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Tilda Swinton And Mr. Beaks Get Wrapped Up In The Unabashed Melodrama Of I AM LOVE!

Tilda Swinton is going to save cinema - or, at the very least, make a lot of great cinema trying. Her campaign to rescue the medium is already underway, and if you missed the first salvo, Erick Zonca's JULIA, not to worry: it's hanging out at various rental and retail institutions, waiting to be discovered. But that is the past. The present is Luca Guadagnino's I AM LOVE, a sprawling, intoxicating melodrama starring Swinton as Emma Recchi, the matriarch of a wealthy Italian clan whose textile business is poised on the precipice of transition or obsolescence. While her husband and less-than-enthused son - he wants to open a restaurant - are left struggling with the demands of a shifting global marketplace, Emma finds herself in the throes of a sexual and spiritual reawakening. With her children grown and discovering their own identity, Emma is rediscovering hers - and it's frightening to her that it might have little to do with the family for which she's sacrificed everything. Swinton, who produced and co-conceived the film with the gifted Guadagnino, unabashedly acknowledges I AM LOVE's debt to the visual vernacular of Sirk, Visconti, Hitchcock so many others. This is a return to the type of pure cinema that's anathema in this age of pure calculation; it's about getting drunk on the potential of the medium, not betraying it for awards or box office. This is where Swinton lives. Though she'll probably have to make a CHRONICLES OF NARNIA every now and then to keep her profile elevated, her passion is sharing cinema with a receptive audience. She's especially committed to getting kids hooked on the art form with her 8 1/2 Foundation. Though Swinton is focused on selling I AM LOVE at the moment, it's hard not to look forward to what should be her next triumph as a producer: Lynne Ramsay's WE NEED TO TALK ABOUT KEVIN. Based on the novel by Lionel Shriver, Swinton will star as the mother of a high school student who goes on a killing spree. I got a look at some stills from the film (which wrapped two weeks ago), and was knocked out by Ramsay's hauntingly precise compositions; it's been eight long years since MORVERN CALLAR, but Swinton guarantees that we'll never have to wait this long for a new Ramsay film again. Hopefully, I'll have a little something to share from WE NEED TO TALK ABOUT KEVIN soon. In the meantime, here's Tilda on I AM LOVE, JULIA and whatever else came to mind in the too-brief twenty minutes we spent together. We were talking JULIA when it occurred to me to start my recorder...

Tilda Swinton: JULIA doesn't go away. It's a deep burn. It's a cigarette burn.

Mr. Beaks: And it's one of those movies that, for whatever reason, people had to be forced to consider.

Swinton: It's just a long, slightly boring discussion about distribution. It's about a kind of crusty old pinball machine that needs some new alleys built into it somewhere. But I don't mind... I think if one's not particularly attached to opening weekends or prizes or anything, work always finds its time. It's just getting out there. Slowly.

Beaks: But so many of these movies - JULIA is one, and I AM LOVE is another - are movies that I think need to be seen on the big screen. I AM LOVE especially. It's this lush, rhapsodic film...

Swinton: Same cinematographer. Did you notice that? Same DP who did JULIA. Isn't that interesting? They're both glorious for very different reasons; cinematially, they're very different. Yorick Le Saux is a wonderful DP who works a lot with Francois Ozon and Olivier Assayas. He's great. He's really worth noticing. There was a moment when we thought he was going to do [WE NEED TO TALK ABOUT KEVIN] as well.

Beaks: From the opening credits of I AM LOVE, the film has this very old school way of getting into the story. It puts you in mind, obviously, of Douglas Sirk, if only because of the melodramatic form of the film. But in talking to Luca a couple of months ago, it dawned on me that Visconti's THE LEOPARD was the direct link. Was that conscious?

Swinton: Absolutely. They're all conscious. Hitchcock is conscious. It's so conscious, I have the same hairdo [Kim Novak] had. And John Huston's THE DEAD, Passolini, Antonioni... but Visconti, absolutely. There are Viscontis in the film. You may not even know, but next time you see the film, look at the credits and you'll notice that some of the smaller parts are played by members of the Visconti family. It was very, very clear to us. So much so that the poster [for THE LEOPARD] in Italy had on it "Everything is going to change," and our poster said "Everything is going to change forever." So we actually quoted THE LEOPARD on our poster. It was part of our original project eleven years ago, when we started talking about how we could make a film language modern that was informed by these classical references - but to make it really fresh again. Would it be possible to take these references and learn from them - not just quote them in some kind of postmodern way, but to actually learn from them and take that language further? That's our school project that we set ourselves.

Beaks: The problem is that studio executives and people of their ilk think audiences don't want to see movies like this. They think people don't have the patience for visual storytelling and long takes.

Swinton: Jeremy, what do they know? Really! They think that people aren't interested in reading subtitles. No. They think people don't want to watch movies in black-and-white. It's not true. It's all rubbish. This is a separate issue, and I don't want to take up too much time talking about it because we're here to talk about I AM LOVE, but I am in the process of forming this foundation for children. It's called the 8 1/2 Foundation; we're showing little children world cinema, and giving them a choice. We can show them thirty-second clips of a certain amount of films from all over the world, from all decades, black-and-white, subtitles, and giving them a chance to choose one for their eight-and-a-half birthday, which we will then send them in the post. And the two that come out on top always on our poll are a black-and-white film by Jacques Tati from the '60s and a Chinese film with Mandarin subtitles called THE KING OF MASKS. And yet studio executives will tell you that children and adults will not watch foreign films and will watch not black-and-white. So that's just in parentheses.

Beaks: That's a wonderful idea. Good luck with that. You know, it seems with so many of your performances that you're completely consumed by your character, almost possessed. It's as if you've completely disappeared into them. Where do you come down on method? How deep do you go? And is it ever hard to shake the character once you're finished?

Swinton: I need to declare right off the bat - as I have before, but really this is the case - I don't have any sense of myself as an actor. I don't have any kind of method. I never intended to be an actor. I never trained to be an actor. I have no idea what I'm doing. I try and make sure that I've done everything I need to do before we start shooting, so that when we start shooting I can just play. It helps a lot if one is involved from the very beginning of germinating a project and developing it, actually developing the idea of the story and milieu and the character. There was never a time when anybody handed me a script of I AM LOVE and I had to get to know Emma. Emma was something that I co-made with Luca and the writer of our script. So it's very easy. It's like asking someone... I always think it's a little bit like you imagine two parents, and every morning the mother has to say to the father - all by sundown - that "This is a baby, and what you have to do is clean it, and then you have to feed it..." I mean, you don't have to do that if you made something from scratch. It's your work. You made it, and it's a very organic business feeding it. So what I try to do is dress myself up as close as possible to look like someone whose story I'm telling - which might involve changing my shape. It will certainly involve thinking about how this person moves, how they talk, and how they present themselves to the world. But once I've worked out my disguise, I just dress up and play on a daily basis until we're finished shooting. There is no method. It doesn't feel like a possession. And it certainly doesn't feel consuming, as you describe. The whole idea of something being difficult to shake off at the end of the day is bizarre. I'm obviously not trying hard enough. (Laughs)

Beaks: Maybe it's just that you don't have to try that hard.

Swinton: I'm not a great believer in effort. I think I once read somewhere that the great Robert Mitchum said his creed was "The greatest possible return for the least possible effort." I think maybe I'm of that school. I'm very lazy. I'm very idle. I believe in idleness. And I like to see a kind of relaxedness onscreen. So I'm not just saying this because I am lazy; I actually think idleness serves performance well. I think a lot of effort can throw the spectator out if they seem someone working too hard. The lady doth protest a bit too much; she's trying to hard to look like somebody.

Beaks: That's interesting. I've been watching a lot of Cassavetes lately, and it seems that there's so much effort there. Everyone's trying so hard to get into this heightened state of being. That can be very mesmeric.

Swinton: Cassavetes is a very interesting reference for this. Erick Zonca and I obviously both thought a lot about Cassavetes when we were making JULIA. Not because there was some rumor that we were remaking GLORIA - that was absolute rubbish - but because he's a great idol of ours. Having thought a lot about it in the process of preparing JULIA, I realized that our project was not the same as Cassavetes's. Even though he made extraordinary cinema, Cassavetes was very much a theatrical animal. And most of the performers that he worked with... grew out of a theatrical energy, which serves the milieu that he shows in his films very well. A lot of the people that he shows in his films are actors or directors or work in the theater business, so there's a mode, an atmosphere that feels very right. It's very raw and overwrought. And I realized that what I was downloading for Julia is that... Julia is an actress. That's why it was appropriate to download that kind of energy for Julia. Not for me, Tilda, but for her; she's an actress in a way that I'm not. She's got a very different energy to me. She's a much better liar than I could ever hope to be, and throws herself into things in a way that you can imagine like Ben Gazzara or Gena Rowlands would. Tooth and claw. I think it is about disguise. And very often, as in our film JULIA, Cassavetes is dealing with the theme of sincerity. And insincerity. A lot of the time, these characters are talking to each other constantly, but they're actually trying to wade through thickets of insincerity to get to something real. That's his subject really.

Beaks: And that's akin to what your character is doing in I AM LOVE, except she's completely rediscovering life. It's a reawakening. All of this time has gone by, and now she wants ownership of her life. And there's this tension of having a family that depends on you and knows you as this person, when you've ceased to see yourself as that person.

Swinton: One of the things that's a stumbling block for so many people, maybe all of us, is the temptation to believe that you can avoid change. It's just not possible. Change is inevitable; it's the only thing we can rely on. Evolution. I've looked at in a number of films now, the idea that you become a mother or a parent - particularly a mother - and your task is to be some still and constant point for your children while they grown. While they change and move, you have to stay steady. And then this point comes when they are leaving, and you don't have to be steady anymore. And you realize what an effort, being steady all those years... you realize you've actually changed. And you're maybe nineteen again. That's something that's really not so exotic in peoples' lives; I think there are a lot of people in that situation, who had children young enough that when the children are leaving, when they are sort of the same age as when you had them, there's a sort of strange crossover. It's something I looked at in a film that David Siegel and Scott McGehee made together called THE DEEP END. It's the same sort of story. The mother was at the same tipping point.

Beaks: And this intense emotion is reflected, or really enhanced, by John Adams's score. It's one of the most shockingly dramatic scores I've heard in years, and I adore it. I miss film music like that.

Swinton: Did you know his work earlier?

Beaks: I knew of it. I'd heard a little, and knew that he was a prominent modern classical composer. But like so many people, I'm not in the habit of listening to modern classical music.

Swinton: You know what you have to do? You have to do yourself a favor. Buy yourself THE JOHN ADAMS EARBOX. All of his music is in one set. It's a beautiful little thing. And just listen to it. Put it on every morning, and you'll become addicted to it. That's what Luca and I did. We became addicted to the music around about the last draft of the [script], so it infiltrated the DNA of this film very early - which was dangerous because we knew John Adams had never allowed his work to be in any film before. We knew we were getting addicted to a very dangerous drug. And by the time we had shot several scenes to the score, I realized that we needed to ask his permission. We found him by a very short series of degrees of separation, and he was just up for it. We still can't believe he was up for it.

Beaks: Did you find that the music heightened the emotions in the writing of the story?

Swinton: It was the music that we needed. In fact, this discussion is making me feel very sort of faint because I'm trying to imagine what we would've if he hadn't let us use it. I think we really need to ask Douglas Sirk this, because he has made more than one melodrama. Having just worked with one melodrama now, what I've noticed is that you have to play a very fine game of timing your emotion and layering your emotion. And you have to locate your emotional breaks in the story in the behavior of your characters. You have have to hold you jokers up your sleeve for a very long time. You can't waste them; you can't play them too early. You have to play this waiting game. But if you imagine that on the screen unsupported by any other ambient atmosphere, it could be very dry. It could be too dry. The waiting game for the audience could actually be too tough. So having the emotion held in the music, held in the score, was really essential for us, because then we could play this really tough game with... not tightening the screws of the actual behavior until later on.

Beaks: I could talk about writing to music for hours. It's something that more people should do--

Swinton: It's interesting that you say we long for that kind of score. It's very rare to have that sort of directional score. And one would hope that if people like it in I AM LOVE, others will have the courage to be that directional in modern cinema.

Beaks: It's just finding composers who can rouse themselves to write that music.

Swinton: And just be that brave. Of course, that's not an original score. It's sort of a cut-and-pasted greatest hits. Next time, we want John Adams to do a full score.

Beaks: I know SHUTTER ISLAND is a film that did that cut-and-paste thing with modern classical also.

Swinton: It did. And they also chose a bit of John Adams.

Beaks: I can't let you get away without talking a little about Lynne Ramsay.

Swinton: We just finished principal photography two weeks ago, and it's looking very good.

Beaks: I was just looking at stills, and the compositions and use of shadows... it looks amazing.

Swinton: It's really going to be something.

Beaks: You've sort of mentored Lynne.

Swinton: Again, that's another seed that's been in my ground for years. JULIA, I AM LOVE and KEVIN. Meanwhile, I was in some American films, and worked with the Coen brothers, but, truthfully, I've been working on those films for years. They've been slowly moldering away, or growing at least.

Beaks: How difficult has it been to find people who want to make this kind of film with this type of director?

Swinton: It hasn't been easy, but let's just hope it gets easier. That's all I have to say. I'm so sick of biting my lips off and having to say "I told you so" to people. I told them all about JULIA. I told them all about I AM LOVE. And I'm telling them all about KEVIN. Let's just hope that people begin to see that all a filmmaker like Lynne Ramsay needs is not very much money, but enough to just shoot it. Making people sweat and wait for years doesn't serve anybody.

Beaks: I can't go another eight years.

Swinton: You're not going to have to. If I've got anything to do with it, you're not going to have to. She's up and running.

I AM LOVE opens this Friday, June 18th. See it. Faithfully submitted, Mr. Beaks

Readers Talkback
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  • June 17, 2010, 11:03 p.m. CST

    Go Lakers!!! Yeeaaaah!!

    by Jaka

    Wooo hoooo!!!! Dancin' around the room like an idiot! lol

  • June 17, 2010, 11:04 p.m. CST

    And I love Tilda Swinton

    by Jaka

    She's good stuff. But I gotta get my Laker celebration on right now! Yeeeeyayah!!

  • June 17, 2010, 11:08 p.m. CST

    Tilda Swinton is wonderful


    Great interview, Beaks. I needed a palette cleanser after the rest of the week's headlines.

  • June 17, 2010, 11:30 p.m. CST

    Tilda Swinton is hot

    by The_Crimson_King

    androgyny can sometimes be hot

  • June 17, 2010, 11:38 p.m. CST

    She is hot. And Beaks is hot for her too.

    by catlettuce4

  • June 17, 2010, 11:50 p.m. CST

    Speaking of John Adams

    by ArcherNX01

    Saw an advance at USC last week. The music at the end where I Am Love really slaps you after simmering for so long is called Harmonielehre. Frickin' A.

  • June 18, 2010, 12:22 a.m. CST

    And She Called HIM "Jeremy"...

    by Sgt.Steiner

    By his Christian name, and he kept it together, and conducted an intelligent interview. Whereas, I would shuffle in my jeans and gaze at her red locks tickling her pale white nape.

  • June 18, 2010, 12:49 a.m. CST

    Wow. Really great interview.

    by Jaka

    She comes of as very passionate and educated about film and it's history... that's hot. lol Love her whole concept/description of a lack of effort and being idle. It's brilliant, in fact. And I can see it in her performances.

  • June 18, 2010, 12:56 a.m. CST

    Definitely agree that she's attractive, too

    by Jaka

    Thought so since she pulled off the full androgyny deal in Orlando. Been following her career since that movie, as well. Interested to see what Manson does with her in the CS Lewis flick he's directing.

  • June 18, 2010, 2:38 a.m. CST

    As much as I love her, "I AM LOVE" is crap

    by Suskis

    Tilda Swinton is maybe the actress I like most (phisycally, but also for her acting skills). But "I AM LOVE" is almost unwatchable. Here in Italy it just left everyone irritated (in Venice Festival it got one of the worst "welcome").

  • June 18, 2010, 3:58 a.m. CST

    Isn't Tilda just Conan O'Brien in drag?

    by ShabbyBlue

  • June 18, 2010, 4:01 a.m. CST

    You are love

    by mmmgoo

    Great, inspiring interview - well done Beaks!

  • June 18, 2010, 4:07 a.m. CST

    Who wouldn't bang Tilda Swinton???

    by sam jacksons wig

    Carnies..... that's who.

  • June 18, 2010, 4:10 a.m. CST


    by sam jacksons wig

    .... do we have a photo of the back of her head? Come on! She's not THAT unattractive, is she? Pretty sure you could have found a better publicity still than that- such as the one where she is humping Leo DeCaprio and her nipples are like door stops...?

  • June 18, 2010, 4:17 a.m. CST

    Her face is very different.

    by V'Shael

    Androgynous, sure. But humans often react to "different" with "I don't like it". It takes time, sometimes, for people to realise that different can be good.<br /><br />I personally thought her hottest look was as Gabriel in Constantine.

  • June 18, 2010, 4:37 a.m. CST

    Great interview

    by subsisty

    Nicely done, good to see the preparation put into the questions and comments made, definitely seems to engage her.

  • June 18, 2010, 5:54 a.m. CST


    by hst666

    "Swinton, who produced and co-conceived the film with the gifted Guadagnino, unabashedly acknowledges I AM LOVE's debt to the visual vernacular of Sirk, Visconti, Hitchcock so many others. This is a return to the type of pure cinema that's anathema in this age of pure calculation; it's about getting drunk on the potential of the medium, not betraying it for awards or box office." is a bunch of sound and noise signifying nothing.

  • June 18, 2010, 5:56 a.m. CST

    sam jacksons wig

    by hst666

    If you like 12-year-old-boys, Tilda's your man, er, I mean girl. <p><p>Seriously, she was born to play Bowie during his Ziggy Stardust years.

  • June 18, 2010, 6:55 a.m. CST


    by jimmythesaint

    Made sense to me, Shakespeare.

  • June 18, 2010, 7:02 a.m. CST


    by hst666

    Oh, it made sense to me, it just was completely empty of any actual meaning.

  • June 18, 2010, 7:03 a.m. CST

    If she has door stop nipples

    by hst666

    I may have to check that out. I assume it was the Beach where she screwed Leo. I'll check it with Mr. Skin after work.

  • June 18, 2010, 7:16 a.m. CST

    Tilda is a hound...

    by Bodacious_Crumb

    ..having said that, I'd prefer to have read reviews for Johah Hex and Toy Story 3 on this site, but once again they're behind the times.

  • June 18, 2010, 7:43 a.m. CST

    Reminds me of a girlfriend I never met...

    by mortsleam

    Authoritarian, opinionated, yet wildly in love with her strange ideas. She's crazy enough to be a talkbacker. I'll second the motion of Tilda Swinton as Bowie in the Ziggy Years in some kaleidoscopic recreation of his life. If Cate Blanchett can *become* Dylan in '66, Swinton can be Bowie. And the 8 1/2 club sounds like such a great idea. In fact, she has so many great ideas about "cinema" that's it's a shame her work isn't more well-received. Audience-wise. Aside from the Ice Queen in Narnia, that is. As it is, I'll see anything she's in.

  • June 18, 2010, 8:13 a.m. CST


    by Pancho_Villa

    Great interview

  • June 18, 2010, 8:25 a.m. CST

    Great interview, Beaks

    by gromit53705

    It's great to see an actress with such a passion for cinema and extensive knowledge of film history. I'm definitely looking forward to seeing this. Beaks, I was wondering why don't do video interviews? Swinton sounds like a very articulate person, so it would've been nice if you carried a camera around with you instead of a camcorder.

  • June 18, 2010, 8:37 a.m. CST


    by gromit53705

  • June 18, 2010, 8:49 a.m. CST

    toy story 3 review

    by TheNewDirector

    where is it??

  • June 18, 2010, 9:34 a.m. CST


    by hst666

    Not sure about the girls, but I know she lived with an older director who took care of the children, while she had a boy toy on the side and they were both cool with it. Sounds great, but every time I look at her I cannot get past the androgyny.

  • June 18, 2010, 9:46 a.m. CST

    Toy Story 3

    by BetaRayBill07

    Been playing for 10-11 hours now......anyone awake out there??

  • June 18, 2010, 11:02 a.m. CST

    ^ ^ ^

    by Bodacious_Crumb

    You would THINK that the Summer movie season would be the peak of reviews around here...

  • June 18, 2010, 11:31 a.m. CST


    by windomearle39

    Could you find out what happened to the ending please?

  • June 18, 2010, 11:57 a.m. CST

    Am I the only one who wants to bone her?

    by Broseph

    something about her that screams sexy.she was hot in the beach when leo banged her

  • June 18, 2010, 1:20 p.m. CST

    It's a man, ba-beeeeee . . . .

    by Nice Marmot

  • June 18, 2010, 5:57 p.m. CST

    Tilda Swinton is a class act.

    by Kontarsky

    So is Flavio Parenti, who is in this. I'll check out this film sometime...

  • June 18, 2010, 7:58 p.m. CST

    Didn't care for the film....

    by CarsonDyle62

    ...but Swinton is a consistently interesting actress, and her performance here is worth catching. I'm also pleased to see John Adams branching ever-so-cautiously into film. Struggling screenwriters looking for a kick-ass composition by which to bang out a high-octaine chase/action sequence would do well to track down "Short Ride in a Fast Machine." Just don't drive the LA freeways to it, or they'll be washing you off those ubiquitous Toy Story 3 bus shelters.

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  • June 19, 2010, 8:25 a.m. CST

    Disappointing film

    by The_Motorcycle_Boy

    It's beautifully shot with a wonderful score, and Tilda Swinton is good, but they are just wasted on a film that is completely in love with itself. <p> There's only one remotely likeable and interesting character in the entire film. The ending was so over the top that I had to stifle my laughter; it was like a dramatic advert for an Italian perfume.

  • June 19, 2010, 2:15 p.m. CST


    by Chesterfield Slacks

    Used "Short Ride in a Fast Machine" as a temp track to a documentary on fighter pilots. My favourite short track by Adams. Was stunned to hear his music in the trailer and want to see the movie just for the music (well the visuals too)

  • June 19, 2010, 2:41 p.m. CST

    Yeah, I've been an Adams fan for years.

    by CarsonDyle62

    I'm creative director for a motion-picture ad agency, and we've used Adams' stuff to temp dozens and dozens of trailers. Nothing's ever gone to finish, but it's only a matter of time. The "Chairman Dances" track from "Nixon in China" is another personal fave. Here's hoping Adams' foray into film will prove a positive experience for him; one which prompts the composer to reconsider his creative relationship to the medium of motion-picture scoring. Contemporary filmmakers need all the help they can get in the musical soundtrack department (talk about a dying art).

  • June 19, 2010, 4:57 p.m. CST

    has anyone ever seen "Female Perversions"?

    by The_Crimson_King

    she's naked in that, I liked it

  • June 19, 2010, 11:36 p.m. CST

    "Perhaps I'm not trying hard enough"?

    by HarveyManfrenjenson

    From what I've seen of Tilda's acting (Burn After Reading, Vanilla Sky, Constantine and a campy little SF number called Teknolust)... she nearly always plays variations on the same basic character-- sort of a jaded, emotionally detached, Machiavellian ice queen. So it's hardly a surprise that she finds acting to be "very organic" and that she doesn't need much of a "method". On the other hand, the first two of those films were brilliant, so who cares? Also... nice interview.

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    Iam the worst at walking in heels lol! I have only worn heels probably 3 or 4 times in my life. Each time, I was practically falling down stairs and tripping over my own feet haha. I bet a GUY could wear them better than me lol. I just dunno how to balance. it makes me more attractive in heels but really a pain for me...We specialized in trading high quality and lower price shoes, Such as, Nike, Air Jordan, Air Max, Puma, Air Force 1,Timberland and so on ,and we also have some accessories: clothes, trousers,hat ,watch, bag , ball, glasses ,strap, and electronic products. It's a good way that depresses your stock costs They have many kinds of style.they quality is AAA ,we will offer you lowest price, safe delivery, and best service. For more details information, pls contact with us.mail me if you are interest my collection.. web: mail/msn:candy-seasky(at) Yahoo/ mail: nicebuybuy(at) skype:candy-seasky editor:alen

  • June 20, 2010, 11:32 p.m. CST

    jordan shoes $46.99-$51.99 . Discount activity

    by jordanerinc4 Discount activity 40%discount Supply . Air Jordan Shoes. Safe Payment.Paypal Fast Shipment.5-7 days you can receive your order product. No min order request.You can order only one product Free Shipping.The price on our website are including everything. Jordaner,Inc. We are the best online dealer,about all kinds of retailing and wholesale trade wordwidely for years. Free Shipping And Customs,Super Sale Off Retailing,With 1Week Delivery to your door. Thank you for your support.

  • June 21, 2010, 3:23 p.m. CST

    Ice queen

    by Mgmax

    "she nearly always plays variations on the same basic character-- sort of a jaded, emotionally detached, Machiavellian ice queen" Yeah, you can't have a career like that, just ask Kate Hepburn.