1 marzo : E' prevista per il 29 APRILE l'uscita italiana di CELLULAR (Eagle Pictures). La rivista mensile BEST MOVIE dedicherà nel numero di aprile (in uscita il 26 marzo) un articolo al film e alla protagonista Kim Basinger.

13 marzo: News!

	BALDWIN AND BASINGER MESSED UP BANDERAS PROPOSAL - Former couple ALEC BALDWIN and KIM BASINGER messed up ANTONIO BANDERAS' romantic proposal to MELANIE GRIFFITH by interrupting their moonlit beach stroll.The Spanish star had planned the proposal perfectly, but hadn't counted on being recognised by his friends. He recalls, "We were in North Carolina walking down the beach. It was at night after dinner. "I was about to get down to my knees to pop the question, and suddenly we hear a voice calling us and it was Alec Baldwin and Kim Basinger. So that was the end of it." Banderas scrapped his beach proposal plans and ended up asking the WORKING GIRL star to marry him when they returned to their hotel. The couple have been married for nine years.
	Top 50 United States Video Rentals: Feb. 20th - 12. 8 Cellular (2004) 33 $3.26M $31.3M. Feb. 27th - 10. 12 Cellular (2004) 40 $2.84M $34.1M. Mar. 6th - 12. 10 Cellular (2004) 47 $2.15M $36.3M.
	AUSTRALIA BOX OFFICE: March 3 - 6: 14 - The Door in the Floor Dendy $87,000 - 24 $3,625 $87,000 1.
	The Real McCoy is an early, predictable ‘bank robber turned straight but forced to do one more job by the menacing ex-boss’ Hollywood yarn. Its release on DVD transports us back over a decade to reminisce the stunning Kim Basinger and almost juvenile Val Kilmer.  Karen McCoy (Basinger) plays a former top bank robber who has just been released on parole from a six year stretch in prison, with nothing but the clothes on her back (and a condom that turns out to be completely irrelevant). She hasn’t seen her son for the six years she spent inside and learns from her feeble ex-husband that he has told him that she is dead and will not allow her to see him.  When her ex-boss (a fairly wooden, Terence Stamp complete with an embarrassingly awful attempt at southern drawl) and her grotesque parole officer team up and kidnap her young son to bribe her into one final raid as payback for her failed last job, she oddly chooses to team up with the clumsy, wannabe, corner-shop thief TJ (Kilmer) to act as her accomplish, despite the fact that she previously witnessed the botching of one of his petty raids.  The film is an early Hollywood heist tale and does work well in its simplicity but the twelve years since its release has spoiled the film goer into expecting extravagant settings, state of the art special effects and highly toned scriptwriting that the travel back through time to Atlanta, Georgia where a Triple A rated bank, consisting of a big steel door that leads into a vault where wads of cash are neatly arranged in small piles, does not stand-up against the storming of three major Las Vegas casinos by Clooney’s elite eleven international thieves.  Directed by Russell Mulcahy, the man responsible for Highlander, the film is pretty impressive considering its archaic status by Hollywood standards and Kim Basinger plays a convincing suffering mother torn between the welfare of her son and taking revenge on the unpleasant powers of Jack Schmidt (Stamp). Surprisingly for a Hollywood production there is no hint of relationship or romantic spark throughout the film. Besides the leering random suit on a train, the flushed bank clerk, the lecherous parole officer and pathetic ex-husband, Basinger apparently has no use but to rob $18 million; even the relationship with Kilmer is no more than platonic and at one point he disturbingly declares his wish that she was his mother.  The lack of suspense and its predictability could be a result of the ‘90s undeveloped recipe that combines all the essentials to make a spectacular film. As you watch it you slowly feel that you have more than likely seen it before and if not, definitely something similar; the painfully dated code cracking ‘box-with-a-screen’ that breaks them into the highly secure bank and their outfits of black bomber jackets and ‘pumps’ make it hard to take the film seriously. However, for a step back in time to reminisce the days when a simple story of revenge made for an enjoyable two hours along with a pinch of early ‘girl-power’, then this is by far an easy, satisfying return to your impressionable youth. The Real McCoy is released by Optimum on 14th March.
	Kim Basinger - Cellular BASINGER'S NO MERE DAMSEL IN DISTRESS. Kim Basinger is quite the radiant vision. At 51, the Oscar winner has aged beautifully, her tanned skin having shown no sign of aging. All smiles, with her Georgian accent in toe, the stunning Ms Basinger is happy to dish out exercise and dietary advice prior to talking about her intense role in the thriller, Cellular. "Well, if you want to lose a few pounds but you want muscle, you have to fight it with weight, you really do, and you have to do cardio or whatever your favourite is. Mine's running with the elliptical. Everybody loves the elliptical, because they think they can get on it for an hour and watch TV and read, but that's not the key to the elliptical: It's how fast you go because, you're not really running." Basinger, who is obsessed with exercise, says that she goes "really, really fast and I sweat. Usually an hour on, an hour or a little longer on the elliptical. I also lift weights as well as the stability ball." Looking fit, the actress says that no matter how much exercise and fitness regime she undertakes, when working n a film such as Cellular, nothing can prepare her for the eventualities of injury. "Knowing you're going to do this type of film, there is no way in the world that you're not going to get injured if you're not in shape. I had cuts, I had bruises, and I had everything all over me. You can't be slammed against a mirror, slammed down on a table, or thrown in a room, unless you're somewhat capable of handling that entire balancing act." In the fast-paced thriller Cellular, Basinger plays Jessica Martin, mysteriously and viciously kidnapped. A random call to a stranger's cell phone results in a furious race against time to save her and her family from imminent execution. While Basinger spends much of the movie alone, she does eventually get physical with her kidnappers, and Basinger certainly wanted those scenes to be as realistic as possible. "Blake Edwards, who loves slapstick, taught me something. I got to be crazy in his films, as I got to fall down, get up, and I knew that I could do that by early on. He was sort of my teacher and you use the same kind of thing in this kind of film. So, in the fight scenes, I told our director, to tell Jason [Statham] I did not want to know what he had planned. Jason and I would come in, kind of look at each other and say hmm, because we didn't know what was about to happen. And I told him to please tell Jason I want to be surprised, because it would make it more real." For Basinger, the key element in this film, she says, is to make her character and situation identifiable to an audience. "God forbid I've never been in one of these situations before and I think that you know we're at a time in our existence on this planet where we have heard the word, especially as a Mom, kidnapping and that has become such a big word. 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. I was thrown in the attic, and I wanted you to be thrown in there as an audience." Basinger, who can still afford to be selective, says that she was drawn to Cellular because she "loved the isolation that character had. 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." While Basinger gets down and dirty here, there is no sign of the sexy, glamorous film star on screen that we are used to. Basinger says that she has her own philosophy on being a sex symbol and sexiness in general. "I don't have a thing about sexiness at any age. I think the Europeans taught me more about that than anything in the world. They have a great appreciation of sex, and sex symbols, and they taught me not to be ashamed of it. When I first came to this town, and they threw me in that kind of image, it's a very difficult place to be put and 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 and 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, it becomes a hurdle for you." Basinger has learned to overcome such hurdles, now that she is a member of that elite Oscar club, but says that as she becomes older, how she chooses a role clearly changes. "I think you get more opportunities in different ways. I think as I've got older, I've got more interesting opportunities. I wish so much that America would have more of a European take to aging." The actress even admits that there are times when she is ready to put acting and Hollywood behind her. "I think I've gone through that every month, since I started, and every month that's gone by." Basinger is more content being a single mother, doting as she does on her nine-year old, a brown belt at karate. "You know, the funny thing about my daughter, is she's such a sweet girl that she has to go through this thing where she's sparring and 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, which is a tough part of karate to get through." But Basinger's daughter has more on her mind than getting physical or following her mother's footsteps on the screen. "My daughter has wanted to be one thing only since she was probably two years old, and that's a veterinarian." Given her mother's passion for animal rights, the actress is delighted. "I am thrilled to death and 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 Chad Michael Murray or Hillary Duff, you're left in the dark." Basinger is still very much into her animal activism. "It's consuming and is never over unfortunately, with the pain and the things that happen." While Basinger appears confident as we speak, she finally reveals that is in fact relatively shy and insecure. While she may have gracefully accepted her Best Supporting Actress Oscar for LA Confidential, when it comes to speaking at her daughter's school, fear sets in, but at least she has her child to help her face those fears. "She really pushes me out of that shyness, and once when I had to speak at her school, I wore the jeans, got up there and made the speech. I was quite proud of myself when I walked out."
	Kim Basinger is ridding herself of Alec Baldwin's last tokens of affection. The Oscar-winning actress wants to sell some of the dazzling jewelry pieces her ex-husband gave her during their nine-year marriage.  Among them: the Tiffany engagement ring he gave her in 1993 after he became besotted while making "The Marrying Man." (The auction house estimates the value of the 3.7-carat diamond mounted on 18-karat gold band at between $30,000 to $40,000.)  Then there's the necklace that Baldwin gave her - a chain of diamond butterflies accented with citrine, aquamarine and other gems. (Estimate: $8,000 - $10,000.)  A diamond-and-platinum "eternity band" (estimate: $2,000-3,000) is also on the block, but Basinger's spokeswoman, Annet Wolf, wasn't sure whether Baldwin gave her that.  Wolf said Basinger's wedding ring is not for sale.
	CELLULAR - Overseas Total as of Mar. 06, 2005: $23,064,932  Argentina 11/18/04 $524,972 2/13/05  Australia 2/10/05 $792,334 2/27/05  Austria 2/4/05 $696,182 2/27/05  Baltic States 11/19/04 $89,015 Final  Belgium 11/24/04 $693,947 2/27/05  Bolivia 12/30/04 $20,691 Final  Brazil 11/12/04 $1,405,421 1/16/05  Bulgaria 11/26/04 $84,329 1/9/05  Central America 11/3/04 $227,122 2/20/05  Chile 1/6/05 $105,749 2/9/05  Colombia 11/12/04 $242,291 Final  Croatia 12/9/04 $9,241 Final  Czech Republic 11/11/04 $42,064 Final  Denmark 11/5/04 $115,666 Final  Finland 12/3/04 $65,721 1/30/05  France 11/17/04 $2,468,831 Final  Germany 2/3/05 $1,736,001 2/27/05  Greece 10/15/04 $695,331 Final  Holland 11/11/04 $204,088 Final  Hong Kong 11/11/04 $139,404 Final  Hungary 11/11/04 $105,474 Final  Iceland 10/8/04 $31,225 Final  Indonesia 1/5/05 $103,073 2/2/05  Israel 9/16/04 $527,795 1/5/05  Japan 2/26/05 $308,461 2/27/05  Lebanon 11/24/04 $358,751 Final  Mexico 11/19/04 $2,189,353 1/2/05  Norway 11/19/04 $113,280 12/16/04  Peru 12/2/04 $95,127 12/12/04  Philippines 10/20/04 $263,438 Final  Poland 12/10/04 $364,870 1/9/05  Portugal 12/2/04 $276,827 1/23/05  Puerto Rico 9/17/04 $442,241 11/24/04  Romania 11/26/04 $74,026 1/9/05  Russia 11/11/04 $894,266 Final  Serbia 11/18/04 $28,660 Final  Singapore 10/28/04 $230,932 Final  Slovenia 12/2/04 $67,012 1/9/05  South Africa 2/25/05 $85,780 2/27/05  Spain 11/12/04 $1,797,048 Final  Switzerland 1/19/05 $30,146 1/23/05  Taiwan 11/19/04 $585,113 Final  Thailand 9/23/04 $248,126 Final  Ukraine 11/11/04 $99,222 Final  United Kingdom 9/24/04 $1,914,470 Final  Venezuela 12/17/04 $553,982 2/13/05