Showing posts with label Actors on Actors. Show all posts
Showing posts with label Actors on Actors. Show all posts

Thursday, December 12, 2024










At the Tony Awards in June, the past and future of “Wicked” were in the spotlight, with Idina Menzel and Cynthia Erivo — the Elphabas of stage and screen, respectively — presenting the night’s best new musical award to “The Outsiders.” One of those statuettes went to Angelina Jolie, who, with her daughter Vivienne, was among the producers of the Broadway adaptation of S.E. Hinton’s classic 1967 novel. “I know how excited everybody was that you presented the Tony,” Jolie says to Erivo during their Actors on Actors conversation, calling Erivo’s part in the ceremony “the cherry on top, that it would be from you.” Excitement from team “Outsiders” certainly makes sense: For playing Celie in the 2015 Broadway revival of the musical “The Color Purple,” Erivo won a Tony, a Grammy and an Emmy, putting her, in one swoop, just an Oscar short of vaunted EGOT status.

Today, though, Jolie and Erivo have gathered not to discuss Broadway, but to delve into their recent film roles. Jolie’s “Maria” begins on the day of opera diva Maria Callas’ death, then rewinds to her final days — with flashbacks to her career triumphs, heartbreaks and childhood of trauma. Jolie could relate to Maria, having “lost my voice,” she says, speaking metaphorically, and then adding, “Maybe when I lost my mother, maybe when someone hurt me.” To master the role in the Pablo Larraín film, therefore, Jolie trained for seven months, and “it was like a therapy.”

To get inside Elphaba’s skin for “Wicked,” each day Erivo had to undergo a green transformation that would take, she says, up to four hours, which was on top of taking care of her vocal cords afterward. “It doesn’t matter how accomplished a singer you are. You have to find the time to repair,” Erivo says.

At the end of their talk, the two performers set their eyes toward the future. “I hope we get to work together,” Jolie says. “Let’s find something!”


CYNTHIA ERIVO: When I watched “Maria,” I wanted to find out what brought you to the project.

ANGELINA JOLIE: Well, I had wanted to work with Pablo Larraín for a long time. I think he’s a wonderful director that is very thoughtful about his subject and his work. And he’s very sensitive to behavior in actors, but also able to shoot a film — and you sometimes sacrifice one for the other. He called me about “Maria,” and I said, “You have to give me a few days.” I knew of her a little bit, but I watched a lot of her work. Then I also watched a lot of her interviews.

What got me the most was, towards the end of her life, there was a lot of cruelty, and she was very unsupported. I knew that the whole team wanted to approach it with love and respect for her, so I thought we’d try.

ERIVO: I didn’t realize that there was that much cruelty. There’s a particular scene where she comes out of the opera house after singing, and [an aggressive] photographer’s there. I felt so heartbroken for her, as someone who’s just trying to find her feet again.

JOLIE: I’m sure you understand her even in ways I don’t, as singing has been a part of your life since you were little. And you’re so unbelievably talented. It’s a lifetime commitment; it’s all the work that’s not seen and not understood. And in many ways you were born very talented. But really for me to now understand what it takes … I have so, so much respect for you and your work.

ERIVO: Thank you.

JOLIE: In moments like that with Maria, she gave so much of her life, and then when she wasn’t able to perform at that level, there wasn’t a sympathy or a support for what she was as an older woman. There was only as if she just disappointed people for not being able to deliver. And cruelty.

I have so many thoughts and questions for you. For someone to be such an accomplished Broadway performer, to then have the camera this close, how is that adjustment to sing that way?

ERIVO: With Broadway, you have to perform to the back of the house. You want them to see everything, you want them to be able to read the emotions, so you have to send it out. When on camera, Jon Chu, our director, took us off track. There were no tracks; we just agreed to sing live on set.

JOLIE: That’s extraordinary.

ERIVO: When we were doing a song like “For Good” [for “Wicked: Part Two”], there’d be silence in my ears, and he’d say, “You start, and the pianist will come in.” We could even include all the breaks in the voice; if it turns into a whisper, then it turns into a whisper, and then you can build from there. That was really the joy of being able to do all of that on set, because you could really connect in the moment, change your mind in the moment.

Will you talk about all of the work that you had done to sing? Because, yes, I’ve been doing it my whole life, so for me it’s like skin, second nature. But to have to learn a new form of singing, because opera is its own form — one, how brave. What gave you the bravery to do it? And two, what was the process like for you to feel comfortable enough to sing in that way?

JOLIE: Thank you. I was terrified. But I think it’s a gift as an artist — and I know you felt this going into your film as well — when you’re just not sure you’re able to do it. You’re not sure you’re good enough. The task, the challenge, is set, and you feel small. It’s a gift for an artist. So I felt that. Pablo knows opera, was going since he was a little boy, loves the art form, takes it very seriously. So he made sure I had the right teachers, Italian classes, opera singing, body breathing.

People keep quoting me because I made, not the mistake — I admitted it was like a therapy. But it really is. Because I didn’t realize the practice of it and the learning of it is one thing, but it was finding my voice and letting my voice out that was really hard for me. And I was really emotional about it.

I didn’t know how much I had lost my voice. Maybe when I lost my mother, maybe when someone hurt me — whatever it was, the different things that had made it smaller and locked it away. So finding it and letting it come out was very emotional, and such a feeling that I wish for everybody to have. I wish everybody could know what you feel when you sing at the top of your beautiful voice, and you know what can come out of your body. And it’s not just what you can do for an audience or how you tell a story, it’s that you can make that sound. Maria said something — she said she doesn’t like to hear records, because they’re perfect.

ERIVO: Yeah, I remember that.

JOLIE: And there’s a truth to that. For Broadway, it’s not a film — every night’s different. Every moment’s different. There’s a danger, there’s a surprise, there’s a life. I feel that you were able to keep that. When I watched this work that you did in “Wicked,” it’s bigger than life, but it felt very honest. Your work was just exquisite and humble, and I felt somehow you just pulled me in past all of that.

ERIVO: Thank you very much for saying that. With “Maria,” in her everyday life, there’s this wonderful fearless way of she never feels sorry for herself …

JOLIE: Thank you for noticing that.



ERIVO: … ever. I think that’s what breaks your heart, because she’s fighting still. We don’t get that very often in our women characters, in these bigger-than-life women. We want them to falter a little.

JOLIE: They’re a good woman if they’re apologizing. Or if they’re breaking. Maria didn’t have a mother that loved her and told her that she was enough as she was, so both of our characters come from this being alone since they were little and feeling a little different for very different reasons.

ERIVO: And never expecting that anyone would give …

JOLIE: … love.

ERIVO: There’s this wonderful comparison of understanding the loneliness that they both have to experience. Because of that, they somehow have a really big capacity to love. So when it comes to them, they’re really open to it.

JOLIE: Yes. I think it’s true for a lot of strong women. There’s an idea that we don’t want care and kindness and softness and love, and it is so much the opposite.

ERIVO: Can I ask, how long were you filming this piece?

JOLIE: I was in training for about seven months, and then we filmed … maybe it was three months?

ERIVO: Wow.

JOLIE: Yeah. And we sang live on set.

ERIVO: There is something quite thrilling about getting to do that on a set.

JOLIE: For you, I’m sure it’s thrilling because you know how good your voice is. For me, more terrifying than thrilling. When I first sang, I asked it to be the tiniest room. Like, “whoever needs to be here, please close the doors.” By the end, I got used to making big sound in a room full of many, many people. But, yeah, there’s quite a feeling.

ERIVO: You said that you were terrified. Do you think that feeling is eased now?

JOLIE: I feel so many emotions when it comes to this piece, because I had someone in my life say that I couldn’t sing. They didn’t even say, “You couldn’t sing.” I was singing something little, and they laughed a little bit at me. And it really locked me. I don’t think I would’ve ever tried had this not come; I would’ve just lived my whole life never finding my voice. So, yes, I went from being very terrified to being very grateful.

I can’t not talk about some of the joy of this film that you’ve made. I remember taking my daughter — a few of my children, but my one daughter — who, when she watched “Defying Gravity,” I remember that moment. Because as a mom, we want art to have an influence. I felt that feeling of “Oh, she needs this — she’s feeling this desire to know that there’s endless possibility and something within her she hasn’t discovered yet.” This was how I was feeling about it in that moment. I loved seeing it live. I loved, loved when it came at the end of this film. That particular song or what it means to you — singing it — anything that you can share?

ERIVO: There was this huge responsibility, because it’s such a well-known song. And people know it; people love it. I really wanted to mean it. The physical work of it was hard, because I’m in a harness: I’m flying and I’m singing at the same time — so many things are happening. That was new for me, to figure out how my body, my brain, my voice, would all come together to work as one. I felt really proud of being able to figure that physical, practical side of it.

But I think in order to get to a point where I could rule the words, I really thought of all of the journey of getting to that moment. Not just in the making of this particular project, but the journey I’ve taken to get to here: being at drama school at 20, putting myself through, finishing at 23, not getting jobs and not really being seen and not really feeling accepted — feeling very odd, very different. And having to figure out how to make my own way through this, because this business is hard, and this business is very hard when you’re a Black girl who’s singing.

I also knew that there are so many people who want to feel seen, who want to know that it’s possible to exceed people’s expectations of them and exceed your own expectations. Even in that moment, I wanted to exceed my own expectations of what I could do. There’s this other thing that’s playing in my head, like, “There are so many people on this set right now, also, who have been waiting for this moment in this film and this project, and we’ve all worked towards this one part.” It’s how we finished shooting; it was the last thing we shot.

JOLIE: Oh, was it?

ERIVO: I just had to channel several different things: Little Cynthia, who didn’t know she could do this. Big Cynthia, who wanted to make everyone proud and herself proud. I wanted it to feel like the complete package that it was servicing — not just my desires, but the desires of everyone who’d actually come together to make this thing happen. And I love singing. So to be able to take on that and honor the women who’ve had to sing at eight shows a week and to understand what it feels like to have to do that too, I was so ready to do it. I was so ready to “OK, let’s do this.”

JOLIE: Oh, that must’ve been an extraordinary day on set.








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Monday, December 9, 2024

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Thursday, December 5, 2024











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Thursday, November 14, 2019

Random Fuzzy

In a nutshell:

Small star = Original, smaller A.  Large star = New, larger A.

Brad's family tattoo has a new large star framing a new larger A.

The only possible change to the family tattoo until they have grandchildren is to have it reflect Angelina's out-sized role in helping everyone in the family the past 3 years. 

The large bee is now Brad's most prominent and visible tattoo.

The photos make it simple, clear and easy to comprehend.

Note: Standard 5-point stars were superimposed on the original.  Nothing was erased.


The original A could have easily been made into a star that would have kept her quadrant of the family tattoo aesthetically matched with the children's.  But his purpose wasn't to transform the A into a star, he wanted it to make it bigger and threw off the symmetry and balance of the family tattoo to achieve it.  The star was mainly a means to his objective of having a larger A without having to erase any part of the original.  The larger A in the large star towering over all the others shows her relative importance in the family.  The 5 point star is not just a geometric match to the A but also symbolizes her shining brighter than everyone else.  Everyone in the family would have provided input on the change to their tattoo and given it a unanimous vote of approval.  He would not want anyone to be upset.  At this point, the only possible change to the family tattoo until they have grandchildren is to have it reflect Angelina's out-sized role in helping everyone in the family the past 3 years.  With her help, Brad is working to complete his reconciliation with the children, which they hope will be reflected in Dr. Katz's next custody evaluation, so they can set aside the temporary judgement on custody and visitation.  He recently had one-on-one time with Pax while everyone else was with Angelina in Fuerteventura. 

To go with the new star, he had a very large bee drawn on his outer forearm.  He has constantly worn a bee ring since July -- he kept it on for the GQ spread when he took off all his bracelets and most of his necklaces.   It is notable that even with the new bee tattoo he did not take the Petrvs bee ring off.  Given its size and placement, the bee is now his most prominent and visible tattoo.  It was the bee tattoo he was showing off as he gestured animatedly on TV, the family tattoo was often totally covered by bracelets.  Angelina's efforts to expand bee conservation with help from Guerlain has been well publicized.  Instead of the knit T-shirts and/or long sleeve shirts he prefers, he wore a short sleeve linen shirt so when he took off his jacket (while Adam kept his on), everyone watching could get a good view of the bee tattoo honoring her.  It was hard to miss with his right arm waving in front of the camera like a conductor's.  The tattoo could have been a surprise to her.  It was done very recently and she was already in Fuerteventura around the time the show was taped.


Below Jacket off and showing all in a row: Very large Bee, A big Star, Petrus Bee ring.  In between, his bracelets. From left, gold skull, labradorite, fine woven chain, bike chain, red tiger's eye, gold chain link.



Jacket on



And still finding an opportunity to show off his Breitling which wasn't seen very well on tape since it was farther from the camera.






Brad Pitt (“Once Upon a Time in Hollywood,” “Ad Astra”) and Adam Sandler (“Uncut Gems”) sat down for a chat for “Variety Studio: Actors on Actors.” For more, click here. 

As has become a tradition for Variety’s Actors on Actors conversations, two superstars realize they have even more in common than celebrity. The careers of Brad Pitt and Adam Sandler ran on parallel tracks after they arrived in Hollywood in the late 1980s, emerging among the last generation of A-list superstars in the ’90s through wildly different genres of film. Sandler made hits of raucous comedies like “Happy Gilmore” and “The Waterboy,” while Pitt burnished a character-actor reputation with turns in “12 Monkeys” and “Fight Club.” This past year, Pitt was as melancholic as he’s ever been in “Once Upon a Time in Hollywood,” while Sandler was characteristically outsized in the New York freakout “Uncut Gems.” And yet, during a lengthy exchange, they keep stumbling over what unites them as artists.

“What I love when we started were cables everywhere, and massive lights,” Pitt tells Sandler, reminiscing about their early days in movies. “You’d be sweating all the time, and big-ass cameras that were super loud. Now it’s getting down to, we’re almost sitting in our own room in the dark. It’s a whole ’nother thing.”

Moviemaking has changed since the days Pitt and Sandler first stepped on a set. Their heavily Oscar-buzzed projects this year are proof: Pitt’s work in Quentin Tarantino’s “Once Upon a Time in Hollywood,” for instance, gleams with a postmodern awareness of how transient the 1960s were. And in James Gray’s ”Ad Astra,” he’s lost in a lonely outer space that feels utterly of the moment. In Sandler’s case, his “Uncut Gems” — directed by the young and ambitious Safdie brothers — represents independent cinema’s most daring and deranged cutting edge.

But for all that Hollywood is transforming, some things are eternal. One is the camaraderie among actors, a troupe united by their desire to entertain and to express their humanity. Another, perhaps, is Sandler’s bro-ish wit. Noting that both have worked with cinematographer Darius Khondji, Sandler tells Pitt, “He couldn’t help himself. He kept saying, ‘Something about your face is better than Brad’s.’ I have better eyes or something!” Pitt, of course, has his own comebacks ready.

Adam Sandler: I’ve seen Quentin. He goes hardcore at the perfection of the script. So you get your character — what’s the first thing you do?
Brad Pitt: This one, because the previous script got burned, it was just one copy, his first copy, and you had to go to his house to read it. I think the Rick Dalton character [Leonardo DiCaprio] had to get cast first. So the first time I went, it was a nice, clean, crisp script, and I got called back and it was all dog-eared and snot stained.
Sandler: And the dialogue itself?
Pitt: I found that with the Coen brothers, and I find that with Tarantino, there is a very particular music to it. He’s one of the few writers that I’ve read where you can hear it immediately.
Sandler: The Bruce Lee scene, you just laughing on the side and getting excited about a guy boasting. I’ve seen those guys hang out before, the stuntmen, and you always go: “Those guys are the coolest guys on the set.”
Pitt: They are. By the way, I’m so happy they’re there. I rely on them for everything. I don’t know about you, but I have no point in doing my own stunts.
Sandler: No.
Pitt: What I’ve noticed about you, you usually have a group, and you guys are used to riffing. You guys will try another line and then another take. Do you bring that same thing when you get to a drama?
Sandler: Not really. I throw thoughts out there, and I talk to them during the pre-production.
Pitt: I once saw Tony Hopkins, we were doing — this was mid-’90s — something, and the scene wasn’t working for him. He turned his back to us all for about 30 seconds, turned back around and he did it. He just came in; it was a completely different tone. The words were the same, and it was glorious. I’ve always made a point since then to keep trying to mess up the intention of the scene. That’s what I drew from. Whenever I see comedy guys riffing like that, it’s always fresh.
Sandler: We did a few scenes in “Uncut Gems” where I’m at home working on it, and it’s one thing. Then all of a sudden you’re with the other actor, you’re meeting eyes, you’re like: “Oh man, this is bringing up a whole other feeling.” That’s usually when I feel I did something right, where I was there in the moment. You let yourself say: “OK, that was real at least.”
Pitt: That’s always my argument. If it’s real for you, it’s going to be real, because the camera reads that. I just wondered how you approached that with comedy.
Sandler: The realer, the better. But then there are guys who come at it where they take a step back from being real, and they do something bananas, and it’s funnier than anything you could do.



Pitt: I see that in some of your stuff, like the really irreverent “Zohan.” But I equate that to Will Ferrell. You can do dramas all day long if you want. You’ve proven that with several films, especially this last one. Coming from comedy, were you ever reluctant to make that switch? What did it take you to find the confidence in that?

Sandler: I think ultimately it was just Paul Thomas Anderson writing me something [“Punch-Drunk Love”]. I didn’t know how to write that stuff for myself, and I went to NYU. I studied acting at Strasberg and all that stuff. I was never doing comedy monologues in school. I was always doing “The Indian Wants the Bronx.”
Pitt: Really?
Sandler: Oh yeah. I was doing stand-up on my own, but when I was in school, I was just doing serious stuff.
Pitt: How amazing was stand-up training for this thing? Because here’s my take on it: It scares the shit out of me. I’m too old to jump off that bridge. What I understand, before you put a show together, before it makes it, you’ve got to go in front of a live audience, and you’ve got to try stuff out. You’ve got to fall flat until you find those gems that work.
Sandler: Yeah, you put them together in an order that makes sense. I got to the place where, sometimes all of a sudden, you get punched in the face so hard when you’re going out: “What just happened here?!” But now, I even had this when I was 19. I would say something that didn’t work. These guys didn’t get it. They didn’t understand what was good about that.
Pitt: It was their fault?
Sandler: Never blame me. The times you blame yourself, though, you are shook up. When you finally just go, “What am I doing, man? That was a very stupid thing to do in front of decent human beings.” But Brad, you know you’re a comedy man. You certainly would be funny as hell onstage. Like how funny was it in the acid trip, when you had the gun up to the guy. That was the funniest, man.
Pitt: Quentin said, right before we started shooting: “By the way, the end’s going to be you’re on acid.” I said, “Crazy. Great.”
You were talking about your time at NYU. This is my favorite Adam Sandler story that I heard from Bennett Miller —
Sandler: Oh, really?
Pitt: Yeah. It was that you were at NYU, and it was an acting coach, I believe.
Sandler: Acting professor.
Pitt: And he said to you, “I want to take you out for a beer.” This is what I’m told. You guys went to a bar, and he kindly said to you: “Think about something else. You have to choose another path.” Truth?
Sandler: Exactly.
Pitt: There’s a second part to this story. This is why it’s my favorite Adam Sandler story, and I think it says a lot about you. That you ran into him at your height, when you’re getting the ultimate payday, and you’re with a bunch of friends, out at a bar. Anyone would think that’s the opportunity where you rub it in his face. And reportedly, what you did was you introduced him to your friends, and you said: “This is the only teacher to ever buy me a beer.” True?
Sandler: Yeah.
Pitt: I love it. But all right, back to “Uncut Gems.” I’m a little obsessed with comedy right now; that’s why I’m banging on your door that way. But this movie. First of all, hats off, man. That was phenomenal.


Sandler: I’m so happy you liked it.
Pitt: I had such anxiety watching it, though it looked like a ball to make. Except for the panic scenes.
Sandler: There were some heavy moments. Yes, there were so many people in every scene; it was so rat-tat-tat, everybody going nuts. It was alive most of the time.
Pitt: Very kinetic. But watching it, I was so anxious. But doing it, isn’t there a certain perverse freedom?
Sandler: Yeah. Oh, my God. This was probably the most free I could ever be in a movie. He made so many mistakes, and he was so unlikable at times.
Pitt: He was never unlikable.
Sandler: In my head he was. That’s good to know. There’s something about me, no matter what I do, that it’s slightly goofy. It makes you go, “He’s off a little bit.”
Pitt: You’re definitely off, no question.
Sandler: I was going to ask you an actor question. You have stuff that you’ve been working on a long time, like “Ad Astra.” How long were you working on that before you actually shot it and got it going?

Pitt: James Gray, I think he developed it for like five years. Then afterward, the post-production was pretty long for us. It was almost two years by the time we got it out.
Sandler: Yeah, the look of that movie, it’s incredible.
Pitt: How long was the shoot with the Safdies?
Sandler: It was probably 37 days. It was all over New York, most of it live, most of it in the city.
Pitt: I put on a dinosaur mask, and I got recognized in New York City. I don’t know what it is, especially when people grow up with you. But you were deep in character.
Sandler: I had a character going. I still got recognized, yes. Maybe a little more of a delay. But like what you were saying: I was skiing one time, had the helmet on, the dickey was up, the goggles, and I was like: “This is going to be a fun day. No one’s going to …” Literally, it was 7 in the morning. “Hey, Adam Sandler!” I go, “How did you know?” He goes, “That big nose of yours.”
Pitt: You started out originating your own comedies. They’re still the favorite, the films I go to when I’m done with the day. I can watch those over and over. I got here in the end of the ’80s. When did you?
Sandler: I finished college ’88. I got here like ’89.
Pitt: Then, it was still big blockbusters with Stallone and Schwarzenegger. We went through the ’90s, independent cinema. In the early 2000s, it was harder to make interesting material. You could see it heading toward the blockbuster, mainly because prints and advertising was so goddamned expensive. You couldn’t take gambles on gutsy material. You had to do it under $10 million or something.
Sandler: Right.
Pitt: Then streaming services came along and blew it wide open again in a very interesting way. You were one of the first to go to Netflix.
Sandler: I lucked out doing that.
Pitt: You crossed the picket line.
Sandler: I sure did. I didn’t even know I was doing that. They were interested in working together; they were so passionate. I’m just tight with Netflix. They love providing opportunities for many different types of comedies.
Pitt: And then it’s become an arms race for material. I guess my point is, I’m all for change. I’m not going to fight. I see the positive more and more. I see really interesting material get made.
Sandler: So many great filmmakers.
Pitt: On the other hand, people talk about lamenting the death of the cinematic experience. Is that gone, because the home experience has gotten so good?
Sandler: I don’t see it being gone. I just saw your movie in a theater five days ago.
Pitt: Which?
Sandler: “Once Upon a Time in Hollywood.” I was in New England, and I looked it up. And I had to drive an hour and 20 minutes. It was so much fun going to the theater, watching it on the big screen. Of course, Tarantino wants you to see it on a big screen.
Pitt: Sure, shot on film still. But that’s exactly the question. Does it have to be an event film to play now?
Sandler: I don’t think stuff goes away forever. I just think this is where it’s at right now. I saw “Ad Astra” at home, on my screen, and it felt more private. I love being alone with it, because I was digging the sound design. I was digging the shots, and the quiet stuff on the moon. It rocked me hard.
Pitt: Got you —
Sandler: Not hard! Not hard! Rocked me.
Pitt: OK. I just want to be clear.
Sandler: That doesn’t happen anymore.
Pitt: I’m not going to take a stab at the comedy. I’m sorry.
Sandler: There was a pause button.
Pitt: You can’t do that in a theater. Not anymore anyway. You could in the ’70s, but the times have changed.
Sandler: No, you can’t do that.
Pitt: The upside of films through streaming is a lot of them get more eyes on it; more people actually see them. The downside: There’s so much material that they can become disposable.
Sandler: It seems like stuff that is exciting to see, though, does get talked about a lot, where you say, “OK, I’ve got to check that out.”
Pitt: Things are getting made, and that’s what I care about.

Sandler: Ted Sarandos, does that guy care about movies, more than anyone. He really gets excited about films.
Pitt: What I love is we don’t have to do much press.
Sandler: Oh yeah.
Pitt: No, it’s nice, isn’t it? We don’t have to get out there. We’re not fighting for eyes. We’re not trying to put butts in seats, as they tell us we need to do.
Sandler: You’re right. You did put a few butts in the seats, though.
Pitt: Well, that was Tarantino, my friend Leo, Hollywood ’69, Manson. It became an event.

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Friday, November 8, 2019


Well, well.  A huge, new Bee tattoo. 

The tattoo dominates his right outer forearm, just above where the vertical line bisecting the family tattoo ends.  Unlike the static Petrvs bee on his ring, this bee is shown in flight and positioned looking at the A on his wrist.  Over two years ago -- while Angelina was in Africa -- Berlin-based tattoo artist Mo Ganji flew to Miraval and posted that he just gave Brad three of his original single-line designs.  Those tattoos have remained hidden -- probably placed akin to the Whiskey Bravo tattoo on Angelina's right inner thigh.  This bee tattoo is placed to be seen.  To show it off on TV, he sat with his right side facing the camera and eschewed his usual long-sleeve shirt and/or jacket that would have covered it. 


HB

Can you tell us about your Bee Project with Guerlain?

I had a very humble, small beekeeping program. When Guerlain came, they said “we know something about bees, we might help.” They spent time with the local people and sent an ethno-botanist to Cambodia. We hope our new project will help create jobs and skills while protecting biodiversity in the area. If it goes well, we will see if we can replicate it in other areas. That’s all each of us can do: something small, make sure it works, and hope that through practice we can show that to be responsible with land is the better practice.





Thanks Jennypeachy's



He already had the bee tattoo in the photo below taken Oct. 27.  Lo-res and only partly visible, but we have the bee tattoo, the A, and the Petrvs bee signet ring lined up in the same shot.
The linen shirt is a departure from his usual.  The Variety show may have been taped around the same time.

No sign of the bee tattoo during the Breitling summit on Sept.24. The end of the vertical line is visible.

Ad Astra press con Sept. 18










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