Tag: brad pitt
The stars’ new war thriller evokes the Hollywood classic – but can it compare? Whatever one might think of Allied, a glossy World War Two espionage thriller starring Brad Pitt and Marion Cotillard as secret agents who try to forge a viable family life in the midst of a world on fire, it’s worth celebrating that Robert Zemeckis is firmly dedicated to filming flesh-and-blood people again.
Zemeckis has always been a superb craftsman, with a particular gift for assimilating technical advances in the art of moviemaking, but he lost over a decade of his creative life pursuing the sterile art of motion-capture animation, nearly getting lost in the uncanny valley for good. It’s hard to think of a major filmmaker who came so close to being ruined by technology, just as it’s hard to believe that anyone except film historians will be watching Beowulf, The Polar Express or A Christmas Carol even a decade hence.
Rather than pushing towards the future, Alliedlooks to the past, and not only in terms of its plot. The movie begins with Pitt’s Canadian spy, Max Vatan, parachuting into the Moroccan desert, and within minutes we’re in Casablanca – and, perhaps more to the point, in the film Casablanca. Max and Cotillard’s Marianne Beauséjour are highly trained agents with a deadly, top-secret mission, but that doesn’t prevent them from looking fabulous while doing so.
Allied is a movie about loyalty and trust, about the bonds that hold people together and sometimes blind them, but it’s also a movie about how silken fabrics fall on Marion Cotillard’s frame, and how dashing Brad Pitt looks in a knitted v-neck. Joanna Johnston has been Zemeckis’s costume designer for nearly three decades – and is therefore partly responsible for the person who walked by me on Halloween when I was wearing a down vest and called out, “Hey! You look like Back to the Future!” – but between this and last year’s The Man From U.N.C.L.E., it feels like she’s abruptly risen to a new and dazzling level of accomplishment.
Although there’s no show-stopping set piece to rival Flight’s plane crash or The Walk’s Twin Towers tightrope act, Allied is technically immaculate from stem to stern. Every shot framed by Don Burgess feels purposeful, every one of Mick Audsley and Jeremiah O’Driscoll’s cuts precise. It’s a movie that ought to be studied in film schools, both for its technical achievements and as an example of how it’s possible to get every one of them right and still produce something that feels hollow inside.
Casablanca is driven, above all, by a call to self-sacrifice, the idea that next to the struggle against the threat of global fascism, whether one man and one woman end up together or not doesn’t amount to a hill of beans. Allied is about the hill of beans. It’s set against the same backdrop, and given the alarming resurgence of neo-Nazi ideology around the world, it stops you dead the first time a swastika armband swoops in front of the lens. But Allied’s Nazis are ultimately no more frightening than Top Secret’s.
Zemeckis has always styled himself as an apolitical filmmaker, claiming that the overtly right-wing Forrest Gump was intended to poke fun at both ends of the political spectrum, but here that disdain for taking sides robs the movie of what ought to be its core conflict. Once Max and Marianne tumble into each other’s arms we’re mainly worried about whether they’ll be found out, not whether their romantic entanglement might end up getting anyone else killed. The most inventive sequence in the movie doesn’t involve spy craft or the art of war but the two characters coupling in a car in the midst of a Moroccan sandstorm, the camera circling around their increasingly unclothed bodies as the wind whips ever-faster around them.
Its classical Hollywood reference points notwithstanding, the movie Allied most resembles is Zemeckis’s What Lies Beneath, which was also a Hitchcockian genre piece motivated at heart by questions of fidelity. (There’s an intriguing overlap, too, with Mr and Mrs Smith, in which Pitt and Angelina Jolie played professional liars who could never quite be sure if their love for each other was a deep-cover con, and last year’s Jolie-directed By the Sea, which was similarly animated by the pleasures of gazing at Pitt’s body and a woman in negligees.) Here, war is hell not because good people die, but because it makes it impossible to trust even the people you think you know, and those suspicions don’t end simply because an assignment does. Allied spans countries and continents, but the world it’s concerned with feels awfully small.
The two are in talks to star in a gritty thriller — their first project since “Mr and Mrs Smith.”
Brad Pitt is close to signing on to a Ridley Scott film in which Angelina Jolie is also circling, Deadline Hollywood reports. If all lights turn green, this would be the first time the couple has shared screen time since “Mr. & Mrs. Smith” — the 2005 film in which the celebrity pair are said to have first fallen in love (while Pitt was still married to actress Jennifer Aniston).
Pitt and actor Javier Bardem are said to be close to signing on, and Jolie is vying for the female lead, according to the Deadline report. The thriller, called “The Counselor,” stars Hollywood “it” man Michael Fassbender, while Oscar winner Natalie Portman and Jeremy Renner have also been rumored to be in the film. “The Counselor” is about a lawyer (Fassbender) who falls in too deep with drug trafficking.
It starts shooting in June in Europe—a convenient location to Scott’s and Jolie – Pitt’s respective homes in the south of France. Jolie has voiced the desire to work again with Pitt. In 2010 this is what she told Vanity Fair: I’d love to. We’ve talked about it. We’d have to figure out who’s going to watch the kids, but it’s really about finding the right thing, because we’ve looked. When you’re a couple, there are certain things people don’t want to see you do. It becomes too indulgent, too personal. I don’t think people want to see people who are really together intimate on-screen. Maybe we have to play bad guys that try to kill each other, so it’s just fun and aggressive, not dealing with some man-woman deal.
“The Counselor” will be Scott’s next directorial effort after “Prometheus,” also starring Fassbender (alongside Charlize Theron), due out in theaters June 8.
In a departure from his previous films, González Iñárritu sought to combine in Babel the hyper-realism esthetics of certain scenes, with dream-like sequences in the purest cinematic tradición that show the inner lives of the characters.
Key to achieving this was Oscar-nominated cinematographer Rodrigo Prieto’s mastering of visual narratives: “We wanted to visually represent the emotional journeys of the characters through the use of different film stocks and formats. We felt that subtle differences between the image quality of each story, like the texture of the film grain, the color saturation, and the sharpness of the backgrounds could help enhance the experience of being in different places geographically and emotionally,” says Prieto. “We then digitally combined the different lens formats used into one negative, in the same way that all these cultures and languages come together in one film.”
The almost documentary style becomes a challenge in itself when the production requirements happen to be so high as they were in BABEL. While the deserts in South Morocco and Mexico lacked the essential technological support, a hyper-modern city such as Tokyo was for the opposite reasons full of obstacles faced by the production departments.
“It was one of the toughest experiences of my life, though one of the most unforgettable and gratifying,” says Academy Award-winning production designer Brigitte Broch. “From working in the most amazing landscapes in Morocco to watching the strangest mixture of society in Tokyo, this film has shaped me in my better understanding of mankind. We decided to paint the film by country in the red tones; the orange earth tones for Morocco, the electric vivid red for Mexico and more toward the subtle red-purple for Japan,” says Broch.
For director González Iñárritu, the true achievement consists of making his and his art and photography departments’ efforts invisible to audiences without showing off. This effort was also implied in the self-imposed task of not succumbing to the esthetical temptations offered by places as visually attractive as the cities portrayed.
Efforts of this kind were also put in the editing room. “I love working with Alejandro because he is relentless,” says editor Stephen Mirrione. Oscar winner. “He’s not satisfied unless every frame in the film makes you feel something. In editing BABEL that meant being focused microscopically on every detail within each scene. Over 2,500 distinct camera setups were shot, giving us an overwhelming palette of images and sounds to choose from. There are roughly 4,000 cuts in the film, so like assembling a massive mosaic from tiny intricately designed tiles, the work we all accomplished only became clear to me after stepping back and watching with a little distance. I am still discovering new details, new connections, and new layers of meaning with every viewing.”
Martin Hernandez, a close friend of Iñarritu’s, began collaborating with him 22 years ago when they were working for a radio station in Mexico City. “When there’s nothing to listen to, there’s nothing to understand; if we stop understanding, then our language has become useless, even worse, in the end it will only divide us. Alejandro Gonzalez Iñarritu´s BABEL is a very detailed description on this subject at the only level that becomes truly universal: the human level. It is filled with some very subtle and some very strident characters, all of them powerfully visual and sonorous. When I was on location for BABEL trying to record the sounds in every space captured for the film, I thought I was there to hear. I was wrong. Now that I’m here, in front of Alejandro’s last cut, I am really listening. I’ve learned to listen to what he hears, and now I’ve been able to understand him. This movie expects the same attention as any human being demands, it is more about them, about the `other’, about the apparent stranger, hence in the end, it’s all about ourselves,” says Hernandez.
Adding the final touches of feeling and depth to the film is another long-time partner of Iñárritu’s – composer Gustavo Santaolalla, who most recently wrote the Oscar-winning score for Brokeback Mountain. “BABEL was the third motion picture I had the chance of working with Alejandro Gonzalez Iñarritu on. Since “Amores Perros” and through “21 Grams” we’ve been developing a particular musical language that helps us to connect with the humanistic, visceral and heartfelt essence of his movies. The challenge with “Babel” is the four stories that take place in three very different parts of the world was to find a sound, a leading instrument that would connect all the characters and places, keeping an identity but not sounding like the music of a National Geographic documentary. That voice I found in an instrument called the oud, an Arab fretless instrument, ancestor of the Spanish guitar that also echoes the Japanese koto. That sound in combination with other instruments is what created the sonic fabric of Babel,” says Santaolalla.
The crew of top rate collaborators conformed by Prieto, Broch and Santaolalla, along with sound designer Martín Hernández, have been integral members of González Iñárritu team since Amores Perros, his successful debut film. The artistic bond already established between them made the BABEL experience even more intimate and transforming. They comprise what he calls his “creative close family,” essential in the process of translating a vital experience to a language as universal as film.
“Over the course of the year, we lived around the world like a big circus of gypsies. Even when a film can be a close and personal testimony of oneself, making a film is a huge collaborative process. It’s a creative orgy in which everybody gives the best of their talents and I owe to all of my team and collaborators, the best and most satisfying moments, both in the film and out of it. Without them, it would have been impossible to conceive even an inch of film.,” says the director.
For this project, Iñárritu also invited producers Jon Kilik and Steve Golin to complete his “team” of collaborators. “It was great to be able to rely on the family that had been with me during the past two films, but it was also amazing to have worked with new friends and partners, Jon Kilik and Steve Golin. We went through a lot over the course of the film, but their spirit, experience and support was indispensable for this project,” says Iñárritu.
From the point of view of a producer, BABEL posed numerous challenges, but the biggest goal of all was to maintain the creative integrity of the film. “BABEL became the most demanding and the most rewarding producing challenge of my career,” said producer Jon Kilik (Alexander, Malcolm X, Dead Man Walking). “Remote deserts, highly secured international borders, and one of the most densely populated cities on the planet made for enormous production challenges while embracing the lifestyle and work style of Morocco, Mexico and Japan resulted in an honesty on the screen that I am extremely proud of.”
Producer Steve Golin (Eternal Sunshine of a Spotless Mind and Being John Malkovich) shared a similar experience. “This was my first collaboration with Alejandro and the experience of working on BABEL was not only memorable, but unlike any other film I have been a part of. Each day provided me an opportunity to witness people’s methodologies of filmmaking within an international setting and I was continually challenged and inspired as a producer. Having to overcome the obstacles and boundaries of language to find a way of working with one another helped to make this journey truly unique.
Related Link: Full Production Notes for Babel Movie
The actress says she has few girlfriends and doesn’t spend a lot of time with them.
If you can’t picture Angelina Jolie yukking it up with a bunch of gal pals over lunch and a manicure, well, that’s because she doesn’t do it. “I don’t really have girlfriends in movies, if you’ve noticed,” she says in the January issue of Marie Claire. “Well, I have a few girlfriends. I just… I stay home a lot. I’m just not very social. I don’t do a lot with them, and I’m very homebound.”
Her partner of more than six years, Brad Pitt, with whom she has three adopted and three biological children, is clearly a big part of the allure of home. “[Brad} has expanded my life in ways I never imagined. We built a family. He is not just the love of my life, he is my family. I hold that very dear,” she gushes. “I suppose what I’ve learned from Brad is to be able to have the kind of family whose happiness and well-being comes before your own. I’m very, very grateful to have such a loving family, and I wouldn’t have that without him.”
That brood includes Maddox, 10; Pax, 8; Zahara, 6; and 3-year-old twins Knox and Vivienne, who, Jolie shares with the magazine, are very different. “Knox is very much a dude … very physical, tough.” While Jolie — who makes her directorial debut with the intense “In the Land of Blood and Honey” later this month — admits she’s never been much of a “girly-girl,” little Vivienne certainly is: “Vivi will pick flowers from the garden and put them in her hair. She likes to get her nails done and collects stuffed animals. It’s funny for me to have to buy all things pink and watch princess movies!
Jolie also reveals in the interview that her highly publicized estranged relationship with her father, actor Jon Voight, has gotten better … somewhat.
“He’s met the kids and they’ve met him, and I think that’s important that they can do that. We’re in each other’s lives, but we don’t as a rule discuss the past,” she explains.
And for those wondering if the Jolie-Pitt clan will be getting even bigger in the future, well, never say never. “Nothing planned at the moment, but we just don’t know,” says the 36-year-old. “I could end up pregnant.”
The baseball movie has nearly as long and vaunted a history as the sport itself, but Bennett Miller wanted Moneyball to have a visual style to match its bold, contemporary subject and themes. The look of the film was deigned to reflect not only the vivid thrill of ballgames but also the more shadowy territory of finding new paths to success – territory rife with darker shadings of anxiety, conflict, obsession, regret and aspiration that overlay the shinier side of the sport.
To do so, Miller collaborated with a team that includes director of photography Wally Pfister, ASC, best known for his six films with director Christopher Nolan and an Oscar® winner for his work on Inception; and with Oscar®-nominated production designer Jess Gonchor and costume designer Kasia Walicka Maimone – both of whom worked with Miller on Capote.
For the photography, Miller tilted towards an unsparing, honest naturalism. “Bennett has a precise, deliberate style that doesn’t tell you the story so much as observes it” notes Michael De Luca. “Bennett treats Billy and Peter’s dilemma in a forensic way – putting together the pieces of the team to get to a winning season – just as Capote was a forensic study of a mystery and piecing together clues to get to an answer.”
Wally Pfister looked for his own stylistic clues in the 1970s work of Gordon Willis – the cinematographer’s cinematographer whose remarkable resume encompasses such films as The Godfather, The Godfather Part II, The Parallax View and All the President’s Men. Willis’ shaded, rough-hewn, multi-layered imagery, imagery that seemed to subtly express the murky, modern search for meaning in its fabric, became a constant inspiration to the production.
“Gordon Willis is my all-time cinematic hero, my favorite DP, so it’s funny that a lot of the films Bennett referenced were shot by him,” notes Pfister. Pfister and Miller also looked at other films from that era, particularly Milos Forman’s One Flew Over The Cuckoo’s Next, shot by Haskell Wexler. “Those gritty 70s pictures not only had the look photographically we were interested in, but the design and pacing,” says Pfister.
“Wally’s background is in documentary,” Miller explains. “He started by shooting news footage – that was his father’s world. He is great at working with natural environments and natural light; philosophically, he likes to enter a situation and join it, rather than reinvent it. He gave the film a flexibility that allowed us to work with a non-fiction approach when needed.”
In keeping with the eclipsed, contrasting lighting of that era, Pfister lit several of the film’s key locations –– the A’s clubhouse, the offices and the parking garage where Billy and Peter have their first real conversation – with harsh fluorescent lighting. “This seemed to work not just for the photography, but for the story as well,” Pfister says.
Pfister also brought a distinctive, subtly expressionistic sensibility to the baseball action. “If you look out at one of these stadiums during a night game, generally all the lights in the stadium are turned on to create a very even light for the television cameras, the fans, and the home viewing audience. I wanted there to be a little more mood to it, so I shut off half of the stadium lights,” the cinematographer explains. “That created more of an edge light. I did it very judiciously and tried to find a formula where I could make it look a little darker, but still within the reality of what baseball looks like at night. I like using darkness as a tool for the drama and for the mood.”
Early on, the decision was made to shoot on 35mm film. “I really felt that this movie needed to be shot on film rather than video, because film has the soul and the depth to tell this story the way Bennett wanted to tell it,” Pfister summarizes.
For production designer Jess Gonchor, who most recently garnered an Oscar® nomination designing a 19th Century Arkansas for the Coen Brothers’ True Grit, the creative task was similar: to find the lines where authenticity and drama converge. “This is a real story, it really happened, it’s a piece of history,” Gonchor observes, “so maintaining the integrity of who the A’s are and what their payroll is and the conditions of their facilities were key to the design. But there were also ways that we could give it a style, a dramatic vision.”
The director agrees. “It’s hard to appreciate the artistry of Jess’s task,” says Miller. “This isn’t a fantasy film, where he might have had unconstrained license to go off and invent. Instead, he had to perform a kind of haiku design – one that served the veracity of the story and gave credibility to the world it’s set in, but at the same time, to communicate the tone and atmosphere that serves the story. It’s a thankless task, but critical – you either trust the film or you don’t.”
To achieve the authenticity part of the equation, Gonchor went to the source. “Having Major League Baseball and the A’s on board was huge,” Gonchor says, noting the copious vintage footage and photos they put at his disposal. “We were also able to spend a lot of time at the Coliseum, on the field, inside the locker room, inside the weight room, inside Art’s office. They were very open to us.” Committed to providing as realistic a representation of the sport as viewers will ever have seen in a motion picture, MLB worked closely with Gonchor and the art department to ensure authenticity of every aspect, from accurate depictions of clubhouses and ballpark offices down to the use of the correct batting gloves.
The anchor of the design was the A’s clubhouse, the interior of which Gonchor and his art department built from the ground up on a soundstage because the real thing had gone through too many changes in the intervening decade. Their work brought the structure’s claustrophobic “submarine” feeling to the fore. “You go from the openness of the playing field into this subterranean, worn-in concrete world,” Gonchor describes. “We echoed that mood throughout the set.”
Beane was taken aback by the re-creation of his old digs. “It was amazing. They littered the background with so many little details, like the picture of Joe Strummer from the Clash that you see in my office. You think they’re just visiting with you for 15 minutes, but you don’t realize they’re writing down every little single thing. We’re not a very formal bunch and we kind of fly by the seat of the pants and they did a great job capturing that environment that existed here and still does.”
Gonchor and set decorator Nancy Haigh took an unusual approach to the clubhouse’s locker room, which is the players’ inner sanctum. Rather than create a static set, they allowed the room to evolve, becoming more and more worn-in over the course of 6 weeks of soundstage work. They encouraged the cast to use and abuse it as real players would, sweating in the weight room, hanging out as buddies in off-hours, even moving things around at their leisure. “The idea was that after several days or weeks, it would feel like a real place,” Gonchor explains.
The offices within were each imbued with distinct personalities. “All the sets draw upon who the characters are as people,” Gonchor comments. “Billy is always pacing and in motion, so his office is disheveled and shaken up. Peter is a computer guy, so everything is super neat and tidy. And Art Howe is like a field general, the captain of the ship, so his office is more militant and orderly.”
Deep in the bowels of the clubhouse is one of Gonchor’s favorite sets: the Scouting Room — a spare, dungeon-like, underground cinder block adorned with stark white boards listing all the players up for grabs – which serves as the “War Room” for Beane and Brand. “It has a kind of old industrial feeling,” notes Gonchor. “It’s almost like an interrogation room. I think it drives home the fact that this team had a very small payroll and they had to make something happen in a new way. So into this old bunker comes this kid using computers and it becomes about mixing up those styles.”
A similar mix of styles comes to the fore in the work of Kasia Walicka Maimone, who previously designed the costumes for Capote as well as many of Miller’s commercials and music videos. For the A’s uniforms, she recruited veteran sports costumer Edward T. Hanley, who worked very closely with Robin Jaffe of Major League Baseball to ensure that each actor wore his authentic uniform exactly as the player he is portraying did. Hanley, who was formerly in the sports uniform business and whose credits include Little Big League, Any Given Sunday, Rudy, and Jerry Maguire oversaw all the uniforms in the film, from obscure minor league teams to the New York Yankees and Kansas City Royals. “Ed has a great relationship with Major League Baseball,” Maimone notes. “He’s very knowledgeable about all the regulations of Major League Baseball, which are very much reflected in the movie.”
But for the main characters in the film, Maimone had a more open palette. When it came to Billy Beane, she wanted to create “an iconic look of a hero who breaks the rules of the establishment.” Maimone says she was inspired not only by the real Billy Beane, but by voluminous research into styles created by leading figures throughout the 20th century, ranging from legendary baseball general managers to scientific innovators such as Albert Einstein. “There is a certain look of people who function as icons in society, and we needed to soak our character in that, ” she says. “We had a wealth of information available about the real Billy Beane but I don’t think anybody was interested in an exact portrayal. The reality gave us a place from which to jump off.”
Her image of Beane was that of a gritty cultural provocateur. Maimone says, “I felt Billy had to live within the sports world as a very manly character, unstudied in any fashion sense. The goal was to create a look for a man who starts to take on the power of the icon myth, almost effortlessly.”
In contrasting Beane with his counterpart Peter Brand, Maimone honed in on a conservative look that derives from his Ivy League background. She explains, “For Peter, we researched clothing worn by students at Yale and the other Ivy Leagues. Unlike Billy, who is influenced by the baseball world, Peter’s look is very preppy, very Brooks Brothers.”
Maimone goes on: “Peter is basically guarded by his clothing. That’s why he’s always composed and put together. But, from time to time I feel like he wants to be Billy Beane, to be self-assured, confident, effortless, casual – and sometimes almost dangerous. Their differences, and the combination of them together, is what is so powerful.”
Miller says, “Kasia’s challenge on this movie was, in many ways, similar to Jess Gonchor’s on the production design. From the limited palette that the real people in this story present, she had to create costumes that were credible but also find a design that adds up to something greater than the sum of its parts – use the elements to communicate something that is beyond believable, but creates a mood.”
Related Link: Read the Full Production Notes for Moneyball
Once a wild child, always a wild child! Angelina Jolie carried a unique fashion accessory to Brad Pitt’s Moneyball premiere Friday night in Toronto: a gold clutch that was actually handcuffed to her wrist!
The actress, 36, carried the Louis Vuitton Lockit PM Devotion clutch. She paired the shiny gold bag with a sleek black dress.
Earlier this year, Jolie modeled for Louis Vuitton’s Core Values campaign, which was shot on location in Cambodia. The Salt star was reportedly paid millions for the ad, which she donated to charity.
What Angelina Jolie is focused on are new career endeavors — writing and directing — both of which she says she fell into by accident. She talked Vanity Fair magazine on directorial debut.
It was a bout with the flu that led her to write the script that’s now her latest film, “In the Land of Blood and Honey,” a love story set during the Bosnian Civil War. “I had to be quarantined from the children for two days. I was in the attic of a house in France. I was isolated, pacing. I don’t watch TV and I wasn’t reading anything. So I started writing,” she explains.
And what was Brad’s feedback after she gave him the script to read on a trip? Well, it could have been worse. “He called and said, ‘You know, honey, it’s not that bad.'”
As for becoming the film’s director, Jolie says she simply didn’t trust handing off the job. “I’ve never felt more exposed,” she says of her screenwriting and directorial endeavors. “My whole career, I’ve hidden behind other people’s words. Now it’s me talking. You feel ridiculous when you get something wrong.”
Though Jolie jokes about the fact Brad thinks that — with her new experience under her belt — she’s going to be a “nightmare” when it comes to dealing with directors from now on, she also shares how helpful he’s been throughout the project. “He’d come in and say what he liked or what he didn’t understand. Like any woman, I would listen to most of it and fight a few things,” she admits. “He’s been so supportive. But it’s hard to separate the person that loves you from the critic, so I don’t think hes a fair judge.”
The star admits she’s not the best cook, and says she loves Brad Pitt most when he’s playing dad.
Angelina Jolie is an international superstar who kicks butt as the (rare) strong female characters she plays in the movies and speaks articulately about fighting for the rights of others. But she still gets gushy talking about her sweetheart and one of the hottest stars alive, Brad Pitt. “I think he’s an extremely sexy — extremely handsome and the most sexy… When I think about him, I just think of the man who’s such a great friend and such an extraordinary father,” Angelina reveals in Vogue’s December issue. “And that’s when I fall, you know, when I have my moments of getting — whoarr! — caught up in how much I love him … it’s usually when I see him with the children.”
The couple known as Brangelina has quite the brood including Maddox, 9; Pax, 6; Zahara, 5; Shiloh, 4; and twins Vivienne and Knox, 2. Still, their 35-year-old mother admits she’s not terribly domestic. “I’m not the best cook. Pax is a better cook than me. Pax likes to cook. But I try to when I can,” she tells the mag. “Any house that we’re in, we all chip in. But the kids are very sweet … so enthusiastic anytime I cook. Especially Maddox; he’s just this little man that’s very supportive of me — it’s like he’s raised me a bit.”
While Angelina Jolie is still shooting his next film The Tourist, she takes a few moments of respite to spend time with family. Yesterday, it was with his stepmother, Jane Pitt, and Angelina was quick Knox enjoyed a little peace!
What a beautiful family portrait, is not it? Little Knox is really a sweet mix of her father Brad Pitt and Angelina. While the toddler is going on 2 years, it already seems very awake, but still likes to be in the arms of his mother… or even his grandmother! Jane Pitt, Brad’s mother, also seems very present in the Brangelina clan. What a change for Jolie, who has not really had a family life during his childhood classic!
Although Angelina has already told the press that it tended to favor her adopted children, despite it facing his biological children, this does not prevent him from spending time with each of them! But while Jane and Angelina spend quality time with the little Knox, where his sister Vivienne? Well, at the same time, the poor Knox has recently lost his blanket, so she needs well and his mother and his grandmother to forget the drama!