Kidman never slags the movie. She doesn’t once criticize it except to suggest that she didn’t like her own performance.
That interview and article are quite dishonestly presented.
Sky Captain and the World of Tomorrow, but she played a reporter.
I read an interview with Michael Richards where he made the offer to pay 6 bucks for anyone who brought him a ticket to Coneheads, while at the theater! (I find confirmation cites using Google News, but they are pay per view articles. No thanks).
I wish Sandra Bullock’s parents had used a condom!
I wish the US would start publishing international box office numbers more. I find those much more interesting an seek them out at BoxOfficeMojo. I even wrote a paper in business school on the subject. For example, Spiderman 3 is a smash hit globally, despite some suggesting it was a slight disappointment (relative to the first two) domestically.
That said, I don’t think she gets credit for the success of this film. Who should get credit for an animated film’s success is a good topic for another thread.
I thought that Batman Forever was a passable film. A few tweaks here and there, and it would have been a really decent installment. Even with Nicole Kidman! 
As does Jon Stewart, specifically, about Half Baked.
View From The Top, with Christina Applegate. I thought it was quite a cute little film.
Couple of quick notes:
Your statement “Her movies generate $1 for every $1 paid to her” was true for movies released in 2007 only. If I’m not mistaken, she was in three movies released in 2007: *The Golden Compass, Invasion *and Margot at the Wedding. As noted, MatW was an indie film, and shouldn’t be considered when calculating box-office draw, in my opinion. The other two have made more than $400 million worldwide.
Naturally, Nicole Kidman didn’t get paid $400 million to make those two movies. So how can Forbes claim the 1:1 ratio they quoted? Take a look at their formula:
"To compile our list, we looked at each star’s last three films that opened wide before Jan. 1 (in order to give each film time for a DVD release). We didn’t count animated movies, supporting roles or anyone consistently earning under $5 million per movie.
To calculate our payback figures, we took half of each film’s worldwide box office (to roughly approximate the studio’s cut of each ticket). Then we added the first three months of DVD revenues and subtracted the budget to derive the film’s gross income. After that, the actor’s total compensation (upfront pay plus any money earned from sharing in the film’s profits) was divided into the gross income to get the actor’s payback figure for the film. The payback for the last three movies for each actor was averaged to calculate ultimate payback."
It sounds to me like Forbes wanted to set up a formula to claim that actors who make a lot of money are overpaid. Automatically discounting half the box-office take to account for the studio’s cut makes no sense to me. Similarly, indie films like MatW (with a small number of screens) are going to dramatically decrease the perception of a star’s overall box-office appeal.
During an episode of Wane’s World on SNL, Wayne and Garth critiques the past years movies. When Wayne (Mike Meyers) asked Garth (Dana Carvey) how he rated CLEAN SLATE
The camera zooms in on Garth as he exclaims “SUCKS!!!”
Ehh, same thing. (I loved them both, too, for the most part. Despite what I may or may not have said to Judd Apatow.)
I totally forgot Ed Norton. He is notorious for being a wet rag and a classic example of someone being forced to do press with little to no concern for his future commercial appeal. Someone I know spoke to him for Pride & Glory and says it was like pulling teeth.
I remember from at least one of the times I was on a network TV show as a very minor character, I was contractually obligated not to publicly disparage the production and/or NBC Universal as a whole. I imagine it’s pretty standard in contracts for actors, especially when they’re the star of a show or movie.
Not true. He didn’t attend most roundtable interviews and junkets because the usual disagreements for any filmmaking process were made out in the Press to be something more than they were, and because he knew that’s all they’d ask about at the junkets, and also because he was busy on another film at the same time, he refused to participate in what he knew would fast become a farce. Norton was perfectly happy with the film (and so he should be, I thought it was excellent) and is eager to appear in the next one.
This was the first thing I thought of - it was completely hilarious. I looked for a video but couldn’t find one. The only review I remember was “This film was so bad I had to go and watch Glitter just to get the bad taste out of my mouth”.
That one talk show appearance really raised my opinion of Affleck - before that I always thought he seemed kind of arrogance (that and his bum-chin annoyed me).
Denis Leary poked fun of several of his movies and himself in this gem: http://www.funnyordie.com/videos/6fc5cf60e3/denis-leary-remembers-denis-leary-movies-from-fod-team
Jon Stewart always makes fun of the movies he’s done. Death to Smoochy in particular. He usually focuses on the badness of his own performances, but he’ll mock the movies too at times.
Sadly, I own Death to Smoochy on DVD. I’m always too distracted by Jon Stewart’s haircut to notice his performance, but the problem with the film is that they needed to tranq Robin Williams much earlier in the filmmaking process.
French humorist/critic/socialite Laurent Baffie wrote and starred in a weird, self referential film called “The car keys”, the tag line of which was “don’t go see this film : it’s shit”. By all accounts, this was proof in advertising - but I think the whole purpose of the exercise was to make the most inane, pointless and boring movie ever.
I don’t get it, either.
I liked Hudson Hawk!
This is a bit misleading. You can’t really dislike something before it’s made. Plus, he was one of the few that negotiated a percentage cut, knowing the film would be massively popular.
Basically what she said was that she agreed to make that movie so she could get “Hope Floats” made.
I have a vague memory of Brad Pitt ( on his rise to BIG FAT FAME) dissing some movie he made with a HUGE STAR ( whom I cannot remember.)
It has the redeeming value of lending good stuff to Tilda Swinton’s speech last year:
And Sydney Pollack, and George Clooney, you know, the seriousness and the dedication to your art, seeing you climb into that rubber bat suit from “Batman & Robin”," the one with the nipples, every morning under your costume, on the set, off the set, hanging upside-down at lunch, you rock, man.