Cher says she’s living ‘like a nun’ in Vegas

Cher says her new CD has got a Southern feeling to it. — AP pic

NEW YORK, Feb 18 — Cher’s concert stand in Las Vegas may be the ultimate representation of Sin City: it’s decadent, glitzy, oversized, over-the-top and a thrill-a-minute experience.

But when she leaves the Colosseum at Caesars Palace at the end of her performance, the 62-year-old singer leads a lifestyle quite opposite from the kind that Las Vegas has come to represent: She stays out of the casinos, refrains from drinking, doesn’t smoke and stays away from the all-night party scene.

“I like to go out, do my work and then come home,” says Cher, who likens her time away from the stage to living like “a nun.”

Unlikely words from a woman who has represented quite the opposite over her nearly five-decade career (as the barely there outfits she dons in her show reflect). But while she puts on an eye-popping extravaganza in Vegas, Cher likes to keep her home life decidedly more low-key.

In a recent interview, Cher — who kicks off the second phase of her concerts at Caesars Palace this month — talked about her show, life in Vegas and why she finds herself in Target stores.

AP: What was the first season of shows like in Vegas?

Cher: The schedule is a dream schedule. The only thing that I kind of didn’t anticipate for some reason, I don’t know where my brain is, but I didn’t anticipate the dryness getting to my throat the way it did. ... So when I’m there, I have to kind of live like a nun and not talk during the day, but that’s the only unusual thing.

AP: How do you not talk during the day? Is it hard?

Cher: Yeah. ... It’s so hard for me, I just really have to think about it and just not speak, but I have to remind myself about 100 times a days, because I’m not the kind of person that doesn’t want to talk.

AP: Do you text people?

Cher: (Laughs) Oh yes, I do text people — I text, I e-mail, which is kind of the only saving grace.

AP: What’s the best part of getting back to Vegas?

Cher: Look, performers love to perform — that’s the thing that we do. I think one of the best things was being able to imagine anything that I wanted, anything that I came up with we could do, because this theatre is unbelievable. I come home twice a week, so I’m kind of at home. ... I’m not there that much, but it takes me 40 minutes to get home (in the Los Angeles area), it’s like doing a show from my bedroom.

AP: What’s your upcoming movie with Johnny Knoxville about?

Cher: I can’t really talk about it yet. I just can’t.

AP: What kind of sound will your new CD have?

Cher: It’s hard to put a label sometimes on songs, but it’s a little bit more guitar-oriented, a little bit more like “I Found Someone” feeling, and there’s some stuff that’s still sort of guitar-oriented, but it’s got a Southern feeling to it. You know, I just find songs that I like and then I do them and hopefully they make something cohesive.

AP: Have you considered doing one of those exclusive marketing deals?

Cher: I think it’s a good way to market things. ... I happen to actually think Target’s pretty fabulous. On the road, when you’re in some teeny little town, I must tell you, I’ve been to a lot of Targets. I know there are a lot of Targets and a lot of stores called Michaels in the United States. We had a thing where we do painting and we would have these big Teamsters painting a little teapot for their mom. ... I would be running to Michaels and getting paintbrushes and stuff like that.

AP: What do you do when you’re not working on your music?

Cher: I have a school in Africa. I just got back from Kathmandu (Nepal) and I’m working with some Tibet children there, and I just got back from (the Los Angeles) city hall ... to try and save the life of this elephant Billy in the LA zoo. I just don’t want this elephant to die ... he has so much anxiety. He’s been alone there forever. ... Elephants should not be in zoos. Elephants don’t live in zoos, they die in zoos. — AP

Coldplay and Duffy lead race for Brit Awards

LONDON, Feb 19 — Soul singer Duffy and Coldplay dominate the nominations for British music's prestigious Brit Awards.

Both acts have four nominations, including best British album for Coldplay's "Viva La Vida" and Duffy's debut "Rockferry." Kanye West, Beyonce and Kings of Leon are nominated in the international categories at the awards, to be handed out later yesterday.

The Brits are the British equivalent of the Grammys, and are expected to draw an A-list musical lineup to London's Earl's Court arena. U2 and Kings of Leon are scheduled to perform. The Pet Shop Boys are due to receive an award for outstanding contribution to music.

Most winners are selected by a vote of industry members, although several categories are chosen by the public in a telephone and online vote. — AP

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‘American Idol’ selects first three finalists

Alexis Grace is one of the first three finalists picked to advance in ‘American Idol’. — AP pic

LOS ANGELES, Feb 19 — Tatiana Del Toro had something else to cry about. The emotional 28-year-old crooner from San Juan, Puerto Rico, was one of nine "American Idol" semifinalists sent packing yesterday.

Del Toro, whom judge Simon Cowell called a "drama queen" after her performance on Tuesday, bawled after she wasn't selected to continue in the "Fox" singing competition.

"It's up to America," she told host Ryan Seacrest before the results. "It's up to the power of love."

No tears were shed by the first three finalists of season eight: Alexis Grace, the soulful 21-year-old single mother from Memphis; Michael Sarver, the beefy 27-year-old oil rig worker from Jasper, Texas; and Danny Gokey, the spikey-haired 28-year-old church music director from Milwaukee. The trio received the most viewer votes.

Recent widower Gokey overwhelmed the judges with Mariah Carey's "Hero" at the conclusion of Tuesday's ho-hum performance episode. They were also impressed with Grace's take on Aretha Franklin's "Never Loved a Man," comparing her to first "Idol" Kelly Clarkson. Sarver, who sang Gavin Degraw's "I Don't Wanna Be," received a mixed reaction from the panel.

"I think if you get through, it's because people like you," Cowell told Sarver on Tuesday.

Next week, 12 more semifinalists will vie for three spots in the competition's top 12, but Del Toro and the other dismissed semifinalists, such as Anoop Desai and Ricky Braddy, may have another chance. After the first nine finalists are selected by viewer votes, the judges will pick the last three finalists following a wild card round March 5. — AP

Princess Diana letters to government ministers must remain a secret

LONDON, Feb 19 — Private letters between Princess Diana and the British Government will remain secret after a ruling by the Information Commissioner.

The series of letters from the late Diana, Princess of Wales to John Major, the former Prime Minister, and Tony Blair, his successor, were deemed too private to be published under the Freedom of Information Act.

Members of the Royal Family are exempt from the Freedom of Information legislation but individual cases can be challenged on public interest grounds. The Office of the Information Commissioner said the letters were of a "personal nature" and not related to government policy.

The correspondence may be related to the announcements to the Commons by Major, as Prime Minister, that the Prince of Wales and Princess were to separate. He had been a key figure in the discussions between the couple.

It could also be in connection with the visit in May 1997 of the princess to Chequers with Prince William and Prince Harry who played happily with Euan and Nicky the sons of the new Prime Minister.

She also wrote to Douglas Hurd and the late Robin Cook when they were both foreign secretary about the possibility of an ambassador's role in landmines.

The Cabinet Office published seven telegrams from the princess to prime ministers of the day thanking them for birthday wishes, but all further correspondence was withheld on the grounds that it fell inside the exemption.

An internal review later upheld the decision, and stated that the public interest in keeping them secret "outweighed" the interest in making them public. In a statement the ICO said: "It is important to draw a clear distinction between matters of public interest and matters about which the public may be merely curious." — The Daily Telegraph

Michael Jackson auctions awards, albums, art

LOS ANGELES, Feb 18 — The King of Pop is lightening his load. At an April auction featuring more than 2,000 personal items, Michael Jackson is set to sell his American Music Award for "Thriller," a velvet cape given to him by his children for Father's Day in 1998, a pair of rhinestone-trimmed socks from 1981, a basketball signed by Michael Jordan and his own original artwork.

The 50-year-old singer is also parting with his platinum and gold records, a customised Harley Davidson and a Rolls Royce limousine.

The five-day sale was announced in December by Julien's Auctions, but the full extent of the items available wasn't known until yesterday, when the auction house released images of the lots. The auction begins on April 21. — AP

Don Johnson sues over ‘Nash Bridges’

LOS ANGELES, Feb 18 — Don Johnson has sued a trio of entertainment companies, claiming he is owed millions in profits from the TV series "Nash Bridges".

Filed on Monday in Los Angeles Superior Court, the suit claims Johnson owns half of the copyright to "Nash Bridges" and has not been paid his share of a US$150 million (RM540 million) syndication deal.

Johnson also claims he has been blocked from developing the six seasons worth of episodes into online videos.

He is suing the now-defunct Rysher Entertainment, 2929 Entertainment — which was founded by Mark Cuban and Todd Wagner — and Qualia Capital. Qualia Capital bought Rysher's catalogue from 2929 in 2006, the lawsuit states. — AP

Oscar Predictions

Michael Shannon in a scene from, ‘Revolutionary Road’. — AP pic

LOS ANGELES, Feb 18 — Movie critics David Germain and Christy Lemire would like to agree to disagree more often so they could make fun of each other’s Academy Awards picks, but they’re in general consensus this time.

Among the top six categories, they diverge only on one: best actor.

Here are their predictions, with both sounding off on best picture and actor, Lemire offering their take on director and supporting actress, and Germain giving their opinion on best actress and supporting actor.

BEST PICTURE

Nominees: “The Curious Case of Benjamin Button,” “Frost/Nixon,” “Milk,” “The Reader,” “Slumdog Millionaire.”

GERMAIN:

“Slumdog Millionaire” is a wildly different story than “Trainspotting,” one of my favourite modern films, yet both showcase director Danny Boyle’s remarkable ability to present equal parts humour and horror on screen and deliver an energy-burst of a movie that people walk away feeling good about.

I confess I doubted the instant best-picture buzz surrounding the movie after it debuted on the film-festival circuit six months ago. I thought it was a terrific film but one whose dark edges — child mutilation, police torture, boys orphaned when their mother is slain before their eyes — would limit its appeal to commercial audiences and Oscar voters alike.

I get paid the big bucks to be wrong. “Slumdog” has steamrolled through awards season, dominating at virtually every Hollywood honour that matters, while steadily climbing toward US$100 million (RM350 million) hit status.

The movie has four worthy opponents. In some parallel universe where “Slumdog Millionaire” went straight to DVD (as it nearly did in our world), “Frost/Nixon” or “Milk” easily could have emerged as the film to beat. “The Reader” is a high-class drama in every sense, while I admire the technical prowess that went into “Benjamin Button,” even though it smothered the story.

But the breathless drive and romance of “Slumdog Millionaire” — with its no-name ensemble and unshakable optimism in the face of terrible hardship — will carry it through to one of the great diamond-in-the-rough triumphs ever at the Oscars.

LEMIRE:

It’s not the best movie of the year. It didn’t even make my top 10 list — my choice for the year’s best film, “The Wrestler,” sadly is not among the best-picture nominees. But “Slumdog Millionaire” is the unlikely, undeniable juggernaut. And so, after winning every other top prize week after week throughout awards season, “Slumdog” will win the Academy Award for best picture.

What’s intriguing about “Slumdog,” though, is that it’s not the most traditional best-picture pick. Not by a long shot. That would be “Benjamin Button,” a huge technical achievement with both sweeping scope and intimate heart. In its own small, vibrant way, though, “Slumdog” is exceptionally well made. It has a great energy about it, an inventive narrative structure and an immediacy that’s bracing. And the tone is purely and uniquely Danny Boyle, with its sweetness and squalor existing equally side by side.

Above all else, though, its ultimate uplift is what wins people over. Would “Slumdog” win the Oscar any other year? Maybe not. But maybe it’s exactly what we need right now, and that’s its lasting appeal.

A statue of the Oscar in gold fibreglass. — AP pic

BEST DIRECTOR

Nominees: David Fincher, “The Curious Case of Benjamin Button”; Ron Howard, “Frost/Nixon”; Gus Van Sant, “Milk”; Stephen Daldry, “The Reader”; Danny Boyle, “Slumdog Millionaire.”

LEMIRE:

“Slumdog” wins and Danny Boyle wins. The story, based on the novel “Q&A” by Vikas Swarup, is set in the slums of Mumbai but the result on screen is very much in keeping with the British director’s tradition of blending graphic images with unexpected hope. The juggling act the film required — the jumping back and forth in time, the difficult shooting situations, the large (and largely unknown) cast — all paid off with the cohesive and convincing results.

You could argue that Fincher’s job was tougher and more of an accomplishment in many ways, simply because the virtuoso director pulled off such seamless visual effects throughout an enormous — and some would say overlong — tale. But the embrace of “Slumdog” is so widespread that it would be impossible to separate the filmmaker from the film.

“Frost/Nixon” is probably Howard’s strongest work but he’s won a best-director Oscar recently for 2001’s “A Beautiful Mind.” Van Sant managed to make a biopic that’s rich and full and never feels like a paint-by-numbers depiction of a famous person’s life, but this unfortunately isn’t his year. Daldry has made a prestigious picture in “The Reader” but doesn’t have a shot against Boyle.

BEST ACTOR

Nominees: Richard Jenkins, “The Visitor”; Frank Langella, “Frost/Nixon”; Sean Penn, “Milk”; Brad Pitt, “The Curious Case of Benjamin Button”; Mickey Rourke, “The Wrestler.”

LEMIRE:

A ha, finally the category on which we differ.

I love Rourke in “The Wrestler” but, admittedly, much of the allure of his performance comes from the art-imitating-life nature of it. As physically demanding as the role obviously was, Penn did something more difficult from the inside with the transformation he underwent to play slain gay rights leader Harvey Milk. He deeply loses himself in the part — there’s a charm and softness to it that makes you forget you’re watching an actor whose off-screen brashness is as well known as his on-screen intensity. And actors, the largest voting bloc in the academy, may find that more impressive than Rourke’s moving comeback.

Langella is, of course, completely great as Richard Nixon. He very easily could have lapsed into caricature in playing such a widely parodied figure and he never does, instead presenting a multifaceted portrayal of the disgraced former president. Jenkins is lovely in “The Visitor” and it’s about time this veteran character actor gets some recognition, but he won’t win for his small gem of a film. Pitt’s performance is wide-ranging but “Benjamin Button” is primarily a technical feat. And so, after winning for 2003’s “Mystic River,” Penn should win the best-actor prize again.

GERMAIN:

I never thought I’d say it, but I’m voting for Nixon.

Yes, Penn is enormously deserving as another fallen ‘70s political leader. His Harvey Milk is arguably the warmest character Penn has created (save for party dude Spicoli in “Fast Times at Ridgemont High”). And Penn very well might walk away with his second Oscar.

But Frank Langella has crafted a monumental performance as Richard Nixon, a role he manages without a trace of caricature. His Nixon is everything you imagine the man was — brilliant, fumbling, two-faced, autocratic, terrified, terrifying.

Langella’s a greatly respected actor who’s won top honours on stage — including a Tony Award for this same part. But he’s never had a film role before that puts him in this league, though 2007’s “Starting Out in the Evening” could and should have earned him an Oscar nomination.

Now that Langella has one, it’s a short step for his peers to seize the opportunity to give him the highest film prize, since you never know when he’ll come off the stage and do another movie again.

BEST ACTRESS:

Nominees: Anne Hathaway, “Rachel Getting Married”; Angelina Jolie, “Changeling”; Melissa Leo, “Frozen River”; Meryl Streep, “Doubt”; Kate Winslet, “The Reader.”

GERMAIN:

Kate Winslet has the Sean Penn thing going. All that finest-actress-of-her-generation talk. Nominated a bunch of times but never won an Oscar. And now she has two films back-to-back (“The Reader” and “Revolutionary Road”) that could have gotten her a nomination.

Penn was in the same boat five years ago when he had “21 Grams” and “Mystic River” out, winning best actor for the latter.

But as with Penn, the Winslet back-story amounts to talking points. He deserved to win, and so does she.

As a former Nazi concentration camp guard who truly may not comprehend the wrongs she’s done, Winslet is a study in restraint and latent guilt. It’s a performance that has Oscar written in the marrow as Winslet takes her character on a decades-long journey from denial and ignorance to enlightenment and agonising self-examination.

SUPPORTING ACTOR:

Nominees: Josh Brolin, “Milk”; Robert Downey Jr, “Tropic Thunder”; Philip Seymour Hoffman, “Doubt”; Heath Ledger, “The Dark Knight”; Michael Shannon, “Revolutionary Road.”

GERMAIN:

It would be one of the biggest shockers in Oscar history if Heath Ledger did not win for his final completed role. Everything about “The Dark Knight” raised the bar on the superhero genre, but Ledger’s reinvention of Batman adversary the Joker seemed to come from a place of true madness and chaos.

This was not just a comic-book villain; this was an Olympian force of evil whose bad makeup job accentuated the fact that a real demon lurked beneath. Ledger made this repellent madman magnetic, enthralling, even perversely joyous.

The Joker was a force of nature, and as revealed here for the first time in a career that had been spiralling steadily upward, so was Ledger.

The question we’ll never be able to answer is whether the raves for his performance would have been quite so strident if Ledger had not died on Oscar nominations day a year ago.

But the amazing buzz on the performance began long before his death, and were Ledger alive today, he’d likely be heading on stage Sunday to collect his Oscar.

If only.

SUPPORTING ACTRESS

Nominees: Amy Adams, “Doubt”; Penelope Cruz, “Vicky Cristina Barcelona”; Viola Davis, “Doubt”; Taraji P. Henson, “The Curious Case of Benjamin Button”; Marisa Tomei, “The Wrestler.”

LEMIRE:

The radiant Cruz is a force of nature in “Vicky Cristina Barcelona” — wildly beautiful and selfish, volatile and vulnerable, sexy and funny. She steals her every scene in Woody Allen’s Spanish romp — no small feat when you’re playing opposite Scarlett Johansson and Javier Bardem. Her performance reinforces what we realised when she was nominated for best-actress two years ago for “Volver” — that Cruz is so much more than just a pretty face, but rather an actress of real fearlessness and versatility.

Tomei allows herself to be just as stripped down — literally and figuratively — and her nomination proves that the supporting-actress Oscar she won for “My Cousin Vinny” was no fluke. Adams brings an engaging softness to the otherwise heavy-handed “Doubt,” and Henson provides an understated sweetness to the enormity of “Button.”

The only other actress who may have a real shot at beating Cruz is Davis, whose few powerful scenes opposite Streep in “Doubt” give the film a much-needed sense of perspective and complexity. She changes everything in just a few minutes, and considering Judi Dench’s win for a brief appearance in “Shakespeare in Love,” a win for that kind of performance wouldn’t seem unprecedented — or unmerited. — AP