Griffiths was born in Melbourne, but spent her early childhood on the Gold Coast. She is the daughter of Anna, an art teacher and arts/education consultant, and Edward Griffiths.[1]
She moved to Melbourne at the age of five, with her mother and two
older brothers. When she was 11, her father left home with an 18-year
old woman.[2]
After earning a Bachelor of Education degree in drama and dance at Victoria College, Rusden, she began her career as a member of Woolly Jumpers, a Geelong-based community theatre group. She had her first success as the creator and performer of Barbie Gets Hip, which played at the Melbourne International Film Festival in 1991.
Career
Griffiths and Toni Collette were relative unknowns when they were cast as best friends and fellow outcasts in the 1994 film Muriel's Wedding. Her performance won her critical acclaim and both the Australian Film Critics Award and the Australian Film Institute Awards
for Best Supporting Actress. She followed this triumph in 1996 with the
role of an earthy, ill-mannered pig farmer's daughter in Michael Winterbottom's Jude.
In 1997, Griffiths sparked a controversy after attending the opening of the Crown Casino in Melbourne, Australia.
Topless and uninvited, her stated reasoning being the protest of the
views taken by the media and state government towards the new casino,
and inspired by the story of Lady Godiva.[3][4][5]
Griffiths joined forces again with Muriel's Wedding director P. J. Hogan for her American film debut, My Best Friend's Wedding, in 1997. That same year she starred in My Son the Fanatic, a British film in which she portrayed a tough Yorkshireprostitute who becomes involved with a considerably older Pakistani taxicab driver, played by Om Puri.
Griffiths received an Academy Award nomination for Best Supporting Actress for her portrayal of real-life flautist Hilary du Pré opposite Emily Watson as her sister, famed cellist Jacqueline "Jackie" du Pre, in Hilary and Jackie (1998). She then appeared in 2001's Blow, opposite Johnny Depp and Ray Liotta.
In 2001, Griffiths was cast as one of the leads in Six Feet Under. Her performance as emotionally scarred massage therapist Brenda Chenowith earned her Golden Globe and Screen Actors Guild Awards, as well as two Emmy Award
nominations. In the third season, she missed four episodes due to her
first pregnancy. Her second pregnancy was written into the show's final
season and she appeared in almost every episode of the series.[6] She also played a supportive housewife in the film The Rookie opposite Dennis Quaid for which she garnered generally good reviews.
As of 2006, she became part of the ensemble cast, co-starring alongside Sally Field, Calista Flockhart, Balthazar Getty and Matthew Rhys, of the dramatic series Brothers & Sisters, in which she portrays Sarah Walker, who inherits control of the family business after her father's death. Griffiths received a 2007 Emmy
nomination and a 2008 Emmy nomination for her work on the series.
Griffiths received 2008 and 2009 Golden Globe nominations for her work
on Brothers & Sisters. Additionally, she appeared as "Inez Scull" in the 2008 mini-series adaptation of Larry McMurtry's Comanche Moon.
Griffiths made her Broadway debut in Other Desert Cities, directed by Joe Mantello and co-starring Judith Light, which began previews on 10 October 2011, opening on 3 November 2011.[7]
Personal life
Griffiths married Australian artist Andrew Taylor
on 31 December 2002 in Gardenvale at her high school, Star of the Sea
College. They have three children, son Banjo Patrick (born 22 November
2003, Melbourne) and daughters Adelaide Rose (born 23 June 2005, Los
Angeles) and Clementine Grace (born 21 June 2009). In 2000 she stated in
a Madison magazine interview that she is an atheist.[8]
A Lot Like Love is a 2005 romantic drama film directed by Nigel Cole. The screenplay by Colin Patrick Lynch focuses on two individuals whose relationship slowly evolves from lust to friendship to romance over the course of seven years. The film's tag line was: there's nothing better than a great romance to ruin a perfectly good friendship.
Plot
Constructed as a series of chapters that take place at a turning point in each character's life, the story moves from seven years in the past to three years to two and finally arrives in the present day. Emily Friehl and Oliver Martin's first encounter is on a flight from Los Angeles to New York City, during which they join the mile high club. He has hopes of becoming an Internetentrepreneur and, certain of his future success, gives her his phone number and suggests she call him in six years to see if his prediction came true.
Three years later, facing the prospect of spending New Year's Eve alone, Emily finds Oliver's number and calls him, and the two meet for dinner. Thus starts a series of reunions with the passing of time, as each drifts in and out of relationships with others, Oliver and his business partner Jeeter start an on-line diaper service, and Emily becomes a successful photographer. Each time they meet, one appears to be settled and content while the other is struggling to make headway in both life and career. Eventually they come to the realization that each is exactly the person the other one needs for fulfillment.
Production
The film was shot on location in New York City, Los Angeles, and Antelope Valley.
Manohla Dargis of the New York Times said the film "isn't half bad and ever so often is pretty good, filled with real sentiment, worked-through performances and a story textured enough to sometimes feel a lot like life. If nothing else, A Lot Like Love is a pleasant reminder of a Hollywood time, seemingly long gone, when boy met girl in a midlevel romantic comedy without arty aspirations . . . or low-brow yucks."[2] Roger Ebert of the Chicago Sun-Times observed, "The movie is 95 minutes long, and neither character says a single memorable thing. You've heard of being too clever by half? Ollie and Emily are not clever enough by three-quarters . . . To call A Lot like Love dead in the water is an insult to water.".[3] Ebert awarded the film one out four stars, and ultimately included it in his list of "Most Hated Films".
Ruthe Stein of the San Francisco Chronicle said, "An unfortunate casting decision . . . comes close to sabotaging a witty script . . . As the sometimes couple, Ashton Kutcher and Amanda Peet are together in almost every scene, making it difficult to conceal the huge gap in their acting skills. Bland and with a small television face (words once used to describe David Caruso, but equally applicable here), Kutcher is incapable of doing the heavy lifting required to be a romantic lead . . . Peet, who has the looks and magnetism of a Kennedy offspring, makes Kutcher fade into the background, and you're left fantasizing what the movie might have been if Peter Sarsgaard had co-starred . . . Still, the movie is rich in the kind of details often left out because of a lack of budget or imagination."[4]
Christopher Orr of the New York Sun said, "What do you call a shameless imitation of a shameless imitation? A rip-off squared? An homage once removed? Whatever label you choose, it can be comfortably affixed to A Lot Like Love, an Ashton Kutcher-Amanda Peet vehicle that is a lot like When Harry Met Sally, which was itself a lot like Annie Hall. Sadly, the resemblance does not extend to quality. Indeed, those with a scientific turn of mind may take the devolution from Annie to Harry to A Lot Like Love as yet another demonstration of the Second Law of Thermodynamics, which says that in a closed system (an apt description of Hollywood if ever there was one) there is a tendency toward entropy - in this case, from acknowledged classic to memorable cable-television staple to dim, flabby dud . . . If one thing saves A Lot Like Love from disaster - and I'm not sure it does - it's an easy chemistry between the leads, though one that owes little to Mr. Kutcher's performance . . . Fortunately, Ms. Peet carries off the role of Emily with enough spark that even Mr. Kutcher gradually lights up . . . Since running away with The Whole Nine Yards five years ago, Ms. Peet has had altogether too little opportunity to showcase her sexy comic appeal. A Lot Like Love might have provided that opportunity, had it only featured something a little like a script."[5] Peter Travers of Rolling Stone rated the film two out of four stars, calling it "a lot like a lot of other romantic comedies that make two lovers of friends (When Harry Met Sally, Serendipity) and a lot not like the two witty and wise Richard Linklater movies - Before Sunrise and Before Sunset - that span the relationship between Ethan Hawke and Julie Delpy for nearly a decade and leave you wanting more . . . About A Lot Like Love leaving you wanting a lot less, I am right."[6]
The film opened on 2,502 screens in the United States on April 22, 2005. It earned $7,576,593 on its opening weekend, ranking fourth after The Interpreter, The Amityville Horror, and Sahara. It eventually grossed $21,845,719 in the US and $21,041,000 in foreign markets for a total worldwide box office of $42,886,719.[1]
Map of the Sounds of Tokyo is a 2009 Spanish drama film directed by Isabel Coixet. The film competed in the main competition at the 62nd Cannes Film Festival. Wikipedia
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The movie begins with Mr. Nagara, a wealthy CEO, complaining to his loyal assistant, Ishida, that he does not like the way he has to entertain the people he is signing a contract with. They eat sushi off of the naked bodies of women lying on the tables. Ishida receives a phone call and tells Mr. Nagara that his daughter has killed herself. Mr. Nagara blames Midori's boyfriend, David, a Spanish man who owns a wine shop in Tokyo. Mr. Nagara cannot abide the fact that David is alive and Midori is dead. Ishida says he will take care of it and hires a woman who works in a fish market, Ryu, to murder David.
The story teller is an unnamed gray haired sound engineer for movies, who loves the fragile looking Ryu and records her often, but is unable to get her to tell him about her life. The sound engineer records Ryu as she visits and cleans gravesites. Ryu does not tell him that these are the graves of the people she has been hired to shoot.
Ryu enters the wine shop and David propositions her. They go to a sex hotel and have sex. Ryu is unable to bring herself to shoot David as he sleeps after sex. She thinks about him all day at the fish market as she slices fish. Ryu tries to return the money to Ishida and call off the killing, but Ishida threatens her. Mr. Nagara slowly deteriorates.
As David grieves the loss of Midori, the assistant says that Midori was a vengeful person who wanted her father's attention, and who didn't love anyone.
Ryu and David have sex again the next week on her day off, and then during Ryu's work week. She leaves a recording device in his shop and hears him selling his shop to his assistant, and planning to move back to Spain. The assistant asks him what he will do about his new girlfriend. David says he doesn't have a girlfriend. The assistant describes Ryu. David says, she is nobody. David longs to talk to Mr. Nagara.
Ryu considers killing herself with her gun. David calls Mr. Nagara and says he misses Midori and loved her, causing Mr. Nagara more anguish. Mr. Nagara is unable to conduct business. Ishida is furious with Ryu for not completing the killing.
David comes to the fish market to say goodbye to Ryu. Ryu is hurt and guarded, but David tenderly says goodbye and Ryu melts. As they hug Ryu sees Ishida approach with a gun. She turns and shields David, dying from Ishida's gunshot.
The movie ends with a view of the gray haired sound engineer cleaning Ryu's grave.
The movie has been criticized for misrepresenting Japanese culture – a scene in the movie depicts nyotaimori (the practice of serving sushi on the body of a naked female) as if it were commonplace in Japan, while in reality it is nearly non-existent.[2] However, even in the film, the two Japanese businessmen ridicule the need to "eat hot sushi off a woman's navel" in order to "fit in with the idea that they have of us..."
Rinko Kikuchi(菊地 凛子,Kikuchi Rinko?), born Yuriko Kikuchi(菊地 百合子,Kikuchi Yuriko?), January 6, 1981, is a Japaneseactress. Kikuchi is the first Japanese actress to be nominated for an Academy Award in 50 years.
Life and career
Kikuchi was born in Minamigaoka, Hadano City, Kanagawa Prefecture. She debuted in 1999 under her birth name, Yuriko Kikuchi, with the Kaneto Shindo-directed film Ikitai(生きたい?).[1] Soon after, in 2001, she starred in the celebrated Kazuyoshi Komuri-directed film Sora no Ana(空の穴?), which was featured across several international film festivals, including the Rotterdam Film Festival.[1] In 2004, she appeared in the much-commended Katsuhito Ishii-directed film Cha no Aji(茶の味?), which was selected for the Cannes Film Festival.[1]
In 2006, she appeared in the critically acclaimed Alejandro González Iñárritu-directed film Babel, where she played Chieko Wataya, a deaf-mute teenage girl, in a role for which she was recognized[1] and nominated for numerous awards, including the Academy Award for Best Supporting Actress.[2] She won several, such as the National Board of Review Award for Best Breakthrough Female Performance (tying with Jennifer Hudson) and the Gotham Award for Best Breakthrough. Kikuchi is also the fifth actress in Academy Award history to be nominated for an award for a role in which she does not speak a word. (The others were Jane Wyman, Patty Duke, Holly Hunter, and Samantha Morton). Kikuchi has appeared in two Mamoru Oshii movies: 2008's The Sky Crawlers and Assault Girls (2009).
Her emotionally intense role in Babel has led to her being noticed by many international directors, such as Rian Johnson, auteur director of Brick. She starred in his second film, 2009's The Brothers Bloom, which was her first fully English-language feature. Though she plays a main character, she only speaks three words in the film; her character is said to only know three words of English.
In March 2011 she was named to the Keanu Reeves-led cast of 47 Ronin, the first English-language adaptation of the Chushingura legend, Japan's most famous tale of samurai loyalty and revenge.[3]
