1 ottobre: News!

	USA BOX OFFICE: Venerdì 24 settembre - $1,119,000 174.9% / $405 $22,530,000 / 15 Sabato 25 settembre - $1,642,000 46.7% / $594 $24,172,000 / 16. Domenica 26 settembre - $900,000 -45.2% / $326 $25,071,475 / 17. Lunedì 27 settembre - # 6 2763 th $265,000 -70.6% / $96 $25,336,000 / 18. Martedì 28 settembre - # 6 2763 th $300,000 13.2% / $109 $25,636,000 / 19. Mercoledì 29 settembre - # 6 2763 th $255,000 -15% / $92 $25,891,000 / 20. Giovedì 30 settembre - # 6 2763 $243,000 -5.8% / $88 $26,143,434 / 21.
	THEATER COUNTS > 2004 > Week #40 October 1: CELLULAR: 7 4 Cellular New Line 2,020 -743 4. THE DOOR IN THE FLOOR: 46 54 The Door in the Floor Focus 29 -17 12.
	BOX OFFICE FORECAST: 7 Cellular $ 2.000.000.
	Uk Box office: I was all set to write a column about how boring box office results become once you move out of the summer season and enter the doldrums of September. However, the last few weeks have thrown out some interesting results at the UK Box Office - so much so that it’s time to dust off the calculator again. The big loser of last weekend was The Punisher. Despite being reasonably well-received in the US, the film received little advertising here and was unceremoniously dumped in September for its sins. As a result, no one went to see it. Well, a few people did, I guess - it still made just shy of £200,000 coming in at number eight. To return to an old comparison, in the UK the average person paid the equivalent of .4c (yes, point four cents) towards The Punisher’s opening weekend. In the US the figure was 4.72c, almost a nickel. That’s over ten times as much, which is a massive difference in relative opening weekend ticket sales.  Before we start working our way up the chart, it’s worth noting that at number nine, Garfield has been in the top ten for a massive nine weeks. With a total of just over £9 million, it's currently the highest grossing film in the top ten and the 16th highest grossing film of the year.  Despite the fact that cell phones are known as mobile phones over here, Cellular survived with its original title to debut at number seven with a reasonable £400,000 or so. A solid advertising campaign and the striking visuals contained therein helped Hero to a respectable £9 million weekend. The Kim Basinger starrer came in at number three, behind Collateral in its second week. The well-received Tom Cruise thriller, last week’s number one, continued to perform well with a first weekend drop of only 36% in the number two spot. As expected, this week’s number one film was the romantic sports comedy (or RomComSpor I guess) Wimbledon. £1.7 million is a little disappointing, but in September it’s enough for number one and the good news is that the film should have legs. However, a 50% first weekend drop in the US isn’t a good sign. The film opened considerably better in the UK, pulling in around four cents a person as opposed to two and a half in the US. All in all, it’s a mixed result for Paul Bettany’s first lead role in a major film.  In general, September has been an odd month at the UK box office. There were a number of relatively strong performances from independent and low-key films and fairly lackluster numbers from a lot of bigger releases that performed well in the US. Rather than a week-by-week, how about some awards?

5 ottobre: News!

	WEEKEND BOX OFFICE October 1-3, 2004 ACTUALS 1 N Shark Tale DW $47,604,606 - 4,016 - $11,853 $47,604,606 $75 / - 1  2 N Ladder 49 BV $22,088,204 - 3,260 - $6,775 $22,088,204 - / - 1  3 1 The Forgotten SonR $11,820,733 -43.8% 3,144 +40 $3,759 $38,085,523 $42 / - 2  4 2 Sky Captain and the World of Tomorrow Par. $3,278,417 -50.8% 2,721 -449 $1,204 $30,590,216 $70 / $35 3  5 3 Mr. 3000 BV $2,526,420 -50.4% 2,239 -497 $1,128 $19,101,298 - / - 3  6 7 Shaun of the Dead Focus $2,481,020 -25.5% 645 +38 $3,846 $6,933,441 - / - 2  7 4 Resident Evil: Apocalypse SGem $2,310,267 -42.8% 1,986 -850 $1,163 $47,027,651 $45 / $25 4  8 N Woman, Thou Art Loosed Magn. $2,225,000 - 408 - $5,453 $2,225,000 - / - 1  9 5 First Daughter Fox $2,158,637 -46.1% 2,280 +20 $946 $7,125,371 - / - 2  10 6 Cellular NL $2,014,074 -45% 2,020 -743 $997 $28,157,508 $25 / $20 4  - 63 The Door in the Floor Focus $19,564 -34.8% 29 -17 $674 $3,815,194 $7.5 / - 12
	Venerdì 1 ottobre - #10 2020 $607,000 149.8% / $300 $26,750,000 / 22
	Sabato 2 ottobre - #10 2020 $937,000 54.4% / $464 $27,687,000 / 23
	Domenica 3 ottobre - #10 2020 $471,000 -49.7% / $233 $28,157,508 / 24
	United Kingdom Boxoffice Returns for the weekend starting 24 September 2004: 1. Wimbledon (2004)  £1,699,096 1 444 £3,826 £1,699,096  2. Collateral (2004) £1,429,574 (-36%) 2 447 £3,198 £4,799,173  3. Ying xiong (2002)  £1,005,571 1 254 £3,958 £1,005,571  4. Dodgeball: A True Underdog Story (2004)  £584,739 (-24%) 5 318 £1,838 £8,753,570  5. Terminal, The (2004)  £479,933 (-38%) 4 360 £1,333 £5,563,227  6. Open Water (2003)  £446,636 (-49%) 3 328 £1,361 £4,445,672  7. Cellular (2004)  £427,365 1 290 £1,473 £427,365  8. Punisher, The (2004)  £186,017 1 217 £857 £186,017  9. Garfield (2004)  £178,139 (-7%) 9 364 £489 £9,163,239  10. Cinderella Story, A (2004)  £161,648 (-22%) 6 270 £598 £3,530,362
	United Kingdom Boxoffice Returns for the weekend starting 1 October 2004 : 1. Wimbledon (2004)  £1,499,011 (-12%) 2 446 £3,361 £4,160,549  2. Saw (2004)  £1,239,813 1 301 £4,118 £1,239,813  3. Layer Cake (2004)  £1,090,561 1 355 £3,072 £1,090,561  4. Collateral (2004)  £946,223 (-34%) 3 395 £2,395 £6,457,927  5. Ying xiong (2002)  £671,725 (-33%) 2 258 £2,603 £2,140,379  6. Sky Captain and the World of Tomorrow (2004)  £628,808 1 346 £1,817 £628,808  7. Dodgeball: A True Underdog Story (2004)  £445,801 (-24%) 6 285 £1,564 £9,419,189  8. Terminal, The (2004)  £253,902 (-47%) 5 221 £1,148 £6,052,047  9. Cellular (2004)  £220,538 (-48%) 2 261 £844 £882,493  10. Garfield (2004)  £174,270 (-2%) 10 358 £486 £9,352,051
	CELLULAR OVERSEAS: $1,444,293 Israel 9/16/04 $88,333 9/29/04  Puerto Rico 9/17/04 $270,032 9/29/04  United Kingdom 9/24/04 $1,085,928 9/29/04
	Top 50 United States Video Rentals for the week ending 26 September 2004: 36. 36 People I Know (2002) 68 $490K $14.1M.
	Up against it  After years of stunning success, Kim Basinger was beset by problems – failed films, bankruptcy and a bitter marital dispute. However, at 50, she is back on top with three new films set for release and scripts heaped high in her office. Garth Pearce spoke to her Kim Basinger has needed her winning combination of looks and power as never before in recent months. She has been locked in a bitter battle with her former husband, the actor Alec Baldwin, over access to their eight-year-old daughter Ireland. The viciousness and intensity of their confrontation has even taken Hollywood watchers by surprise. Baldwin will lose his visiting rights altogether if he ignores a court decision which details a strict timetable for when he can see his daughter. It limits how many minutes he spends on the telephone to her and he also has to provide other supervision described as “personal female assistance” to be on hand when Ireland visits him. Basinger has gone on record as saying she fantasised about Baldwin’s death during their long fight over custody. Her ex-husband’s brother, Billy, branded her “a black widow spider” and “a nutcase”. So what sort of woman am I meeting here? She sits alone in a luxurious New York hotel suite, her legs crossed, on an enormous sofa. Her trademark blonde hair falls to her shoulders, her face is devoid of make-up apart from light pink lipstick and she wears no jewellery. She wears a white top, with narrow straps over bare shoulders, jeans and brown slip-on shoes. She looks, at 50, part careless twentysomething and part a woman of the world. She’s a woman who is not afraid of taking risks, that’s for sure. After the accolades for her most memorable film, the erotic 91&Mac218;2 Weeks (1986), the comedy Blind Date (1987), in which she co-starred with Bruce Willis, and her sultry Vicki Vale in Batman (1989), Basinger’s career has soared and dived in the most erratic fashion. When offered Basic Instinct (1992) she rejected the role which propelled Sharon Stone to international stardom. She also turned down Sleepless in Seattle (1993), which created an image for Meg Ryan as America’s sweetheart. Instead, she chose The Marrying Man (1991) on which she met her future husband and then co-starred with him in The Getaway (1994). Both films failed disastrously, as did their 1993 marriage. A pattern seemed to be developing in Basinger’s uneven life. She won an Oscar for best supporting actress in 1998 for her performance in LA Confidential, for example. Then she disappeared from audiences’ sight and mind with a couple of poor films (I Dreamed of Africa and Bless the Child, both in 2000), before playing white rap star Eminem’s mother in the sassy 8 Mile in 2002. And just as her career seemed to be back on track, her private life disintegrated amid divorce and acrimony. “I have given up making predictions on my state in life,” she says. “I really don’t know what is around the corner. I go on, with some faith in my own ability but not a lot of confidence. I think I know right from wrong and stick to my beliefs. Beyond that, who can say? Sometimes, the events in my life seem to be happening to someone else.” One of the most striking things about Basinger in person is her soft, slow Southern accent, which is not noticeable in her films. It is deceptive. It evokes thoughts of hot afternoons in the shade of magnolia trees; it sounds something like a lullaby when she elaborates her ideas. She is under legal restrictions when discussing the recent court case, but it is not the first time she has been the star witness in a high-profile court drama. She gave a verbal agreement to appear in the 1992 film, Boxing Helena. No contracts were signed, but when she dropped out of the film – it was completed instead by the little-known Sherilyn Fenn – she was sued by the producers. She was ordered to pay $8.1 million in damages and legal fees. Although the sum was later reduced to half that figure, she was declared bankrupt as she neared her 40th birthday. Film-makers’ doubts over her age, her judgment and her talent suddenly flooded in from all directions. She became one of Hollywood’s untouchables: broke, publicly shamed and desperate. “It showed me the very dark side of life,” she says. “I knew I was in trouble in court when the plaintiff’s lawyer stood up and said to the jury: ‘Good morning, ladies and gentleman. We all know what it feels like – since we were all in school – when the pretty girl gets everything she wants.’ I realised that this case was all about jealousy and getting even. I was also hopelessly out of my depth. “I am basically a shy person – and that seems ridiculous to most people when they look at my past as an actress – and I found being in the witness box absolutely terrifying. I did not come across well. The whole experience shattered my confidence. I felt that I was up for murder rather than just saying ‘no’ to a film I had not even signed for. It also brought home to me how much I was being judged on my looks. I thought: ‘There is more to me than this. I am just going to have to prove it to others.’” She went about it in the most unconventional of ways, by apparently disappearing altogether, choosing to be wrapped up in marriage and motherhood. Yet by deliberately adopting a low profile, Kim Basinger was suddenly in demand once more. It is one of those awful ironies which can drive to the brink of madness those who are ravenous for Hollywood success to the exclusion of all else. The more they crave, it seems, the less they reap. Yet Basinger, at an age which is regarded by many in Hollywood as the equivalent of a dinosaur, is back on top. She has three new films to be released and scripts pile high in her office. “This is sometimes more by luck than judgment,” she drawls in her lazy voice. “Women have always had difficulties in Hollywood – particularly older women. I like being a woman and have no problem with that. I honestly don’t want the power, particularly the way the power structure is set up. But I now feel powerful in my own decision-making and my own life, which I didn’t before. “I was too nervous and highly strung. I was always worrying about things and thinking too much. Even when I was exercising, running on a treadmill, I was thinking: ‘Gotta hurry, gotta run faster, gotta go somewhere. What was I running for? What was I doing?’” It is a rhetorical question, because all that running has got her to where she is today: in control. The limitations of Basinger’s provincial home city where her father, Don, managed a loan company and her mother, Ann, stayed at home, were simply not enough. Ambition was running very strongly in those days, that’s for sure. In Georgia, she entered and won the local Junior Miss Athens beauty competition. At just 17, she was signed as a model by the prestigious Ford agency and moved to New York. After a succession of walk-on parts for her in TV and minor films, Sean Connery made her his screen girlfriend for his 1983 James Bond comeback, Never Say Never Again. In the same year, she also posed for Playboy. An image was born. Basinger sees the process rather differently: “When I was a tiny girl I started watching old movies with my daddy,” she says. “He was not a cold man, but was not emotional either, so when I watched his face in the reflection of the television screen, either howling with laughter or choking up with tears from these images on the screen, I remember thinking: ‘My God, nobody in this world can get to him except those people.’ I became entranced with the whole movie thing. “When I got the opportunity to move to New York and become a model, I was lucky. I arrived in the Seventies at a point when the blonde, blue-eyed, healthy look was catching on. So here was I, fresh from Georgia, with blonde hair down to my waist and I’d never been touched by anybody. “I remember going to a commercial audition, twirling around on a stool, when one of a group of men who were hiring me said: ‘Do you want to go to California?’ I looked at him, like it was a present from Santa Claus. I said: ‘You mean California, where the Beach Boys live?’” As she sits peeling back the years, drinking mineral water, it is easy to be entranced by that soporific voice. She also manages to make herself sound like someone from the Beverly Hillbillies. Or is this part of her seductive appeal? There can be little doubt that there is a shrewd brain behind her wide blue eyes. “I do look back at myself and think: ‘How could you be so stupid?’” she readily agrees. “But I did get to work as a model, briefly, in California and the male model I was working with took me out to Malibu. There were no beautiful girls, no surfboards and no Beach Boys. I really did expect to see the band and all the kind of things they sang about. Yes, I was that stupid. So my first experience of Los Angeles and California was a disappointment.” She returned to New York, took acting classes and joined the neighbourhood theatre. She offers the simplest of reasons for her desire to act: “Hollywood was a dream for me,” she says. “Thousands of kids venture there every year, many because they’ve won some contest back home or someone told them they were good at acting and they come out there wanting to be one thing: a big movie star. “We all know how few make it. But Hollywood holds out that beautiful, seductive fantasy, with the dark, bleak and grim reality hovering like a shadow. I have tried to hold on to one thing – and that is to keep a vulnerable look on life there. We’re all little kids at heart and yet the place has the ability to make people build very hard exteriors and ruin lives. Kids don’t understand the reality. Neither did I.” If Basinger is giving it to us straight – and, no doubt about it she must have had a strong streak of determination to come this far – then it is easy to see how she has constantly reinvented herself and taken new directions. Her past is littered with mistakes, both big and small. She has retired into the very shadows she talks about, broke and rejected, only to return with a fresh attitude. She was married to make-up artist Ron Britton throughout the Eighties. He was 15 years her senior and allegedly wanted too much control over her life. There was also a foolish decision to help finance the purchase of the tiny town of Braselton in Georgia with her older brother Mick; the place is in virtual ruin. But it is difficult enough for any actress to keep on coming in from the cold, let alone to win an Oscar, as she did six years ago. She is now again winning admiration for strongly contrasting performances in three new films. In The Door in the Floor, set in the Hamptons on America’s East Coast, she plays a grief-stricken wife who has a torrid affair with a 16-year-old summer intern; in the romantic comedy Elvis Has Left the Building she plays a cosmetics saleswoman who was born during an Elvis concert and remains forever after linked in some way with the King, while in Cellular, a fast-paced suspense thriller, she is a mystery older woman calling a young man on his mobile phone, claiming to have been kidnapped. In all three starring roles, Basinger does not have to apologise for her natural sex appeal. Fifty and flirty is no embarrassment. Basinger is unapologetic: “I have learnt to trust my own instincts, even though many people might think they have been the wrong ones,” she says. “I will carry on trusting them.” Elvis Has Left the Building is released in September. The Door in the Floor and Cellular will be out in the autumn.

14 ottobre: News!

	International box office: United Kingdom. October 8 - 10: 16 9 Cellular Entertain. $91,569 -77% 122 -139 $751 -50% $1,840,592 3. October 1 - 3: 9 7 Cellular Entertain. $396,651 -48% 261 -29 $1,520 -43% $1,587,218 2.
	U.S. Box Office. Theater counts 8 - 10 ottobre: Cellular (1.152 screens) - The Door in the Floor  (26 screens). Luned' 4 ottobre - 2020 screens # 10 $137,000 -70.9% / $68 $28,295,000 / 25. Martedì 5 ottobre - 2020 screens # 10 $150,000 9.5% / $74 $28,445,000 / 26. Mercoledì 6 ottobre - 2020 screens # 10 $130,000 -13.3% / $64 $28,575,000 / 27. Giovedì 7 ottobre - 2020 screens # 10 $138,000 6.2% / $68 $28,713,420 / 28 Venerdì 8 ottobre - 1.152 screens # 15 $261,000 89.1% / $227 $28,974,000 / 29. Sabato 9 ottobre - 1.152 screens # 15 $441,000 69% / $383 $29,415,000 / 30. Domenica 10 ottobre - 1.152 screens # 15 $251,000 -43.1% / $218 $29,667,077 / 31. WEEK END: 13 10 Cellular NL $953,657 -52.7% 1,152 -868 $827 $29,667,077 $25 / $20 5.
	Top 50 United States Video Rentals for the week ending 3 October 2004 - 45. 36 People I Know (2002) 75 $400K $14.5M.

15 ottobre: News!

	U.S. Box Office (8-10 ottobre): # 79 73 The Door in the Floor Focus $12,584 -35.7% 26 -3 $484 $3,835,551 $7.5 / - 13.
	CELLULAR: Domestic box office ($ 30,079,170) + Overseas Box Office ($ 2,546,932) = $ 32,626,102.
	Top 50 United States Video Rentals for the week ending 10 October 2004: 48. 45 People I Know (2002) 82 $320K $14.8M.
	THEATER COUNTS > 2004 > Week #42 October 15: CELLULAR - 11 10 Cellular New Line 741 -411 6. THE DOOR IN THE FLOOR - 50 60 The Door in the Floor Focus 22 -4 14.
	TV special shows who is 'Nuts for Mutts' Animal Planet takes a break from its purebred dog shows with the premiere of "Nuts for Mutts" at 7 p.m. Monday. The hourlong special stems from a suggestion by dog trainer Bobby Dorafshar, co-founder with his wife, Kelly, of California's no-kill animal rescue New Leash on Life. The Dorafshars needed a way to increase awareness of the plight of abandoned and euthanized animals in Los Angeles. Enter the third annual "Nuts for Mutts," a dog show for those canines of dubious heritage. Not sure who Dad is? Nobody cares. Co-hosted by J.D. Roth and Adrienne Haitz, the contest features competitions for fastest eater, best smile and biggest ears, among many others. The best-dressed costumes range from biker leather and feather boas to fruit hats and grass hula skirts. All winners of each category move on to the Best in Show judging. Actress Kim Basinger, owner of several mutts, serves as the show's master of ceremonies. Celebrity participants include Galen Gering, Carla Gugino, Maura Tierney and Samantha Mathis. And then there's comedian Debra Wilson, who made sure she had appropriate dog breath as the enthusiastic victim of the best kisser. Like his children Bobby Dorafshar's love of mixed breeds is evident in his voice. It sounds a lot like a parent talking about his child. Which, in a sense, his dogs are to him. "I think mixed breed dogs, they are a lot more loving, they usually pick up the hygiene, they usually are smarter dogs, more affectionate," he says. "Most of the people with mutts, they rescue them or get them from the situation which they were not happy before. So the dog appreciates the home a lot more than the one spoiled at a very, very young puppyish stage. Even if we look at the commercials these days, 90 percent of the advertising now, they're using mixed breeds." Executive producer Alexandra Bennett feels "Nuts for Mutts" was a natural transition from Animal Planet's standard dog show."We were doing some research and 'Nuts for Mutts' was just such a great example of how important it was, how important dogs were in people's lives. And especially mutts, so it just seemed like an organic match." Adoption rates up Since the advent of the "Nuts for Mutts" competition, adoption rates at New Leash on Life have increased. But whether a dog gets adopted or not, it will always have a home at the rescue. "With the help of Animal Planet, we are all promoting for people to adopt and help out," Dorafshar says. "And bring a best friend home and have a companion, which gives them love and a lot of attention. I feel, personally, every year the adoption rate goes higher and higher because for one reason or another, people are getting closer to their animals than anything else. I would say it has a huge affect on people." And as Dorafshar says in "Nuts for Mutts," his greatest dream for animals would be a shortage of cats and dogs, and his own unemployment.

22 ottobre: News!

	Basinger wants more roles for ageing women - Kim Basinger says actresses get the short end of the stick once the ageing process sets in and finds it a sad fact of life that Hollywood has so little interest in films featuring mature women. "It depresses me that there are so few roles written for grown-up women," said Basinger, 50, in an interview with Germany's Welt am Sonntag newspaper.  The American, in an interview to promote her film "The Door in the Floor", said she stopped counting how many times she was told that she was "too old" for a role she wanted.  "For every woman in this branch like Meryl Streep or Susan Sarandon, who thanks to their talent are able to keep their career continuing, there are a dozen well-known actresses older than 40 who can't get any roles any more," Basinger said.
	BOX OFFICE: Incasso Us di Cellular: $30,653,555. Venerdì 15 ottobre - #16 741 screens $177,000 -- / $239 $30,256,000 / 36. Sabato 16 ottobre - #16 741 screens $263,000 48.6% / $355 $30,519,000 / 37. Domenica 17 ottobre - #16 741 screens $134,000 -49% / $181 $30,653,555 / 38. Week end - 16 13 Cellular NL $574,385 -39.8% 741 -411 $775 $30,653,555 $25 / $20 6. Worldwide: $2,889,344 (Greece 15.10.2004 - $210,192, UK 24.09.2004 - $1,906,360, Puerto Rico 17.09.2004 - $379,024, Israel 16.09.2004 - $372,740).
	CELLULAR DVD! Released: 18th January 2005 SRP: $27.95 Further Details New Line Home Entertainment has announced Cellular which stars the likes of Kim Basinger, Jason Statham, William H. Macy and Chris Evans. This David R. Ellis directed thriller, will be available to own from the 18th January next year. The retail price will be set at around $27.95. The movie itself should be presented in 2.40:1 anamorphic widescreen along with English Dolby Digital 5.1 and Dolby 2.0 Stereo Surround tracks. Extras will include an audio commentary with Director David Ellis, writers Larry Cohen and Chris Morgan, deleted scenes with optional director commentary, a Celling Out featurette that looks at cellphones in todays culture, a Dialing Up Cellular making of featurette and a Code of Silece: Inside the Rampart Scandal featurette. Completing the package will be the films theatrical trailer and a Script-to-Screen DVD-ROM feature.
	Kim Basinger happy without a man - Hollywood siren Kim Basinger (news), 50, said she was happy to be single but would marry again if the right man came along, in an interview with German entertainment magazine Cinema. Basinger ("9 1/2 Weeks", "L.A. Confidential") said even her messy split with ex-husband Alec Baldwin (news), whose eight-year marriage ended in divorce in 2001, had not turned her off relationships.  "For the moment I am happy without a man," she said Tuesday.  "But I still believe in marriage. When the foundation of a partnership is unconditional trust, you can resolve the problems life brings with humor."  Basinger and the 46-year-old Baldwin ("The Cooler"), part of the well-known acting family that includes his brothers Daniel, Stephen and William, fought a bitter child-custody battle earlier this year over their daughter Ireland.  Baldwin finally won a major expansion of visitation rights before a Los Angeles court.
	Monday's best bets on TV (October 18, 2004) - "Nuts for Mutts" (8 p.m., Animal Planet). Woof, woof. A celebration of mixed breed dogs revolves around the third annual Nuts for Mutts Dog Show in Woodland Hills, Calif., the hang loose, celebrity-punctuated canine carnival that includes competition in such categories as "Best Kisser," "Best Dancer" and "Fastest Eater." "ER" stars Maura Tierney and Goran Visnjic are two of the celebrity judges. And glamorpuss mutt-o-phile Kim Basinger proclaims "I have many mutts." Arf, arf.
	Too-old tag irks Kim Basinger - KIM Basinger says older actors get the short end of the stick and finds it sad that Hollywood has so little interest in films featuring mature women. "It depresses me that there are so few roles written for grown-up women," said Basinger, 50, in an interview with Germany's Welt am Sonntag newspaper.  The American, in an interview to promote her film The Door in the Floor, said she stopped counting how many times she was told she was too old for a role she wanted.  "For every woman like Meryl Streep or Susan Sarandon who, thanks to their talent are able to keep their career continuing, there are a dozen well-known actresses over 40 who can't get any roles any more," Basinger said.
	Basinger dismayed by Hollywood's age bias - Kim Basinger has spoken of her dismay that so few Hollywood movies feature mature women. 50-year-old Basinger told a German newspaper, "It depresses me that there are so few roles written for grown-up women." She also tells the newspaper that she has been turned down for roles several times because of her age. Basinger added, "For every woman in this branch like Meryl Streep or Susan Sarandon, who thanks to their talent are able to keep their career continuing, there are a dozen well-known actresses older than 40 who can't get any roles any more."

28 ottobre: News!

	WEEKEND BOX OFFICE October 22-24, 2004 - 21 16 Cellular NL $272,960 -52.5% 433 -308 $630 $31,101,662 $25 / $20 7.
	There are few roles for mature women in Hollywood: Kim Basinger - Kim Basinger believes that it is tragic that Hollywood actresses have a shelf life and that little interest is shown in making films for mature women.  "It depresses me that there are so few roles written for grown-up women," said 50-year-old Basinger in an interview with Germany's 'Welt am Sonntag' newspaper.  Basinger revealed that she had stopped counting the number of times she was told that she was too old and too mature for a role she was keen to play.  "For every woman like Meryl Streep or Susan Sarandon, who thanks to their talent are able to keep their career continuing, there are a dozen well-known actresses over 40 who can't get any roles any more," the 'LA Confidential' star said.
	BASINGER TAKES UP PAINTING - Hollywood actress KIM BASINGER has taken on a new form of artistic expression - painting. The 8 MILE star has found pleasure in creating works in her own home since retreating from the spotlight. She says, "I love to paint. I always have my camera with me to take photographs of things to paint later on."
	Evans and Basinger shine in exciting thriller - IN David R. Ellis' ingenuously crafted thriller, Ryan (Chris Evans), recently dumped by his girlfriend for his carefree ways and irresponsible demeanor, receives a random call on his cell phone from a stranger, Jessica Martin (Kim Basinger), a 10th grade biology teacher. The distressed caller claims that she's been kidnapped and is locked up in an attic with a wall phone that had been smashed to smithereens with a sledgehammer by stern-faced goons, who turn out to be -- surprise! -- dirty cops scrambling to get their hands on an incriminating videocam recording of a rubout that Jessica's husband, Greg, has witnessed. Jessica taps and successfully tinkers with the rotary-dial device -- McGyver-style -- and soon finds Ryan at the other end of the line. Unable to get police assistance, the unnerved young man takes matters into his hands, his cell phone glued to his ears while Jessica guides him through the whole hullabaloo. There's one problem, though: Low batt! Ellis' consistently diverting nailbiter possesses the edge-of-your-seat urgency of Keanu Reeves' "Speed" and Colin Farell's "Phone Booth," as it follows the unlikely hero's mad rush to thwart Jessica's antagonists. (Cameo alert: Fil-Am producer Dean Devlin makes a rare appearance as Ryan's cab driver.) Questions about plot implausibilities surface (Ryan goes after the bad guys. How does he confront them -- shoot them with his cell phone?), but if you get past these, you'll have a smashing good time. The film is further aided by brisk pacing; convincing performances (from 50-year-old Basinger, glamourous and beautiful as ever; Evans, in full-throttle heartthrob mode, and the scene-stealing William H. Macy), and a clever sense of humor that subtly and satirically pokes fun at the quirkiness of human nature-and at man's constant fascination with and ever-growing dependence on all things modern and digital.
	THEATER COUNTS > 2004 > Week #43 October 22: 16 11 Cellular New Line 433 -308 7. 49 68 The Door in the Floor Focus 13 -9 15.