– A look back at the roles that got away might soothe Mel Gibson’s nerves now that his Hangover 2 role has gone to Liam Neeson. (The LAT’s Patrick Goldstein looks at how loose lips lose jobs.) Here’s a sampling, courtesy of TheDailyBeast: Demi Moore lost the lead in 1983’s Flashdance to Jennifer Beals; Matthew McConaughey lost Jack Dawson in 1997’s Titanic to Leonardo DiCaprio; Sandra Bullock lost Runaway Bride to Julia Roberts in 1999, the same year Michael Cera competed with Haley Joel Osment for The Sixth Sense; Meryl Streep was at one point lined up to play Evita before Madonna took over in 1996; Charlize Theron was in the running for Elizabeth Berkley’s stripper in Showgirls in 1995; Jake Gyllenhaal auditioned for Ewan McGregor’s role in Baz Luhrmann’s 2001 musical Moulin Rouge!; and Robert Redford chased Dustin Hoffman’s part in 1967’s The Graduate.
– “No matter how many women flock to Sex and the City or lather themselves in cinematic bosom-heaving, there are many others who not only thrive on the thrills of horror, but who helped sculpt the genre into what it is today,” argues Cinematical’s Monica Bartyzel, dismissing the “notion that horror belongs to men.” The transgression from fairy tales (“set in horrific and gruesome worlds of cannibalism and murder, thanks to those creepy Grimm folks”) to young adult horror to full on grown-up horror seemed natural for Bartyzel–as much as the false-hope princess career path. But a divide emerged as men claimed the horror genre as their own. Bartyzel looks at the literature, where it all started, to argue how the likes of Mary Shelley (Mary Shelley’s Frankenstein pictured) and Anne Rice are the grandmothers of horror. Nor are they strangers to film, from American Psycho director Mary Harron to Pet Sematary director Mary Lambert. “Women are a part of horror,” she argues, “not only fueling it with shots of their breasts, but with their minds.”
– Check out the lovely Cecile de France, star of Clint Eastwood’s Hereafter, talking with MCN in imperfect but charming English about making the film, acting and the most important thing: “to be happy, completely happy on set.” She is grateful that her career has had a slow build, noting “it’s good that the rhythm of my life is in parallel with the rhythm of myself.” Her next project will be the French film A Butterfly Kiss with director Karine Silla, and after that she’s keeping her options open. She’s been offered several roles, but she has three strict criteria to consider: “a very good character, very interesting, because I don’t want to be bored on set…I want to feel something in my gut; a script that I love, really like a good book; and a director that I want to enter into his universe and I want to share this adventure with them.”