plain”. Pardon the pun, but the storyline was a slow burn, and I liked that.


        • I’m glad to hear that Kim enjoyed making that Tom Petty video where she plays a corpse. It’s obviously, a very morbid and twisted video (you kind of have to be in the “right” mindset to go along with it), but Kim does a terrific job selling the idea of her being dead (especially when Tom Petty is moving her body around like a puppet).

          The video also perfectly illustrates just how stunningly beautiful Kim was/is. The very first shot of her when Petty unzips the bag that she’s in, is absolutely breathtaking.

          I especially love this shot here (she’s like a real life “sleeping beauty”). I love Kim’s make-up (w/ the light purple lip gloss):

          This shot obviously leaves a lot to the imagination (besides giving us a chance to admire her “hot bod”):

          Overall, Kim looks so angelic, lovely, and delicately vulnerable in the video:


          As far as legendary musicians go, you were also involved in what I consider to be one of the greatest music videos ever—Tom Petty’s “Mary Jane’s Last Dance.”

          Now that was one of the coolest things I’ve ever done in my life. It was classic, wasn’t it? He was a doll, and he was so sweet and asked me to do it, and both of us are extremely shy so we just said three words to each other the whole time. I’ll never forget how heavy that dress was! And I had to be dead the whole time. You know, it’s really one of the hardest things I’ve ever done in my life, because I had to be completely weightless to be in his arms the way I was. It won all those awards, and the kids love it—even today!


        • Another old interview w/ Kim Basinger that I just found:

          The inimitable Kim Basinger talks about the talk about her, praises her new husband Alec Baldwin and the film they’ve made together, The Getaway, and gives her verdict on Boxing Helena: “Let’s just say I made the right decision.”

          The first time I interviewed Kim Basinger she’d had a blinding-hot relationship with her co-star Alec Baldwin during the troubled making of The Marrying Man, which served as fodder for the gossip columnists, and she’d put up money and garnered investors to buy a small town called Braselton in Georgia. What’s happened since is much more soap-operaish. Kim was approached by Jennifer Lynch. David’s daughter, with a project called Boxing Helena, about a woman abducted by a man who becomes so obsessed with her that he cuts off her arms and legs so that he alone can possess her. Kim expressed interest, but when she talked it over with her advisors, she began to have second thoughts. When she backed out, producer Carl Mazzocone and Main Line Pictures decided to sue her for breach of an oral contract. The jury found for the producer and said Basinger must pay $8.9 million, plus court fees. During this ordeal, one man has stuck by her: Alec Baldwin, her new husband and co-star in the upcoming The Getaway.
          So, that’s where we stand today. But would Kim be as forthright as she had been during our earlier interview? I had my doubts, which were reinforced when she told me that she’d been thinking of canceling because she’d done only one magazine interview since her ordeal and she felt it was full of lies and distortions. “It’s no pleasure anymore to publicize a film or to celebrate a moment or to say anything to anybody.”
          But slowly she began to warm up. We talked for four hours and when we were done, I felt, as I had the first time, that Kim is a unique woman in a tough business. I like her. She’s definitely not out of any mold.
          LAWRENCE GROBEL: How agonizing was the lawsuit and trial for you?
          KIM BASINGER: It was the worst experience I’ve ever been through in my life, are you kidding? As shy as I am, do you honestly think I wanted to be in front of 12 jurors and a courtroom full of people that looked like “Night Court”? I’ve never been that scared in my life.
          Q: Why’d you put yourself through it instead of settling quietly out of court?
          A: The other side wanted to settle so many times it’s unbelievable. Up until the court steps on the first day of this trial they were saying in my lawyer’s office, “Just give us the money and we’ll go away.” It’s all about money. And I don’t have the money.
          Q: Last time, you said that from your experience with Batman you learned about being screwed and how not to ever get screwed again. Would you say you were screwed over Boxing Helena?
          A: Because it’s in appeal I can’t really talk about it. You know what a lot of people think? That I’ve lost this case. Are you going to write that it is in appeal? Serious appeal. We have the truth on our side: I am not guilty, and I take this far more seriously in 20 million different ways than they ever thought anybody would.
          Q: It’s a big issue in Hollywood.
          A: I’m surprised that you think it’s a big issue.
          Q: Your husband isn’t. He wrote a piece in the L.A. Times in which he said, “This verdict is not a victory for anyone in this business, a business where the climate of deceit and distrust, self-serving and self-seeking is high enough already …”
          A: I was sitting in a courtroom when this was all happening. I guess it is an issue. I’m so incredibly sad. It always takes the truth a little bit longer to cross the finish line. But God, it’s just devastating for me to think that creative people cannot sit in a room and say anything to each other. I just wish it had been a legitimate team of moviemakers, not someone trying to be a producer and a director.
          Q: The producer who sued you said: “This case should send a message to actors that when they commit, they commit.”
          A: I don’t know what message he’s going to end up sending because I didn’t commit to anything. That’s why I don’t see the importance of this case. I know where you’re coming from, but I just see this as a gigantic publicity stunt for a movie. These people were the only ones who spoke to the press during the trial. We didn’t speak. In fact, when I first got to court and saw all the press, I honestly thought they got the wrong courtroom and were there for Rodney King.
          Q: How shocking was the verdict?
          A: It was devastatingly hurtful, but it wasn’t shocking because of the plaintiff’s lawyer’s opening argument, when she said to the jurors: “Good morning ladies and gentlemen. Now we all know what it feels like, since we were in school, for the pretty girl to get everything she wants.” I knew right then, the case was never going to be tried, I was.
          Q: What was it about Boxing Helena that initially interested you?
          A: Mainly what I thought to be, then, the sincerity of this girl, Jennifer Lynch. I felt some compassion for her. She put on this act of being this girl who really wanted to get this film.
          Q: Why do you say it was an act?
          A: I would like to think it wasn’t, but look what’s come down. It was both her and the producer who did this.
          Q: Have you seen the movie she finally made?
          A: We saw it with the jury.
          Q: Did you feel it vindicated your decision not to do it?
          A: Let’s just say I made the right decision.
          Q: Your legal fees must be…
          A: Astronomical. Don’t even know the amount yet.
          Q: With you and Alec married, can they go after his money?
          A: Absolutely not, cannot touch him in any way. I make my own money, I pay my own bills.
          Q: Okay, let’s move on to a happier topic. What was your wedding like?
          A: It wasn’t crazy, we didn’t do anything outlandish. It was a Cinderella, magical afternoon. Alec took care of everything. He wanted it to be for himself and I was all for it, because I had no idea how I wanted to do it, and it’s very important that he now has a wonderful memory for himself. The press actually was wonderful.
          Q: How would you distinguish your first marriage from your current marriage?
          A: The first marriage was about protection and not seeing clearly. The second one is about as much clarity as one could have right now. I didn’t instantly fall in love–though I fell in love rather quickly. But this was about having gone through a lot of things together, having seen the worst and the best parts of each other. This is about being in love and being attracted to this human being, really loving him, who he is.
          Q: How nervous were you the second time around?
          A: Not for a moment. Alec had wanted to get married four years ago. He wants a family so badly. He wants everything yesterday.
          Q: Do you want a family?
          A: I do, definitely.
          Q: You’re almost 40, does that concern you?
          A: I know women who are having babies at phenomenal ages and are not having any trouble at all. As long as I’m healthy I’ll have my own kids. But we also want to adopt.
          Q: Does turning 40 make you nervous careerwise?
          A: If you know how short a stop this life is, I don’t have time to think about that. If you look at people, they don’t change that much over the years, especially from 30 to 40. I don’t put that much emphasis on five or 10 years.
          Q: Meryl Streep has said that movies usually call for one aspect in women–their sexuality. Having a brain doesn’t help an actress.
          A: I can’t believe that she said that, because she’s been a very brainy actress.
          Q: Which shows you how cynical she has become.
          A: That’s very sad. I think beauty has its place, but at the same time, look at all the people in movies today, it’s not all about beauty. And it’s not all about sexuality–which, coming from me is a pretty big statement. My whole career has been somewhat that way so far–but nobody knows me in this world yet. Women are cynical about being used as sex objects. Which is a shame, because it’s fun to use your sexuality. But there are very few parts written for women, period. It’s all action heroes, it’s men… it’s a man’s world, and it’s a man’s world here in Hollywood, too.
          Q: How competitive are you?
          A: I’m extremely competitive with myself. But I’m not actively competitive with other women in the business. Which may have been a mistake. I’ve never had someone in my life, agent or otherwise, fighting for me.
          Q: Demi Moore has said that there are too many good actresses to fill the few great roles for women, so she has to go out there and fight.
          A: That’s a great attitude and she is right. I just don’t know how you do that. The smartest thing you can do in this business is get connected with a great agent to help you. Get connected with people who will form a family around you, or a moat.
          Q: You’re obviously talking from a longing, since you’ve changed publicists and agents quite often.
          A: Sometimes it takes 25 doctors before you find the one who can save your life. My agent now [Andrea Eastman] is a fighter. She knew the game was about fighting. I never knew there was a game.
          Q: How do you think people perceive you?
          A: That’s a very hard question at this point in time. If that many people read and believe what they read, then I must not be perceived very well. I am constantly shocked by some of the things people say about me.
          Q: Are you in the process of reinventing yourself?
          A: Is every question going to be this fun? I just never think these thoughts. Reinventing myself. I’m not really doing that.
          Q: Cosmopolitan once quoted you as saying: “I don’t really live in a time zone. I don’t abide by the rules here on Earth.” Do comments like that add to the perception that you’re a bit wacky?
          A: We all have bosses and there are certain rules you have to live by. This may be a funny thing to say, but people didn’t think Thoreau was very wacky, did they? I read a play called The Night Thoreau Spent in Jail and he just says it so perfect, it’s like the clock–I just never lived too much by the clock. I don’t live by a lot of society’s rules, I can’t pattern myself after the herd. There’s so little time. What were you doing 10 years ago? God, it’s scary. Ten years from now I’m gonna remember sitting here. And it’s going to feel like six months ago.
          Q: Does that depress you?
          A: No, it excites me to death. It frees me.
          Q: Looking back, are there things now that you would have done differently to have changed parts of your life?
          A: What it is, it is. I don’t look at the past and say, God, if I only…
          Q: You don’t think about turning down films like Sleepless in Seattle or Basic Instinct!
          A: When I read Basic Instinct, it was just something I was not interested in doing at the time. I just didn’t care about doing a highly explicit sexual piece which I thought it would end up being, and it did. Sleepless in Seattle, that was really early on. Nora Ephron was not even attached to it. It wasn’t like Meg Ryan was hired the next morning–this movie went through some real changes. The Sleepless in Seattle that people saw, I never knew anything about it! There was a whole other Sleepless in Seattle happening! [Laughs]
          Q: Last time we talked, you said The Marrying Man with Alec had more problems than the Book of Life. Does it still rank as the hardest film you’ve ever done?
          A: [Laughs] Yeah, yeah. But the funny thing about it is that this film seems to be the basis for all of the bullshit that’s out there. And when I say bullshit, I mean false, unbelievable stories. This was a Disney film, and the irony is that all my life my favorite films have been Disney films. But two wonderful things happened in my life out of that: I got to sing and I met Alec. So Mickey Mouse means a great deal in my life.
          Q: The press was pretty brutal with you and Alec.
          A: This is another subject that’s been talked to death. It was all about deception. I’ve heard so many awful quotes from “a source, a crew member.” How we fucked in our trailer and they tape-recorded us, and my washing my hair with Evian, and the Brazilian psychics that I go and see. Things that are so unbelievably untrue. I’ve never washed my hair in a trailer before, not in Evian or any other kind of water. I don’t know what “psychic” means. The only psychic I have in my life is God, if He’s a psychic. I’ve never dealt in psychic phenomena. I don’t know how they make this crap up.
          During The Marrying Man I had to go down to Brazil, and this guy printed in an article that Disney threatened to charge me $85,000 a day for this trip to see my psychic. In actuality, before the movie started, Disney said I’d have two weeks off. So I decided to go out of the country, to Brazil. I didn’t want to tell Disney who I was going to see, because it was in my best interest not to. I was going to see a man named Mauricio de Sousa, an animator who’s known all over the world. I had written an animated film that he loved so much that he was going to help put it into production. He came to California to meet me and in return I said that one day I would go to Brazil, and this was when I decided to do this. It became a smear campaign against me. And the crew had no idea what Disney was doing to Alec and myself.
          Q: Disney’s Jeffrey Katzenberg was quoted in Variety as saying: “I love my job, and, with the exception of Kim Basinger, most of the people I work with.”
          A: Did he say that? “With the exception of Kim Basinger.” That’s amazing, because I never really talked to Jeffrey Katzenberg. He honestly thinks I was the instigator in this whole thing, when in reality all we wanted to do was make a good film. That hurts me, that’s very shocking. Do you have a copy of that? Jeffrey Katzenberg is a very powerful, very talented man. That’s what’s so unbelievable about this, how someone could try to destroy your career, your life. Why would I be somebody that he would want to pinpoint as hating? I don’t hate him. I don’t mean to sound like any damn Mother Teresa, God knows I have my ups and downs. But I’m actually very shocked by you telling me that. That’s pretty much slander, it really is. When did he say that?
          Q: A year or so ago.
          A: Oooh. Wow. Maybe I was out of town working. That just makes me want to throw up.
          Q: How was it doing a remake of The Getaway with Alec?
          A: It was heaven. From top to bottom. We went back to the Jim Thompson book. When you see the [original] Ali MacGraw/Steve McQueen one, it’s sort of a cult thing because they were together, too, at the time. As a couple they were interesting–you knew they went home together and you wondered if they fought and things. I don’t rub Ali MacGraw’s nose in it. Yeah, she was just the girlfriend, but she never claimed to be anything else. They focused on McQueen and the caper, the Sam Peckinpah violence. They never focused on the relationship. This one is totally about the relationship. It’s about trust, it’s about you are my partner and you’re also my wife and what happens in this process? It’s very volatile, it’s violent, it’s incredibly, insanely erotic.

          Q: So there were none of the problems you experienced on The Marrying Man?
          A: I was scared to death before we started. I knew if we got through this we’d get through the rest of our lives together. Emotionally, we had to go to the end of ourselves as actors. And we were very grown-up, very adult about it. On the day that we had to do a real volatile piece with each other, Alec would peer into my trailer door and say, “I love you, okay?” And I understood. Between “Action” and “Cut” he wasn’t Alec, he was my co-star.
          Q: You shot the film in Arizona. Were the umbrellas out? Did you get called a temperamental diva protecting herself from the sun?
          A: That happened on The Marrying Man. But I’m allergic to the sun. I’ve been through biopsies and the whole nine yards. For The Getaway I had to wear a thick jelly to protect any part of my skin that was showing.
          Q: Were the biopsies cancerous?
          A: Beyond. Right after Never Say Never Again I came home with my first husband and he had been a surfer, so he had terrible skin problems, there were skin cancers all over his body. So I went to the clinic with him one day and I met a doctor and he was looking at the top of my lip. He asked me if I felt anything when I put my finger there and I said that when I touched it it felt as if I had a pin in my finger. He looked at it and said I needed a biopsy to check it out. It entailed three nurses to hold me down. They stuck a long needle up under my lip. I promise you, I’ve had the worst menstrual cramps where my back went out, but this–in my life–I’m talking about just so much pain. I cried out of my mind. Literally. And then they lasered off the part between my two peaks. And when I came back in five months he had to laser the other side off again. And he told me if I ever let myself see the sun again I’d be back in there. So would you carry an umbrella with you? You understand?
          Q: Let’s get back to what you think about your films and co-stars. What comes to mind when you think of Robert Redford and The Natural?
          A: Very giving. A great experience because he was very knowledgeable about Hollywood. I loved the part and Barry Levinson. That was one of the truly brighter moments in my career.
          Q: Richard Gere in No Mercy and Final Analysis?
          A: I met Richard on No Mercy and we had a good time. It was an excellent script which was just destroyed along the way, and TriStar didn’t market it properly. Final Analysis did not end up happy for Richard, who was the executive producer. He had creative differences with the director. In the end there was a lot of animosity between a lot of people and with the studio. I was in my own world for that film. I never saw it.
          Q: How many of your films haven’t you seen?
          A: Most. You want to be great and lately there’ve been some real disappointments and you wonder where it all went wrong.
          Q: Charlton Heston in Mother Lode?
          A: Oh, you’re just pickin’ ’em out of nowhere, huh? I can’t remember why I ever did that. Charlton Heston was a nice man. It’s like working with Moses. I felt like a tiny girl around him. He wasn’t real. It was one of those fantasy times.
          Q: Burt Reynolds in The Man Who Loved Women.
          A: He was the easiest person to improvise with. He had the quickest wit I’d ever seen, and he was trying to do something serious in that film. Blake Edwards just called me and asked if I’d do it, which was great for me because I had never done a comedy in my life.
          Q: Sam Shepard and Fool for Love?
          A: You can do all the commercial films in the world and then you can turn around and do a Sam Shepard play and it sort of puts you on another map. I adored [Robert] Altman–a gigantic gentle giant.
          Q: Sean Connery and Never Say Never Again?
          A: That was a toss-and-tumble mess. I had never seen a Bond film before I did it. The importance for me was in collecting a worldwide audience. But it wasn’t a happy actor/director relationship. Sean ended up suing the company and took everybody to the cleaners. He was led astray and was out of his mind sometimes.
          Q: Bruce Willis and Blind Date?
          A: Blake Edwards asked me to do it. Bruce Willis was fine. It’s amazing that that film comes back to me as one of people’s favorite as far as rentals.
          Q: Jeff Bridges and Nadine?
          A: Robert Benton, who I adore, and his wife Sally were like family to me. He wrote Nadine for me, so he knew this character. Jeff’s one of the best actors we have around.
          Q: Mickey Rourke and 9 1/2 Weeks?
          A: That movie was dangerous, but next to Batman it was my favorite, because of the challenge. It was the highest I’ve ever been as an actress and the lowest. I never stay in character–once the director says “cut,” I’m outta there. But this character never left me. Treacherous, because you were on an emotional high or low every day. That’s the film where I crossed over and thought of myself as an actress more than a movie star.
          Q: Did you see the finished film?
          A: Not from top to bottom. The films that I’ve seen are The Natural, because Robert Redford made me go to the opening because it was a benefit for Sundance, and I learned from that what a horrific experience it was to watch myself. And I went to the premiere of Batman.
          Q: What’d you think of that one?
          A: When I walked on that set, after Sean Young took a dive off a horse or whatever happened to her, I felt the thunder under my feet the first day, how big the movie was going to be. It wasn’t a movie, it was an experience. I felt like Dorothy in The Wizard of Oz, wondering when I was going to land. Michael and Tim Burton were great; Nicholson was just Nicholson, we got along fine. The most important thing that came from it is my relationship to children now, and who I am to them. They could care less about Kim Basinger–when I walk into a children’s hospital or a school, it’s all about Vicki Vale.
          Q: Any interest in reviving that character in future sequels if they asked you?
          A: I haven’t heard anything about Batman 3. But if Vicki Vale could continue, absolutely I would do it if I had a chance to reach as many children as the first one did. The second Batman was a much darker thing, so there wasn’t much to capture the children.
          Q: What interested you in doing the animated film Cool World?
          A: That was such a sad experience. Frank Mancuso Jr. showed me what they planned to do with this film and I looked at my agent and said, “I want to do this film.” I really loved the idea. It could have been ahead of its time. I thought we were making something special. What I heard happened is, when the studio saw it there was some deception between the director and the producer and somewhere along the way the animation got screwed up. When the studio saw it they didn’t understand it and they cut an hour out of it. They lost the story, so it turned into a mess. I’ve never seen it.
          Q: Val Kilmer and The Real McCoy?
          A: That’s another story, not a real happy one. The story we read and the film it ended up being don’t match. What happened was the reediting of the project, because of creative differences between the lead actor and the director and [producer] Marty Bregman.
          Q: The L.A. Times wrote that you seemed to be enacting the part under as much duress as your character. Any truth to that?
          A: I read that review and said, Boy, you don’t even know the half of it. To have unhappiness around you every day, it’s very difficult to work. And Val Kilmer, who is a fantastic actor, just wasn’t happy.
          Q: What’s the name of your character in Wayne’s World II?
          A: Honey Hornee. I never saw Wayne’s World so I didn’t know what it was about. But Dana Carvey just clean-called me and he was very sweet and sincere. He said, “We’re really going to have fun, please do this with me.” At first I said no, but he kept calling. It was just a blast. Dana’s wonderful. It was a little gift to be given in the middle of the year.
          Q: The Wall Street Journal reported a backlash against you among the people of Braselton. What’s happening there?
          A: That’s something I’m going to address publicly on local television for the people of Braselton. It was all a matter of bringing a dream to a table. I didn’t buy the town, I just searched for two years to find the money so a corporation could buy this town. A company in Chicago bought it and I only was going to be the supplier of the dream. And by the way, let me correct this, there never was an idea of a “Kim’s Wood”–I don’t even know what that means. A takeoff on Dollywood I guess. My dream was for artists–record people, movie people–to make a major career center on the East Coast. An auditorium for artists to play their new stuff, and an in-house radio station. There’s a hungry crowd down there in Georgia. It wasn’t a stupid dream. Unfortunately, at the time the economy was going straight down and dreams became expensive. So today it’s in the hands of other people.
          Q: Is the dream dead?
          A: It’s dead. Totally. It’s really a horrible story.
          Q: Didn’t you put your brother Mick in charge of developing the town?
          A: Yes, my brother’s very involved there. Only I’m not involved with my brother, and haven’t seen or talked to him in three years. I plan to address why the communication stopped. I gave him a good two-and-a-half years to come clean and say how we’ve not spoken, because I did not any longer want my name associated with Braselton and I felt it being misused. So now is the year I’m going to have to make a break from all of it. I really do love the people there. Braselton is a beautiful area and it needs to be preserved and I pray that people do right by it. It’s not a nice story, this story about Braselton. That on top of this other stuff that’s been going on these last three years, it was just one more thing I probably should not have gotten involved with. But I have no regrets, I learned a lot.
          Q: You’ve obviously been learning quite a bit on your life’s journey. What’s the best thing about being who you are?
          A: That I’m truly loved by someone and by people around me who will help make this ride through this short time we have on this planet much more peaceful for me.
          Q: What’s the best meal you’ve ever eaten?
          A: I have a woman who does my body makeup, and she loves to cook for me, all vegetarian everything. We’d sit around my trailer during a film and, like, if we were going to go to the electric chair what would we eat as our last meal? I put down everything Southern that my mother made for me: black-eyed peas, turnip greens, cornbread, fried corn off the cob, pumpkin pie and German chocolate cake. [Laughs]
          Q: How long have you been a vegetarian?
          A: With the exception of tuna sushi, which I’ve had a problem giving up, I’ve been a vegetarian for as long as I can remember.
          Q: What’s the best hotel you’ve ever stayed at?
          A: The Savoy in London.
          Q: Where’s the best place to go to get away from it all?
          A: Home.
          Q: The best car you’ve ever driven?
          A: BMW, the old ones, 1986.
          Q: What’s the best song?
          A: “What a Wonderful World,” Louis Armstrong.
          Q: Best concert you’ve been to?
          A: U2 in Madison Square Garden.
          Q: The best movie?
          A: Tie for three: Song of the South, Amadeus and Being There.
          Q: The best year of your life?
          A: This past year.
          Q: What’s the most romantic experience you’ve ever had?
          A: My wedding to Alec.
          Q: The best love scene you’ve ever played?
          A: In The Getaway.
          Q: The best love scene you’ve ever seen?
          A: Don’t Look Now, Julie Christie.
          Q: Who’s the best kisser?
          A: Oh Lord. You know that.
          Q: How does Alec compare as a kisser to others you have kissed?
          A: Oh God, that is not a very nice question! [Laughs] I love to kiss Alec. To me, kissing is the most important part of sexuality.
          Q: There’s talk about Alec getting involved in politics. What’s the story?
          A: He’s involved in local politics in New York out in the Hamptons. He campaigns for certain Democrats. He’s very politically-minded and wants to help people in a community. I want him to be happy, but I hope that he would not pick politics for himself.
          Q: What do you think of his films?
          A: I don’t really see his films and he hasn’t seen mine either. I know it’s weird, but we live through it, I know what he’s experiencing.
          Q: If an alien spaceship landed on your porch and signaled for you to come, with Alec being in the other room and you had to choose, would you go?
          A: Is it for a short ride or forever? [Laughs] I’d know in my heart what was going to happen, so I would go. Alec knows me and would be shocked if I didn’t.
          Q: He’d have the memory of you.
          A: Oh, that’s a terrible thing.
          Q: Well, you’ve given us a tabloid headline: KIM WILLING TO LEAVE ALEC FOR ALIEN.
          A: Oh God! Oh God! If that would truthfully happen I think I’d have faith that Alec would come later to meet me. That’s a fun question.
          Q: Your last words in our previous interview were that you had no regrets, “This is not a boring life I live.” Still feel that way?
          A: Ditto.
          Q: Last words?
          A: Let me tell you this, and I mean this with my heart, God knows everything, and in the end, no matter what you go through, this life is a lot longer than you think. Our stop here is short in comparison to where we’re headed.


    • In the Unsalvageable ’11th Hour,’ Kim Basinger Returns After a Long Hiatus:

      Kim Basinger won an Academy Award, divorced Alec Baldwin, ditched a coveted acting career and vanished from the screen before you could scratch your head and ask, “Huh?” Now she’s making a comeback. This would ordinarily prompt applause, but a thing called The 11th Hour, the vehicle she’s making her comeback in, is such a creepy, pretentious hunk of junk that she should have stayed in bed.


  20. Kim’s daughter is in the news again…for all of the wrong reasons:

    Alec Baldwin’s daughter, Ireland, looked bruised and battered after she was reportedly jumped by three men!

    The 19-year-old was photographed with nasty injuries on her face while walking with her new boyfriend in Malibu.

    The attack reportedly happened Monday night. While the identity of her assailants remains a mystery, a source tells The Daily Mail: “A week ago, a crew of guys were following Ireland around Malibu, tailing her car super close.” No police report was filed.

    The shocking photo comes just one day after dad and his wife celebrated the birth of their newborn son.


    • Blind Item #9:

      This celebrity offspring should know that even though she might have made it to B list celebrity status, you have to pay your drug dealers or they will beat you up just like a regular person.


      • Who’s the worst celebrity parent of all time?


        Alec Baldwin getting pissed off at his lunatic ex-wife for playing cruel games with his limited visitation/conversation time was understandable. Losing his temper and yelling at his daughter’s answering machine was unfortunate and unpleasant. It does not rise to the level of child abuse.

        You could go after Basinger for publicizing the whole thing and humiliating their child in front of the entire world. That’s pretty f***ng abusive.


        reply 350 4/03/2009

        Alec Baldwin is a perfectly normal parent who gets angry and frustrated. The phone call to his daughter wasn’t as bad as people make out, in fact, it was called for under the circumstances. After reading his book, I’d nominate him Father of the Year, considering the nut job he was married to.

        Its parents who never show anger, pretending all is nice and perfect that I’d be afraid of.


        reply 490 4/04/2009

        There’s nothing wrong with Alec Baldwin. Sometimes dads get aggravated and yell. Mine did and so does every father (and mother) I’ve ever known. It’s not child abuse, it’s normal.

        Kim Basinger made it public and the media made it a circus, probably because Baldwin is outspoken politically. Basinger’s parenting in this instance was a lot worse than Baldwin’s.


        reply 710 4/05/2009

        I completely agree with you I was shocked that the media did not go after Kim Basinger, what she did was inexcusable and an example of horrible parenting. The same as Denise Richards leaking all those disgusting stories about the father of her children Charlie Sheen.


        reply 730 4/05/2009

        Last I heard nobody knew for sure who leaked it. It could have been the daughter herself, some kids would do that. Hasselhoff’s kid recorded then leaked the humiliating drunk burger video.


        reply 810 4/05/2009

        The problem with Alec Baldwin is that he won’t put a lid on his anger. He uses his temper to control those around him, which is abusive.


        reply 890 4/05/2009

        Look, is Alec Baldwin a “monster”? No. Is Kim Basinger just as bad, if not worse? Almost definitely. But my parents got mad and yelled at me plenty of times as a kid without calling me a pig. He was a little out of control there.


        reply 970 4/06/2009

        Alec Baldwin will certainly never be father of any year and his explosive temper is not attractive at all. Makes him seem like a loon.


        reply 105 04/06/2009


      • You Felt Sorry For A Lie


        [Blind Gossip] Want to know what really happened with that young celebrity who is in big trouble? Well, we are going to share the very interesting backstory with you!

        Earlier this month, you were told that she was sick with a specific illness. It is the kind of painful illness that sometimes requires emergency surgery and normally takes about 4-6 weeks from which to recover. The sad news and the sad photo were distributed widely and were designed to get you to feel sorry for her.

        You did feel sorry for her, didn’t you?

        Well, you got played. It was all a lie. She did not have that illness at all. She did not have emergency surgery. She was actually in the hospital because her dr*g habit had spiraled out of control.

        The very next day after the fake illness was announced, her father drove her to a rehab center. She was freaked out by the fact that several other family members were waiting there to do an intervention with her. She denied that she has a problem, said that no one was going to tell her what she could and could not do, and walked out without being admitted. Almost a week later, she finally relented and allowed herself to be checked into a different, more “lenient” facility for treatment.

        You’re still being played. They don’t want you to know that she is a spoiled child whose money goes straight up her nose. They want you to feel sorry for her. That’s why they made up the fake illness, and that is why they are now using words like “therapy” and trauma” instead of “rehb” and “addct.”

        Given her odd family history, does any of this surprise you?


        Fake Illness:




    • The infamous Twitter reply from Ireland Baldwin from three years ago when I forward this article about her mother to her:

      @TMC1982 what the hell is wrong with you?
      06:10 AM – 24 Sep 12


  21. Does anybody else agree that this (see the link below) was the hottest/sexiest look (Kim wearing a tight fitting black dress) that Kim had in “Batman”? I’m referring (for those who are wondering) the scene in which Michael Keaton (Bruce Wayne) goes to Kim’s (Vicki Vale’s) apartment to in essence, to her that he’s really Batman. I don’t know how to properly explain it other than that black dress really serves her body well. And of course, her legs (every movie w/ Kim Basinger should require her to wear black pumps and black pantyhose) are unbelievable. I can’t help but salivate at that shot of Vicki slinkily walking towards the door when unbeknownst to her, the Joker and his crew are waiting. I guess what helps is that Kim looks both sexy and elegant/classy at the same time (if that makes sense):

    The whole design of the movie merged ’80s kitsch, Art Deco and Neo Gothic into a very effective style, and Vicki Vale embodied the first two elements really well there.


  22. Is it just me or has Kim Basinger been using botox recently:


  23. The get away was the best movie I just loved both of them in that movie.


  24. INT: Kim Basinger:

    Academy Award winner Kim Basinger returns to the big screen this Friday with New Line’s latest high-octane thriller, CELLULAR. Basinger stars as a high school teacher/soccer mom whose comfortable suburban life is shattered when she is kidnapped by a gang of unknown assailants and tossed into an attic. Frightened and alone, she frantically pieces together a broken rotary phone and dials a random phone number in a desperate attempt to save herself and her family. She manages to reach Ryan, a self-absorbed slacker with problems of his own, and the adventure begins.

    I got a chance to talk with Kim last week at the Loews Hotel in Santa Monica. Wearing a stylish black pantsuit, the demure blonde looked as beautiful as ever. Here is what she had to say about her latest project, CELLULAR.

    What got you interested in playing this character?

    I loved the isolation she had, I loved that. It was more like a play for me and that’s a challenge I’ve never done. It’s one of my biggest fears, to do a play, and maybe one day I will because I love to face my fears, but I thought that was great. And when I heard who the cast was; I love William Macy, and Jason I adore, I didn’t know Chris but Chris is wonderful. I just felt the cast was extremely interesting as well and I’d never been isolated, to have to do that. I love these challenges, to be on the phone and do most of your performance on the phone.

    The director David Ellis mentioned that you were always his first choice. How many times did you meet with him before you signed on?

    I was interested in it, and after I spoke to him, I met him once, that was it. We went to lunch and that was it. Really basically, I needed to say hello to him, I needed to see what his personality was like. I instantly just adored him, what a wonderfully nice man.

    You’re pretty emotional throughout this film. Is it easy for you, or is there a process you have to develop over the years to get you into that mode?

    It takes years to learn how to act, I think. It takes years, if you’re not fooling yourself, and I think it’s like what Anthony Hopkins once said, when someone asked him about an emotional scene he had to do, and he said, “It’s my job.” Well I can now look at someone and know the tools that I’ve developed over the years, and the things and the buttons, and where to go to press that button and I thank God it’s such a gift, and one day you wake up and you go, I can access that, I can get that, I know where to go to get that. It is your pay-off for longevity, for being tenacious.

    How challenging was it to act opposite Chris Evans without ever actually seeing his face?

    It was just one of those things that led me to want to do the film because I wouldn’t see him. Chris I never knew at all and my very first day of filming, the very first day, they said, “We really hate to have to do this to you the day before, but you’re going to come to your very first day of filming, you’re going to come to the pier and you’re going to get out of the van and you will have been through the whole experience, you would have been kidnapped.” So the first day I got out of the van and came around and saw Chris Evans, that was my very first scene of that movie.

    Ellis mentioned that you got very physical in this movie.

    Blake Edwards taught me something. He loves slapstick. I got to be crazy in his films, just crazy. I got to fall down, get up, and he loves all that, and I knew that I could do that very early on. He was sort of my teacher. You use the same kind of thing in this kind of film. Yeah, in the fight scenes, this is what I did with David (Ellis): I told David to please, please tell Jason (Statham) I do not want to know, we had never met, and Jason is such a great guy, he’s lovely, lovely man, and such an intense actor at times but we never met each other. We would come in the room in the morning, just to see where the chalk, you know, you throw her over here and you end up over here Kim.

    Now go away and come back and we’ll do the scene. Jason and I would come in in the morning and he would have his hands in his pocket and he’d just kind of look down and we’d kind of look at each other and say “Hmm hmm,” because we didn’t know what was about to happen. And I told (Ellis) to please tell Jason I want to be surprised. I want to be surprised, only because it would make it more real. This is just a movie, thank God, but kidnapping is a very real thing and I just try to make it as real as possible, and when acting as real as I think someone would, I’m just an actress in a movie, but you know, in doing that I wanted to get as close to the truth as I could, and asking David to ask Jason if he would just surprise me because, one of the most wonderful opportunities for me, and I’ve never had this before, was I knew I could bring you guys upstairs with me.

    I was thrown in the attic; I wanted you guys to be thrown in the attic as an audience, and also because I don’t know why I’m in there and you don’t know why I’m in there. You don’t know what they’re going to do to me, and I don’t either. So I wanted everybody to get the feel, the audience to get the same identical feeling that I’m feeling, and that’s why I didn’t want to know.

    How do you manage to look so youthful, so beautiful all the time?

    Thank you. I need that today.

    How do you do it? I mean, you look incredible.

    Gosh, thank you. I don’t know. I could sit here and give you my diet, exercise routine, but…

    Could you? I really need to get in shape.

    Well, do you want to lose a few pounds or do you want muscle? If you want to lose weight, women and men, you have to fight it with weight, you really do. And you have to do cardio or whatever your favourite is. Mine’s running, the elliptical, I actually love that machine. Everybody, you know what the elliptical is? Ok, but you know what the key to the elliptical is, everybody loves the elliptical because they think they can get on it for an hour and watch tv and read, whatever. That’s not the key to the elliptical. It’s how fast you go because, you’re not really running.

    As you get older, are you less concerned about being a sex symbol?

    No, I don’t have a thing about sexiness at any age, whatever. I think the Europeans taught me more about that than anything in the world. They have a great appreciation of sex, and sex symbols, you know their women and men down through the movies. They taught me not to be ashamed of it, and when I first came to this town, and they threw me in that kind of…it’s a very difficult place to be put. It’s twice as hard to prove yourself as an actress. It takes a long time to be taken really seriously, especially in America.

    I mean beauty is in the eye of the beholder. What’s beautiful to him may not be beautiful to her or whatever, but whenever you are put into a category like that, of course it’s different, and it makes for other problems within you. If you start getting complexes that you won’t look the role, you can’t play the chancellor of a University or a head of this, you can’t do this, and when that’s put in your head long enough you, thank God I never really believed that but it was a hurdle for you.

    Has your criteria for choosing a script changed dramatically? Have you been offered more diverse roles?

    You know what I think? I think you get more opportunities in different ways. I think as I’ve got older, I’ve got more interesting opportunities, just so much more.

    Was there any point where you thought, “Ok, this is it for me. I don’t want to be an actress anymore”?

    I think we’ve all gone through that. I’ve gone through that every month since I started, every month that’s gone by.

    Would you encourage your daughter to follow in your footsteps, to become an actor?

    My daughter has wanted to be one thing only since she was probably two years old, maybe two and a half. She wants to be a veterinarian. That’s all she wants.

    You must be thrilled.

    I am thrilled to death. She’s got her school picked out. I think she’s had enough of this business, really. I love it because she’ll be nine in October and if you’re not into, you know, Chad Michael Murray or Hillary Duff, you’re left in the dark. My daughter, she’s going pretty soon, going for her brown belt, then they’ll go for their red and their black.

    How old is she?

    She’ll be nine.

    How do you discipline your kid, knowing she’s a brown belt?

    You know, the funny thing about my daughter. She’s such a sweet girl that she has, she is, they go through this thing where they’re sparring. She has a tough time with that. She doesn’t want to hit anybody. She doesn’t want to be hit, but they don’t want to hit either. So that’s a tough part of karate to get through, really.

    Have you ever gotten any strange calls on your cell phone?

    I was called on my car phone one day and a guy just talked and talked and went on and on and on and I tried to stop him but he went on and on. It was not, I had not seen this movie yet, and I’ve seen the trailer, remember when Chris goes, “Chloe? Chloe is that you?” That part. I kept saying, “Hello, hello, hello,” and I learned this whole story about this guy, his company and what he was going to do in the morning. I think it was probably the strangest cell phone call I’ve ever received.

    So he just went on talking about this and I knew his whole story. I said “Hi, I’m not who you think I am.” And he said, “Oh. Oh God,” and I said, “Well, you have a nice day,” and he said, “Oh yeah and you have a nice day.”

    And when he got off the phone, he never knew he’d been talking to Kim Basinger.



  25. I just got back from watching the latest Marvel movie “Ant-Man” w/ Kim Basinger’s “The Sentinel” co-star Michael Douglas as Hank Pym. I’ve noticed that numerous of Kim’s past co-stars have popped in the Marvel Cinematic Universe. Maybe, she has some sort of “six degrees of Kevin Bacon” thing going for her!

    I’m going off the top of my head, her “Nadine” co-star, Jeff Bridges was in the first “Iron Man” movie. Her “The Natural” co-stars Robert Redford and Glenn Close were in “Captain America: The Winter Solider” (also in it was her “Cellular” co-star, Chris Evans as Captain America) and “Guardians of the Galaxy” respectively. Her “LA Confidential” co-star, Guy Pearce was in “Iron Man 3”. And of course (and I can’t leave out), her “9 & 1/2 Weeks” co-star, Mickey Rourke was in “Iron Man 2”.

    I suppose my main point, is that I wonder where Kim could hypothetically fit in at Marvel? Kim as we all know, already dabbled in the superhero film genre back in the day, when she played Vicki Vale in Tim Burton’s “Batman”. Of course there’s no guarantee that it would provide a major shot in the arm for her career (as evidence by for example, Rene Russo popping up in “Thor” or Liv Tyler popping up in “The Incredible Hulk”).


    • That’s interesting; there really is a six degree deal going on . I don’t know, I’m sure there’s a role out there for her in the Marvel universe, but I’m not sure if it would do much for her either. I know this: when I think of Michael Douglas, I don’t think of the Marvel Universe (Since he starred in a string of “men in peril due to dubious decision-making or just flat out being messed with” type of films beginning in 1987 with “Fatal Attraction” and ending with 1998’s “A Perfect Murder”, my mind may go in that direction). I would say the same thing about Jeff Bridges as well; I’d probably think “Tron” before I thought anything Marvel.


    • Going further w/ Kim Basinger’s connection w/ actors from the Marvel Cinematic Universe, Kim was also in “8 Mile” w/ Anthony Mackie (Sam Wilson/Falcon) and “Even Money” w/ Tim Roth (Emil Blonsky/Abomination). Kim is also scheduled to appear in a film called “Nocturnal Animals” w/ Aaron Taylor-Johnson (Pietro Maximoff/Quicksilver).


  26. Some photos of Kim throughout the years (including her early TV appearances on stuff like) for whenever LeBeau decides to update her article. Bare in mind that this website is in Italian:


  27. Bruce Willis and Kim Basinger break sh** in Blake Edwards’ all-night farce:

    Blind Date (1987)

    In 1987, a year before John McTiernan’s Die Hard would inspire much of his future casting as an action-movie personality, Bruce Willis played a flustered, soft-spoken worker bee in Blake Edwards’ Blind Date. At the time, Willis—giving his first major screen performance—was famous for ABC’s Moonlighting, in which the actor played a charismatic, confident private detective. But Edwards, as he so often did, upended the prevailing image of his leading performer: Blind Date begins with the blandly named Walter Davis (Willis), passed out on his home desk, waking up to the noise of a radio host. Panicked, Walter starts frantically dressing for work; in an emblematic image, which Edwards shoots from a distance, Willis tucks in his button-down with his right hand while applying a razor to his face with his left. This is a Bruce Willis who, despite his best efforts, finds himself flanked by constant discouragement: from his secretary (“You look like you’ve been in a plane crash”), from his boss (“You look like shit”), and from his co-worker pal Denny (Mark Blum), who greets Walter each morning with the details of his “sex stories.”

    Walter appears to discover good fortune when, in need for a date to an important business dinner, his brother sets him up with the sweet, attractive Nadia Gates (Kim Basinger, outfitted in reds and pinks). But Nadia’s weakness for alcohol—which Walter is duly warned about—triggers a chain of chaotic events. After a few glasses of champagne, she takes to giggling, ripping cloth from men’s suit jackets, and inciting confrontations with a crew of unsavory characters (including a haughty waiter and horndog Denny). Nadia’s most persistent adversary, however, is her obsessed, bowtie-wearing ex-boyfriend, David (John Larroquette), who trails her all over Los Angeles and keeps popping up at the most absurd times. The fallout of one encounter on the city’s streets has David driving his car through a pair of storefronts: the first, a pet shop, sends animals scampering through his vehicle; the second, a paint shop, leaves him coated in yellow and blue.

    Edwards, working from a screenplay by Dale Launer (Dirty Rotten Scoundrels, My Cousin Vinny), executes the material with marvelously sustained momentum and a compositional complexity that maximizes every punch line. Par for the course: A dizzying, remarkable shot in a dance club that provides three clear planes of action—foreground: Walter saving face to a bouncer; middle: Nadia downing a drink that Walter ordered for himself; background: a befuddled bartender observing everything. Narratively, the movie delivers a pleasing symmetry, with Walter guiding drunk Nadia in the first half, and a sobered-up Nadia guiding a stir-crazy Walter in the second.

    The heart of Blind Date hosts serious emotions and grievances, chief among them a furious revulsion at the surfaces of a material world. Edwards regularly introduces objects of value—fancy cars, fancy suits, fancy dinner-party spreads—and proceeds to allow characters to break them, throw them, or vomit on them. For Edwards, even the jilted, terrible David, who aims to confine Nadia to a marriage she doesn’t want, is worthy of more respect and attention than most other people in the movie. At least he knows he’s ridiculous, and doesn’t try to cover up that fact with a glistening swimming pool or a fresh set of golf clubs.


  28. Top 10 Actresses Who Beat the Bond Girl Curse:


    • (Podcast Special) Never Say Never Again Commentary

      Oliver Harper and actor Duncan Casey discuss Never Say Never Again.


    • Take Three: Kim Basinger


      I think it’s time again to give Kim Basinger (remember, it’s Bay-singer, not Bah-sinjahr, folks) some major credit. The lady’s due. She’s gone from supporting eighties female through a love-hate (but Oscar-nabbing) nineties to her current career bloom as a character actress of some depth. Ms Basinger has always quietly impressed me. Here are three reasons why.

      Take One: She loves purple.

      Basinger’s career was birthed alongside the eighties. Feisty ladies in adventurous circumstances were her trade back then. Although through either slip-ups or fate she was often eclipsed by her male co-stars. In Never Say Never Again, The Man Who Loved Women, The Natural, Fool for Love, 9½ Weeks, No Mercy, Blind Date and Nadine she played second-fiddle female to, respectively, Connery, Reynolds, Redford, Shepard, Rourke, Gere, Willis and Bridges. These regulars of male-patterned eighties flicks manned the screen up to prematurely musty proportions, almost disguising Basinger’s versatile verbal retorts, bright mode of re-routing the drama her way and a daffy manner with a throwaway comic moment. She selflessly supported the fellas, but shone when it mattered.

      With Tim Burton’s Batman (1989), she was the lone notable lady on set, and her Vicki Vale was more than mere distraction. Having to both glam-up the air around Michael Keaton’s dour-mouthed dark knight and de-glam the air around Nicholson’s garishly impish Joker was task enough. I’ve not read or heard of much credit being directed Basinger’s way for Batman, but in retrospect she’s to be cheered as a forceful female presence who cajoled Jack the Joker out of his randy advances. Outside of Michelle Pfeiffer’s ace feline-fatale in its first sequel, Basinger is still the only interesting lady in the Bat universe.

      Despite the thin characterization — this comic strip gal is essentially Bruce Wayne’s Lois Lane – it’s a joy to look back at Batman’s first significant onscreen reincarnation and see a lively actress add a sultry playfulness to such a male-centric film.

      Take Two: Not very hush-hush about Basinger’s Bracken

      If Basinger blended the femme with the fun during the ‘80s, it’s no wonder Curtis Hanson cast her as Veronica Lake-a-like Hollywood hooker Lynn Bracken in 1997’s brooding Hollywood retro-noir L.A. Confidential. (There’s even a photo of Lake on Bracken’s wall and a clip of This Gun for Hire playing on screen.) It was a critical and commercial hit for Basinger after an early ‘90s career dip which saw four more Razzie noms to add to her collection. Her Supporting Actress Oscar win in early 1998, furrowed a few brows and boggled a few minds, as many thought hers was a slight and un-Oscarish role. (In my opinion the line-up that year wasn’t stellar – her only real competition being Julianne Moore for Boogie Nights.)

      Basinger’s goods are initially concealed. Her onscreen skill not immediately apparent from the off. When she sways across the screen in a 1950s gown that’s both expensive-looking and homely, it’s hard to differentiate her from the flowing drapes in her Hollywood home. But it’s in her interactions with her co-stars – often lengthy scenes filled with smoothly-delivered dialogue – where she earns every inch of that Oscar. She subtly, but seismically, cuts Pearce, Crowe and co. down to size with little but a withering turn of phrase, topped off with an elegant tilt of her head, before seducing them with implied tension creeping in-between her spiky lines of dialogue.

      She plays Lynn as a soft but sly soul, knowing but as fresh as the day is long. She’s poised and collected in every scene and well-versed in Hollywood style, but it’s all (intentionally) practiced. If Basinger studied Lake’s work in preparation, it doesn’t show as onscreen imitation. And, if the research does peek through at times, it doesn’t matter. This actually enhances the performance. That’s who Lynn was – self-styled, only barely visible under the veneer of someone else, someone famous. As she herself said: “I’m really a brunette, but the rest is me.” And, indeed, that’s all the news that’s fit to print.

      Take Three: Hot Damn Mama!

      In the otherwise lackluster art-house awards bait The Burning Plain (2009) Basinger sizzles. She lifts the film out of its self-important stupor, breaking through its prestigiously wrapped exterior whenever she’s on screen. As soon as her character Gina enters in her pick-up, the film comes alive. Gina is a New Mexico housewife and mother who secrets herself away to engage in an affair in a trailer with a local family man (Joaquim de Almeida). This mother comes with mastectomy scars and she’s finally giving vent to what seems like years of suppressed passion considering her dull, loveless marriage. It’s one of the most sorrowful and likable performances I saw in 2009.

      The aching confusion Basinger conveys in one particular scene – where, her secret having been realised by her daughter, she has to be at once the admonishing mother and the shocked, rumbled adulteress, all whilst pinned to her kitchen sink by her child’s accusing gaze – is nothing less than astonishing.

      That nervous, twitchy panic that Basinger often falls back on in lesser films – all deflected glances and lips-a-tremble – is skillful here, chimed in pure accordance with Gina’s situation. The hot shame of a mother caught in flagrante delicto has rarely been so maturely rendered on screen; never has Basinger looked so helpless, so in need of sympathetic intervention. Another actress, given to more histrionic outbursts, would’ve stopped the scene dead and danced over its corpse, but Basinger hits the mark with each awkward gesture. She was excellent elsewhere in the film, but in this one small scene Basinger gave us her character’s entire life. Where was Oscar nom number two?

      Three more key films for the taking: My Stepmother Is An Alien (1988), 8 Mile (2002), While She Was Out (2009)


  29. Kim Basinger Joins Tom Ford’s ‘Nocturnal Animals’:

    EXCLUSIVE: Kim Basinger has joined the growing cast of Nocturnal Animals, the Focus Features adaptation of the Austin Wright book Tony And Susan that Tom Ford wrote and will direct beginning in the fall. Basinger, who won the Oscar for L.A. Confidential, will play Anne Sutton, a wealthy Texas socialite and the mother of the character played by Amy Adams. Jake Gyllenhaal, Michael Shannon and Aaron Taylor Johnson are also starring in the film.

    This was the picture that became the splashiest deal at the Cannes Film Festival, when Peter Schlessel and Ford negotiated a deal for world rights that was worth $20 million plus an 8-figure P&A commitment that made it one of the biggest pre-sale deals on the Croisette in years. In the film, Susan Morrow (Adams) receives a package out of the blue that contains a manuscript of her ex-husband’s first book. Drawn into the book’s violent fictional world of a character named Tony, Susan must confront her own past. The Nocturnal Animals title is taken from a story in the fictional book. Ford is producing, and Robert Salerno has also joined him as producer, a role that Salerno played on Ford’s directorial debut A Single Man. APA and Radius rep Basinger.


  30. Kim Basinger – Page – Interview Magazine:

    “Oh, my god!” Kim Basinger squeals in the middle of our conversation. Her reaction explodes because she glances out the window of the restaurant in downtown Studio City where we’re sitting; she is completely caught off-guard by the spectacle of a pack of 12 O’Clock Boys—dirt-bike riders who show off by standing straight up—as they’re shooting through an intersection. This is possibly their way of adding to the occasion: Basinger has taken time from her schedule to sit with me on her sixtieth birthday. It’s one of many surprises that take place on a chilly, cloudy Los Angeles day. It’s tough to imagine any other Oscar winner—Basinger picked up the award for Best Actress in a Supporting Role for her turn as the glam hooker who trades on an outstanding resemblance to iconic ’40s pin-up Veronica Lake in Curtis Hanson’s adaptation of L.A. Confidential (1997)—giving up time on her birthday in order to discuss a career that includes her newest project Grudge Match, the meta-comedy reuniting Sylvester Stallone and Robert De Niro as a pair of presumably retired professional boxers climbing into the ring for an equally presumable final match, sequel possibilities not included.

    Not that sequels have been an option for Basinger—as she mentions, she’s never appeared in one, nor has she ever been asked. Instead, she became a star in another way. She has spent much of her professional life sandwiched between icons, working with Sean Connery in his last stand as James Bond in Never Say Never Again (1983), co-starring with Natalie Wood in the ’70s miniseries version of James Jones’s From Here to Eternity, baring flesh and sensibility to the proto-Fifty Shades of Grey debauch of Adrian Lyne’s 9½ Weeks (1986) with Mickey Rourke—while on the way to becoming a bigger-than-life figure herself. Her upcoming movies include a teaming with fellow Oscar winner Paul Haggis for his springtime release Third Person, an ensemble drama in which she plays the thoughtful but emotionally aware ex-wife of Liam Neeson, a fellow sufferer with a somber self-destructive nature.

    Since it is Basinger’s birthday, I show up with a balloon, which she shyly accepts as a gift—”You know, this isn’t really that big a deal,” she demurs, as she apologizes for not having succumbed to her impulse to bring me a cupcake from Sprinkles. I’m recovering from pneumonia, and her concern rises with every muffled hack on my part. But what’s evident from spending time with her is how easily she accesses her empathy; she feels every moment she speaks of, be it the potentially deadening aspect of complete access to everything that kids have or her father’s denial of his own artistic pursuits to support a family. And Basinger is fully aware of what that sacrifice meant for her dad. Noting what he gave her is how our talk begins.


      • To me it looks like the writer already has some sort of bone to pick w/ Kim Basinger because of her past reputation of coming across as eccentric, insecure or flakey. It’s the classic, let’s kick her while she’s already down movie. So he has to pick apart ever single thing she says and possibly spin it out of context.


        • Kim Confidential


          By Jill Smolowe

          Reclusive as Ever, Kim Basinger Scores in 8 Mile but Hasn’t Made Peace with Her Ex

          When Kim Basinger and her 7-year-old daughter Ireland want to get away from it all, they drive five hours north of Los Angeles for a weekend of girl talk, bonding—and shoveling elephant dung. Clad in carpenter pants and T-shirts, the Oscar winner and her daughter chop animal feed and clean the enclosures at the Performing Animal Welfare Society’s Gait sanctuary. “Kim told us that the sanctuary is a place of peace and quiet for her,” says PAWS cofounder Pat Derby. “Animals are great. If they don’t like you, they let you know. And they never stab you in the back.”

          No wonder Basinger, 48, finds them preferable to the company of Hollywood society. Since the tempestuous breakup of her seven-year marriage to Alec Baldwin, 44, in December 2000, the reclusive actress has retreated even more from the parties and premieres that drive the movie world, even as she has revved up her film career. The drama 8 Mile, in which she costars with Eminem as his alcoholic mother, topped the box office with $54 million in its first weekend. And in the upcoming thriller People I Know (due next year), she has a bigger role as Al Pacino’s love interest. Offscreen, though, Basinger has embraced a quiet life that revolves around Ireland and her animal-rights projects. “She’s basically disappeared,” says one regular on Hollywood’s A-list social scene. “I don’t know anyone in our group who talks to her or who has seen her since the divorce.”

          She is certainly keeping her distance from Baldwin. The couple—whose divorce became final last December—were still battling over visitation issues as recently as June. A Los Angeles superior court document issued in August set out a monthly visitation schedule for Baldwin and spelled out precise hours when he may phone Ireland daily on a private line to be installed in the girl’s room by Basinger. It also instructed Baldwin not to phone other household members and ordered him to “commence anger-management therapy.” Says Alexander Peters, a friend and neighbor in Amagansett, N.Y., who works with Baldwin on environmental issues: “Kim makes it as difficult as possible for him to see his daughter. She just makes his life impossible.” (Neither Basinger nor Baldwin will discuss their divorce or custody arrangements.)

          Basinger, meanwhile, continues to wrestle with her acute need for privacy. At the L.A. premiere of 8 Mile, the actress, whose agoraphobia (fear of open spaces) has twice confined her to home for six-month stints, hurried into the theater, avoiding castmates and news crews alike. “She’s smart and gentle, but in some ways she’s completely ill-suited to being a public personality,” says 8 Mile director Curtis Hanson, who guided her to a Best Supporting Actress Oscar in 1997’s L.A. Confidential. “She’s painfully shy and slow to trust.”

          Even those nearest to her. While she is close to her sister Ashley Brewer, 34, and father Don, 79, she is estranged from her brother Mick, 51, and her mother, Ann, 77, who has been sympathetic to ex-son-in-law Baldwin in the aftermath of the divorce. “Kim has just written off the ones who don’t agree with her,” says a source close to the family.

          Others paint a different picture. “She’s in a place in her life where she’s coming into her own,” explains People I Know producer Leslie Urdang. “She’s very self-possessed and able to handle work and motherhood and the demands of being in the spotlight without being ruffled.” On the Detroit set of 8 Mile, Basinger took the theatrically inexperienced—but notoriously temperamental—Eminem (a.k.a. Marshall Mathers), 30, under her wing. “When she came into rehearsals, which she did for me as a favor, because she normally doesn’t rehearse,” says Hanson, “it was thrilling to watch her give her all and see Marshall get it, react to it and give back.” At home she’s just as nurturing. “Ireland,” says Brewer, “is her life.”

          Still recovering from summer back surgery, Basinger sticks close to the 3,200-sq.-ft., four-bedroom contemporary ranch house in Woodland Hills, Calif., that she purchased in 1981 and fled to after her marriage imploded. Some nights she ventures out with a tight circle of nonfamous girlfriends to Ago, an Italian restaurant in West Hollywood. Friends say she shows little inclination to begin dating again. But they’re not concerned. “She’s a very private person,” says producer Urdang. “She’s going to be just fine with whatever she chooses to do.”


      • After Oscar, a Dream Project


        Kim Basinger follows her turn in ‘L.A. Confidential’ with ‘I Dreamed of Africa.’

        April 30, 2000 | SEAN MITCHELL | Sean Mitchell is a regular contributor to Calendar




          Basinger was good in 8 Mile and The Door in the Floor, so she didn’t completely disappear, but I think sort of fitting out of the scene was a combination of a couple of things including her age, her choices, and (and this is just an impression I get) not having a whole lot of support in the industry (probably from being seen as flaky). Reminds me of Winona Ryder, good actress who got her thunder stolen on her own passion project by Angelina Jolie, and then fell off like a motherf***er in part because she’s flaky and (from what I understand) has some enemies.


        • Re: Anybody else think Kim Basinger didn’t deserve the Oscar?


          I’m afraid this is one of the best examples of how Oscars are rigged sometimes. One way you can figure it out is by looking at all those critics association awards that are handed out each year (Boston, New York, Los Angeles, Chicago…). Kim Basinger was hardly mentioned in any of them, and here she is, winning an Oscar and a Golden Globe (not BAFTA, though). Kevin Spacey had much more nominations for his role in L.A. Confidential than her and he didn’t even get an Oscar nom.

          Let’s look how some of the most famous critics association voted that year in the supporting actress category:

          Boston Society of Film Critics
          Sarah Polley – The Sweet Hereafter (she wasn’t even nominated for Academy Award)
          Joan Cusack – In & Out
          Alison Elliott – The Wings of a Dove

          Chicago Film Critics Association
          Debbi Morgan – Eve’s Bayou (she wasn’t even nominated for Academy Award)
          Joan Cusack – In & Out
          Julianne Moore – Boogie Nights
          Joan Allen – The Ice Storm
          Sarah Polley – The Sweet Hereafter

          Los Angeles Film Critics Association
          Julianne Moore – Boogie Nights
          Gloria Stuart – Titanic

          National Society of Film Critics
          Julianne Moore – Boogie Nights
          Sarah Polley – The Sweet Hereafter
          Nathalie Richard – Irma Vep

          New York Film Critics Circle Award
          Joan Cusack – In & Out

          Online Film & Television Association
          Julianne Moore – Boogie Nights
          Kim Basinger – L.A. Confidential
          Joan Cusack – In & Out
          Christina Ricci – The Ice Storm
          Gloria Stuart – Titanic

          Online Film Critics Society Award
          Gloria Stuart – Titanic
          Julianne Moore – The Myths of Fingerprints
          Joan Cusack – Grosse Pointe Blank

          San Diego Film Critics Society Award
          Jurnee Smollett-Bell – Eve’s Bayou (she wasn’t nominated for Academy Award)

          Satellite Awards
          Julianne Moore – Boogie Nights
          Minnie Driver – Good Will Hunting
          Sigourney Weaver – The Ice Storm
          Ashley Judd – Kiss the Girls
          Debbi Morgan – Eve’s Bayou

          Society of Texas Film Critics
          Joan Cusack – In & Out
          Kim Basinger – L.A. Confidential

          Southeastern Film Critics Association
          Kim Basinger – L.A. Confidential
          Julianne Moore – Boogie Nights

          So, if we are to judge by critics association – Kim Basinger did not deserve to win because that year there were far better supporting actress roles than hers. Although I personally think she’s great in it, I would give the Oscar either to Julianne Moore or Gloria Stuart… Hell, even Joan Cusack who was great in “In & Out”.

          L.A. Confidential is one of my favorite movies of all times and I love every character and every actor and actress in it – but if Kim Basinger didn’t won an Oscar, I would’ve survived.


  31. Alec Baldwin: 5 Awesome Performances And 5 That Sucked
    … And 5 That Sucked


    Carter “Doc” McCoy – The Getaway

    Sam Peckinpah’s dusty crime drama was the one he took for the money, a bloody retelling of Jim Thompson’s pulpy text which gave the maverick helmer a chance to show of show seventies new wave flair and give the audience some pulsating action at the same time. But grit aside, this film’s key appeal was the chemistry between stars Steve McQueen and Ali MacGraw, who met in casting and fell in lust before any prop gun ad been drawn. That’s what sealed this picture.

    Track forward twenty years and all of the above was absent from this dire retread, with Baldwin teaming up with his new Mrs, Kim Basinger, in a tired and barely dangerous remake that ended up being more guff than grit.

    Charley Pearl – The Marrying Man

    Notable for being the film that introduced Baldwin to his wife-to-be, The Marrying Man is a smug, slick for its time romp that, despite the talent behind it – along with its starry thesps, the film was directed by animation maestro Jerry Rees and written by Tony-snaffling playwright Neil Simon – fails to draw out a single laugh, yet alone a guffaw.

    All in all, Baldwin is the grinning face of this disaster, with him playing Charley Pearly, heir to a toothpaste fortune and vapid of any real personality. The main plot line sees him taking a road trip to Vegas with his pals, where he happens upon sexy club singer, Vicki (Basinger), and in the process of courting this fair maiden gets tied up with the mob and a fair few weddings. A beguiling mess.


  32. I don’t know if this is a fair enough of an argument or comparison but Liv Tyler (since she has been in the news of late for complaining about 38+ year old women like her, no longer getting a lot of good roles in Hollywood) kind of reminds me of Kim. Both are very beautiful women who always come across as very soft spoken and bashful in interviews. Both had their careers go into limbo once they could no longer totally rely on their looks (since they never were really considered the greatest actresses in the world even w/ Kim actually having an Oscar to crow about).

    Both Liv and Kim seemed to take themselves out of the game (or to be more specific, became more absent from more high profile/mainstream projects) for long periods of time to focus on raising their children. I always assumed this was in part why Kim didn’t appear in a another movie three years after her Oscar winning role in “LA Confidential”. Kim has even admitted that she’ll turn down roles if it meant being away from her daughter for too long of period.

    Granted, Liv Tyler really wasn’t as big of a star at her peak as Kim was at her respective peak. Liv even back then, was more of a supporting player and not somebody who had a lot of starring vehicles to the best of my knowledge. Also, Liv also wasn’t as much of a tabloid magnet as Kim (or had as much “personal baggage”) was during.



    • Kim Basinger (and maybe Liv Tyler for that matter to) doesn’t seem to have that let’s just say, killer instinct or real inner drive to want to stay on top so to speak. Stuff like “Batman” and “LA Confidential” were basically cases of Kim lucking into really successful movies. I’m sure that Kim had some ambitious goals post-“Batman”,but she went about out the absolutely wrong way.


      • Re: What the beep happened to Kim Basinger’s career?


        Well it happens sometimes acting careers have there ups, and downs. She has her money made. Maybe she is just picking stuff that interests her, and took a back seat from mainstream Hollywood.

        From your list she seems to still be working pretty steady.

        Sat Aug 22 2015 22:44:11

        Wow that is some interesting stuff. I didn’t know any of that. I think Bless the child was the last movie I watched with her in it.

        There are a few movies with her I want to see, but haven’t yet. Like L.A. Confidential, and Cool world. (I think she was in cool world?)




          Kim Basinger

          Basinger seems to have taken a more laid-back approach since she won her Academy Award for L.A. Confidential. She didn’t retire from acting altogether, but you wouldn’t be crazy for thinking she had. After her sex appeal started to lose its gravitas, Basinger’s roles became limited to playing moms in 8 Mile and Charlie St Cloud, or weak parts in disappointments such as Bless the Child and I Dreamed of Africa. She has now garnered herself an impressive 7 Razzie nominations to date.


        • Over-The-Top Demands Of 7 Popular ‘90s Movie Stars


          Kim Basinger

          Kim Basinger was one of the big stars during the ‘80s and ‘90s; however, her big demands on set may have cost her the promising career she once had. During filming for “The Marrying Man,” where she met her ex husband Alec Baldwin, her demands were excessive. She insisted that the director of photography be replaced because she didn’t look like how she looked in the test shots that he had taken. That wasn’t all. Four weeks into filming, she asked to change the dialogue, telling the screenwriter, “Whoever wrote this scene doesn’t understand comedy.”

          Basinger also kept production waiting on the set of “The Marrying Man.” One reason for this was her elaborate morning routine, which included washing her hair with only Evian water and shampoo. We’re not entirely sure if her excessive demands were what derailed her career. All we know is that she doesn’t get those high-paying roles anymore.


        • Re: Why or how did Kim ruin her career?


          Plenty of older actresses have active and prosperous careers. What these women have in common is an established work ethic, high level of talent, and an ability to “play nice” at work. Examples include: Meryl Streep, Judy Dench, Laura Linney, Maggie Smith and others.

          If you either a) are someone who’s fame is more dependent on looks than talent, you will be on the outs when those looks fade, or b) if you have a reputation for being difficult to work with (which runs up the budget in films, typically), then you will find yourself on the discard heap.

          Although Basinger won an Oscar, she was never more than above-average as an actress. Her looks were her ticket to fame in the day, and those are fading. Combine this with her on-set antics, and her very public clashes with her ex-husband, which she publicly dragged their minor child into, and you have a situation where she not only created a bad taste in the mouth of the public, but probably studio execs as well. Personally, I think she is her own worst enemy, and I’m surprised she lasted as long as she did.


  33. Category: Hidden Treasures Created on Wednesday, 29 April 2015 14:14 Written by George Rother


    Here’s a cute little movie that came and went in summer ’87. Nadine stars Jeff Bridges and Kim Basinger as an estranged couple who find themselves on the run from cops and criminals after stumbling across something quite valuable. It’s written and directed by Robert Benton who won Oscars for Kramer vs. Kramer (1979) and Places in the Heart (1984). If memory serves (and it usually does), Nadine played for about a week in most theaters before being bumped. I saw it on a Tuesday afternoon in a mostly empty theater. I liked it. It’s a slight picture, only 83 minutes. It’s totally predictable as well. In the world of rom-coms, if a couple is on the verge of divorce at the outset, their fate is pretty much a foregone conclusion. That’s the way it usually works and Benton doesn’t stray a centimeter from this tried-and-true formula. It’s also a given that they’ll manage to escape any danger they might find themselves in. The endgame is not the point of movies like Nadine; it’s the road leading to the endgame. That’s where the true fun lies. This one is quite enjoyable.

    Set in Austin, Texas circa 1954, the trouble starts when Nadine (Basinger) goes to a sleazy photographer’s studio to retrieve “artistic” pictures that he took of her. While she’s there, an unknown person enters and puts a knife into the guy. She manages to get away, but the envelope that was supposed to contain the photos actually contains something else. Specifically, plans for a new highway development. Not yet realizing their worth, she asks soon-to-be-ex-husband Vernon (Bridges), owner of a failing bar, to accompany her back to the studio to find the incriminating photos. Now he’s involved in this mess. Not only is Nadine accused of the murder, a shady real estate developer (Torn, Cross Creek) will stop at nothing to get his hands on the plans. Along the way, the bickering couple starts to realize that they might still have feelings for each other. Funny how bullets and poisonous snakes bring about such realizations. Danger is the best aphrodisiac.

    As you can see, there’s not all that much to Nadine. It’s light as a bubble and as substantial as cotton candy. Bridges and Basinger have some real chemistry going here. Between this and Blind Date the previous spring, Basinger shows a gift for light romantic comedy. Bridges is also very good as the bar owner intent on divorcing his nagging ex and marrying his beautiful but vacuous new girlfriend (Headly, Dirty Rotten Scoundrels), a former beauty queen. Torn is good in a role he’s played before, the villain. Benton recreates 1950s Texas very well which is no surprise seeing that he’s from there. The old school country music is a real boon. The action scenes, while nothing special or spectacular, are well done. It’s a fun little movie. It makes for very pleasing entertainment on a slow summer weeknight. I really feel that Nadine got a raw deal from audiences during its brief theatrical run. It’s not a great movie, but it’s a lot better than many give it credit for. It’s worth checking out.


  34. I wonder how Kim would feel about this news considering that she apparently credits Playboy for helping launch her career so to speak back in the early ’80s:

    In a wood-paneled dining room, with Picasso and de Kooning prints on the walls, Mr. Jones nervously presented a radical suggestion: the magazine, a leader of the revolution that helped take sex in America from furtive to ubiquitous, should stop publishing images of naked women.

    Mr. Hefner, now 89, but still listed as editor in chief, agreed. As part of a redesign that will be unveiled next March, the print edition of Playboy will still feature women in provocative poses. But they will no longer be fully nude.

    Its executives admit that Playboy has been overtaken by the changes it pioneered. “That battle has been fought and won,” said Scott Flanders, the company’s chief executive. “You’re now one click away from every sex act imaginable for free. And so it’s just passé at this juncture.”


  35. This article was translated from French so please forgive the broken English!

    What have they become ? Kim Basinger


    Sex symbol for many talented actress for some, Kim Basinger is rich with dense and colorful career that has led both the James Bond movie sets, Batman, nine weeks or 8 ½ Mile. But what has become?

    The nice kid from school

    Kim Basinger was born in Athens, in the southern state of Georgia in the United States in 1953. Helped by a physically blessed gods, she became the darling of the high school where it naturally integrates the team of cheerleaders. At 17 she won a local beauty contest allowing it subsequently signed a contract with the Ford modeling agency. In 1976, after five years in New York, she decided to move to Los Angeles to try his luck as an actress. At first we see on television in series such as Starsky & Hutch and Charlie’s Angels and several TV movies.

    James Bond or early glory

    In 1983 she was chosen to embody an iconic figure in pop culture: a Bond Girl. In Never Say Never Again Domino is Petacci, a creature that turned the heads of the secret agent played by Sean Connery. “Fun fact”: Never Say Never Again is the second film adaptation of the novel Thunderball which had already been brought to the screen in 1965 with Sean Connery in the role of hero. Purists argue, moreover, that the 1983 version starring Kim Basinger is not a real James Bond because he is not part of the license Eon Productions initiated by who is in charge of all films 007. Moreover stamped the same year released the official James Bond Octopussy with Roger Moore.

    This first major movie role will lack at least not to launch his career and allows him to tour with legendary directors as Blake Edwards (The Ladies Man) Barry Levinson (Best) and Robert Altman (Fool for love and Ready to Wear some years later).

    The official status of sex symbol: 9 weeks 1/2

    But with the sulfur nine weeks ½ Adrian Lyne Kim Basinger has created his legend. At the time, in 1986, the sex scenes with Mickey Rourke – who then sported a human face – were almost considered pornographic, and a whiff of scandal accompanied the release of the film, became ass (te).

    She then starred with two actors who will become two huge Hollywood stars in the 90’s: Richard Gere in Without Pity and Bruce Willis in Drinking and setbacks.

    In 1989 she starred in the first film adaptation of Batman signed Tim Burton. Gold hair and full lips, she is Vicki Vale, a shock photojournalist who has a crush on the man bat. This is a huge critical and public success (over $ 400 million in revenue). It is through this that Kim Basinger met Prince who signed the soundtrack. The movie star and musical genius lived a brief idyll which resulted in an album produced by Kim dwarf Minneapolis as a lover will.

    She ended up in the console in 1991 Alec Baldwin arm on the tray turnip The singer and the billionaire. Today technicians testify anonymously sound ordeal that caused the sexual antics of the young couple between takes.

    A series of improbable choice

    The choice of film actress in the 90 remain to this day unexplained. At the height of fame in the late 80’s she makes the series B and movies second class: Hot Blood for murder in cold blood, The Real McCoy case, Wayne’s World 2 (admittedly very funny but it’s not this kind of film that builds you a “cred” in the middle).

    Against all odds, she finally gets recognition (an Oscar and a Golden Globe) for the role of the fatal Lynn Bracken in the very dark LA Confidential, based on the novel by James Ellroy.

    In 2002 he is against total employment by embodying the alcoholic mother of Eminem in 8 Mile, but once again, she moves with mediocre films that go mostly unnoticed. In 2010 she even plays in a movie with Zac Efron, Charlie St. Cloud. In other words, the “vortex of lose”.

    But Kim Basinger has accustomed us many twists and it would not be crazy to see it reborn from the ashes soon. Besides, she is currently filming the next film from Tom Ford with Jake Gyllenhaal and Amy Adams. It promises.


  36. Blind Items Revealed


    February 13, 2014
    This former A+ list mostly movie actress doesn’t even really act any longer. She still has a name though and one of the more memorable movie roles of all-time. She has had some very famous relationships too. Oh, and some celebrity offspring. Anyway she discovered this morning that she wasn’t given a front row seat to a show and stole a seat in the front row. When she was asked to vacate it by the person who it had been assigned to, our actress said, “I don’t think so.” The person backed down and our actress sat right in front.

    Kim Basinger


    • Back on 2000, I was at a Nine Inch Nails concert at HSBC Arena (now First Niagara Arena, soon to be Key Bank Arena, if New York State approves the corporate takeover), and this couple told me I was in their seat (I was standing up:-). I moved a few rows down, closer to the railing, and actually had a better view. The Lesson here: if Kim Basinger would’ve moved, she may have had a better seat!


      • Now that I think about it some more, I wouldn’t have been too surprised if Kim Basinger pulled the “do you know who I am?” card. Kim Basinger none the less, somehow strikes me as a woman who more than often, seems miserable. Granted, if I were married to a noted hot-head like Alec Baldwin, it would be easy to understand. But even so, Kim always comes across as extremely reclusive (either because she’s agoraphobic or paranoid if not both), flaky, closed-in, anxiety-ridden and high-maintenance.

        Maybe my point, is that I do wonder if Kim is or has ever been truly happy and/or at peace in her life? Maybe I get a bit frustrated and concerned over how such a beautiful woman like Kim Basinger is also such a major (at least from what I’ve gathered), unrelatable basket-case.


        • It could be that she has neither taken the time to think about it or took the time to consider her own happiness. I’m related to some people who act quite miserable (they’re not famous or wealthy beyond belief though, just upper middle class).


        • I don’t know if this is fair, but Kim Basinger to me, is kind of a female variant of what LeBeau said in regards to “What the Hell Happened to Jim Carrey”. Kim these days, just comes across as a “sad, crazy old lady” as opposed to being one of the most (if not thee most) desirable woman (whereas Jim Carrey no longer seems like the cool, class clown) in movies, like in her heyday.


    • The funny thing is that Kim has worked frequently (save for the quizzical three year lay off after appearing in “LA Confidential”, which I think in retrospect, really hurt her “comeback”/momentum) since she won her Academy Award back in 1997-98. Just do a simple search on her IMDb filmography and you’ll see that she isn’t exactly semi-retired to say the least. It’s just that Kim for whatever the reasons, has mostly been under the public’s radar (unless you count the controversy over Alec Baldwin’s angry voice mail towards their daughter) for the past 10 or so years.

      And I also find it funny reading in the comments on CDAN that suggest that Kim Basinger isn’t at all capable of doing such a thing like taking somebody else’s seat and refusing to move (like she doesn’t have a “diva” streak to her), because she otherwise seems like such a shy woman in real life.


      • Kim Basinger’s diva disposition shouldn’t be in question with too many people, even if she is shy (like shyness and kindness/generosity are in the same personality category anyway). Besides, there are everyday people who would take someone’s seat and refuse to move; I bet the ratio is at best 60/40 of the seat taker bowing out gracefully.


        • Bob Ringwood, the costume designer for “Batman” just told me on Facebook that he didn’t really enjoy working w/ Kim Basinger:

          Horrible woman….such bad behaviour when we made Batman.


        • Bob Ringwood added in regards to his experiences w/ Kim Basinger (as well as Sean Young, the original choice to play Vicki Vale) while working on “Batman”:

          I didn’t hate working with KB…she just behaved in the most unprofessional and disgraceful manor….more than any other actor in my 45 year career…….actually we did start work with Sean Young and had completed all her clothes for the film and she was a pleasure to work with…unfortunately she had a riding accident and had to withdraw….




          By Kim Masters April 4, 1993
          Deriving enjoyment from the misfortunes of others — what the Germans call Schadenfreude — is an Olympic event in the movie business. Everyone feels a certain delight when bad things happen to bad people (or to anyone, if need be). And if you took a poll in Hollywood, Kim Basinger would be high on the list of people who generate the very least amount of sympathy in times of distress. (Bruce Willis and Demi Moore are first runners-up.)

          So Hollywood got a nasty thrill a couple of weeks ago when a jury ordered Basinger to pay $8.9 million in damages to an independent producer after she bagged out of the movie “Boxing Helena.” Nasty because people in “the industry” feel a little queasy when one of their own gets clobbered with a huge judgment — particularly when someone is clobbered for engaging in commonplace behavior like backing out of a film. “It reminds people in Hollywood that they are a suspect breed,” says a studio executive.

          But, in Basinger’s case, the scales tipped away from sympathy. Many in Tinseltown were, in fact, happy to see Basinger get bashed. “Happy is a nice cheap euphemism,” says another studio executive. “Jubilant. People threw parties. Champagne sales were up.”

          Basinger earned a place on the most-disliked list a few years ago when she dropped $20 million to buy an entire town — Braselton, Ga., which she said held fond memories of her sexual awakening as a teenager. But her unpopularity soared during filming of “The Marrying Man” for Disney, a debacle for all concerned. The studio let it be known that Basinger had made some extravagant demands: She required copious quantities of Evian water for washing her hair, according to press accounts, and wanted to shut down production so she could fly to Brazil to consult a psychic. She also reportedly tangled with scriptwriter Neil Simon, finally driving him off the set when she told him, “Whoever wrote this doesn’t understand comedy.” (Okay — she gets partial credit for that.)

          Basinger’s reputation, to sum up, isn’t the best. “She’s so hated it’s unbelievable,” says a studio executive (who, like most Hollywood players, declines to be named when telling the truth). “Everyone thinks she’s a pig with big hair.”

          Gee. Would they say that about Bruce Willis?

          “Boxing Helena” isn’t the usual studio fare. It’s about a brilliant surgeon who falls in love with a woman and amputates her limbs to keep her under his control. Basinger, who came to fame in the S&M opus “9 1/2 Weeks,” maintained that she backed out of “Boxing Helena” in part because she was uncomfortable with certain nude scenes.

          But apparently nothing she did or said endeared her to the jury, or to anyone else. You could even detect an element of glee in the Daily Variety headline the day after the $8.9 million decision: ” ‘Helena’ Costs Kim Arm and a Leg.”

          Of course, not everyone owned up to Schadenfreude — if, in fact, they felt it. For the record, a lot of agents did some head-shaking and tut-tutting when the judgment was announced. Not that they focused on the fiscally diminished Basinger. “This will be bad for independent producers!” they intoned collectively. In other words, the apparent winners in the case, they predicted, will be the losers.

          How is this possible?

          Stars often commit to making small independent films rather casually — the contract isn’t signed when the picture begins pre-production — and they routinely change their minds about whether and when they intend to show up. Independent producers obviously can’t pay the stars their usual multimillion-dollar salaries, but the stars sometimes make “small” movies anyway because they want to do something a little more artsy and prestigious than, say, “My Stepmother Is an Alien.” Such producers, for their part, often rely on the presence of a big star to raise money to jump-start their projects.

          But if stars can be held liable for their verbal agreements, agents say, they will be less likely to get involved with such pictures in the first place. Now the stars will be nervous and the independent producers, presumably, will have to beg even more desperately than before.

          Basinger’s balk and the subsequent litigation have evoked a wave of nostalgia in Hollywood for the days when the so-called handshake deal was honored. “The fabric of trust in the show-biz community has broken down,” Variety lamented. Before returning to the Basinger matter, let’s consider this bit of hypocrisy.

          The truth is, the phrase “fabric of trust” doesn’t really belong in a sentence discussing “the show-biz community.” The fabric of trust is one of Hollywood’s favorite myths about itself — similar to the community’s belief that large contributions to charity somehow insure the donor against moral bankruptcy. A more accurate phrase would be “fabric of fear.” Because that’s the real glue that makes deals stick in Hollywood.

          Let’s say Kevin Costner decides he wants to punk out of the fictional (as far as we know) “The Bodyguard 2.” Would the Warner Bros. brass sue? Not likely. They would take the long view — but not because they understand that Kevin is a sensitive artist who has his own caprices and priorities. They would instead be looking forward to that happy day when Costner might feel like picking up a quick $15 million to do the “Bodyguard” sequel after all — or perhaps any other project that might interest him, now that the original “Bodyguard” has demonstrated that Costner’s box office appeal does not depend on his appearing in an actual movie.

          Studios and producers spend tons of time hanging around waiting to find out if big stars are really going to make that picture they swear they can’t wait to be in. “What’s the point of suing?” asks one well-known producer. “This is the way it is. What we do is spend our lives trying to get these screwball idiots to make what they should make.”

          To return to the point: Warner Bros. wouldn’t sue Costner because it would be afraid to sue Costner. Afraid of him and afraid of his big bad agents, who control other megastars and might resent Warner on Costner’s behalf. So Costner wins.

          Now let’s say Costner isn’t Costner but some lesser talent who nonetheless has name recognition and sex appeal — like, for example, Kim Basinger. In that case, the lesser Costner would be afraid to bail out of the “Bodyguard” sequel because the studio would not take the long view. As one studio executive put it, “If Kim Basinger pulled on a studio what she pulled on that independent producer, it would be a cold day in Hell before she’d work there again. Studios are, let’s face it, powerful and vindictive.” So the studio wins because the star is afraid of the studio.

          But let’s say that Costner — either the real Costner or the imaginary lesser Costner — wants out of a small independent movie. Independent producers are low on the food chain. They have no power at all. “Usually,” says one not-independent producer, securely ensconced at a big studio, “you can bully some little company into just going away.” The independent producers lose, just about every time, because nobody who’s anybody is afraid of them.

          In none of these hypothetical cases does the outcome depend on “the fabric of trust” — unless by “trust” we mean the positive assurance that somebody’s going to get his butt whipped if he doesn’t fall into line. What settles these creative disputes is the fabric of fear, and that won’t change in light of the Basinger judgment. What will change is that stars will watch their language. When they say they are interested in a project, they will also say clearly that they don’t necessarily intend to do it. “I love it,” they will say. “Let’s try another rewrite and we’ll talk.”

          But enough of fear. Back to loathing. Back to Basinger.

          And back, perhaps, to hypocrisy of a different kind.

          Aside from the general insiders’ glee about Basinger’s plight, there was a sense among some executives, agents and lawyers that finally her horrible personality had caught up with her. “She lost a popularity contest with the jury and lost it badly,” says a studio executive.

          Many Hollywood professionals also felt quite sure the jury would have returned a different judgment if another star had presented it with the same set of facts.

          A Hollywood lawyer put it this way: “Your persona on the screen spills over into the courtroom. It’s very tough to beat a Dustin Hoffman or Robert Redford or Clint Eastwood, because the jury is going to believe what they say. As opposed to someone who plays sluts.”

          Someone who plays sluts. Hmmm.

          No doubt, Basinger is often hard to take. And presumably the jury would have nailed a star of either gender who came across as a jerk. Michelle Pfeiffer would play sympathetic; Kim Basinger not. But what about that slut thing? Could it be that the jury reacted, in part, to Basinger’s vixen persona? Very possibly, according to Zalman King, who wrote “9 1/2 Weeks,” Basinger’s first showcase, and therefore had a hand in shaping that persona.

          “Kim and Madonna would fall into the same category,” he says. “They become sort of icons and then they are punished for being icons. … There’s a name for it. I can’t remember what it is.”

          The name, according to Glen Gabbard, MD, director of the Menninger Clinic and author of “Psychiatry and the Cinema,” is “transference.” You laugh? Listen to this man of letters:

          “A screen icon becomes a symbol far beyond any particular characteristics that she might have as a person,” he says. “The reaction to her is determined by feelings about many other women that get contained in this one figure.”

          Gabbard observes that many female characters in recent years are “simultaneously sexy and violent.” Bridget Fonda in “Point of No Return.” Glenn Close in “Fatal Attraction.” Sharon Stone in “Basic Instinct.” Kim Basinger in “Final Analysis.”

          The man-eating sex goddess isn’t new and she isn’t found only in film, of course. She’s old as the succubus, a medieval demon who had sex with sleeping men. As old as Delilah. As old as Circe, who turned men into pigs.

          But Gabbard says this female archetype is particularly prevalent and particularly violent today as men cower in response to the multiplying numbers of women in powerful positions. “Look at what’s happening with Hillary Clinton,” he says. “Look at the cover of Newsweek: ‘White Male Paranoia.’ Men feel more threatened and are more likely to enjoy the portrayal in this way.” The sight of a sexy woman with all four limbs amputated could go a long way toward soothing those male insecurities, in other words.

          Law professor and anti-porn activist Catharine MacKinnon agrees that Basinger’s sexuality is “the target and trigger” for a lot of hostility. Part of that particular brand of male-fantasy-inspired sexuality is “a notion that women are to be available for sexual use” any time, any place, MacKinnon says, like Playmates splayed naked on the glossy page. “The sexualization of Basinger through ‘9 1/2 Weeks’ makes her public property. … She had the temerity to draw a line and say she wasn’t available for this {movie},” says MacKinnon, and the consequence was “real rage.”

          We might note that Hollywood also blames Basinger for ruining Alec Baldwin. Baldwin had a reputation as a swell fellow before he linked up with Basinger during the filming of “The Marrying Man,” during which he threw objects and behaved badly. But one producer admits that laying all this on Basinger makes him a little uncomfortable. “It’s just too weird,” he says, “to take an adult man and blame his girlfriend for his behavior.”

          But not if a seductive woman has the power to suck the very personality, if not the life, out of a man.


  37. Red Band Trailer for Shane Black’s The Nice Guys is a Blast


    Check out the red band trailer for The Nice Guys, the latest film from Shane Black that stars Russell Crowe, Ryan Gosling, and Kim Basinger.

    The new The Nice Guys red band trailer notes that its from the director of Iron Man 3. Yet anybody who knows Shane Black’s work has plenty of more reasons to be excited about the project. After all, this is the writer-director of Kiss Kiss Bang Bang, who also simply scripted Lethal Weapon and The Long Kiss Goodnight. And this new R-rated buddy film starring Russell Crowe and Ryan Gosling looks to bring plenty of that light, action touch to its period ‘70s sleaze setting.

    The film stars Gosling as private dick Holland March, who operates in the seedy backrooms of LA. But after the supposed suicide of a porn star, he finds himself partnering with Jack Healy (Russell Crowe) to get to the bottom of a sordid conspiracy. They are, after all, “nice guys.” The film also marks a reunion of sorts from the ultimate LA crime story, the deliriously good neo noir, L.A. Confidential. Indeed, Crowe will square off again with Kim Basinger in this film, as she plays an apparent mother in trouble.


  38. What Happened to Kim Basinger 2016 Update – What She’s Doing Now


    Kim Basinger has been a household name since the early 80s, though many households can’t agree on how to pronounce it. Since rising to prominence with her portrayal of Domino Petachi in the 1983 James Bond film Never Say Never Again, and again with 1997’s L.A. Confidential, Basinger (that’s “bay-singer”, not “bass-injure,”) has had a prolific career, with her films often gaining notoriety, if not critical acclaim. Yet in recent years, there’s been little public buzz about her career. What is she doing today, and what are her plans for the future?

    Kim Basinger’s Modeling Career

    Basinger was born in Athens, Georgia, on December 8th, 1953. Her mother was an actress, model, and swimmer, while her father was a big band musician. Growing up the middle child of five, Basinger as an adult would reflect that her relationship with her parents was not always healthy. Her father, highly critical, instilled in her a shyness which would go on to affect Basinger’s childhood and school life.

    However, an introduction to ballet at a young age helped give her the confidence necessary to excel in high school. When she was 16, she started modeling, and the next year won a city-wide beauty pageant. While participating in the Georgia Junior Miss pageant, Kim was offered a contract with the Ford Modeling Agency. However she turned it down, enrolling at the University of Georgia to study singing and acting. Almost immediately, though, she changed her mind and moved to New York City to work as a model for Ford.

    While Basinger earned a sizable income working as a model, she was never happy with her work. Perhaps it was the influence of her father, but Basinger frequently would avoid mirrors before shoots, preferring to be unaware of her appearance unless absolutely necessary. Regardless, her career as a model steadily progressed, and while she appeared in thousands of adverts throughout the 1970s, she managed to attend acting classes and perform as a singer around New York.

    Kim Basinger as a Bond Girl & Playboy Pinup

    After five years of attending acting school on the side, Basinger felt confident enough to leave Ford and move to Los Angeles. In 1976, she started securing small televised roles, notably in Charlie’s Angels, and in 1978 she starred in the made-for-TV movie Katie: Portrait of a Centerfold. Over the next couple years, she would transition to acting in feature films, debuting with the drama Hard Country. In 1982, Basinger performed alongside Charlton Heston in Mother Lode, and the next year she starred opposite Sean Connery in his final Bond film, Never Say Never Again. In order to promote the film, Basinger did a shoot for Playboy, making her the only person to have posed nude in Playboy and, later, win an Academy Award. Additionally, Basinger credits the Playboy shoot for helping her land the role in Barry Levinson’s film, The Natural, for which she received her first Golden Globe nomination, for Best Supporting Actress.

    In 1985, Basinger performed in Robert Altman’s Fool for Love, which may be what finally highlighted her ability to act, not just lend a pretty face to a role. With that new legitimacy, Kim performed in more than ten more feature films that decade, notably Tim Burton’s 1989 Batman. Also in 1989, Basinger released a studio album and EP, both produced by Prince, with whom she may have had a romantic relationship. Late in that year, Kim bought the town (yes, the town) of Braselton, Georgia, to establish tourism based around a film festival. 1989, then, was the year in which Kim transitioned from actress to celebrity.

    In 1991, Basinger started dating the not-yet-famous Alec Baldwin, after starring beside him in The Marrying Man, and the next year starred in several erotic thrillers, to mixed reviews. Reliant on her status as a sex symbol of the previous decade, Kim spent the early 90s performing in several mediocre movies, including the live-action/animated horror comedy, Cool World, which even the director referred to as a “total disaster.”

    In 1993, after starring as the corpse in Tom Petty’s video for Last Dance With Mary Jane, Basinger was sued for dropping out of Boxing Helena, a film directed by David Lynch’s daughter during the height of Twin Peaks fanaticism. In Boxing Helena, she would have played an armless and legless sexual hostage. While the settlement of initially $8 million was reduced to $3.8 million, the incident left Basinger filing for bankruptcy, and she sold the town of Braselton.

    In 1994, Basinger co-starred in the remake of The Getaway with Alec Baldwin, now her husband. Receiving mixed reviews and criticism over controversy on set, Basinger took a hiatus from acting, focused on raising their daughter, Ireland Baldwin.

    Kim Basinger in L.A. Confidential

    Then, in 1997, Basinger returned to acting as Lynn Bracken in Curtis Hanson’s L.A. Confidential. The film, which still holds a 99% rating on Rotten Tomatoes, earned her wide acclaim, including an Academy Award for Best Supporting Actress, as well as the Golden Globe and Screen Actor’s Guild award.

    In the early 2000s, Basinger separated and eventually divorced Alec Baldwin. During that time, Basinger performed as Kuki Gallmann in I Dreamed of Africa, in 2000, and as Eminem’s mother in the 2002 film 8 Mile, which was also directed by L.A. Confidential’s Curtis Hanson. Featured in another half-dozen films throughout the 2000s, Basinger was slowly moving toward more independent feature films. The Burning Plain was featured at multiple film festivals, and in 2009, her film The Informers premiered at the Sundance Film Festival.

    Kim Basinger Today

    Since 2010, Kim Basinger has starred in Charlie St. Cloud and Grudge Match, and has two films, 4 Minute Mile and I Am Here, on the film festival circuit, with several more upcoming pieces.

    The Internet talks about the Bond Girl Curse, which highlights the tendency of actresses who play the romantic interest in a Bond film to never go further in their career. Kim Basinger managed to defy the supposed curse with L.A. Confidential, but since 1997, the 80s sex symbol’s career has been slowly declining. Most recently, Basinger made headlines by platonically reuniting with Alec Baldwin to support their daughter Ireland, who was struggling with her own modeling career and personal life. Professionally, Basinger has two upcoming films, The Nice Guys and Nocturnal Animals, both slated for limited festival runs.


    • I viewed a trailer for “The Nice Guys”, and I liked what I saw.


    • 8 Male Celebrities Who Lost Custody Of Their Children


      Alec Baldwin

      Was there ever a more public, and embarrassing custody battle than the fight between Alec Baldwin and Kim Basinger? We could argue that Kelly Rutherford’s case is starting to rival the absurdity of Alec and Kim, but hers seems more sad than anything else. Alec and Kim had a public war over their daughter, Ireland. They were both to blame, and they were both jerks about it. Neither party took the highroad. They resorted to slinging mud, telling lies, embellishing with their anecdotes and ultimately, screwing themselves when it came to owning a shred of respect from their daughter. Ultimately, Alec cost himself the custody battle when his voicemail calling his daughter some unkind names was released to the public. Kim won by default. As time has passed, the bad blood has dissipated.


  39. Kim Basinger Has Been Cast In The ’50 Shades’ Sequel, In A Passing Of The Kink Torch


    According to Variety, Kim Basinger has joined the cast of Fifty Shades Darker, the sequel to last year’s pseudo-erotic S&M rom-dram Twilight fanfic blockbuster extravaganza Fifty Shades of Grey. Basinger is set to play the “key role” of Elena Lincoln, who’s both Christian Grey’s (Jamie Dornan) business partner and his one-time dom, the older woman who introduced him to the world of tying people up and whipping them for funsies.

    In the books, which I have absolutely read and will expound on at length upon request, Lincoln is oft-referred to as “Mrs. Robinson” — she’s a friend of Christian’s family who teaches a teenage Christian how to channel his inchoate rage into full-fledged sadomasochism. When Christian grows up, the two stop melting wax onto each other’s flesh and become friends, the kind of friends who co-own a fancy salon and have intimate dinners at which they reminisce about all the times they dangled one another over raging waterfalls. Everything is fine and healthy and great and not at all statutory-rape-y between the two until Christian’s current (and literal) squeeze Anastasia Steele (Dakota Johnson) becomes jealous of his lasting friendship with Elena and the fact that he invests in her fancy salon, and Christian’s like, “No, Anastasia, we’re just pals,” and Elena’s like, “No we’re not, he’s mine,” and hold on, I have to go wash out my brain.

    Though everyone from Charlize Theron to Naomi Watts to Nicole Kidman was previously rumored for the role of Elena, Basinger seems like the obvious choice, now that we’re here on this cold January Thursday, thinking about Kim Basinger beating the hell out of Jamie Dornan. After all, this is the same woman who made Jell-O and a pitcher of milk sexy in 9 1/2 Weeks, the S&M touchstone that likely paved the way for Fifty Shades Of Grey and broke thousands of refrigerators across the nation.

    Fifty Shades Darker and the third film, Fifty Shades Freed, will shoot back-to-back, blindfolded, naked, wielding knives, perched on the edge of a cliff.


  40. Outrage
    Five Reasons Why O.J. Simpson Got Away With Murder
    By Vincent Bugliosi
    Chapter One: In the Air — What the Jurors Probably Knew


    The first lawyer he called was a close friend of his, a celebrity lawyer named Howard Weitzman, who I don’t believe has ever handled a murder case in his life. What had Weitzman done recently in the legal arena? The actress Kim Basinger had called him to represent her when she was sued for her backing out of a film, Boxing Helena, in which she had originally agreed to star. The strong consensus in the entertainment industry was that this was a highly winnable case for Ms. Basinger, since she backed out when she learned there were nude scenes, and the central character was too unsympathetic. Perhaps even more important, there had been only an oral agreement between her and the plaintiff producers, not a written contract, and in Hollywood, backing out of oral agreements is so common it’s rarely the subject of a suit. Samuel Goldwyn, the master of malaprop, once said, “A verbal contract isn’t worth the paper it’s written on.” And the further consensus was that if she did happen to lose, the damages would be very negligible. Weitzman not only lost, but the jury returned an award against his client that was so great, $8.1 million, that Ms. Basinger was forced into bankruptcy.

    Weitzman’s only big successful criminal case was the drug-trafficking case of John DeLorean. In the DeLorean case, DeLorean is seen engaging in a cocaine transaction on film, yet he was found not guilty. That indeed would be pulling a rabbit out of the hat if Weitzman and his co-counsel Donald Re had convinced the jury that DeLorean did not, in fact, engage in the transaction. But that wasn’t the issue. The issue was whether DeLorean had been entrapped, and since there was considerable evidence he had been, this was a relatively easy ease for the defense. You don’t even reach the issue of entrapment in a criminal case unless the jury concludes that the defendant did commit the crime.

    How did Weitzman do during the brief period he represented Simpson? I was on Larry King Live with Johnnie Cochran before Simpson even was arrested. It was long before Cochran became a member of the defense team, and Cochran said during the show that if he were Simpson’s lawyer he wouldn’t let him talk with the police. I interjected that his first lawyer (Weitzman) already had, and that it was a monumental blunder, an enormous gift to the prosecution. Even if Simpson was innocent, in the emotionally traumatic state he was in on the afternoon after the murders he could have said things deleterious to his interests. But if he was guilty, it would have been virtually impossible for him to be grilled by detectives for over half an hour, trying to walk between raindrops, without telling one provable lie after another, without making one inconsistent or conflicting statement after another, all of which could be used by the DA to show a consciousness of guilt.

    A few days after I said this on national TV, and others started to criticize him, Weitzman said he had tried to stop Simpson from talking with the police. But it would seem that the only reason Simpson would have had for consenting to be questioned by the police is that if he refused he’d look guilty. However, if his lawyer was advising him not to talk and, if necessary, insisting that he not do so, he had a way out. “Look, guys, I had nothing to do with these murders, and I’d love to talk with you, but my lawyer won’t let me.” That would have been the end of it. Period. Whether or not Weitzman advised Simpson not to be interviewed, we do not know. What we do know is that Simpson made sufficiently incriminating statements in the interview alone to convict him of murder, but because of the remarkable incompetence of the DA’s office, the jury never heard the statement. I will have much more to say about this later.

    And astonishingly, while Weitzman’s client, Simpson, was being interrogated by the LAPD about a double murder for which he was the prime suspect, Weitzman chose not to be at his client’s side. Even a first-year law student, even laypeople reading this book, would know the advisability of Simpson’s lawyer being present during the interrogation. But you have to realize that Weitzman was considered to be one of the premier criminal defense attorneys in town, and brilliant, high-powered lawyers do things like this, right?

    Detective Philip Vannatter testified at the trial that Weitzman had elected to go out to lunch rather than sit in on the interview, his only request to the detectives being that they record the interview. Weitzman has since come up with an allegation I have never heard before in Los Angeles law enforcement, one that is absurd on its face. In defense of his conduct, he told the media that “when Mr. Simpson chose to be interviewed by the police, contrary to my advice, he and I were told that the;e would be no interview if he wanted an attorney present.” No one, but no one, could possibly believe an allegation like that. As Will Rogers once said, “It’s the most unheard of thing I ever heard of.” At no time anywhere near the interview did Weitzman complain publicly (as he would be expected to do) or privately to the LAPD or DA’s office that he wasn’t allowed to be present during the interrogation of his client. What we do know is that Weitzman walked outside Parker Center during the interview, and when waiting reporters approached him, he said: “O.J. is upstairs trying to get his wits about him, and is answering whatever questions he can to help law enforcement investigate this case.” Not even Simpson, Weitzman’s client at the time, supports Weitzman’s story. The detectives gave Simpson his Miranda rights at the start of the interrogation, which included (I’ve heard the audio of the interview) telling him, “You have the right to speak to an attorney and to have an attorney present during the questioning.” Simpson said he understood all his rights, and when they then asked him, “Do you give up your right to have an attorney present while we talk?” he responded, “Mmm-hmm. Yes.”

    My guess is that Simpson had convinced Weitzman of his innocence, and Weitzman had assumed no great harm could come to Simpson as a result of the interview. Weitzman either quit or was fired as Simpson’s lawyer, and Robert Shapiro, another celebrity lawyer like Weitzman, became the lead lawyer.


    • Man, that guy, The Juice, he’s junk. I’d rather do Kim Basinger’s laundry for the rest of my life than think about that guy. Vincent Bugliosi though, he’s cool: I’ve seen him on TV shows that discuss Charles Manson, and since I’ve viewed plenty of those, I’ve listened to him quite a bit.


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