Angelina Jolie: ‘I actually love being in menopause’

24 Nov 2015 | Author: | No comments yet »

Angelina Jolie Reveals She “Loves” Being in Menopause.

Ever since writing her first op-ed for The New York Times, the UN envoy and actress has spoken openly about the changes her body has gone through since she underwent her first preventative surgery to reduce her risk of cancer.As Universal and Warner Bros. take hits with films from Angelina Jolie Pitt and Sandra Bullock, respectively, failing at the box office, passion projects greenlighted for big studio stars face off against the new Hollywood frugality. Angelina Jolie has revealed that her experience of early menopause since having her ovaries and fallopian tubes removed back in March has not been bad at all. “I actually love being in menopause,” the mom-of-six said in an interview with Australia’s Daily Telegraph. “I haven’t had a terrible reaction to it, so I’m very fortunate,” she added. “I feel older, and I feel settled being older,” the actress and humanitarian continued. “I feel happy that I’ve grown up.

Her mother, grandmother and aunt all died of cancer and Jolie-Pitt said her mother made her doctor promise “to take my ovaries out” before passing away in 2007. For years, Hollywood studios have lined up to back projects with limited commercial appeal as a way of keeping the biggest stars and directors in their fold. Jolie-Pitt told Vogue she couldn’t wait to hit 50 and know she has “made it”, after both her mother and grandmother were diagnosed with cancer in their 40s. Her brave decision to disclose her mastectomy led to a doubling in NHS referrals for genetic testing for breast cancer risk, in what researchers now call the “Angelina Jolie effect”. “I knew through the surgeries that he was on my side and that this wasn’t something where I was going to feel less of a woman because my husband wasn’t going to let that happen.” In July 2014, in a competitive situation, Universal acquired worldwide rights to By the Sea and set Jolie Pitt (who was finalizing the studio’s Unbroken) to direct and star with husband Brad Pitt, prompting Jolie Pitt to invoke the ‘R’ word. “I am very happy to continue my relationship with Donna and the entire Universal team,” she said at the time, referring to Universal chairman Donna Langley. “They have created a very special place for storytellers.” But now the studio stands to lose as much as $40 million on By the Sea, according to two knowledgeable sources who place the film’s budget at closer to $25 million than the $10 million Universal insists it cost (and the marketing expense at $15 million).

And if By the Sea’s poor reviews and low-appeal concept wasn’t enough to damage the film’s box-office prospects, the marketing sealed its fate. “If you have two of the hottest movie stars on the planet, you might want to put them on the poster,” says Rentrak analyst Paul Dergarabedian. Despite poor reviews at the Toronto Film Festival in September, Warners is said to have spent about $40 million to market the film. (The blow to the studio was softened by financial partners Participant and RatPac-Dune). In offering an explanation for the disaster, marketing chief Sue Kroll also underscored the relationship factor. “We cherish our relationship with her,” said Kroll of Bullock. “Ultimately, neither the concept of the story nor our campaign connected with moviegoers.” Even with Bullock in the lead, the film probably was a better fit for the indie-financed model, as has been the case with many of Crisis director David Gordon Green’s films. Paramount, too, invoked the relationship raison d’etre when explaining Michael Bay’s 2013 bodybuilding passion project Pain and Gain, which wasn’t a disaster but which grossed far less than his usual big-budget fare. Pascal long had been a champion of the back-scratcher, including the 2013 debacle After Earth, a film that was intended to make Jaden Smith a star like his father, Will Smith.

The final poster for the $130 million film instead used a split face of the father and son, leaving one of the world’s biggest stars barely recognizable. “With these types of movies, you’re not swinging for the box-office fence,” adds Dergarabedian. “You’re swinging for the relationship-building fence and looking toward the future. As marketing expenses skyrocket for even modestly budgeted movies and studios make fewer homegrown films, many say the leverage has shifted away from stars. Plus, some of the best examples of passion projects that have worked were self-financed, like Mel Gibson’s The Passion of the Christ ($612 million worldwide) and Magic Mike (star Channing Tatum and director Steven Soderbergh put up the $7 million budget for the film that earned $167 million worldwide).

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