Wonderwoman: Catherine Zeta-Jones - Home Awards Biography Films Gallery Lara Links Sayings Site News Search Page


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  1. About four weeks. But, that wasn't just for the sword fight scene. I had the choreographer to work with for our dancing, I had horseback training, horse riding training and then the sword training, and then I worked with my dialect coach to get the Spanish accent. So, it was like, two hours here, two hours there, then I'd go out to the stables, then I'd met Antonio [Banderas] for two hours, then I'd go to the voice coach. It was really a treat, because, usually, you don't get that privilege. Usually you have to turn up and just get on with it. But when you're working with swords, you have to have that time.

  2. After that, I just didn't know what to do and I decided then to concentrate much more on acting. Then films came up and I had never really contemplated that before!

  3. After reading the script, I knew I wanted to do the film and work with Steven Soderbergh. When I told Steven I was pregnant, he just said, "OK, let's use that." I never wavered about doing the film, but as the months went by and I got bigger I thought, "Do I want to be doing a movie on the way to the hospital?"

  4. Almost overnight, my life changed drastically. Every time I had coffee with a man, he became my latest boyfriend. Cameras followed me everywhere. I had absolutely no privacy.

  5. Antonio is pretty physical so he really got into the dance. During one of the dips one day, I took a chunk out of his back with my watch. He's so Latin. He's so macho. I could see how much pain he was in but he refused even to wince.

  6. Around three years ago, in Britain, I was probably the most over-exposed person around other than the Princess of Wales. I couldnít go shopping, I couldnít go for a coffee... Theyíd be outside my house for two weeks, and that was one of the reasons why I went to the States. I wanted to be an actress and I was becoming a Ďtabloid babeí.

  7. As a kid my only connection with the stage was Tennessee Williams, so I want to play a drunken blonde at some point in my life.

  8. As a young girl, I never, never, never saw myself as a movie star.

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  10. But I think a lot of it's just an act that she puts on, to make her extravagant in certain ways. Underneath it all, I think Theo is also vulnerable, while Lili's character is really much stronger than she appears. So it (the story eventually) breaks down all the facades.

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  12. Charming. He's a real giver as a person and as an actor [Antonio Banderas]. We had fun and we also worked and trained very hard for it. He was just very admirable. I only had one sword fight to do and he had like eight. We called our first fight the "sexy sword fight" and then we had sword fight one, two, three, four, five, six, you know, so we had to always keep on top of which one he was doing next. He was just brilliant.

  13. Christian Lacroix did my wedding dress. People did send me sketches, but knowing Christian's lace, the way he cuts, and the materials he has, I had this idea of a mantilla. My veil was 17th-century and basically it was my vision. I had conversations with him and he got it. He's both a brilliant designer and a friend. I have a lot of other designers' clothes. I have a lot of Versace, a lot of a lot of things.

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  15. Do I worry about being typecast as the beautiful woman in the action adventure film? No, I don't. I'm proud of my action work. My sword fight in Zorro could have been dull. But I worked my balls off to get it right, to get people to remember it. And I think they did. But the other roles will come, too. There's time.

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  17. Entrapment is basically a romantic thriller where Sean and I play international art thieves, him of the 'old school' and me as the more hi-tech type.

  18. Even on the set I didn't suffer from any morning sickness. It was just so easy. I had to have a lot of tests to make sure everything was OK. But if I hadn't felt great, I'd never have done the film and put my baby at risk.

  19. Even so, I'm really glad I got to do 'The Haunting,' as I now feel I'm finally getting the chance to show what I can do. Luckily, I never doubted myself. I never thought, 'I'm wasting my time.' I always knew in my heart that this was my business, this is what I need to do, and even at my lowest ebb, which you do get, I never lost that.

  20. Every actor will say the stage because there is such an immediate response. I've done a lot of theater, but I would like to concentrate on movies. I really feel that I'm getting it. I'm enjoying doing the movies.

  21. Every night I'd come home and lie awake listening to all the creaks and funny little noises the house makes. Then one night my gates began swinging for no reason. When you close them they automatically latch - but not this night. It was definitely a bit creepy, especially when you live on your own like I do.

  22. Every time we'd shoot a fencing sequence [of The Mask of Zorro], I'd check myself in the shower that night to see just how many war wounds I had. During the day, the makeup people kept covering them up.

  23. Exactly. I find him [Sean Connery] far more attractive than any other guy.

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  25. For me, I really wanted to do the majority of stuff [in The Mask of Zorro] with a Spanish accent. And that's the way it worked out.

  26. For sure, I pinch myself all the time. My life has had so many hills and valleys and ups and downs. [Laughs] It hasn't all been roses.

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  28. Hello? Rhinestones! I thought you only got those in Texas.

  29. He's [Robbie from Take That] the one who looks like the most fun, he probably doesn't go to the gym as often as everyone else, but no, I'm not devastated. Gary's my favourite because he writes the songs and he's not a very good dancer.

  30. He's [Michael Douglas] very aware of that and it's part of the beauty of our relationship that we're both well established. We're not two actors vying for the attention and comparing salaries. We don't sit by the phone waiting. During those years with his first son, Michael was out there carving a career. It's different now.

  31. He [Michael Douglas] was like the big producer in there. He was saying: "OK, let's make sure she's all set up. Doctor, how are you? Are we ready to go? Great day for a delivery!"

  32. He [Michael Douglas] was like, "She plays GOLF? Thank God!"

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    I, J
  34. I always wanted to be a theater actress.

  35. I ate for Wales when I was pregnant and I enjoyed everything. I was like "Oh, who gives a s*** - I'll have another burger!"

  36. `I called Steve [Soderbergh] and said, `Look, I have some private information to share with you. Firstly, I would love to do the movie [Traffic], but secondly, I'm pregnant and you can't tell anybody. But what about me playing the role pregnant?'
    He went away, came back within a few hours and said, `I think you're right. We could really use it. It would give her a vulnerability and up the stakes.'

  37. I could just see myself having a lot of money, but doing rubbish, being just sexy and pretty for the rest of my life, and I didn't want that.

  38. [on her wedding] I didn't know whether to burst out laughing or burst out crying.

  39. I didn't want Michael Douglas to be part of my list, and I didn't want to be part of his list.

  40. I don't know. I suppose it just wasn't very funny. When you're making something, it's really hard to know. If making films was that easy, people wouldn't be doing films that don't work. You get offered a film with Eric Idle and John Cleese and you think it'll be absolutely great fun - and it was - but it just didn't cut together.

  41. I don't want to hide it [the 1Ĺ-inch-long tracheotomy scar that she got as an infant]. I wouldn't be here today if I didn't have this scar.

  42. I'd definitely like to [have a bigger family]. I just think I was born to breed, you know, so I want to pop those babies out. But I think that, as my first pregnancy was so easy, I was spoiled. The next one will probably be a nightmare... Things will change when Dylan's in school. Maybe that's the time to have another one. And as much as I love my career, my family's really important to me and I will nurture and protect that. But I certainly don't want to stop working. Like I said, neither of us sits by the phone. But you don't want it to stop ringing completely.

  43. I'd love to work with Scorsese. I've always wanted to be a New Yorker and be part of that New York genre of film makers. I'd love to find the way that Scorsese worked with De Niro on a number of projects.

  44. I do think I'm lucky I met Michael. Not just Michael Douglas the actor and producer with two Oscars on the shelf, but Michael Douglas the love of my life. I really do think it was meant to happen.

  45. I enjoyed it [the final cut of "The Mask of Zorro"]. It's really hard, for me it is, to see myself on the big screen. I still haven't quite come to grips on how to deal with that. What I loved about the whole piece was that it really came together. All the different attributes that we wanted to put in, all the comedy parts and the tender real emotional parts, and then the physicality of it. It all came together. It all materialized in front of me. It was like, "Wow. I never knew that they were going to shoot it that way." I really loved the way it comes together. It's filled with a lot of things.

  46. If I remember correctly, he did the close-ups when I wasn't there. But he did ask me if, for artistic interpretation, I would like to see the sock, and I said 'of course'. It was a black Marks & Spencer one though. If it was a Stussy one or something like that, it might have been more interesting.

  47. If I was marrying someone of lesser fortune who was 25 years younger, I'd be doing exactly the same thing. I think the pre-nups are brilliant, because it's all sorted out... "Thank God that's done - let's get on with it!"

  48. If you're nice, particularly in this game and especially if you're pretty, people misconstrue it as stupidity.

  49. I had so much energy when I was pregnant. Really, up to the day I gave birth, I had the hormones kicking in. Michael [Douglas] would say, "Get off your feet, watch TV, have chocolate." I was on ladders, making lists, organizing. Getting clothes on sale now for when the baby would be 1 year old. Really crazy.

  50. I had a very easy pregnancy. My doctor would never have let me do this if he had any concerns. If I didn't feel so good, I'd never have put myself and my baby at risk just for a movie - as much as I wanted to do this.

  51. I have a house in Palisades, but I come from Wales. I sold my house in London two years ago and so I go between -- well, I'm actually starting my next film in 10 days -- and so I go back to London until the end of the year, really. So, I'm all over the place.

  52. I have my leading man.

  53. I haven't heard it [the word "perfick"] in a long time, I must say. There used to be a time when I would walk down the street and everyone would shout "perfick". At first it would be (smiles through gritted teeth and gives a little friendly wave), then, after a while, I really felt like saying, "Look, piss off." You'd get these men in trucks pulling up next to the car and saying, "You're looking perfick again today, love." And it's like, "Oh shut up." It was such a big programme that the public sort of had me and the character living in one big beautiful bubble, which kind of pissed me off because, of course, I'm not like that.

  54. I just love diamonds. I'm still the sad, lonely girl nobody loves.

  55. I knew after reading the script [of Traffic] I wanted to do this. I told him [Soderbergh] I was pregnant and he said, "OK, let's use that." Even though I never wavered, as the months went on and I was getting bigger and bigger, I wondered, "Do I want to do a movie on the way to the hospital?" The only conversation with Steven was "Can we shoot soon? Can we hurry up?"

  56. I knew I wanted to work with him but, for the movie to work we had to look right. There had to be that spark. But when I met him I knew it was going to be fine. He's a great kisser!

  57. I knocked on door after door when I first arrived to be greeted by 'So what have you done?'. It was a big slap in the face.

  58. I like quiet. I have this weird thing. I don't realize that it's gone dark outside. Michael will come back home and say, `There's nothing on here, there are no lights, no TV, no music, no nothing. Are you OK?' And I'm just quite happy in that space without any stuff. I like that peace.

  59. I'll be scaling buildings, doing a lot of underwater swimming and rolling through tunnels,

  60. I'll never forget the moment I walked down the aisle and I was looking at Michael and - I didn't know whether to laugh or cry. Then Curtis Hanson [the director of LA Confidental] caught me giggling and I just couldn't stop smiling. That's one thing I'll never forget. And then just taking the vows. And after the party, people were dancing in the aisles and it all felt so unreal, I was so happy.

  61. I learned how to deal with the tough times. I'm sure there will be tough times ahead that I'll have to deal with. All that stuff, I'm sure everything happens for a reason. That pseudo-persecution in Britain stood me in good stead for the media attention I'm getting now in my private life with my husband and baby.

  62. I love being bold, alive, in the moment. Those are the qualities of the strong, brave stars I grew up loving. I love glamour and glitz, going to premieres dressed up and smiling and waving. And the quality of the work I'm being offered? All I keep thinking every day is, 'My God, this is great. Enjoy it while it lasts.' I'm someone who doesn't take things for granted.

  63. I'm looking forward to working with Julia. I play half of a celebrity couple, but certainly not myself, with John Cusack as my husband. We have split up and everyone's pretending that we're still together, so it's pretty funny. Julia plays my sister and assistant, who used to be very overweight but who's looking good now.

  64. Iím normally pretty good with accents. My motherís Irish and my fatherís Welsh and in the film Iím doing at the moment [Entrapment, with Sean Connery] Iím playing an American, so, following on from Zorro, my brainís all over the place. I think I pick things up unconsciously. Once, when I was filming in Morocco with a French crew for four months, I ended up speaking English with a French accent. Entrapment is basically a romantic thriller where Sean and I play international art thieves, him of the Ďold schoolí and me as the more hi-tech type. Weíve been shooting in Scotland and Kuala Lumpur, so, I donít know. Maybe Iíll end up with some kind of Scots/Kuala Lumpur drawl.

  65. I'm normally the kind of person who stubs my toe and then rolls on the floor for two hours screaming and crying before I'm convinced it's not broken and I don't need to go to causalty. So when we got to the delivery room, Michael kept saying: "Are you OK?" And I was replying: "Yeah, I can't wait. Lets rock and roll."

  66. I'm really interested to see what kind of treatment I'll get from the press this time around. I just want to warn them that I've saved my sword from The Mask of Zorro and that I know how to use it.

  67. I'm the kind of person who wakes up at a certain time and goes to bed at a certain time - that's my routine and I like it that way. We did a month of night shoots for Zorro - dancing at 4am! The TV interviews about my costumes at 6am. I was like, 'I can't believe I'm doing this!

  68. I'm still unaccustomed to using the word, "husband," but I love it, though. I love it when [other people] say it to me. People call me Mrs. Douglas at the gate to our apartment. It kind of makes my eyes sparkle.

  69. I'm the ultimate Hollywood babe. I drive a Range Rover with a cell phone, and if you need to reach me you can page me, beep me, fax me or e-mail me. And even if you do all of the above, I still might not return your call...

  70. I'm very flexible, ha ha! I can put my leg behind my head and sit there like that. You should see me swing a golf club - my arm and the club come right around to the other side of my body. I'm sickeningly double-jointed.

  71. I'm very honoured to work with somebody [Sean Connery] who is a fantastic actor and whom I have admired, like so many. He is so giving and willing to share everything. It's a dream.

  72. I mean there is a romance in this film [Entrapment], and I really went their thinking how could this possibly happen. Within three minutes I just went 'yeah, no problem. In the film it's addressed. Before people ever saw the film it was always that. The thing is it's addressed so quickly in the film. The movie is not about that in a way. I use my body and womanly charms on him and he says forget it. What happens is the audience wills us to get together.

  73. I never saw movies in my future so when 42nd Street closed, off I went to France. I returned home a year later because I was offered a role in a TV series called The Darling Buds of May.

  74. In fact, I'd never pay my dollars to see a slasher-horror film. I don't like them. But the reason I did this straight after wrapping 'Entrapment' was that it's such a great story and part for me. I get to play a much more hip, younger character. The sophistication is gone.

  75. In fact, I was desperate to do it, it was liberating for me - [people] think acting is a secondary thing and it's how you look. For me to be six months pregnant and just do this movie liberated me, and I relished the fact [that] I could use that in the characterization. It could remove me from the movies I've done before.

  76. In my high heels? In my nice new shoes? No way! No, I hung my tap shoes up a long time ago! I played the lead in "42nd Street," the musical in the West End. That was for two years when I was sixteen.

  77. In those old Bogart-Bacall movies, they had a lot of time to speak, plenty of banter. And it was so refreshing to be able to do that with Zorro. With most modern movies you read the script and thereís no dialogue. Just grunts and a few swear words. The scene in the confessional where Iím admitting my feelings for Zorro without knowing that itís him and not the priest on the other side is a great example. You know, a bit of ambiguity, interplay, whatever... and also very funny.

  78. I put my bacon sandwich down and away I went! I was the only one that was man enough to do it for sure!

  79. I realized that math was how much change you get back from a hundred-dollar bill.

  80. I really enjoyed my scene brushing down the horses with Anthony Hopkins - just two people standing and talking but it draws you in. Even though I know Tony and he's my best friend and would never be intimidating, at the end of the day you go, "Wow! I'm doing a really emotional scene with an Oscar-winning actor," she sighs. "There's a wonderful karma about him. It was such a calm, relaxed day. I lay in the bathtub that night and went, 'Yeah! I really liked that day...'

  81. I received a phone call in England saying he was sending me a script to look over. I never heard from him for quite a while, then, all of a sudden, Paramount asked me to come to Hollywood, which is always exciting for us Brits.

  82. I remember every single detail of the whole evening [of the wedding]. My one fear was that I I'd wake up in the morning, look at Michael and think" "Did we really get married yesterday?" But I remember everything, thank God, because it was a great night and I never want to forget a single moment of it.

  83. I started dancing when I was four years old. I was a tap dancer. That's what I used to do before I started doing all this acting stuff.

  84. I think all actors hope to surprise in some way and do things they've never done before. When you're successful in a certain genre the people who finance movies want to recreate that archetype. I was thrilled that a director of Steven's calibre wanted to strip away preconceptions about me as an actor. I felt very flattered and I knew that was an opportunity to prove I could do the lighter, funnier stuff as well.

  85. I think from word of mouth. I met Sean in Rome. Sean actually only saw Zorro, like, three weeks ago. We talked about the project and then we screen tested in New York. Sean's producing it and he really wanted me. I think it was more of a name thing, like, I'm not a name. I think they wanted Sean Connery and a whoever. But Sean really wanted me for it, and then I got it.

  86. I think if you're doing a love scene and the partner's there, they should just go away. I would never do that, you know? I have a lot of friends and I go and see actors on sets and things. I don't particularly like being on sets if I'm not working. It's, like, probably the most boring thing in the world. It's just tedious.

  87. I think I'm a living example of how these things can happen. You know, sometimes, especially in Hollywood, we pick up on things that happen to other people: "Wow, wasn't she lucky. She had that break. If only I could be as lucky as her, I'd be there." I've worked very hard all these years. I said in Vanity Fair this month, "It's funny, the harder I work, the luckier I get."

  88. I think it would probably be perceived or shown as something else. That's the great thing about when I first met Sean Connery in Rome. I flew in, met him, read with him and worked with him a little. It was very easy to see that there was a natural chemistry... a humor about him. We never once sat down together and said, "Okay, when are we going to have this chemistry?" It just came. It evolved out of just working and being together and also with him not making me feel intimidated in any way. I was allowed to just have fun, just play.

  89. I think of myself as 100 per cent blessed. I have an amazing son and an amazing man. I want them both to feel they have something very special in me.

  90. I think there will always be a flurry of interest in things we do but I hope we get a chance to live our new married life with some privacy. My child is the only thing I worry about, that he'll be photographed constantly going to school and it's not good for his formative years to be so public. I hope by that point it will calm down a bit.

  91. It is dangerous, yeah. They're real swords. They're really sharp, pointy swords. But my old dance training (I was a dancer in another life), was very beneficial to me because it's like dancing in a way. But, I don't know whether I'll ever use it again.

  92. I took those relatively bad roles in relatively bad movies because I needed to be seen,

  93. It's been quite long, to be honest with you. I was, like, this movie [Entrapment] was never going to come out. And I really wanted it out. Because they pushed it back. They wanted to do it in the spring, and then they wanted it for a summer release. And it's like, now where is that girl? They've been talking about this movie for years.

  94. It's gonna be really scary [The Haunting]. It's not one of those teen-slasher-type horror films that's full of jokes and winking at the audience. It's very serious and it really gets to you.

  95. I turned down a True Romance/Natural Born Killers type of thing because I didn't like the subject matter.

  96. It used to scare me to be emotional in front of other people ... Maybe I'm getting a little older, but I'm less crazed about being liked and more willing to open up.

  97. It was hard. I only knew one persone there and I'd never spent one Christmas away from my family. I stayed in my friend's big house in Malibu for a while but at one time I was so scared that I slept in the cupboard.

  98. It was unnerving when I watched it on the playback.

  99. It was three months after I gave birth [when the photo for Vanity Fair cover was taken] and I could be in anything I felt comfortable in. I felt comfortable in my body, I always do.

  100. It was very important for me to look confident in the water [in Blue Juice] so I went to live with two ex-British surfing champions and I got really into it. I could talk about the first wave I stood on for two hours, although I stood on it for about 15 seconds. It was the most intense 15 seconds of my life.

  101. It would be one thing if I never did any publicity. Then fine. Everyone wants to see a person who's locked away. But I don't lock myself away. I have given a fair share of my life to publicity.

  102. I want Dylen to have a brother. I have two brothers, whom I adore.

  103. I wanted to be on the stage. I never thought for one minute that I would be in films. I wanted to be on the stage. In the beginning of my career was the singing, dancing, musical comedy and the English National Opera. Then, when I finished 42nd Street, I didn't quite know what to do next. Whether I wanted to just go from musical to musical, re-create somebody else's role or just do straight acting. So I kind of hung up my tap shoes for a while. I'll just do the straight acting.

  104. I want my boys [Dylan and Michael] to remember me as a fairy princess on my wedding day not a chunky bride. My diet started the second Dylan was born. I want to look my absolute best when I get married."

  105. I want to be in love all the time. But I've let myself down so many times by just thinking that I'm falling in love. Then I see reason. Invariably, the guys I get off on, or the guys that are into me, have lives just as busy as mine. I'm ready to wait for someone who cares for me as much as I care for him, and who's my best friend.

  106. I want to have my Oscar up there too [referring to her husband's two Academy Awards].

  107. I was 15 when I got my (professional actor's) card, ...

  108. I was just a working actress, and I couldn't afford the protection I needed.

  109. I was born and raised in the small Welsh town of Swansea. It's such a small town that the school is really an old house, but it has the distinction of being the birthplace of (poet) Dylan Thomas.

  110. I was happy with the way things were going back home, both professionally and personally, and I just decided that I was going to come to America to meet the people. I've had an agent over here for years, and he said, "You've got to be here to meet the people. You just can't fly in for one meeting."

  111. It was like growing up in Willy Wonka and the Chocolate Factory country.

  112. I was like, 'I can't believe I'm sitting here with this dinosaur head and Steven Spielberg.'

  113. I was living my life under the most intense pressure. I become a national obsession and I felt like my privacy was being invaded. Cameras followed me everywhere and I became self-conscious.

  114. I wasn't really posh, no. I went to a little private school, but that's only because I was quite ill as a kid. I'd missed a lot of school because I had a tracheotomy, where they have to stab your throat to make you breathe - I've still got the scar. But I didn't lead a charmed middle class life. My dad had a confectionery business, so we were sort of working class made good, really. My family were great so I didn't really need to rebel. I was allowed to go clubbing when I was 12 because I looked about 22. They were really cool about a lot of things.

  115. I wasn't rude to them, and they weren't rude to me. But I said, 'Please don't follow me. Can't you see I'm a single woman and this bothers me? Why are you doing this?' They said, 'We're photographers.' And I said, 'So what? Weren't you there two weeks ago when I did a premiere and posed for 10 minutes for you?

  116. I was so sore until I finally learned to fall into the rhythm of the horse [in The Mask of Zorro].

  117. I was walking along the Kings Road one time wearing this army surplus jacket, which is my favourite, and I knew there was this photographer following me and so I said, OK, do your picture and piss off. Then the next day in the paper it was sort of, "Oh what's happened to Catherine Zeta Jones, she's looking so gaunt and sad, like a bag woman." It's like, at least I had some lip gloss on, love... you should have seen me ten minutes before.

  118. I won't be doing any table decorations this year [2000, Christmas], though, I did enough of those at the wedding.

  119. I would have actually asked him [Hugh Grant] what was going on in his little mind. I would have asked him, was he on drugs, or does he need some, because I can get him some! I don't know whether I would have forgiven him so quickly because I'm a bit of a one for letting people sweat. I've got a talent for that. But it was business, you know, there was a lot at stake. We don't know if they love each other - and who are we, you know? I don't know what happens behind closed doors. I wish I did though.

  120. I would like to have him [Dylen] in a community that wasn't just about the film industry. We haven't decided where to settle more permanently. We flit from Spain to New York. I'm sure I want my little boy having continuity in his life. Otherwise he's born in a trunk and has traveled with his parents and he needs something solid and some routine. If he's anything like his mother - I loved the routine of my childhood.

  121. I've never been cool and I probably never will. But Darling Buds of May Was watched by 23 million people and you're not telling me that it was all old grannies in Hull.

  122. I've never done that before, but what's really interesting [about] the script is [that] it's discussed; that's part of the story. I keep telling him [Sean Connery] he's old enough to be my grandfather. You know, and we're business partners and our personalities are the same, we're on the same line. And it's much more of that kind of relationship as opposed to, you know, doe-eyed coquettish love affair. They're business partners, and all of a sudden, it gets a bit... "Whoa... this is getting out of hand... we shouldn't be doing this. This is not the way we should be working together."

  123. I've never done the sword play before. I'd danced before, I use to be in musical comedies. The horse riding, I had done a really bad job on a few movies. I fell off a few times. What we had was a really great four month intense kind of boot camp and physical rehearsal period. Everyday, every hour was jam packed in there. Two hours with Catherine and the horse. Two hours with Catherine and Antonio. Two hours of Catherine and Antonio dancing. Two hours of Catherine's voice training. It was a great physical routine to get into. So, by the time we got into shooting we'd really, one, got to know each other pretty well, and secondly had learned all these skills.

  124. Jan De Bont couldn't have been more charming. I'd heard all these stories about him being more interested in the effects than the actors, and I came on board prepared. But he was great with all of us, and really went out of his way to cast it with actors who wouldn't be happy just running around a house of horror. And he also was very open to changes, so I was really impressed.

  125. [A], [B], [C], [D], [E], [F], [G], [H], [I,J], [K], [L], [M], [N], [O], [P,Q], [R], [S], [T], [U], [W], [V], [X,Y], [Z]
    [A], [B], [C], [D], [E], [F], [G], [H], [I,J], [K], [L], [M], [N], [O], [P,Q], [R], [S], [T], [U], [W], [V], [X,Y], [Z]
  126. Love scenes with Sean Connery! Itís the classic older man with younger woman thing, but thereís always been great cinematic chemistry between older men and younger women. It is a bit strange having a romance with someone who, as a young child, I saw as, yíknow, James Bond. I think my family get more of a kick out of it than me, but thatís the difference with these big Hollywood films: at first it was like looking up at a huge mountain and thinking: 'Iím never going to get to the top!' Now Iím finally running down the last bit of hill.

  127. [A], [B], [C], [D], [E], [F], [G], [H], [I,J], [K], [L], [M], [N], [O], [P,Q], [R], [S], [T], [U], [W], [V], [X,Y], [Z]
  128. Marriage is important. I certainly didn't want to get married just because I had a child. My commitment to my husband and baby is important to me legally and also emotionally. To stand up and declare that means a lot to me. It makes me feel secure and strong. My parents have been married very happily for 34 years and it's a wonderful example to go by. I don't take it lightly.

  129. Melanie was not really on the set. She had just given birth to Stella, so she wasn't there. And, we got on really well from day one. She said to me once, "Do you mind if I come in and see the rehearsal of the sword fight?" and I went, "No." She was really charming. There was never any sense of two women. She's an actress -- she understands.

  130. Michael and I also have plans to do a film together, but we want to be careful. Couples don't always work on screen together, so it has to be very specific. I'd love to do a remake of War of Roses - that'd be a lot of fun.

  131. Michael would say to me [when he learned Catherines's pregnancy]: "Put your feet up, have a cup of tea, watch daytime TV and eat lots of chocolate." Instead, I was up ladders, making tons of lists and getting clothes in the sales for the baby for when he'd be one year old.

  132. Most modern movies, there's no dialogue. Just grunts and a few swear words.

  133. My character in Zorro is essentially Wonder Woman. She rides, dances and fences. The only thing we don't see her doing in Zorro is cook.

  134. My agent called and said, "A very big director would like to meet you." Of course my mind went blank, I couldn't think of one. When he said it was Steven, it was like yeah, that's pretty big. I went up to meet him and he was charming and completely not intimidating. We went and had a meeting and he told me about the project, and that Martin Campbell was to direct it. He did and Martin did the screen test of me done in Mexico. Then I got the role. It was one of those great little stories.

  135. My favorite films of that [horror] genre are 'The Shining' and 'Rosemary's Baby,' and those are the only ones that ever really stuck with me. This film [The Hounting] has the same kind of element to it.

  136. My life changed the night the first episode went out. Every day there was something new about me in the newspaper and magazines. I was 20, going out and having fun for the first time, and it was all documented in the press. Suddenly, someone I so much as shared a cup of coffee with became, in the papers, the 'new love of my life'.

  137. My looks may be the first thing you see of me -- and I can use that -- but I can use what's inside of me now.

  138. My mother's Irish and my father's Welsh. But, we've tried to track our family back, and we're blocked. We're at a crossroads down there after my great-great-grandfather, and no one seems to know anything. So, I don't know.

  139. My parents had big discussions with my teachers and everything, but my parents were really cool. They didn't want me to turn around in 20 years and say, 'My life would've been different if you'd only let me go.'

  140. [A], [B], [C], [D], [E], [F], [G], [H], [I,J], [K], [L], [M], [N], [O], [P,Q], [R], [S], [T], [U], [W], [V], [X,Y], [Z]
  141. Nature prepares you [for giving a birth] not to be afraid.

  142. Ninety-nine per cent of that is me. I don't want to put any stunt people out of a job, but it's nice to be able to do as much as I can myself. Although there was one point where my life was in the hands of a stunt guy with a wire and I was thinking, "Am I getting paid enough for this?"

  143. No, because I'm the only one crazy enough to do it! I just got back from America where I had gone to the 'Zorro' premiere in Los Angeles, and so I came straight back and the next morning, turned up at work and they said, "Okay girl, up you go!"

  144. No, that was one of the attributes of it that I loved you know. To be able to get to do all that. I also liked that there was some substance to her as well. She wasn't just running around in pretty frocks. I love the emotional side of the story that goes with Anthony Hopkins [Don Diego de la Vega] and then the romance with Antonio Banderas [Zorro]. All that as well as the physicality was like, "Oh, this is going to be real fun."

  145. Now what they are doing is showing photographs of my parents' house, and they always say: 'humble beginnings.' My parents worked really hard to have that house. It's a really nice house in a great neighborhood.

  146. [A], [B], [C], [D], [E], [F], [G], [H], [I,J], [K], [L], [M], [N], [O], [P,Q], [R], [S], [T], [U], [W], [V], [X,Y], [Z]
  147. Oh God. One time I came back about two o'clock in the morning and walked past me own house - I thought it was somebody else's house because there was this man leaning in my doorway and it was just like, "Shit." Luckily, he just left. Then there was this police surveillance van outside of my house for three weeks, and I called the police and they got in there and it was full of cameras set up. Right outside my front door! It's scary when your on your own. If I've got a man with me, I don't give a shit because they usually... (laughs) do the job.

  148. Oh yes, it was like Tai Chi. It was very Zen-like in a way, you know? I really did go through the wool without touching it.

  149. Oh, yes. The majority of the swordplay. All those little things were improvised, and the end of the swordplay where my father comes in... yeah, very much so. And Martin Campbell is really good at directing action, he's really good with actors, he was particularly good with me. So he was very easy with us. He wasn't like, "No, you stand here." No, he wasn't a dictator in any way.

  150. Older men come on to me all the time, and I'm really happy about that. I really like them. Older men know more about life and what's going on. I'm probably the only person on the beach who sees a hard-bodied guy and goes, 'Oh, put it away, will you?' Beautiful boys are far too interested in making themselves look beautiful. They don't want any competition. At the beach, I'm more likely to be attracted to a guy no one else notices, sitting far off, under an umbrella reading a book.

  151. On the flight over I was starting to get kind of nervous as time went on. I didn't really know what I was going to be coming up against. I really wanted to do this project. Not only the idea of working with Sean, but the material. It's very rare that you get a woman's character that's on the page that's compatible to a character played by Sean. And really I think a female version of Mac. It was very clear when we first met that we got on and there was chemistry. We just had a very similar sense of humor. I never felt intimidated from that moment on.

  152. Our local Catholic church had a very active amateur drama group. We all learned singing, dancing and performing.

  153. [A], [B], [C], [D], [E], [F], [G], [H], [I,J], [K], [L], [M], [N], [O], [P,Q], [R], [S], [T], [U], [W], [V], [X,Y], [Z]
  154. People just don't get things, sometimes, you know? In Australia, The Phantom is the biggest hero. What Martin Campbell's done in Zorro is [create] characters that are very solid. And you care about the characters. So all the mystique of Zorro, all the action, all the dancing, all the swordplay, it's always a bonus. And I think it was very difficult in The Phantom to make that jump from real man to man in purple suit. I think the idea of a black mask, a black hat... black is much more feasible then a purple suit. It's much more realistic.

  155. [A], [B], [C], [D], [E], [F], [G], [H], [I,J], [K], [L], [M], [N], [O], [P,Q], [R], [S], [T], [U], [W], [V], [X,Y], [Z]
  156. Really good. He's a very unassuming man. Antonio [Banderas] has this huge energy, very professional and very giving. I never felt intimidated or unknown, going down and working with these two guys. It was really, really cool.

  157. Really really great. He's a great actor [Antonio Banderas] and a very nice person. I never felt intimidated by him. A great working experience.

  158. Right now, I'm always going to be cast as the romantic interest. But what you try to do with that -- what I tried to do with 'Zorro' -- is make the best you can of it. I tried to take her as far away from the one-dimensional-girl position as possible.

  159. [A], [B], [C], [D], [E], [F], [G], [H], [I,J], [K], [L], [M], [N], [O], [P,Q], [R], [S], [T], [U], [W], [V], [X,Y], [Z]
  160. Sean is the sexiest man I've ever met. His body is so great, it's unbelievable. He's intensely charismatic. I find all that sexy. And he has the best forearms. They are the sexiest part of a man. I always love to see a man driving with his forearm out of the window.

  161. Sex scenes aren't erotic until you see them on screen. It's very technical. Like, 'Well my nose goes this way, which way are you going to kiss?'

  162. ShoWest was like in April or something. We finished [at the] end of June, but it's a strange thing. In a way, I don't want to let go of it. I want to be in this six month period because it's familiar and intimate. Now, I get calls: "Oh, there was a screening yesterday... There's going to be a screening Saturday. Do you want to bring anybody?" And in a way, I don't want to let that go. Especially now that it's a completely different thing. I have a strange thing about wanting to keep it with us.

  163. Steven flew me down to screen-test with Anthony Hopkins in Mexico. Tony didn't remember right away but he had directed me in a Welsh production of Dylan Thomas's Under Milkwood. That other dark-skinned Welsh performer, Tom Jones, was also in the production.

  164. Sure. Oh, yeah. When I first worked with Tony on the play, he had just won the Oscar for Silence of the Lambs. He'd just been made a knight, and we're very proud of him.

  165. [A], [B], [C], [D], [E], [F], [G], [H], [I,J], [K], [L], [M], [N], [O], [P,Q], [R], [S], [T], [U], [W], [V], [X,Y], [Z]
  166. That was the first thing they scored, so we got it all together pretty early on. But, the funny thing was that we did all this training before and we'd say, "So when are we shooting the dance scene?" "Oh, that's not until, like, four months away." Really? So, every now and again, Antonio and I would go off into a corner and just go through the dance before we forgot it.

  167. The bisexual aspect is interesting, although they don't go into it that deep. A lot of it's her bravado. She's quite tough, quite upfront and very open about her sexuality, while Lili's character is much more vulnerable and insular.

  168. The establishment is so closed off in Hollywood, and people just pump out films out of a kind of desperation. In the beginning a lot of really great actresses, me included, fall into that trap.

  169. The house is the real star of the piece. Liam Neeson is doing a study of insomniacs - the three of us are all insomniacs. Basically the house is an affiliation for all of us, and certain things happen and we run out of excuses and explanations of why they're happening. Lili Taylor's character in particular is in affiliation with the house, and it's very interested in her... you just find out what happens to these characters over the course of four days.

  170. The idea that I've been 'discovered', like I've just come off the street... [she shakes her head] It's taken me a lot of time to get here. All my work in Britain will stand me in good stead for what could happen if Zorro is a success.

  171. The intrusion into my life got so bad I actually drove my car into a lamppost trying to get away from paparazzi one day. It was at that moment that I decided to flee Britain and live in America.

  172. The only thing that really freaks me out is when I see a real-life couple making love onscreen. Like seeing Nicole Kidman and Tom Cruise making love. I feel like I'm being voyeuristic into their bedroom.

  173. The relationship between me and Sean really works, because his character is a complete bastard and my character is really perfectly matched with his. I'm an international art thief who knows everything. When I first meet him, I use my bodily charms to woo him and he knocks me down with 'What a complete and utter waste of time.' Against great action stuff, there's this wonderful romance that they keep denying. And you see them, slowly, softening.

  174. The relationship reminds me of Katherine Hepburn and Spencer Tracy, or Bogart and Bacall in some of their films. Entrapment can be watched as an old-fashioned romance, even though it's all below the surface.

  175. There is this profound instinct that kicks in when you're carrying a child and it consequently has resurfaced even stronger since I had my baby. You have this instinct to protect and preserve and nurture this little human being who's part of you. I couldn't believe this instinct that kicks in from wherever, that just sideswipes you. I used that. She will not let anyone hurt her, her family, or her children.

  176. There's a lot of talk of Zorro being my 'breakout' movie, which it really is because this is the first time I've had more than four scenes in a movie!

  177. There was an important dance sequence with Antonio and they wanted to make certain I could carry it off. They didn't know I was a musical theatre actress.

  178. The thing that success in Hollywood gives you is the power to go off and do smaller, more passionate things like minor movies, theatre... At the moment, the plan is to get to the end of the Connery movie in one piece - my knees, hands... Iím completely falling apart. And I just want to keep working, playing different types of characters. I donít mind if theyíre not lead roles, so long as itís something interesting. And now Iíve worked with Sean Connery, Antonio Banderas, Anthony Hopkins... I feel a little spoiled. I hope I havenít peaked too early...

  179. The wedding was like a fairytale come true and I'm still coming down from it even though it was three weeks ago. It was just the most beautiful evening ever and I didn't want it to end.

  180. The world is full of beautiful women. But I know what I do have is talent, and I want to be here for the long run. I'm not obsessed with myself, and I try not to rely on any kind of beauty. That's why I try to put a certain oomph into my performances, some fun and physicality. And right now, I'm not going to be cast as a wallflower anytime soon, but I can do it and someday I'd like to try.

  181. They [Catherine's parents] had a ball, and it was amaizing for them, as they met all these big stars, such as Jack Nicholson and Goldie Hawn. You had everyone from Hollywood royalty to my aunts and uncles from Wales, and it was a fantastic mix.

  182. Tony once directed me in a theatre play, so we already knew each other. He was very protective. When we did the play together, it was the week after he won the Oscar for The Silence Of The Lambs, and in the same week he was made a Ďsirí. But heís very much in the same calibre as Sean Connery, in that the work is the most important thing. Itís not about the Ďstarí process, theyíre much more concerned with acting and all that business of Ďthe craftí.

  183. [A], [B], [C], [D], [E], [F], [G], [H], [I,J], [K], [L], [M], [N], [O], [P,Q], [R], [S], [T], [U], [W], [V], [X,Y], [Z]
    [A], [B], [C], [D], [E], [F], [G], [H], [I,J], [K], [L], [M], [N], [O], [P,Q], [R], [S], [T], [U], [W], [V], [X,Y], [Z]
  184. We all get into a routine and you can lose the spark; I am very aware of that. When you have a baby, I think a lot of men say, "I don't get enough attention any more." It's nice to keep the mistique, keep it alive. Surprise is nice."

  185. We all hope as actors to surprise or to go places where you've never been before. When you're known for a certain kind of movie ... the studios want to re-create that and keep that appetite out there for you as this kind of movie star. I was really thrilled that Steven Soderbergh wanted to strip away the preconceptions of me as an actor and just go into another direction.

  186. We're not looking forward to it [parting company for two months because of shooting America's Sweethearts (2001)]. We've been together all the time and we have such a great time that maybe it's better that we go and work. It's very hard to be on a film set when you have nothing to do there. This is the way we're going to it. I've got to get Michael on the computer, so I can email photographs and things. We've talked about this a lot.

  187. We designed this [the engagement ring] together, but this is a 1920s diamond.

  188. We had an hour-and-a-half to get to the location [of The Mask Of Zorro] every day and I'm a terrible backseat driver - I just can't relax. Every trip I sat bolt upright going, 'Watch that truck!'. I felt I'd done a whole day's work by the time we got to the set!

  189. We learned it in sections, so that [director] Martin [Campbell] could kind of get how he was going to shoot it, because it's really quite hard to choreograph dancing or anything like that in movies. You do your whole thing, and then you get to the set and the camera. There's no way the camera can see you, because they're shooting you from behind. So, we pretty much [guessed] how the camera shot, the layouts, which way we were going to shoot it, and we learned it in sections, and then we built up speed. It was really, oneeee... twoooo... threeee... and it got faster and faster and faster.

  190. Well, after organising what everyone was going to eat, I was yelling: "Don't let the lamb get could! For God'd sake, don't let it get cold!". But after everyone was having a great time, so it did'n really matter.

  191. Well before, Anthony was directing me in a Welsh play and to work with an actor who is so fantastic was a dream of mine as a little girl. He is from the same place that I grew up. It was special. He is an amazing man. I became entranced by him. Discipline can make a difference, he is terrific.

  192. Well for me I've always been athletic, doing sword-fighting is much different than what I do in regular life. I used to be a dancer. I had to use my athletic ability to do the scenes and I'm really glad I did.

  193. Well, it certainly wouldn't be a car or anything materialistic. That just pisses me off when I see blokes with the size of their dick being paraded with the size of their car. Words impress me. If a man can speak eloquently and beautifully to me, I just melt on the floor.

  194. Well, it was one of those things. Do we do that lisp thing? I tried it for a while and then it seemed to me that all my lines had this lisp in it, you know. No, we can't do this. My head had decided on Basque and we couldn't do that. So we kind of smoothed out the edges a bit.

  195. Well, of course I think the general thing [The Mask of Zorro] is for fifteen-year-old boys, is what I hear. I go, "No, when you see the movie it's universal." My niece, who is nine-years-old, will love it. She can't wait. My nanna, my grandma will love it. It really has that universal appeal like Raiders did, you know like the Indiana Jones feel. It's a universal audience which is great, especially for the summer I think.

  196. Well, we learned as if we were learning from scratch. We trained with an Olympian, Bob Anderson and he is an amazing man, who became my surrogate dad. His wife made me tea when I was working.

  197. Well, prior to shooting, Martin Campbell had us down in Mexico, training for a month. Antonio and I would be dancing, practicing sword-fighting, horse-riding... I was perfecting the Spanish accent. Normally, you just turn up, shake hands and youíre into a love scene or something. But that month was good, because it was a rare chance to really get to know each otherís sense of humour and just... play around. Once weíd got the swordplay right, we tried to see what nuances we could put in to make the fight between me and Banderas something special, not just a fight between a man and a woman. There were so many takes from so many different angles and Martin went through it all obsessively, finding little subtleties that we hadnít noticed during the shooting.

  198. Well, they did get a few things on me. They got a picture of me in the South of France standing on this balcony smoking a cigarette and that was like, woo. Then I was on this yacht where we were shooting this film and everyone had got their kit off to go swimming and some photographer was like, "Ooo close-up on that nipple." Some dickhead had been following me around for three weeks or whatever. When I found out, I sat down and tried to work out, you know, was he following me there, and was he following me there? That's really creepy, really voyeuristic.

  199. We never planned it [to play together in Traffic]. I came on board first and originally Harrison Ford was going to do it. When he dropped out they got Michael instead, which was great for us.

  200. We play international art thieves [in Entrapment], and it's a wonderful, romantic movie. It's similar to The Thomas Crown Affair. It's a really great character.

  201. We think we've got about five years during which we can take Dylan to work with us. Things will change when we have to put him in school. And it's important for him to know his family in the UK as well as in the US. It's also important for him to have some continuity in his life. I don't want him to be the sort of kid who's born in a trunk and constantly sitting in dressing rooms. I want him to have what I had and that's a routine. I feel these formative years are very important and that he understands that we're this family unit.

  202. We trained with this wonderful 70-year-old ex-Olympian called Bob Anderson. He trained Errol Flynn at one point so we learnt everything properly - it wasn't a case of looking like we could do it from the waist up! With time, Antonio and I got faster and faster once we got the routine down, we moved on to the nuances and seduction of our fight - how he teases me and tests me, the stealing of kisses...

  203. What makes me melt is someone who radiates charisma -- the single sexiest thing in the world. Sean definitely has that, so does Antonio Banderas and Anthony Hopkins. Liam Neeson has it as well. They have this wonderful sense of irony, a twinkle in the eye that makes them all the more attractive.

  204. When Dylan was two weeks old, I had him in the back of my car and I was deliberately bumped so I would get out and they could see if I had lost weight. Publishing these pictures just takes the edge off the harrasment.

  205. When I first came to London I used to speak like a cockney because I was so embarrassed about my Welsh accent and I thought everyone would think I was really thick. I suppose I've had to lose my accent for some things, or at least disguise it, though I don't want to lose it. But there's not many Welsh parts, unfortunately.

  206. When I first read the script [of The Mask of Zorro], it was great! I get to dance, I get to sword fight, I get to horse ride and now I get into a solid, emotional side with Anthony Hopkins. So it wasn't just the damsel in distress. She's the blood of Zorro, so I kept playing with that. You know, that kind of fiery thing. She didn't know where it comes from. But [the character] was a great one to play. I liked the combination of the humor and the emotion and all those things.

  207. Where I come from, too. I'm from Wales, and on Saturday morning they used to re-run the TV series, and I knew who Zorro was, yeah. It's an international thing.

  208. Why do you want the exact date [of birth]? Are you going to send me a present?

  209. With a lot of enthusiasm. Thereís no other way. We were taught our sword skills by Bob Anderson, whoís an amazing man, 75 years-old, fit, strong, charming... But, right from the very beginning, I was just ready to really go for it. I was like: ĎOKAY! Swordfighting for two hours! Dancing for an hour! Horseriding...í I couldnít move the next day. I got out of bed thinking maybe I was a little too keen. But, generally, it wasnít too tough, because Iím a trained dancer. I was always sporty as a kid and I think it stays with you. I train up when I can, although the idea of going to a gym really doesnít appeal to me. But Bob, he didnít care about the girl-boy thing. He was hitting as hard with me as he was with Banderas. My right arm was so over-pumped and my left was like a puny little stick. I was doing a Spanish dance, all these complicated back-bends in an incredibly restrictive corset. And being in Mexico for six months, weíd been given lots of spicy food for lunch. In the corset, it all just sort of sticks and swells up right in the middle of your gut.

  210. With Jodie Foster complaining about the need for better women's roles, what hope in hell do I have of stating my case?

  211. [A], [B], [C], [D], [E], [F], [G], [H], [I,J], [K], [L], [M], [N], [O], [P,Q], [R], [S], [T], [U], [W], [V], [X,Y], [Z]
  212. Very emotional. I kiss everybody and tell them I love them. If somebody says something nice to me, they instantly become my friend, and then I can't even remember them in the morning. Or I get really bloody angry and everyone pisses me off. Usually with red wine. I love red wine but it doesn't get me in the best sort of mood. One time there was this assistant director who was a real bastard and I just couldn't leave the bar without telling him what a shit he was. But I can drink huge, huge amounts before I get drunk. It's in my blood.

  213. [A], [B], [C], [D], [E], [F], [G], [H], [I,J], [K], [L], [M], [N], [O], [P,Q], [R], [S], [T], [U], [W], [V], [X,Y], [Z]
  214. Yeah, he's [Antonio Banderas] one of those people that you can just.... You know, he's never had dancing lessons in his life, and just does it.

  215. Yes, but I don't feel that I live in the middle of it. My new house is in Pacific Palisades, near the beach and way up on a hill. I love it there and I like the weather and the immediacy of the business, but I don't know if I'll stay there forever.

  216. Yes absolutely! I was crap on a horse before I did Zorro. There was a great scene where I was cutting melons and the audience never gets to see it.

  217. Yes, I'm a hoofer! I was a British tap champion!

  218. Yes, it's been really good. I just sat tight for a while. I read everything that was coming up and when I read The Entrapment -- I thought the title of it was going to be changed, actually -- but that movie had a good buzz about it. And that seems to take it forever to get into play. But there has been a buzz and it is exciting. I think if factors happen to you, you have to enjoy it, 'cause it may, it does, end.

  219. Yes, I was harnessed. With the magic of movies, they just paint it out, but you go 40 feet up and do a back bend. It's pretty scary.

  220. You can get whipped up. There is huge competition where people are like cat fighting for a role. Even with all the ambition I had as a little girl, I was never ruthless and I don't intend to get that way. I love my work and I'm very professional but it's not the be all and end all. I just hope I maintain that attitude.

  221. You get people writing in the local paper saying, "I invited Catherine to my garden party and she didn't even send anything saying she was sorry she couldn't come." But of course you get about a hundred invitations for things, and so the papers slag you off a bit. For a while I couldn't do anything right.

  222. You say yarn, I say wool! There were bells on it so I had to really do it without moving the bells. You can guarantee on the last take I just lightly touched one. I turned to the camera and swore! But it was good fun and the back flip, I did the back flip.

  223. [A], [B], [C], [D], [E], [F], [G], [H], [I,J], [K], [L], [M], [N], [O], [P,Q], [R], [S], [T], [U], [W], [V], [X,Y], [Z]
  224. Zeta is my grandmother's name. It was something to do with my great-grandfather - either a boat that he sailed on or a stripper that he encountered on his travels. People think I've put it in there to be more exotic, but it's not true. Anyway, there were about six other Catherine Joneses in my class at school.

  225. Zorro has definitely put me on a different level. I even get to read scripts now. Thereís an unbelievable hierarchy out there. If youíre not on a certain rung of the ladder then you donít even get to read the material. Sometimes, it just filters down. With Zorro, Spielberg saw me in the Titanic mini-series, called Martin Campbell, and within a week I was down in Mexico. It kind of restores my faith a little. My philsophy is, if you keep turning up often enough, somethingís bound to happen eventually. Iíve been turning up since I was 13 years old. But Spielberg is renowned for spotting people on TV. He doesnít miss a trick.

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