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Sandra Bullock

BIOGRAPHY

Full name: Sandra Annette Bullock
Nick Name: Sandy
Date of birth: 26th of July 1964
Constellation: Lion
Place of birth: Arlingtion, VA (USA)
Family: mother Helga, father John, younger sister Gesine
Intimate Relation with: Bob Schneider

Education: Dropped out East Carolina University,
finished her acting education with Sanford Meisner

Eye color: brown
Hair color: dark blond
Height: 173 cm (5' 8")
Weigth: ~60 kg (~130 lbs)
Shoesize: 8 1/2 (42)

Favorite music: Bob Schneider, Tom Jones, Salsa, Classic, Jazz
Favorite (book) author: John Steinbeck
Favorite food: Kentucky fried chicken
Favorite sweet: Gummibears (the red ones)
Hobbies: Dancing (espacially Salsa), Internet - search for immovables to renovate and do her correspondence,
hiking, watching her favorite movies, having fun with her friends

Factoid*:
- Does not want to speak German in interviews because of her "bad" grammer
- Was voted "most likely to brighten up your day" in high school
- Appeared in the high school year book as "class clown" (1978/79)
- Received the scar on her head when she fell into a lake and cut her head at a rock
- Her sister broke her nose with the elbow while closing a garage

FILMOGRAPHY

So far Sandra Bullock appeared in 36 movies (this does not include producers, writers, directors history but movies in production). In 1993/1998 she made with 5 movies the most within one year. All movies are listed in the year of the US release which might be different to the release in your country.

2003
Wonder Woman (Project)................................................................................Wonder Woman

2002

Divine Secrets of the Ya-Ya Sisterhood............................................................Siddalee Walker
Fool Proof a.k.a. Murder by Numbers..........................................................Cassie Mayweather

2001
The Chambermaid (I am not sure about production)
Exactly 3:30 (I am not sure about production)
AFI's 100 Years, 100 Thrills: America's Most Heart-Pounding Movies (2001) (TV)...............Herself

2000
Miss Congeniality...................................................................Gracie Hart/Gracie Lou Freebush
Famous.......................................................................................................................Herself
28 Days........................................................................................................Gwen Cummings
Gun Shy..................................................................................................................Judy Tipp

1999
Forces of Nature...................................................................................................Sarah Lewis

1998
Welcome to Hollywood.................................................................................................Herself
The Prince of Egypt............................................................................................Miriam (voice)
Practical Magic....................................................................................................Sally Owens
Making Sandwiches................................................................................................Melba Club
Hope Floats..........................................................................................................Birdee Pruit

1997
Speed 2: Cruise Control........................................................................................Annie Porter

1996
In Love and War........................................................................................Agnes von Kurowsky
A Time to Kill.........................................................................................................Ellen Roark
Two if by Sea....................................................................................................................Roz

1995
The Net.............................................................................................................Angela Bennett
While You Were Sleeping.......................................................................Lucy Eleanor Moderatz

1994
Speed..................................................................................................................Annie Porter

1993
Fire on the Amazon.........................................................................................Alyssa Rothman
The Thing Called Love......................................................................................Linda Lue Linden
The Vanishing......................................................................................................Diane Shaver
Wrestling Earnest Hemingway.........................................................................................Elaine
Demolition Man...................................................................................................Lenina Huxley

1992
When the Party's Over.................................................................................................Amanda
Who Do I Gotta Kill ?..........................................................................................................Lori

1991
Love Potion No. 9.................................................................................................Diane Farrow

1990
Lucky/Chances...............................................................................................................Maria
Working Girl...........................................................................................................Tess McGill

1989
Religion Inc....................................................................................................................Debby
Who Shot Patakango ?..........................................................................................Devlin Moran
The Preppie Murder.........................................................................................................Stacy
Bionic Showdown: The Six Million Dollar Man and the Bionic Woman....................................Kate

1987
Hangmen.............................................................................................................Lisa Edwards

ARTICLES

Bullock Renews Production Deal (10th september 1999)

NEW YORK (Variety) - Sandra Bullock's Fortis Films has renewed its production deal at Warner Bros., and is ramping up two projects in which she will star.
In "Alison's Starting to Happen," an adaptation of the Gorman Berchard novel, Bullock would play a self-absorbed woman who dies in a car crash and is then given time to find meaning in her life if she's going to get to heaven.

WB has just paid a mid-six figure sum for "Babe Behind Bars," a comic pitch about a beautiful and ruthless Hollywood executive sent to prison after a car accident leaves her elderly victim in a coma.

Bullock, who recently wrapped the Betty Thomas-directed "28 Days" for Columbia, has increased producing activities at Fortis, which she runs with sister Gesine Bullock. Fortis has just completed its first feature in "Gunshy," the comedy starring Liam Neeson and Oliver Platt, with Bullock playing a small role. The film was just acquired for distribution by Disney, and the studio has set a Feb. 4 release date.

Fortis has also set two animated projects to aid WB's foray into the animation game. "Nicholas Cricket" is an animated adaptation of the William Joyce children's book. The title character is a cynical bandleader who conquers a broken heart and helps his ex-girlfriend and her army of resistance fighters battle evil wasps.

The other project, "Jingle," starts on Christmas Eve, when the world's most sarcastic elf is left behind at the home of the world's naughtiest little girl. The elf has a few months to get the girl to be good enough for Santa Claus to return and take the elf home.

It's likely that Fortis' first greenlit project at WB will be "Miss Congeniality," which is shaping up to be Bullock's next starring vehicle. Negotiations are under way for Bullock to produce and star as an FBI agent who goes undercover as a Miss America contestant. Bullock is also keen on the WB/Fortis romantic comedy "The List."

 

Copyright ©1999 ABC News Internet Ventures

Southern Comfort

By Laura Morice

Callie Khouri gets her Ya-Yas out as the best-seller about female friendships is given an all-star treatment.

 

 

Ashley Judd started receiving the e-mails from Callie Khouri last January, while she was shooting the thriller High Crimes in Los Angeles. Khouri, the Oscar-winning screenwriter of Thelma & Louise, was getting ready to direct her first movie, Divine Secrets of the Ya-Ya Sisterhood, and she wanted—no, desperately needed—Judd to play the uninhibited character of Vivi as a young woman. But Judd hadn’t set foot in her Tennessee home for four months, and she had no intention of heading off to another movie set. Still, “she kept sending me these impassioned letters,” the actress recalls, laughing, “at the end of which she made me vow never to show anybody how sappy they were.” Finally, Judd relented.

 

After waiting ten long years to direct, Khouri wasn’t going to take another no from anybody. She had wanted to do the honors on Thelma & Louise, but the studio insisted on veteran Ridley Scott. She then spent much of the next decade working on projects that never got made. Even when one did—the 1995 Julia Roberts vehicle Something to Talk About, which she penned—she was passed over again, in favor of Lasse Hallström. “It was crushing,” Khouri says. “I cried a river. I felt like I was being horribly wronged.”

And yet when the Ya-Ya opportunity arose, Khouri had to be talked into it. Producer Bonnie Bruckheimer (Beaches, For the Boys) first approached her back in 1996 to write the screenplay. “I thought, ‘This is such a woman’s movie; if I do this, I’m dead,’ ” Khouri recalls. “ ‘That’s all I’m ever going to get to do.’ ” When Bruckheimer came back to her two years later with an offer to direct, however, Khouri had a change of heart. “I started thinking, ‘So what if it’s all you ever get to do? Stop telling yourself why it’s wrong and start figuring out how you can make it right.’ ”

 

So, in the summer of 2000, Khouri began revising the script, originally written by Mark Andrus (As Good as It Gets)—plucking key scenes from the book and giving them more of “an engine,” she says, “making everybody a lot more active.” In the story that emerged, playwright Siddalee Walker (Sandra Bullock) is so tired of the eccentric behavior displayed by her mother, Vivi (Ellen Burstyn), that she doesn’t invite her to her wedding. When Vivi’s lifelong friends—who call themselves the Ya-Yas—find out about this, they fly to New York and kidnap Siddalee, forcing her to go through an old scrapbook of memorabilia to learn the truth about her mother’s difficult but colorful past (shown in flashbacks featuring Judd).

Telling this tale on film was a complicated process, requiring three different actresses to play each of the four Ya-Yas—as children (all newcomers), young adults (Judd, Jacqueline McKenzie, Kiersten Warren, and Katy Selverstone), and older women (Ellen Burstyn, Fionnula Flanagan, Shirley Knight, and Maggie Smith). “The idea that on my first movie I would get to work with these people was just insane to me,” Khouri says. “I’d be talking to somebody and I’d go, ‘Hang on a minute, I just want to tell Maggie Smith to do that differently.’ ” She laughs. “I was just in absolute shock that I was getting to do this at all.”

“I remember watching dailies on the first day,” Bruckheimer says. “We got to the first take and we heard [Khouri’s] voice go, ‘Action!’ And then we heard this little voice in the room saying, ‘Oh my God! That’s me saying action!’ ”

 

The shoot had its special challenges, of course—ranging from how best to protect the child actors during a brutal scene in which Vivi beats her kids with a belt, to a protracted battle with mosquitoes while on location in the North Carolina woods. “At first, everybody was using all this natural [repellent],” Khouri says, laughing, of the unexpected extras. “By the end of it, we were walking around saying, ‘Get away from me with that citronella! Can we get a DDT truck out here?’ ”

None of it shook her resolve for a second. “People would come up to me and say, ‘God, it must be so stressful to make a movie,’ ” says Khouri, who is now in postproduction, looking toward a 2002 release. “And I would always say, ‘It’s not half as stressful as not getting to make one.’

Allure (April 2000)

Speeding Bullock

 

With her role in the edgy new movie 28 Days, a mouth like a trucker’s, and a model’s sexy strut, Sandra Bullock is moving away from the girl next door.

 

SANDRA BULLOCK IS THE UNCELEBRITY She hates cell phones. She spends most of her time in Austin, Texas, obsessed by the house she's been building for years. She walks into a restaurant in SoHo, assesses the noise level and dimly lit tables, and suggests going somewhere that "isn't so trendy" (never once letting on that celebrities like her are what makes a place trendy to begin with). When a waiter shyly asks for her autograph, she obliges-and engages him in a five-minute conversation about the brass hardware on the restaurant's front door. She is, if such a thing is possible, even nicer than the girl next door, an image that has followed her around like a lost puppy since her breakout role in Speed in 1994. Betty Thomas, who directed Bullock in this month's 28 Days, says the 35-year-old actress “should give lessons on how to be a movie star. She's accessible to the entire crew on the set, and then she can tune it all out and go in and play her role." As Gwen Cummings, Bullock is an alcoholic party girl who's sent to rehab; Thomas admits, "This is a tough subject. I picked Sandy for the part because she is so accessible, and people feel that they know her. They might accept seeing her do things they wouldn't accept from anyone else. She could be your sister, your cousin, or you, on a really good day." As for real life, Bullock is hard-pressed to recall a moment when she so much as vandalized something, though she does have a vague memory of leaning over the rail of a bridge with a can of spray paint in North Carolina during college. Even so, she promises that she's done lots of risqué things--really, lots--she just has the good sense to do them in private.

0N PLAYING AGAINST TYPE

"I read the script for 28 l7ays and

said [to director Betty Thomas], `Don't cast me if you're going to make it really sweet.' I've already got that element, and I'm not saying that I'm really sweet, I'm just saying that there's something about me that will always back down to nice rather than

attack. And that's the baggage I come with-not that that's bad. There's a vulnerability and a humour that's sort of self-effacing. Even though [my character is] making a really nasty mistake, there's a lot of laughing involved. It's not like all of a sudden I'm playing What Ever Happened to Baby Jane? Something that comes across, say, Angelina Jolie's desk probably would not come across mine, because we're not considered for the same roles. But eventually, if there's something that I want to play, I'll play it-if I want to be an actor for the rest of my life. I'm in no hurry."

ON REHAB AND 28 DAYS

"Understandably, it was really hard for any [rehab center] to let an actress go in to do a little research. If I were a patient in there, I would've been like, `Tell her to fuck herself.' But we found a great place where a counsellor said it was OK to come into the group, and I entered as though I were one of them. A lot of the people in the group were really angry-one woman left. The only way I figured I could do this honestly was to go in as though I were there for a reason. Everything there is based on confidentiality--each person says, `I pledge you my confidentiality ­so I figured, ‘What have I got to lose?' When I left the group, I kind of didn't want to go. I'd started this, I'd opened up a lot of things for me, and I kind of wanted to finish."

ON BEING THE GIRL NEXT DOOR

"I've lived next door to people all my life. I don't know how cute they think I am. '~hen I was little, I didn't really do anything bad-I'd just do stuff like pull plants out of their yard, pot them, and resell them to them. I made a lot of cash. I'd build skateboard ramps and put on plays and make everyone come, cheesy stuff like that. I was just wild-I didn't mind getting into anything or hooking up with anybody. When we were living in Germany, I was always running around, and my mom said somebody came up to her and asked, `Does anyone know who that gypsy child belongs to?' And my mother was like, `Uh, that's my daughter."'

ON HAIIING A POTTY MOUTH

"When I finished doing Gun Shy, which was almost all guys, it's like we had all become Denis Leary I carried that truck-driver mouth into 28 Days, and then I got around Betty, and everything with her was like, `Listen, you little fuck, fuck, fuck, fuck.' It's kind of a guilty pleasure, being able to talk like that. Towards the end of shooting, I couldn't stop--it's like I had Tourette's. It took me awhile to curb back."

ON SPOOFING HERSEIF AT THE IIHI/ VOGUE FASHION AWARDS

"When I was picking out the dress to wear on stage, I wanted to go to a place where no one would expect me to go. I needed the ultimate gown. My living room was full of clothes from every designer on the planet. Then I pulled

out this tiny little dress. It's amazing that it even fit over my kneecaps. So I called Versace and told them I loved it. I wanted to copy Kirsty Hume's model walk. I was trying to do that walk while carrying a mike-not easy If anyone thought I was taking myself seriously, I could never have done it."

ON CLOTNING

"You see someone like Gwyneth or whoever looking great and you say, `That's great, I would look good in that, too.' They're great marketing tools because I'll buy whatever they have on. But one day I decided, `I like what I like to wear and I know what I look good in. It's not a lot of things, but I know those few things and I'll stick with them.' It's like I grew into my own skin and I knew the clothes that made me feel comfortable and

sexy. The other night I must have gone through about 20 tops to end up with this '70s Wonder Woman T shirt. And it fit perfectly, it said what I wanted to say. But there was a pile of shirts and sweaters all along the stairs. Some people have a knack for getting dressed-I have temper tantrums."

ON FASHION MISTAKES

"There's one dress in particular from what my friends and I call the Pink Walrus Period. I gained about 15 pounds for my part in In Love and War [1997), and I decided to wear a pink satin Calvin Klein dress for the premiere. But I'd been measured for the dress months before, so I had to pour myself into it. I was busting out at the seams-I was a fat, shiny, pink walrus. [After the screening,] I bent over to get in the car and busted the strap, and my boob fell out. My friend had to jump out to get a sewing kit, and we drove in circles as we mended the dress. Do not go pulling out pictures of that night. I will never buy your magazine again if you ever..."

ON BEAUTY ROUTINES

"Makeup is scary. When I do it myself, it's just mascara, and sometimes I forget even to do that. If I'm going out, I use an eyelash curler I like lip balm or gloss, because I'm always chewing on my lips. Frederic Fekkai has a perfume, Beaute de Provence, it's like a lemon; I like things that smell fresh. And I really ask that other people try to use deodorant."

ON BODY AND FOOD

"About two years ago, I started eating healthy. I love to run, and I do light weights and exercises. On the .weekends, I give myself all the leeway in the world. I love raw cookie dough, right out of the tube. The other thing I eat is marshmallow fluff. Every time you break up, you lose a good five pounds. Then you fall in love and you get huge. You start going out again, you get the new boyfriend, you start going out to dinner all the time. You wake up in the middle of the night, gnawing on chocolate, `I'm so in love."'

ON BUILDING A HOUSE IN AUSTIN

"I needed to create my own space to figure out who I was and develop my personality again, because I really lost it somewhere between Love Potion No. 9 and Gun Shy. I had a personality that was good on the set, but the minute I stepped off, I didn't know who I was. I didn't want to become somebody who was so used to being on the set that I didn't know how to deal when I was at home. There's a way that everyone takes care of you and you don't realize it until you get into real life and you're dealing with Con Ed and you're like, `What do you mean it can't be done?' And that's the nice thing about Austin-you get things done, but you might have to slow down a little bit."

ON BEING A TAD SLOPPY

"At lunchtime, I have a construction team that throws sheets around me or wraps me in paper towels, because if not, I'll come back with mustard on my shirt. The wardrobe guy I work with once told me, `Clothes go to you to die."'

 

Either/Or

WHO DO YOU LIKE BETTER, THE SIX­MILLION-DOLLAR MAN OR THE BIONIC WOMAN?

"That's like asking me to decide between my mother and my father. I'd pick me, since I was their offspring on a movie of the week [Bionic Showdown in 1989]. We had a very high [Nielsen] rating. I had bionic everything-the arms, the legs, the ears. And I got the bionic music: Dee-dee-dee-­dee. When 1 got that part, 1'd just finished studying the [Sanford] Meisner technique at the Neighborhood Playhouse, and I remember being on the set, and my character was in a wheelchair, and 1'd

wheel off to prepare for these great scenes, and then I'd wheel back. And people would be like, `You're preparing to play a bionic teenager?' But seriously, if those people hadn't given me a shot, I wouldn't have gotten Working Girl [the 1990 TV series], and I wouldn't have gotten the next thing and the next thing and the next thing. My biggest break was being bionic. I know it, and I will never deny it."

THE SOPRANOS OR LIVE OPERA?

"I was raised on opera-my mother's one of the most beautiful lyrical sopranos on the planet. But if opera is done poorly, it's like Chinese water torture. And The Sopranos is

pretty good. So I'd choose that unless I know who's singing the opera."

THECATINTHEHAT OR THE GRINCH?

"The Grinch-because of that little dog with the antlers in front of the sleigh. It gave me the idea to get Styrofoam antlers for my dogs and take their picture. Friends of mine saw it and called it `The Dog in a Hat Syndrome': If you put a hat on any dog, the dog just freezes and makes this face. [She makes a humourless, very noble facial expression.] And I subject my dogs to the same thing every yea r."

NIKE OR ADIDAS?

"I've kind of swung towards Pumas, the old-style ones. I run in Nikes, and my flip-flops are Adidas."

TEVAS OR BIRKENSTOCKS?

"Birkenstocks." BIKINI OR A-? "Bikini."

SPORTS BRA, WONDER BRA, OR TANK TOP?

"At which time? During the day, I don't need a bra, so I usually run around in these great DKNY little-strap camisoles. 1 live in them. When I run, I wear a jogging bra. When I'm on a date, Wonder Bra with those gel fill-in

things."

COTTON OR FLANNEL SHEETS?

"Cotton, and the highest thread count possible." CHOCOLATE, VANILLA, OR STRAWBERRY? "Vanilla. No, wait, I always get a mixture of vanilla and chocolate and then swirl it together."

COUNT CHOCULA, FRANKEN BERRY, OR B00 BERRY?

"I don't know. I love cereal ­Golden Grahams, Sugar Pops, Fruit Loops. I like the ones with more sugar, that look like something they're not-like in the shape of a waffle, or a piece of toast."

FAVORITE CUSS WORD?

"`Shit.' I get it from my mom-it's very German."

WHO WOULD BE YOUR LIFELINES ON WHO WANTS TO BE A MILLIONAIRE?

"My friend Dan, who knows everything on the planet. I don't think I should mention his last name, but he knows who he is. And then my [younger] sister, Gesine, who's so brilliant it kind of makes you sick. And, uh, Howard Stern."

 

© 2000 by Allure