Friday, February 23, 2018


Mon Guerlain, launched in the spring of 2017, is Guerlain's tribute to contemporary women "with a strong, free and sensual femininity, as inspired by Angelina Jolie". Its new flanker Mon Guerlain Florale comes out a year later as a more floral and airy version of the original with additional notes of peony and an enhanced dose of Sambac jasmine.

The opening remains the same, with the signature note of Carla lavender. The heart retains Sambac jasmine in a higher concentration together with additional floral notes of peony and Paradisone molecule. The base includes vanilla with woody notes.

The elegant and timeless bottle design based on the Nuances d'or de Guerlain comes in rose-gold color after the champagne nuance of Mon Guerlain the original. The fragrance is available as a 50 and 100 ml the Eau de Parfum Florale.

Mon Guerlain Florale was launched in 2018. The nose behind this fragrance is Thierry Wasser.

Thanks SandyFeet

Thursday, February 22, 2018

by Borys Kit 

Sam Rockwell, who is nominated for the best supporting actor Oscar for his provocative turn in Three Billboards Outside Ebbing, Missouri, is heading to Disney.
The actor has signed a deal to star in The One and Only Ivan, Disney's adaptation of the Newbery Medal-winning book written by Katherine Applegate.
Thea Sharrock, director of the tearjerker Me Before You, is helming the live-action/CG hybrid, which has a script by Mike White and has Angelina Jolie on board as a producing as well as voicing one of the lead characters.
Published by HarperCollins in 2011, the book centers on a silverback gorilla named Ivan who lives in a cage in a shopping mall along with an elephant named Stella (Jolie) and a stray dog called Bob. Ivan does not remember life before the mall, but when a baby elephant named Ruby enters and Ivan finds himself taking care of her, he begins to rediscover his previous life and concocts a plan to take the baby elephant away from their abusive owner.
Rockwell will voice the title character of Ivan the gorilla.
Brooklynn Prince, the breakout lead of acclaimed indie drama The Florida Project, is already cast as the voice of Ruby.
Ariana Greenblatt, one of the stars of Disney Channel's Stuck in the Middle, is playing the lead, making up the live-action portion of the project.
Brigham Taylor is producing the movie with Jolie. Allison Shearmur, who recently died, will retain a producer credit on the movie.
Rockwell's turn as a racist police officer in Three Billboards has generated much acclaim, alongside the movie's trajectory. So far this awards season he has won a Golden Globe, a BAFTA and a SAG Award, among numerous others, for his performance.
He recently wrapped Adam McKay's untitled biopic of former vice president Dick Cheney in which he stars opposite Christian Bale and portrays President George W. Bush.
Rockwell is repped by Gersh and Untitled Entertainment.

I had the pleasure of visiting Thomas Houseago’s studio in Los Angeles today. I was treated to the most inspiring afternoon. He is sculpting some monumental redwood pieces which felt like a crowd in the room. It’s an incredible indulgence to be able to spend time with other artists talking about art. Thomas is a brilliant sculptor with incredibly deep knowledge of form and light. His current work includes an exterior sculptural wall which will be installed at the LACMA. Anyone who creates should spend more time with other creators. I left today feeling incredibly inspired and utterly speechless seeing the studio of a master. #thomashouseago #sculptor @gagosian #gagosiangallery . . . . . . . . . . . . . . #artfurniture #functionalart #ultraluxury #exteriorfurniture #yachtdesign #superyacht #interiordesign #luxuryinteriors #luxuryarchitecture #pitt_pollaro . . . . . . . . . . . . . . . #hermes #chanel #ferarri #steinwayandsons #porsche #cartier #rollsroyce #louisvuitton #bmw #bentley #moetchandon #maserati #domainedelaromaneeconti #christies #sothebys #forbes
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I had so much fun at Thomas Houseago’s studio yesterday that I returned today. I was taken by the way his carving dust, shavings, and chunks of wood hit the floor. The byproduct of the art is also art. I am so grateful for the opportunity to visit. What an amazing week. #thomashouseago #sculptor . . . . . . . . . . . . . . . #artfurniture #functionalart #ultraluxury #exteriorfurniture #yachtdesign #superyacht #interiordesign #luxuryinteriors #luxuryarchitecture #pitt_pollaro . . . . . . . . . . . . . . . #hermes #chanel #ferarri #steinwayandsons #porsche #cartier #rollsroyce #mercedesbenz #louisvuitton #bmw #bentley #tiffanyandco #moetchandon #maserati #domainedelaromaneeconti #christies #sothebys #forbes

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Wednesday, February 21, 2018

Seeing her latest directorial outing, First They Killed My Father, selected as the Cambodian entry this year for Best Foreign Language Film, humanitarian and Oscar-winning actress Angelina Jolie has also been making the rounds of late in support of The Breadwinner, Nora Twomey’s Oscar-nominated animated feature, which she produced.
Based on a best-selling novel by Deborah Ellis, The Breadwinner tells the story of Parvana, a young Afghan girl whose father is sent to prison, and must then dress as a boy to provide for her family. A reminder of Jolie’s deep concern for women and children around the world—particularly in war-torn countries—Twomey’s film is consistent with a mission Jolie embarked on decades ago, as she set out to attend to women and children, immigrants and refugees, through channels both legislative and narrative.
The challenge with The Breadwinner was to handle the material as deftly and responsibly as possible, depicting the gravity of Parvana’s situation while conveying at the same time a sense of hope. “It’s a really fine line that they walked, and I think people don’t realize it when they watch the film,” Jolie says. “To get to that point in the end where you have hope, but you also don’t see that the planes coming in are suddenly the great saviors, and that’s what the country was waiting for. [Being] realistic about the years to come in the country, and where the country’s at now…I think she walked that line magnificently.”

Angelina, why did you feel compelled to board The Breadwinner as a producer?
Angelina Jolie: I wanted to work with Nora, and the book was special to my children, so I already knew the story. I have spent a lot of time in Pakistan, Afghanistan, with Afghan people. I have a love and respect for Afghan people, and I thought, “How wonderful that there would be something relatable, like animation, that can tell something as heavy as this story through the eyes of a child, in this unique art form.”
Nora, how would you describe your collaboration with Angelina on this film? What kind of notes did she offer throughout the process?
Nora Twomey: The first time I met Angie, it really felt like a continuation of a conversation, rather than the beginning of one, because your sensibilities were so aligned with the type of film that we were trying to make.
Anita Doron did an incredible job with the screenplay, but I think it was when we started getting into the animatics that the collaboration was most helpful for me. Angie would watch the animatics. Then, she would call, or we’d meet in London to discuss it. It’s such an emotional story, so to get that emotional kind of beat running through the film, and to make sure the sensibility of that was correct…
Jolie: I couldn’t believe how you told the history of Afghanistan. To most people, it’s too complicated, it’s too long—and to do it in a way that’s really appealing, you had a lot to cover.

From a producing standpoint, it seems like there were certain moral and philosophical issues you contemplated in how you made the film—visible, for example, in your decision to cast primarily Afghan actors.
Twomey: Yeah, you were the first person who said that—“Where we can, cast Afghan actors.” I remember saying, “Well, it’s a co-production between Canada and Ireland, and Luxembourg, where we raised the money.” [laughs]
Jolie: It’s really difficult, because it’s not like she could just go and sit in Afghanistan and find Afghan actors who could also speak English. It was a real combination of people [from Afghanistan] and different people who’d been displaced. There’s not a lot who can act, who’d been displaced, who had that heritage, who understood the heritage.
But I didn’t have to push. That was already what they were wanting to do. To find enough people, and find the balance, it wasn’t easy. But the effort is the right thing—and not just because it’s morally right, but also because, of course, every culture has extremely talented people, so there’s no reason why you’d have to cast outside of the actual culture. Unless, like in Nora’s case, it was really complicated where she was to find enough people who had that combination.

Has it been your experience that films like The Breadwinner are difficult to produce? It would seem that Hollywood has certain biases toward American stories and actors who are well-known quantities.
Jolie: I think it is. We both made films this year with women in war—both with little girls, both films with nobody known in them. Both directed by women. I think it can be hard, but in some way, fortunately for us, you just couldn’t put somebody in either one of those films. You couldn’t just suddenly put a voice in The Breadwinner that would make sense to the film. That’s one of the reasons I was very happy to be able to come on, to at least try to bring a little more attention to the piece, because it was better that it came behind the camera, than what was going on in front of the camera, and on the screen. What was happening on the screen had to be as authentic as possible.

As you’ve noted, both The Breadwinner and First They Killed My Father center on young women thrown into difficult situations who are forced to grow up rather quickly. What has inspired you to bring these subjects to the forefront?
Jolie: I think the fact that young girls in war are the most vulnerable people on earth.
Twomey: Yeah, absolutely. You don’t see many stories about that, and I think it’s of the time, and it’s interesting that you would direct First They Killed My Father. I think The Breadwinner being made at the same time, and seeing women in positions where we can tell stories, this is something that 20 years ago would have been completely unheard of, really—or very rare.
To see women tell stories as mothers, as well, makes a huge difference—and to tell stories that are empathetic, and that are at a child’s view. From that perspective, it’s a different type of storytelling, and I think it’s wonderful to see it finally getting into cinema screens, and getting into people’s homes.

Do these films take on added resonance or urgency with current happenings in the world, in American politics, the #MeToo movement or elsewhere?
Jolie: I think if both of these films maybe highlight anything, it’s not just the vulnerability of women, but that this is not a “today issue.” This has been an issue for a very, very long time. There have been people fighting this battle for a long time, and there are little girls like Parvana, on the border of Myanmar, who are being raped, today, and not enough is being done. Not enough is being spoken about on their behalf.
This little girl, Parvana, and what she went through, and the fact that over half the girls in Afghanistan still don’t have an education, and how dangerous their lives are, and how much poverty they live in, also just illustrates the bigger, global problems women are facing.

Having worked through plenty of legislative channels on behalf of children’s rights, what value do you see in storytelling that can speak to these global issues, as opposed to fighting the good fight in the political realm?
Jolie: I think if you can’t travel to places, then we can bring these places and these people closer to you through film. If you haven’t met a Parvana, and had the opportunity that we’ve had—the good fortune to meet a Parvana, or a Loung [Ung]—you can meet them, and you can be moved by them, and you can spend time with them during the time you watch the film. Having a human connection, an emotional connection, is often the most important thing.
It’s not just the act of changing law, it’s that people know why they feel compelled to do it, and that they feel connected to other human beings across the world, and they feel emotional about what their needs are. Then, they’re compelled. So it helps us to first engage people emotionally.
Twomey: Just being storytellers, wanting to tell stories and wanting to communicate something to people—especially a story of this nature—I think it’s extremely important. So why not, you know?
What was really hopeful to me with this film was people drawing—people drawing in Ireland, in Luxembourg, in Canada. As a group of artists, and producers, and executive producers, all of us were able to come together to tell one story. That’s an extremely hopeful thing.
Jolie: I didn’t realize, because I hadn’t worked on animation in that way—I’d only loaned my voice before—that really, it’s a very different collaboration, and it’s intimate in a different way.
For this, in particular, it’s beautiful because everybody worked on it because Nora wanted to be so true and authentic to Afghanistan, with the research done, and the music, and the light. When you have that many people spending that much time just thinking about this little girl, and her father, and this country that’s been through so much, just to have that long meditation and dedication to create as artists, it’s a great thing.

What has your reaction been to changes occurring in the industry this year, as far as the representation of women on screen, and in all disciplines of filmmaking? What has excited you, and where is there still a lot of work to be done?
Twomey: It’s great to see all the attention this year on women filmmakers, seeing so much support there for, but I would hate to think that it’s something that people will move on from because it needs to be a concerted effort over a long period of time. What I’ve found really interesting is women filmmakers supporting each other, and talking to each other, and coming together to try and make sure that it continues on—that it’s something that, through the decades, will continue on. Half of the stories in this world need to be told by women, because we’re half of this world.

For each of you, what is the mission going forward? Angelina, you’re heading into Maleficent 2 soon, so how do you balance your sense of social responsibility with simple pleasures taken in storytelling?
Jolie: I think that’s life, isn’t it? I’m sure you’re the same as a person. You have your creative, and you have your work, and every day of your life is going to be about somehow growing as a person. Somehow feeling you can contribute to the extent that you can get tribute.
Nora and I, when we spend time alone, spend most of our time just talking about being moms, and I think that’s the balance. We’re all trying to find balance, as people. I think to be a balanced person, you have to find those things that you just purely enjoy. But, of course, if you aren’t participating in the bigger picture of life, and in being somehow useful, and you aren’t doing something and growing, then really, you’ll find you’re not very happy. Really, you’ll have quite an empty life.
Twomey: Every day, you slip and slide between one thing and another. Sometimes, very vast things. But that’s just life, as Angie says. You just get on with it, you know?

Peter Mikelbank
February 21, 2018 02:49 PM

Brad Pitt and Angelina Jolie are holding onto their French roots.
Confirming their commitment to their Miraval chateau in France, the former couple—who launched a signature estate wine line in 2013—will release their latest bottling this week.
The fifth-annual release of their award-winning pink rosé will appear without change to their familiar “bottled by Jolie, Pitt and Perrin” label. First shipments will arrive in the United States immediately.
Winemaker Marc Perrin, 47, who partnered with the now-separated couple when the venture began, tells PEOPLE exclusively that the release designated Miraval 2017 is “very certainly our best vintage since we began in 2012. With magnificent aromas of fragrant white blossom and fruit, the wine retains that touch of distinctive minerality drawn from the limestone soils, that is the hallmark of the greatest French terroirs.”
“But what makes this 2017 vintage really stand out is its silky texture which adds a very special dimension to the wine,” the fifth-generation winemaker adds.
Despite speculation following their September 2016 separation that the power couple would put their $80 million French estate on the block, a source tells PEOPLE that “nothing has changed.”
Their intent has always been to keep the property in the family “as an investment for their children,” adds the source.
Miraval, located in the southern Provence region, garnered world-wide attention when the pair purchased the property a decade ago. Situated in a wine-growing valley at an altitude of 1,150 ft., the estate includes over 75 acres dedicated to cultivating Syrah and Cabernet Sauvignon grapes – and 26 acres now wholly dedicated to commercial olive growing. Both agricultural pursuits maintain strictly organic farming practices which were inplace when the couple acquired the property.
Respect for the regional wines has grown considerably in recent years, attracting interest from both amateurs and wine-making professionals. Last year, filmmaker George Lucas acquired property adjacent to Jolie and Pitt’s to add to his Skywalker Vineyard Collection.

Miraval Rosé Côtes de Provence - 2017

The vintage
The winter was mild and dry at Miraval, as everywhere else in Provence. The spring, also very dry, was marked by a frost episode in April, unfortunately affecting part of the property. In these particularly hot conditions, flowering was very fast at the beginning of June. At the beginning of the summer, the vineyard was exceptionally healthy, thanks to the combination of a very persistent Mistral and the beautiful spring conditions. The summer was also very hot and dry, with occasional localised thunderstorms. The end of summer conditions concentrated the sugars, acids and aromas in the small berries filled with fruit. The first juices are very fruity, with softness and a nice balance. The 2017’s are promising and have a strong aromatic potential.

Miraval rosé is a wonderful blend of fruits aromas and freshness, made on an exceptional terroir in Provence.

Issued from the Château’s best parcels (Muriers, Longue,Romarin), and from selected parcels in the best terroirs of Provence.


Clay and Limestone vineyard, partially in terraces located at an average of 350 meters. Cool climate for the area with big temperature swings between night and day.

The grapes are harvested exclusively in the morning and sorted twice. Destemming. ‘Pressurage direct’ for Cinsault, Grenache and Rolle. The Syrah is vinified partially using the «saignee» method. Vinified in temperature - controlled stainless steel vats (95%) and in barrels (5%) with batonnage.

Pretty pale color, petal pink, elegant with shiny reflections. This 2017 presents a very beautiful and intense aromatic expression of fresh fruit and spring flowers. In the mouth, the acidity is refreshing; a great elegance and a nice balance dominate, with a saline finish.  -- Recently redesigned with a new format and new photos but carrying over the text.

Tucked away in its own private valley in the ancient village of Correns – the first organic village in France – Château Miraval covers 500 hectares of land in the heart of Provence. The magnificent Château is set in a cirque surrounded by ancient woods, olive trees, vineyards and abundant water supply. Lush wildlife combines with the beautiful Provencal climate and quality Mediterranean lifestyle to reveal an enchanting oasis.

Château Miraval’s exclusive valley location embodies an exceptional terroir. Terroir is the expression of the soil, the climate and the history of the land – the essence of the wine. At an altitude of 350 meters the vines are privileged to enjoy warm, sunny days and cool nights, bringing freshness and balance to the wines.

Miraval sits at the foot of Via Aurelia – an extensive route built to facilitate Roman expansion in the 3rd century BC – representing centuries of history.
Following Celtic settlement and Roman occupation, the property served as host to monastic practice and as home to members of the French Court, appearing in the Registry of Noble Houses in the 14th century.
In 1970, the well-known jazz pianist and composer Jacques Loussier took ownership of Miraval, turning it into a recording studio – Le Studio de Miraval. There, a number of
famous musicians like Pink Floyd, Sting, Sade, The Cranberries and The Gipsy Kings came to record music.
Today, Miraval is a summer residence of Brad Pitt and Angelina Jolie, who have given
impetus to the heart of the estate as a place dedicated to the arts – music, cinema, theatre, local food and fine wine.

The Vineyard
The vines are planted in protective terraces. Miraval’s magnificent cascading stone walled terraces have been perfectly restored to their traditional form.
The estate is cultivated without using herbicides, pesticides, or chemicals that can enter the vine and affect the evolution of the fruit.

Harvest & Winemaking
At Miraval, all grapes are carefully hand picked and hand sorted once they have reached desired maturity, ensuring premium selection. Since 2012, the owners of Miraval have partnered with Famille Perrin to help with the viticulture, winemaking and wine distribution. As one of the leading French wine producing families, Famille Perrin is experienced in producing high caliber wines. With investments in the latest winemaking technology and a passion for excellence at every stage of production, Miraval is dedicated to delivering top quality wines to international acclaim

© 2018 Miraval.


Miraval was named the best rosé wine in the world by Wine Spectator, and the challenge lies in making it a real alternative to champagne.
The agency’s recommendation was to assert the estate’s heritage and creative expression, to convey this stance through a luxury aesthetic backed by a creative direction that defies the traditional codes of wine.
A creative approach that appropriates the divine fruit and elevates it to art through a contemporary installation that changes the perception of space and of taste, revealing Miraval rosé in a different light.
Omedia created the “Art of Rosé” concept, an interface between Claes Oldenburg’s colossal everyday objects, Jeff Koons’s pop art and Anish Kapoor’s fascinating cavities.
A disruptive, resilient and poetic campaign for the aesthete, conceived like a true work of art.

Tuesday, February 20, 2018

Monday, Feb. 19


Dave Quinn
February 20, 2018 02:31 PM 
Angelina Jolie is back in the classroom!
The 42-year-old Oscar winner gave a seminar Monday to students taking the Masters Course in Women, Peace and Security at the London School of Economics and Political Science, where Jolie is serving as a visiting professor in practice.
The class is part of a series of extra-curricular seminars called “Women, Peace and Security In Practice,” which are designed to give students an insight into the realities of working on gender equality in conflict-affected settings.
Besides speaking about her work as an UNHCR Special Envoy and as co-founder of the Preventing Sexual Violence Initiative (PSVI), Jolie took questions from the students on everything from the importance of accountability for human rights violations against women in conflict to the link between violence against women and gender inequality.
A source close to Jolie tells PEOPLE, ”She found it very helpful to be able to sit with the students and debate different concerns for women internationally, and different views on ways forward. She hopes not just to be able to teach them, but also to work with them in the months to come, to shape ideas together on ways to improve the global situation for women.”
The mother of six also updated the class on developments on PSVI, the work being done with NATO to strengthen military training and practices; and the work being done to prevent crimes against women and girls and ensure their participation in all aspects of peacekeeping and peace-building.

Thanks Pride&Joy

Monday, February 19, 2018


picked up pizza from Fresh Brothers pizza in Hollywood on Saturday evening, Feb 17 -- before the ASC Awards.

"bodyguard loaded the family's dinner into the back of a black SUV" (looks gray)

Sunday, February 18, 2018

BAFTA 2018
Royal Albert Hall

Velvet gown by Ralph & Russo
Jewelry by Graff

LA to London is approx 9.5 hrs for them.  If she left right after receiving her ASC award they would have arrived in London around mid-afternoon.

Her assistant and the two gentlemen who frequently appear as their security outside the U.S. are with her.  The older one I believe is Tony Webb who headed security at Miraval.  Two of them sat behind her during the ceremony.


Daniel Day Lewis

Frances McDormand

Octavia Spencer

British Vogue
Yahoo Style UK


videos via DailyMail