Although only eight percent of adult Americans actually use Twitter, that shockingly low statistic is still enough to allegedly land the social media platform’s founder a supermodel. The Daily Mail recently reported that 36-year-old Jack Dorsey was spotted on a yacht in St. Barths getting massaged by 25-year-old British babe Lily Cole. Want to know what that looks like? Read on.
Daily Mail also caught the high-fashion model and Snow White & The Huntsman actress in the midst of a wardrobe malfunction with her Fifth Element-ish swimsuit, which you can see here.
As for the rumored relationship, Dorsey somewhat denied the accusation with a cryptic one-sentence Tweet this morning: "Amazing what people make up based on what they choose to see." He followed up that statement up with this three hours later: "Considering the tradition of New Years’ resolutions. I’m breaking mine into 3: a guideline, a lifestyle change, and an achievable milestone." 1) Become friends with serial supermodel-daters Leo DiCaprio and Adam Levine, 2) Hang out where supermodels are (usually Soul Cycle or on yachts), and 3) Date multiple supermodels.
Today’s global economy is, obviously, based on money and on commodity exchange. But it wasn’t always like that. Prior to the use of money as currency, many societies operated in a gift economy. (This is in opposition to both a market economy and a barter economy, in which goods and services are exchanged without the intermediary use of currency.) A gift economy, however, can be defined as one in which voluntary and recurring gift exchange circulates wealth. These gifts can be goods or services. You don’t do something for something; you do something for someone. I think it is a concept we all experience and understand intuitively. When you do something for your friend or a family member, that’s creating a small gift economy within the context of kinship.
There are still gift economies in the world. I just got back from northern Ghana in January where the men in the village were rethatching the roof of one of the village huts. They told me they do this every three years, rotating whose hut is repaired. Barn raising in Mennonite towns in Pennsylvania is another example, as is the potluck tradition of Native Americans. These are examples of both gift economies and basic human cooperative behavior.
Gift economies, though, don’t exist exclusively in what some might call pre-Industrial societies. I just read that if one were to monetize the amount of things people do for each other without charging them in the U.K., it would equal the Gross Domestic Product of England. The science community has long been one that operates within the logic of a gift economy. The internet, too, has opened up an entire new frontier for the gift economy. Just think of open source software or Wikipedia, which relies on volunteers to contribute to a body of knowledge.
I am currently developing a website called Impossible.com, which seeks to add a social networking component to the gift economy. I call it a social– giving network. My idea is to build an online community wherein as one donates gifts, goods, or services, and the donor can be thanked by the receiver and thus earn a “Thank You” which, in turn, inspires more giving. Users can wish for either “Someone who would like me to…” or “Someone who can…” complete an almost endless array of tasks. Think of it as an altruistic version of Facebook. I’m lucky enough to have the help of folks at Google, and Jimmy Wales at Wikipedia.
Unlike Wikipedia, where the gifts in question, namely entries, are donated directly to Wikipedia, the idea for Impossible is that it is a tool to connect a dispersed population. Say, for instance, a graphic designer in New York might design a poster for a book signing in London. Whether a gift economy can function in a geographically dispersed population is a good question, but I’m nothing if not optimistic.
Lily Cole is a supermodel and actor who most recently appeared in Snow White and the Huntsman. She will next be seen in Confessions of a Child of the Century.
Flipping through May’s newest glossies, I had a thought: Is red hair the new bang? I had just noticed Kate Moss in Vogue Paris looking punky in (temporary) red locks, and was flipping through Lara Stone’s editorial “Wild!!!!” in Vogue China, where the gap-toothed one is also sporting a new red ‘do. Days later, Blake Lively washed away her Cali blond in favor of rouge. Then the redhead floodgates really opened up. Have a look:
Lara Stone as a new redhead in ‘W i l d ! ! ! ! !’ Photographed by Mikael Jansson for Vogue China May 2011.
Kate Moss in ‘Haute Couture.’ Photographed by Mert & Marcus for Vogue Paris May 2011.
The hair dye heard around the world: Blake Lively.
Last night, the Cinema Society screened and celebrated the upcoming release of Terry Gilliam’s latest film, The Imaginarium of Doctor Parnassus, which has garnered considerable buzz due to the tragic death of its male lead Heath Ledger. When Ledger passed away during production, Gilliam called on friends Johnny Depp, Jude Law, and Colin Farrell to finish the project, each of whom portray imagined variations of Ledger’s ersatz philanthropist character. The event was as wonderfully absurd as one might hope and expect from a Gilliam premiere. Patti Smith sat near Olivia Palermo. The film began late because, as Sony Pictures Classics co-president Tom Bernard quipped, “We’ve been waiting for Courtney’s Love’s car to arrive, but it doesn’t look like that’s happening.” The film’s female star, redhead supermodel Lily Cole, towered over Gilliam in short shorts and thigh-highs, a Brobdingnagian in Gilliam’s Lilliput. I caught up with Gilliam for a few minutes after the film.
“You’re the BlackBook guy! I can’t remember the last time someone put me in a cage!” he says, referring to our recent photo shoot with the filmmaker and Cole. I’d been wondering why Depp, Law, and Farrell hadn’t been promoting the film until I saw it. Their parts are all relatively small, and it’s really Ledger’s film. Plus, they’re not playing characters themselves, they’re playing Ledger playing his character. “They did the film for nothing,” says Gilliam, “so I didn’t want to subject them to the press.” It’s something that Gilliam and Cole have been doing tirelessly for the past three months, and Gilliam makes no secret of his fatigue. “I spent years working on this thing and now this? But at least I like this movie. I don’t often like them.” So what’s he going to do after the media blitz? Gilliam smiles and says, “I’m going to Capri for the holidays, where I’m becoming an honorary citizen.”
Terry Gilliam needs a muse. The 69-year-old director of Twelve Monkeys and Brazil came close to finding one back in 1988, when he cast a then-unknown Uma Thurman in The Adventures of Baron Munchausen. But she left him for another rebel named Quentin and, according to Gilliam, “she never came back.” Two decades later, Gilliam’s latest film,The Imaginarium of Doctor Parnassus, features another otherworldly acting novice with blue saucers for eyes: supermodel Lily Cole. The 21-year-old Brit plays the title character’s doomed daughter, who aches for a suit-and-tie husband and white picket fence, in a welcome return to surreal form for the director.
A collision of reality and ayahuasca, the film is pure Gilliam — and so were the difficulties involved in making it. On-set disasters flock to Gilliam like pigeons to breadcrumbs. His 2002 documentary Lost in La Mancha chronicled the catastrophes that befell The Man Who Killed Don Quixote, with injury, flashfloods and NATO target practice all contributing to that film’s eventual eighty-sixing. A more heart-wrenching stroke of bad luck haunted Doctor Parnassus: the untimely death of leading man Heath Ledger. Out of respect for Ledger and Gilliam, Johnny Depp, Jude Law and Colin Farrell signed on to play various incarnations of Ledger’s character, salvaging a film that looked momentarily doomed. With Doctor Parnassus about to arrive in theaters, we sat down with Gilliam and Cole to discuss the redhead’s “alien beauty,” Ledger’s kindness and whether or not they’ll ever work together again.
Terry Gilliam: I think we should talk about how it all began. We wanted to cast somebody extraordinary as the daughter of Parnassus, and Irene Lamb, the casting director, said, “We need someone who looks 16, but is older so that we don’t have to worry about child labor laws.” Lily Cole: I got the part because I was legal? TG: Well, you’re extraordinary and legal. I had seen pictures of you and thought, Well, there’s somebody who looks different than the average woman. LC: Alien beauty, I was told. TG: It was like there was a doll face from some 19th-century porcelain factory staring back at me. Then we met at the screen test.
Terry, you’ve said that after the screen test you knew right away Lily was the one.TG: I was lying. The screen test was kind of clunky. But Lily could put words together and I thought, Her attitude is right, her intelligence is right and her ballsiness seems right, so let’s take a gamble. She can’t act but she thinks she can, and that’s the important thing [laughing]. LC: I don’t know if you can see me shaking in the film, but it wasn’t because of nerves. It was freezing and the heaters weren’t working. TG: I couldn’t tell what you were thinking, but I knew there was something distracting you — turns out it was the cold! I don’t want to make it all sound extreme, but we shot Parnassus in the middle of winter. Physically, it was painful and bitter beyond belief. I sometimes think that’s a good thing, though, because you’re not thinking about acting. LC: I’ve been through some pretty bad stuff, but never for such a long period of time. I’ve done a bunch of shoots in chateaus outside of Paris in the dead of winter. But I was 14 or 15, way too sweet to complain about dying of cold. TG: Years ago, when we did Brazil, Robert De Niro finished his bit but we needed extra pick-up shots, so I put on his costume to play his hands. And I suddenly realized how horrible it was. It was so heavy and hot.
Lily, were you nervous?LC: At the beginning, I was very nervous. I remember our first read-through, when it was me, you, Heath [Ledger], Christopher [Plummer] and Andrew [Garfield]. I was so nervous because I suddenly realized the gravity of everyone in that room. It wasn’t like I had a clear blueprint to follow so part of the process of becoming comfortable with my character was figuring out who she was, and who you wanted her to be. TG: Heath was incredibly good at drawing you out as well. LC: He asked me before we started if I was nervous, and then he said, “Don’t worry, I always am, too.” That sympathy — well, not sympathy, because he wasn’t patronizing — that support was very important. When I’d come off set after a good scene he’d say, “I’m really proud of you.” He was always quietly encouraging. TG: Andrew was also struggling to find his character. He thought he was good friends with Heath, but when we started rehearsal, Heath became the character of Tony and turned into a real shit. LC: I didn’t know that Andrew and Heath were good friends. TG: They had bumped into each other through the masses, I think. When we started rehearsing, Heath decided that Tony was an asshole and that Andrew’s character was his competition, so he cut him off at the knees. Andrew tried to improvise like Heath, but he wasn’t as good, and he did it in an aggressive way, which just wasn’t working. But there was one scene when it clicked, where it was magic and laughter. LC: Was there any point when it clicked with me? TG: For a long time, I wasn’t sure if it was going to work. You contain yourself so well, which makes it hard to know if you need help, or if you’re in trouble. I couldn’t quite figure you out. If we pushed you too hard you went in one direction, and only that direction, missing your subtleties. But on the second go you would find them. I’m not a good acting coach. I’ve got too many other things to do.
LC: When I did this film with Sally Potter [Rage], it was just me and her, and there were no effects. There was nothing else for her to concentrate on except my performance. But when we were filming Parnassus, you had eight different elements that you were trying to control and, as an actor, I did feel less guided. But, in some ways, I think it’s brilliant that you trust your actors and leave them to their own devices. You’re actually pretty calm on set. The chaos is spun around you because you create it. TG: Humor is one of the keys, isn’t it? It’s fucking hard work. It’s miserable and horrible, but if you’ve got good company, you can laugh and get through it. I don’t know why anybody wants to make movies. I always forget my old movies, and that’s why I make new ones. It’s like selective memory. Acting on film, especially, you’re sitting around doing bugger-all most of the time. LC: I was doing quite a lot, actually. There wasn’t that much sitting around in my trailer. TG: Well, you were constantly being fiddled with. She needs this huge gang of people to make her who she is. You had to spend how many hours in a chair? It was terrible. LC: But I love being in the hair-and-makeup chair. I specifically asked you to give me as much hair and makeup as possible. I spent half the shoot in that chair.
Lily, what were your impressions of Terry before meeting him? LC: I had seen Fear and Loathing in Las Vegas, but I’d never heard of him. TG: Bitch! What a fucking bitch! You knew it was going to be a party. It’s the same old thing: I treat her badly and she hates me. LC: I’d love to work with you again! TG: I don’t see why you should. Uma never came back! Some of the things I write are penance — I don’t know what for, but I suspect I’ve done some terrible things. And leaping into the deep-end always intrigues me, maybe because I’m so riddled with doubt and uncertainty that I want to see what happens. LC: I’m the same way. TG: That’s what I suspected, which is why I said, Let’s throw her over the edge. Don’t give her a lifesaver and see if she swims. LC: And did I? TG: You swam beautifully.
Gilliam wears T-Shirt by Gap, Pants by J. Lindeberg, Jacket by Prada. Cole wears dress by Naeem Khan, Necklace by Elie Tahari, Shoes by Barbara Bui, Bracelets by Malene Birger. Photography by Mark Zibert. Styling by Amy Lu. Special thanks to Holt Renew and Specchio.
To the dismay of everyone within earshot of my desk, my excitement will not be quelled about how totally major this year’s Cannes Film Festival is going to be. In addition to new awards-contenders from the likes of Quentin Tarantino and Michel Gondry (who didn’t make the list, only because I couldn’t find much on his latest film, L’epine Dans le Coeur), the sun-soaked Riviera festival will premiere Sam Raimi’s return to death and evil, as well as Jane Campion’s first major release since the Kiwi director tried, disastrously, to make Meg Ryan edgy in 2003’s In the Cut. Penelope Cruz hugs a lot of people in Pedro Almodóvar’s Broken Embraces, Ang Lee takes Woodstock and Brad Pitt screams, “Each and every man under my command owes me one hundred Nazi scalps … and I want my scalps!” Oh, and the late Heath Ledger might just get another Oscar. After the jump, the festival’s, if not the year’s, most anticipated films (with trailers).
Agora by Alejandro Amenabar. From the director of The Others and The Sea Inside comes a historical drama, starring Rachel Weisz and Max Minghella, about Hypatia of Alexandria, the Egyptian philosophy professor who fell in love with her slave. Minghella tells BlackBook, exclusively, “Rachel’s performance in the film is, objectively speaking, quite spectacular. Performances in historical films can so easily stray into frigidity, but she injects everything with warmth and modernity, which I really believe is a principle reason why the film is as accessible as it is.” Of his working relationship with Weisz, he adds, “I felt completely comfortable around her. We grew up on the same street in London, and now in New York our apartments are directly opposite one another — which is fantastic for voyeuristic reasons, but also a bizarre coincidence. Maybe it’s our shared geographic history, but I feel very at home around her.”
The White Ribbon by Michael Haneke. While it certainly would have been interesting to watch Haneke eke out another version of Funny Games, the master of torture’s latest project sounds incredible. Courtesy of IMDb: “Strange events happen at a rural school in the north of Germany during the year 1913, which seem to be ritual punishment. Does this affect the school system, and how does the school have an influence on fascism?”
Taking Woodstock by Ang Lee. Of course the director who turned Jewel into a cowgirl, Kevin Kline into a swinger, Eric Bana into a monster, and Jake Gyllenhaal into a pederast would eventually set his sights on Woodstock. Starring an incredible cast that includes Demetri Martin, Emile Hirsch, Live Schreiber, and Jonathan Groff, audiences surely won’t be able to quit it.
Inglourious Basterds by Quentin Tarantino. Unless you’ve been living under a very large, Brangelina-proof rock, this one needs no introduction. Still, I’m going to overlook the misspelling, and bypass the backlash by moving ahead to the backlash backlash, and just the love the guts out of this movie. Tarantino and Nazis? It’s almost better than Darryl Hannah and an eye-patch.
Coco Chanel & Igor Stravinsky by Jan Kounen. Forget Shirley MacLaine and Audrey Tautou for a minute, and watch Anna Mouglalis transform into the gamine Rue Gambon icon as she navigates a relationship with composer and pianist Igor Stravinsky. And keep an eye on Mouglalis: up next, she’ll star in 2010’s Serge Gainsbourg biopic.
Drag Me to Hell by Sam Raimi. Full disclosure: I saw an unfinished version of this. And, as a huge Evil Dead fan, was excited to see what the director of Spider-Man might do with his return to full-on horror. Alison Lohman plays a banker who pisses off a geriatric gypsy, which leads to one of the best catfights ever to appear on film. That said, some of the effects felt a little amusement-park ride-y, but I’ll reserve judgment until watching the final cut.
Broken Embraces by Pedro Almodóvar. This is the return of “Penelepedro,” the unstoppable force of director Pedro Almodóvar and Penelope Cruz, who last captivated audiences with Volver in 2006. It’s got a film noir feel to it, centers on love and a car crash that leaves the protagonist blind, and features a soundtrack that includes Cat Power and Uffie. It sounds near perfect, really.
Map of the Sounds of Tokyo by Isabel Coixet. From My Life Without Me to last year’s Elegy, Coixet has proved herself a masterful storyteller, which is why we can’t wait for “a dramatic thriller that centers on a fish-market employee who doubles as a contract killer.” Tokyo stars Oscar-nominated actress Rinko Kikuchi, who, in my opinion, is one of today’s most revelatory onscreen chameleons.
Bright Star by Jane Campion. Kiwi director Jane Campion is to dark drama what Amy Heckerling is to romantic teen comedy — no matter how tragically their recent films have bombed, I still get excited when their names are attached to new projects. Like this one. Starring Paul Schneider and Abbie Cornish, Bright Star chronicles the love affair between 19th-century poet John Keats and Fanny Brawne, before Keats’ early death. Actually, I just got sort of bored writing that, but, hey, at least it doesn’t feature Meg Ryan getting her nasty on. Plus, Campion made The Piano, so she’s more than capable of a comeback.
The Imaginarium of Doctor Parnassus by Terry Gilliam. Doctor Parnassus might just be the most exciting of all of the offerings at Cannes this year. Yes, the last time Gilliam and Heath Ledger worked together, they created The Brothers Grimm, which was very much so. And yes, Gilliam’s last film, Tideland, was ugly, misanthropic, and bloated. But after Ledger’s tragic death, actors Johnny Depp, Colin Farrell, and Jude Law stepped in to play the same character in various dream worlds. Plus, Tom Waits channels the devil, supermodel Lily Cole plays a damsel in distress, and Christopher Plummer transforms into the 1,000-year-old title character. Intriguing is a gross understatement.