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johnny depp....ENTERTAINER of the year 2003 n SEXIEST MAN ALIVE (PEOPLE Magazine
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HOLLYWOOD
Early this year, he made a statement in a politically charged tee, ripped jeans and a hat worthy of a true urban cowboy. |
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LOS ANGELES
While girlfriend Vanessa Paradis went for understated glamor, Depp turned heads at February's Academy Awards in a custom blue shawl-collar tux and devilish facial hair. |
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hemmmmm.......
suka la johny deep ni...suka sgt..comel n cute..
tp still macho... :love: |
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wahh byk picc..mandibunge,tks for sharing.... |
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tweetykiut This user has been deleted
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Reply #109 sh|nobu's post
dua2..hoho..tak tengok lagi sequel,tapi baca review dlm newspaper,mcm kurang best je sequel POTC,tapi,lakonan dia tetap mantap cam biasa..selamba je
a'ah..mandibunge ni rajin beno..kagum tengok posting2 dia |
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JOHNNY DEPP
Depp gets aye-to-aye with his swashbuckling doppelganger Captain Jack Sparrow, which was recently unveiled at Disneyland in Anaheim, Calif. Of getting face time with his Pirates of the Caribbean likeness, Depp said, "Oh, it's totally surreal. It's teetering on absurd, but a kind of great absurd |
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RATED AARRGH In Pirates of the Caribbean: Dead Man's Chest (2006), Depp returns in the role that earned him his first Oscar nomination and was based on pal Keith Richards, whom producers are reportedly courting to play his dad in the next one
[ Last edited by mandibunge at 7-8-2006 04:08 PM ] |
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'JUMP' START Depp found fame as a high school narc (with Peter DeLuise, right) on Fox's 1987-90 drama 21 Jump Street. ''He didn't make any secret of the fact that he didn't care about being on that show,'' costar Holly Robinson Peete says |
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'BABY' BOOM Depp's breakthrough role was as a rockabilly rebel in 1990's Cry-Baby (with Traci Lords). ''Johnny's shy about being a teen idol,'' director John Waters said. ''So I said to play one so people will know you're making fun of it'' |
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SHEAR TALENT Edward Scissorhands (1990) was Depp's first collaboration with director Tim Burton, and his first outcast role. ''Somebody who is? judged on appearance instead of heart, who is looked upon as a freak. Well? freaks are my heroes'' |
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'GRAPE' EXPECTATIONS What's Eating Gilbert Grape (1993) starred Depp as the young man chafing at his small-town life as breadwinner and caretaker of his needy family, including simpleton brother Arnie (Oscar nominee Leonardo DiCaprio, left) |
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ANGORA MANAGEMENT In Ed Wood (1994), Depp reteamed with Burton to play cross-dressing, 1950s auteur Wood, the untalented director of such so-bad-they're-good classics as Glen or Glenda and Plan 9 from Outer Space |
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WORD TO THE WISEGUY Critics hailed Depp's work in the 1997 docudrama Donnie Brasco as his first real grown-up performance; he plays an undercover Fed who infiltrates the Mob by befriending veteran Mafioso Lefty Ruggiero (Al Pacino, right) |
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WHAT HAPPENS IN 'VEGAS' In Terry Gilliam's hallucinatory 1998 adaptation of Fear and Loathing in Las Vegas, Depp channeled the spirit of his friend, Fear author Hunter S. Thompson, down to his clipped speech and cigarette holder |
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LOST BOYS Depp earned his second Oscar nom for Finding Neverland, about how playwright James Barrie (Depp) was inspired to write Peter Pan by his friendship with Peter Llewellyn Davies (Freddie Highmore, right) |
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SWEET AND LOWDOWN Depp's oddball portrayal of candyman Willie Wonka reminded critics more of Vogue editor Anna Wintour than Gene Wilder's 1971 performance in the same role, but audiences ate it up anyway |
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READY FOR FREDDY Depp made his film debut in the original A Nightmare on Elm Street (1984), playing a Freddy Krueger victim who, in a dream sequence, is swallowed by a bed |
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Johnny Depp: The $1.8 Billion Man
Johnny Depp is a box office miracle -- From ''Ed Wood'' to ''Pirates'' his films have earned $1.8 billion by J.P. Mangalindan
With Pirates of the Caribbean: Dead Man's Chest still raking in the doubloons, it's time to give Depp his due. From Edward Scissorhands to Charlie and the Chocolate Factory, here's a film-by-film breakdown of a remarkable career.
1984
A Nightmare on Elm Street
$25.5 million
1985
Private Resort
$0.3 million
1986
Platoon
$138 million
1990
Cry-Baby
$8.3 million
1990
Edward Scissorhands
$56.4 million
1991
Freddy's Dead: The Final Nightmare
$34.9 million
1993
Benny & Joon
$23.3 million
1993
What's Eating Gilbert Grape
$10 million
1994
Ed Wood
$5.9 million
1995
Don Juan DeMarco
$22.2 million
1995
Arizona Dream (Director's Cut)
$0.1 million
1995
Nick of Time
$8.2 million
1996
Dead Man
$1 million
1997
Donnie Brasco
$42 million
1998
Fear and Loathing in Las Vegas
$10.7 million
1999
The Source
$0.4 million
1999
The Astronaut's Wife
$10.7 million
1999
Sleepy Hollow
$101.1 million
2000
The Ninth Gate
$18.7 million
2000
Chocolat
$71.5 million
2000
Before Night Falls
$4.2 million
2001
Blow
$53 million
2001
The Man Who Cried
$0.7 million
2001
From Hell
$31.6 million
2003
Pirates of the Caribbean 1
$305.4 million
2003
Once Upon a Time in Mexico
$55.8 million
2004
Secret Window
$47.8 million
2004
Finding Neverland
$51.7 million
2005
Happily Ever After
$0.3 million
2005
Charlie and the Chocolate Factory
$206.5 million
2005
Tim Burton's Corpse Bride
$53.4 million
2005
The Libertine
$4.8 million
2006
Pirates of the Caribbean 2
$358.5 million |
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Depp Thoughts
Hollywood's quirkiest star jumped at the chance to join the cast of ''Pirates'' and says he can imagine continuing the series if the scripts remain strong
Three summers ago, when Pirates of the Caribbean opened, most people expected it to sink straight down to Davy Jones' locker, like pretty much every other pirate movie in recent memory. Instead, the high-seas adventure plundered more than $650 million in worldwide box office booty, thanks largely to Johnny Depp's mischievously comical turn as the rakish and rum-soaked Captain Jack Sparrow. As the sequel, Pirates of the Caribbean: Dead Man's Chest, sails into theaters nationwide, Depp is still trying to wrap his head around it all.
You agreed to do the first Pirates film without even seeing a script. Didn't the potential cheese factor of a movie based on a theme park ride turn you off a bit?
No. I don't know why ? ordinarily it probably would. When I said yes to it, my agent Tracy Jacobs' head spun around like she was going to need traction.
A lot of people were surprised at the idea of you doing a big Disney movie in the first place.
People made more of a big deal about that than I thought was necessary, at least from my perspective. If you look back, Disney has done some amazing things. I was just interested in exploring. I didn't at that point have any idea of how far to explore.
It turned out you explored a lot further than Disney anticipated. Was the studio's reaction to your performance as panicked as legend has it?
Oh, boy. Listen, I ended up at a meeting, at the age of 39 or whatever, going in to meet with Disney executives ? I mean, these guys push and pull billions of dollars around everyday ? and the topic of conversation was my teeth, the eyeliner, and the beads hanging from my beard. I was expecting that someone somewhere along the line would have a problem. It seems that all they're ever looking for is the poster boy. I just thought, ''Hey man, I'm the old guy. You've got Orlando and Keira ? that's a stunning poster. You don't need me.''
Did director Gore Verbinski have your back?
Gore took the brunt of it initially. They kept calling Gore saying, ''You've got to do something about Depp. You've got to talk to him.'' Gore, bless his heart, said, ''Look, I happen to like it. If you want to talk to him, you talk to him. I ain't doing it.'' He stood his ground. And my agent, poor thing, was getting calls from Disney saying, ''What the hell is going on? He's ruining the movie.'' Finally, I just made the call to them and said, ''Look, you hired me to do the gig. If you didn't see the stuff I've done before, that's irresponsible on your part. You had to have some idea of where I was going to go. If you don't like it, you can fire me.''
Did you feel like you were injecting a sort of subversive, punk rock aesthetic into a Disney movie?
Oh yeah. It was sort of, like, Wow, they hired us to do this thing and the possibilities are endless. In a weird way, we'd not only infiltrated the enemy camp but we'd been welcomed in. I felt like Gore and I were clicked into something that Disney couldn't grasp because of the fear about their investment. I felt like it was our duty to push the boundaries and see what we could get away with for the audience, because audiences like to be surprised. They like to see new stuff.
Were you as surprised as everyone else by the movie's success?
It was shocking. Totally shocking. Listen, it's been a relatively long haul for me. I've been around quite a while. And a great number of the movies I've been involved with weren't necessarily embraced by the Hollywood community. Studios and marketers didn't know what they had, so they didn't get sold properly. It was normal to me that a movie would come out in a few theaters and 18 people would see it. That was okay for me. So I had no expectation whatsoever.
Did it make you uncomfortable in a way to be so embraced in a big Disney movie?
No. It was never like I had an allergy or aversion to the idea of commercial success. But if there was to be commercial success, I really felt strongly that it needed to be on my terms. I would never take a movie to go, Oh, this one is guaranteed to be a blockbuster and it's good money and a good career move.
How did those Disney execs who had freaked out talk to you after the movie proved to be such a hit?
There was one executive in particular who really went out of their way to investigate what the shit* I was up to, and after the release of Pirates, I got a letter from that executive saying, ''Look, I apologize. I was wrong. You were right. Thank you for sticking to your guns. I appreciate the fact that you didn't listen to me.
While you were making Dead Man's Chest, Orlando Bloom took quite a beating in the press for the perceived failure of Kingdom of Heaven and Elizabethtown. Did he talk to you about that?
He mentioned an article where he'd been chosen to be the whipping boy, and he was a bit down about it. Ultimately, what can you do? Coming up the ranks like that, it's so easy to get pigeonholed. You've got to really watch yourself, because at a certain point if you allow them to do that, they'll never let you out of that box. That's a real danger. That's a real limitation.
Gore Verbinski told me he feels Mickey Mouse has been resuscitated as an icon so many times that there's nothing there and it's time for Jack Sparrow to take his place. What do you say to that?
Wow. Put the ears on me. [Laughs] It's an interesting part of the ride. If this is what's happening at the moment, that's great. Next week could be a different story entirely. But I wouldn't regret having been on a cereal box as Captain Jack Sparrow. Because it is the ultimate in infiltrating the enemy camp. It is subversive. And it should be. Kiddies grow up, and they get it. They'll understand in later years and they'll be along for the ride as well. It would have been wrong to have 21 Jump Street lunchboxes and thermoses and things like that. That would have been wrong because it wasn't on my terms. This is quite different.
Would you be up for making more Pirates movies after part three comes out?
If all the elements are there in the proper way, and if a good script can be put together, I still feel like there's all kinds of possibilities for this character to explore. It's not about ramming him down people's throats to make more money. It would have to be right. The very seed of it would have to be right and good.
Are your kids old enough to see these movies? They're pretty intense for little kids.
My kids have both seen [the first] Pirates. They haven't seen this one yet. My daughter's 7, so she's fine. Then again, it's a little different for them because there are certain things that happen to me in the story that might be a little traumatizing. You've just got to sit them down and give them the old ''It's just a movie'' speech. |
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Post time 21-7-2006 11:29 AM
