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Diane Lane Actress

Diane Lane

Diane is the epitomy of a true actress and she is an honorable, down-to-earth and sexy star, with decades of experience in acting. Diane Lane was born in New York City on January 22, 1965, to acting coach father Burt Lane and nightclub singer/centerfold Colleen Farrington. With those two for parents, it was almost genetically inevitable that Diane would possess a mix of acting ability, stunning good looks, and smoldering sexuality. Of course, she would have to grow into those last two attributes. The acting ability came almost as soon as she was born, and by age six Diane had made her stage debut in acclaimed theater director Andrei Serbian's Medea. Her performance so captivated Serbian that he continued to cast her in his productions for the next five years. By 1976 her reputation as a talented and capable child star landed her in Joseph Papp's productions of The Cherry Orchard and Agamemnon at the Lincoln Center in New York. Performing at such a distinguished venue meant that her reviews would be read throughout the United States, most notably in Hollywood. Film director George Roy Hill cast young Diane to star opposite Sir Lawrence Olivier in his 1978 feature film A Little Romance. Despite the film's critical praise, its box office success was mediocre at best. But Olivier was very vocal in press interviews about how wonderful an actress his young co-star was. He even went so far as to call her the new Grace Kelly. Eventually, all of this media hype placed Diane on the cover of Time in August of 1979 at the age of fourteen. Expectations were running high for Diane's follow-up projects and none of them lived up to their promise. Touched by Love (1980), Cattle Annie and Little Britches (1981), National Lampoon Goes to the Movies (1981), Ladies and Gentlemen, the Fabulous Stains (1981), and Six Pack (1982) were all box-office duds.

With the shine of her star fading, Diane began to take on roles with smaller paychecks and bigger opportunities to grow as an actor. Roles in two Francis Ford Coppola movies, Rumble Fish (1983) and The Outsiders (1983), proved that Diane was more than capable of taking on adult roles, and once again she was extremely hot property. Coppola even admitted to always having had a crush on her, even when she was a young actress.

With studio executives falling over themselves to offer her a multiple-picture deal, she was offered the lead role in three big budget Hollywood epics. Perhaps trying to exercise some of the judgment she lacked as a child actor, she passed on the first picture. On paper, the movie seemed destined for failure: "a mermaid out of water story" starring an unknown TV actor. Sadly for Diane, the movie was the blockbuster success Splash and the actor she passed on was Tom Hanks. The movies she did accept were Streets of Fire (1984) and The Cotton Club (1984), both high-budget, high-profile failures.

Diane spent the next three years in a self-imposed exile from acting, making her return in the little-known picture, The Big Town (1987). The film served as the formal beginning of her comeback, but it wasn't until 1989's Lonesome Dove that America welcomed her back as a star. Her role as Lorena Wood, the whore with a heart of gold, in that epic mini-series garnered her an Emmy nomination, and yet another stint as a hot commodity among film producers, although this time she was wanted as a supporting actress rather than a leading lady. Desperate to avoid falling from grace again, Diane carefully selected smaller roles in "safe" films like 1992's Chaplin and 1993's Indian Summer. Since 1995, Diane began working in a series of big budget, high-profile films, such as Judge Dredd (1995), the Robin Williams vehicle Jack (in 1996, and incidentally directed by Francis Ford Coppola), and Murder at 1600 (1997). Though the films were all reasonably successful, none of them turned Diane into a household name.

The string of films that has helped turn Diane into a major star began with her Spirit Award winning performance of a frustrated and adulterous 1960s housewife in A Walk on the Moon (1999). That role may have won her the industry acclaim, but it was her role in the $600 million plus grossing blockbuster A Perfect Storm, which brought her back to the public eye.

Since the runaway success of that film, Diane has put forth starring efforts in The Glass House (2001) and the box-office hit Hardball, which both opened on the same day, in 2001. Despite the success of those two films, it has been her role in the sexy thriller Unfaithful (2002) that looks to be the defining moment of her career. The film was tops at the box office and there are rumblings about a possible Oscar nomination for Lane's turn as Richard Gere's cheating wife. It seems that after twenty years of stop-and-go success, Diane Lane is finally fulfilling the starry prophecy that Time laid out for her back in August of 1979. As for her personal life, she has a daughter, Eleanor, with her ex-husband, actor Christopher Lambert.

More fun stuff about Diane Lane

Daughter of acting coach Burt Lane and Playboy centerfold Colleen Farrington (Miss October 1957).

Admitted in Esquire Magazine in February 2000 that she had an affair with both Timothy Hutton and Christopher Atkins.

Dated rocker/actor Jon Bon Jovi in the mid-80s.

Was a multi-millionaire by the time she was 18 years old.

One of Francis Ford Coppola's favourite actresses - she has starred in no less than four of his films.

She enjoys music and movies and has a large home-theater in her home.

Collects antique furniture and has a strange fetish - she admitted in Playboy (1995) that she has "a thing for really high thigh-boots. I have a cool collection! I love high heels."

In her off time, she likes to travel, ride her horses and go walking. She also enjoys keeping fit and does Yoga. She especially loves to spend as much time as possible with her daughter, Eleanor, whom she had with ex-husband and fellow actor, Christopher Lambert of Highlander fame.

Was on the cover of Time Magazine (August 1979) at the age of 14.

Attended the 2003 Oscars with Josh Brolin.

Her father passed away shortly before Unfaithful (2002), in which Diane Lane gave an Academy Award nominated performance, was released. He did see a rough cut of the film the day before his death.

Voted one of People Magazine's "Most Beautiful People in the World" (2003).

July 2003: Engaged to actor Josh Brolin.

Measurements: 35C-25-34 (Source: Celebrity Sleuth magazine)

Once pursued professional modeling as a teen but was told by Eileen Ford (of the Ford Modeling Agency) that her neck was "too short" to be a model. Dated Jon Bon Jovi in the mid '80s.

Two of her movies - Hard Ball (2001) and The Glass House (2001/I) - opened in theaters in the US on the same day. [14 September 2001]

Voted one of the "World's Most Desirable Women" (2004)

Has said that some of her biggest acting influences have been Jane Fonda, Shirley MacLaine, Jessica Lange, and Susan Sarandon.

When she was 13, George Roy Hill wanted her to star opposite Laurence Olivier in his 1979 film, A Little Romance (1979). At the time, she was working on Broadway for Joseph Papp at the Public Theatre in the original production of The Runaways. Both George Roy Hill and Joseph Papp wanted her, and a series of telegrams between Papp, Hill, Laurence Olivier, and Diane's father transpired, with Hill, Olivier, and Diane's father wanting her in the film, and Papp wanting to keep her in the play. She ended up doing the film.

Daughter Eleonora Lambert (b. 1993) with ex-husband Christopher Lambert

Her mother, Colleen Farrington, was the October 1957 Playmate of the Month.

Diane Lane weds

Actress Diane Lane, best known for her Oscar-nominated role as a cheating wife in the 2002 film Unfaithful, has married her real-life leading man, actor Josh Brolin, their publicist said today.

The 39-year-old actress tied the knot with Brolin, 36, at an undisclosed location on the West Coast over the weekend, publicist Kelly Bush said. No other details were revealed.

The marriage marked the second trip to the altar for both performers, who live in Los Angeles. Lane has a daughter by her first spouse, actor Christopher Lambert, while Brolin has a son and daughter by his previous marriage to Alice Adair.

The couple began dating after they met at a premiere for the 2001 film A Beautiful Mind.

Lane, last seen in the romantic feature film Under the Tuscan Sun, will star next in the upcoming drama Fierce People.

Brolin, stepson to singer Barbra Streisand by way of her marriage to his father, actor James Brolin, starred in the short-lived TV series Mister Sterling and is featured in the upcoming big-screen scuba diving adventure Into the Blue.

Diane Lane Talks About "Under the Tuscan Sun"

stars as Frances Mayes, a writer who suddenly finds herself divorced and feeling lost. When her best friend (played by Sandra Oh) suggests she take a vacation to Italy, reluctantly Frances heads off on a life-changing adventure. Impulsively purchasing a villa in Tuscany, Frances builds a new life and finds hope where she least expected.

INTERVIEW WITH DIANE LANE:

How would you describe the different men in this movie?
I really liked the fact that you get to see different versions of men through the perspective of the woman. We have Romeo, the young man. We have a loyal husband who could have taken advantage of my character's emotional insecurity but didn't. We have the guys who are available in that fabulously forward Italian way. And then, Raoul [Bova’s] character, which I think is very interesting because that stereotype is dealt with as a stereotype within the film. That's exactly what American women think of Italian men, and that's what Italian men think of American women.

What are your opinions of these men?
I feel like there's a point of view that they have of themselves in a context that's not just two-dimensional. They're defending their case. They're wanting to prove themselves in a context that is not only the point of view of the woman. I love Pawel in the film because he says, "I can do it as good as…" Here we are dealing with a kind of racism, for lack of a better word, or class-ism that goes on - the Polish within the Italian country. It's something that we wouldn't have necessarily known about culturally but to spend time there and see that it does go on in every culture. So here this young boy is saying, “I can do it and win the father of my beloved's trust by proving I'm as macho as these Italian men who I have to contend with for my future girlfriend.”

How does your character relate to these men?
Sandra Oh’s on the phone with my character saying, "Have you met him yet? Have you met him yet?" There's a lot of pressure upon men, and replacement of them, and measuring of their absence or appearance or what they mean, or what they provide, or what they don't. All these things are being looked at and I think that's interesting.

How do you prepare for vulnerable scenes?
I don't know about the vulnerability thing. I think I learned a lot from Adrian Lyne on “Unfaithful” because that was his big mantra to me as an actress. He wanted me to be as vulnerable as I could be because, frankly, even my daughter could tell what the movie was about from the poster on the bus. I was the bad guy. I'm the villainess. I'm the unfaithful one. So, to not be hated by the audience and especially the men and [not have] the women going, "How can you possibly cheat on Richard Gere?" - it was a big hurdle. Adrian Lyne was adamant that I really stay as completely vulnerable as possible. I guess I did it before then too, but [there’s] something about being told to do it.

Your character has a few encounters with nature in this movie. Do you have any real life bug stories?
I was living in Florida, going into the third grade, and we had a 20-pound bag of cat food under the sink. I went in with the scooper and I think five water bugs came flying out at me. These things are so huge. I'm from Manhattan and I have no problem with roaches. It's just a part of life whether you're in the Bronx or whether you’re in Yonkers. So, this water bug gets in my hair and I'm literally freaking out and tearing off all my clothes and I'm screaming. I was whatever third grade is, eight or nine, and it was okay to be naked and screaming in the yard.

How are Italian film crews different?
Well, they take the same pride in the food preparation, but that's the only food there will be in the day. Whereas in the states, there's noshing food to keep your blood sugar up.
Had you read the book before filmed the movie?
No. When I met with Audrey [Wells] the first time - over White Bean Tuscan Soup actually, it's my staple over at this restaurant I love - I realized that this movie was just a gift. I had gone through so much in terms of filming “Unfaithful,” and the whole world after September 11th, and my father's prognosis and when he died. It was a lot and so I didn't know what to do next. I didn't feel like going to work. Then this script came and Audrey was there. Audrey's so amazing in her strength and her discipline and yet never losing any of her femininity. She has all those leadership qualities. She defied all these stereotypes in my head that I didn't even realize I had.

[Audrey] didn't want me to read the book because there was really no information there that was going to be helpful in playing the character. She had to create a plot, a character arc, conflict, everything. There was none of that in the book. It's very pleasant. I cheated completely, disobeyed, and read the book. I think I read half of it, honestly. I didn't read the whole thing because I was looking as the actress, and there was nothing really for me to mine out because the frame of reference is so different.

How tough is it to be away from home?
It was very hard for me to go away for three months. That was really hard because I had just gotten my daughter situated, and then her fourth grade teacher left. I was very, very intensely in love in this new relationship and I'm going away for three months to the most romantic place in the world. I was feeling filled with anxious self-pity [and] nobody had any sympathy. They're like, "You're in Tuscany. I'm not going to feel sorry for you. I don't care what you say."

How is it different working with a female director?
The fact that it was a woman's story, a woman wrote [the book], a woman wrote the screenplay from it, a woman directed it, it's about this woman, and I am a woman playing that woman, it's a very full circle. [There was] a lot of estrogen going on, which was very, very welcoming after “Unfaithful.”

Fierce People seduces Lane for Lions Gate

Griffin Dunne ("Practical Magic," "Addicted to Love") will helm from a script by Dirk Wittenborn, which follows Liz, a bohemian beauty who lives a carefree life as a massage therapist in Manhattan, Lions Gate said Thursday. When Liz's son has a close brush with the law, the woman realizes it's time to make a life-altering change, and she pulls some strings to enter them into a fantastical world of wealth and privilege. But when Liz is attacked, their new and perfect world is shattered.

"People" is set to begin shooting this month. Lions Gate will distribute the film domestically, and Lions Gate International said at the American Film Market that it will handle foreign sales.

Nick Wechsler ("Requiem for a Dream") is producing "Fierce."

" 'Fierce People' is the type of powerful, high-caliber film that plays very well internationally," Lions Gate International co-president Nick Meyer said. "We're very excited that the film is rapidly moving toward production -- and to have Diane Lane on board. Diane is an extremely talented actress who possesses the passion and intensity needed to play this lead role."

Lane, coming off positive reviews and a best actress Golden Globe nomination for "Under the Tuscan Sun," is repped by Endeavor, manager Joan Hyler and attorney Stan Coleman. Her other recent credits include "Unfaithful," the Adrian Lyne/Fox 2000 drama that landed her a best actress Oscar nomination.

Diane Lane: "Unfaithful"

Diane Lane was cast in the role of Connie Sumner for a wide variety of reasons, not the least of which was her performance in Tony Goldwyn's "A Walk on the Moon." Director Adrian Lyne says, "It was a wonderful film and Diane was very sympathetic and vulnerable in it; you really liked her. And I thought that, given that Connie has a child, and she's happily married, it would be easy to see her as unsympathetic when she begins her affair. So we had to make certain that she was likable and nice. There are very few beautiful actors and actresses that don't have an element of toughness about them. It sort of comes with the package - the sexuality and the toughness. Diane projects both the sexuality and a niceness, which is rare. There's a sort of knowing quality."

DIANE LANE (Connie Sumner)

What appealed to you about this character?
I think it's a case study of the human frailty of being unguarded in your convictions. You relax too much in your convictions. You become lax and I think it takes a certain amount of vigilance to remind yourself why you made the choices you made - and you're sticking with them and being true to them. That takes two people and it takes homework. It takes communication and I think that tends to fade with 11 years of marriage. It's easy to incrementally let things slip away from you.

Can you relate to becoming lax in a relationship?
It's different when you live day in and day out with someone versus someone, say in my industry - time and separation can create a relationship that's in your mind and then you show up for it and you're like, "Wait a minute. I've spent so much time with you in my mind that you're a disappointment in reality." Even one's self - you disappoint yourself in a relationship because you've had too much time to think about it and not enough time to actually live it. That's the opposite problem, I don't really know how to relate to a long-term, day in and day out, comfortable exchange that goes on. Sometimes things tend to get traded - comfort gets traded for passion. It doesn't have to be that way.

Adrian is really good at telling these cautionary tales of keeping your knickers buttoned up. It seems to me like a theme - maybe it's just me projecting. Ever since I saw "Flashdance," I've wanted to work for him. That was when I was doing "Streets of Fire." It's been a long time waiting, but worth the wait though. We've all gotten better.

What was it about "Flashdance" that made you want to work with Adrian Lyne?
Because it was so bloody popular. I just thought, "What is that about somebody who can have the gift of being so timely in what they are telling, as a story?" It may not age well, but when it's out it's really current.

He's very much of a pollster, I think. He's never convinced, and he's always asking [questions]. Yesterday he was asking me, "What did you think? Do you think we ought to edit some more time out of the thus and such scene?" And I went, "Don't you have to lock the picture in yet? Get out of the editing room, man. We've got to print the reels up and send them out to the theaters!"

Why does it seem as though you play so many characters involved in extra marital affairs?
It's casting against type.

There are some great mother/son moments in this film. Can you talk about working with Erik Per Sullivan and that side of the film?
It's a very important side. I grew up playing the child in the Greek Tragedies, and I didn't realize why I was getting killed in every play that I was in - the death of innocence and the metaphor of that, that children bring to these adult stories, or the perspective of innocence and the loss of the preservation of it and those issues. I get it now. I'm always glad when any moment is remaining when they edit these things because you have such a wonderful connection and you want it to be on screen - with the children.

Was Erik fun to work with?
He was great to work with. He's gung-ho [and has] a positive attitude. To me, it's all a report card on the parents. They're very cool and they help him.

Did you draw on your own maternalism?
It's hard because they are looking at you like an actress, not just like a person who they would meet. So you have to break through that image.

When you play a mother, do you often draw on your own experiences?
Yes, it's just instinct. All you can do is say this is my version. Everyone has a version of their mother that they want to see. I did the best I could with that. It felt real to me.

How was it working with Richard Gere after 18 years?
18 years - half my life ago. Great, I mean when he showed up, I just wanted to fall into his arms. He'd just come off "The Mothman Prophecies" - months of night shooting in the freezing cold. [He had these] whole martyrdom stories that I'd been listening to and I was like, "Well, you just come here and I'll tell you MY stories." I was exhausted. I had done a movie and a half already with Olivier, and here comes Richard. I was like, "You mean, we have another month to go?" It was a big endurance challenge for me. He was a godsend.

How did you get comfortable doing the love scenes and how did you help Olivier get comfortable?
It was so tricky. It was really tricky. Adrian is very adamant, and he gets really in your face, "Make me believe it. Make me believe it." Olivier and I would have discussions in his trailer with all this bravado, then we'd get to the set and we're just like kids - uncomfortable. We get there, take six.

Was it embarrassing?
Well, I think in this story it is so necessary. There's no way to tell a sexy movie without there being sex in it - or a sexy movie without it being sexy. It's part of the context of the story. That's what it is about - sexual infidelity and what the repercussions are. My comfort level with it just had to catch up quickly - if I wanted to be the actress to play it.

How do you think this film fits in society?
As far as Adrian taking the pulse, I don't know how he does that. You'd have to look into his astrological chart or something. I don't know how it is that he's good at it, but he's consistently good at it. That's why I felt safe and confident enough that I'd want to do this part. Even though it's a large part, I wanted it to be as good as it can be. It was very important as to who the director was going to be. Adrian is the perfect director for the material because he's not going to leave any stone unturned, and he didn't. When I saw the movie yesterday for the first time, I forgot what we filmed that isn't there. That's what I do, I just see it and I go, "Okay, that's what it is." I don't remember what's not included.

Is there any type of character you haven't done yet that you'd like to do?
It's funny because there's this balance of tough cookie/one-liner stuff that the press has labeled me. I sort of dealt with that and said, "Whatever." I guess that was from some roles, and I hope it wasn't from some interviews - but I don't know. I think, to answer your question, I would like to find a way where I'm portraying somebody who - the vulnerability of a character is very important but at the same time, where you see the struggle. I enjoy watching women struggle because the vulnerability issues that women are expected to just wear on their sleeve, it's not how women are. I would like to find a character who is as strong as some of the iconic women from the black and white film era were, without losing any of this appeal that seems to be mandatory that falls under the vulnerability category for women.

Diane Lane on the Fast Lane

Diane Lane is a remarkable 36. It seems that the older she gets, the more alluring she becomes. "I would hope that'd be the case, otherwise, you know, you'd just jump off a bridge at 35, right," she questions laughingly. As exemplified in her latest film, the erotically-charged drama Unfaithful, Lane has no fear about being full-on sexy on screen, as she shares some sizzling moments with her French co-star Olivier Martinez in Adrian Lyne's latest extramarital thriller. "I think you get better at things, old things," she explains when asked why she still revels in doing sex scenes as gets older.

Lyne's film, a loose remake of Claude Chabrol's 1969 thriller La Femme Infidele, centres on a couple living in the New York City suburbs whose marriage goes dangerously awry when the wife indulges in an adulterous fling with a suave and charming young Frenchman. Lane is no stranger to extramarital affairs - on screen at least, having also cheated on her husband in the acclaimed Walk in the Moon. "It's called being cast against type", she responds laughingly. Unfaithful is a searing, chillingly honest look at the psychology of infidelity through the eyes of a seemingly happily married couple. Lane sees the piece as "a case study of the human frailty of human being, in that when you're unguarded in your convictions, you become lax and I think it takes a lot of vigilance to remind yourself of why you made the choices you made and go with them or be true to them," Lane explains.

She has difficulty deciding whether or not she can relate to any of that. "it's different when you live day-in and day-out with someone versus my history. I mean, time and preparation can create this relationship that's in your mind and then you show up for it before you're like: Hey, wait a minute, I spent too much time with you in my life. You're a disappointment. You tend to disappoint yourself in a relationship because you had too much time to think about it and not enough time to actually live it, so that's the opposite problem. I don't really know how to relate to a long-term day-in day-out kind of comfortable relationship," she says, having been once married to French actor Christopher Lambert. "Things do tend to get traded; comfort gets traded for passion for instance. Of course it doesn't have to be that way and in this movie, Adrian is really good at telling these cautionary tales of, you know, keeping your knickers buttoned up," she adds laughingly.

Lane's other attraction to working on Unfaithful, was the chance to work with the director of Flashdance, she admits. "I really wanted to see it because it was so bloody popular, and I just thought, what is that about somebody who can have the gift of being so timely in what they're telling." In Unfaithful, Lane plays a wife and mother, and of course found it interesting to draw on her own maternalism. "It's instinct. I mean it's all you can do to say: well this is MY version, but everybody's got a version of their mother who they want to see, but I think I did the best I can with that."

Throughout the course of her career, the alluring actress has done her share of nude scenes, and Unfaithful is no exception, but at least in the case of this film, they are relevant, she insists. "I think in this story it's so necessary. There is no way of telling or making a sexy movie without sex in it, without it being sexy or whatever; it's part of the context of what it's about: Sexual infidelity and its repercussions." Times have changed since the incredibly youthful 37-year old burst onto the screen as a child actress in the sweet romantic charmer A Little Romance. Since then, audiences have watched the star transform herself, first into adolescent, then sexy young adult and now as a still beautiful on-screen wife and mother, while off-screen, the ex-wife of Christopher Lambert has only introduced her daughter [Eleanor Jasmine Lambert] to A Little Romance. "Despite the fact that my character runs away to kiss a boy in Venice," she laughingly adds. Clearly she won't be in a hurry to screen Unfaithful to her any time soon "or at least till she's forty."

 

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