Jeff bridges dating game

There's not much this guy doesn't know about film acting. He exudes “star.” But his work is often darker than what is normally allowed your typical celebrity, and the specificity and emotionality he brings to every part is unparalleled. You show me a better performance than his as Ted Cole in for. Jeff Bridges, although born into a Hollywood family, has the wild-card feel of an outsider. He is not interested in being liked, but you can't help but like him, even though his characters often have a cruel streak, a bull-headed stubbornness that makes it difficult to sympathize with them. It shows other people up, it makes other people's work look shallow and unfinished. All I will say is this, and it may seem trivial, but to me it is key: I read somewhere that Jeff Bridges knew, in his heart, that “The Dude” always wore “jellies.” There's so much to say about his performance in the film, how adept he is at comedy, how he is never less than completely real, how convincing his drunkenness is, how he is always alive, even when the camera is not on him. Every time John Goodman says the word “Vietnam,” you can see some twitch of reaction on Jeff Bridges' face, and I laugh out loud just thinking about it.

That's part of what I would call “star power.” He has often been in projects not worthy of his stupendous gifts (like I said: hyperbole is too understated for this guy), yet he always comes out smelling like a rose. Jeff Bridges has long been my favorite actor, ever since I first saw him stand up shakily, buck naked, in Karen Allen's house in . To paraphrase a quote from a friend of mine: “In a world of stick figures, he is a Michelangelo.” When you look at the other Best Actor nominees that year—Jude Law in being the most obvious example—you wonder what is rotten in the state of Denmark. All that is between them is their grief, their shared grief that no one else can experience. He's not a “close-up” actor, although very few actors can do a close-up with anything even approaching the power of Jeff Bridges.

But there is no escaping the way Bridges has once more called upon his talented inner musician, just as he did in The Fabulous Baker Boys, which he made with his brother, Beau, and Michelle Pfeiffer back in 1989 – although fond memories of that movie initially put him off this latest project.

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There isn't such a thing as a “Jeff Bridges role.” He is too versatile for that. and they live on in my memory, as separate from who he is as an actor. John Irving has said that Ted Cole is obviously an asshole, and he remains an asshole, through the rest of the book He's not a villain. ” But there's something else going on in that moment, too: “I may be a middle-aged man, and you may be on the cusp of being an adult, but I'm more of a MAN than you are and than you ever will be. But he doesn't play it hostile—he plays it (and his whole character) with a vague cloud of plausible deniability surrounding it: Ted Cole could never be convicted in a court of law for what he is doing in that outdoor shower scene, although young Eddie O' Hara certainly gets the message. He does not separate himself from the characters he plays. I was lost, floundering, and there was something in it that spoke to me, that told me to hang on.

Some actors are what I would call precious when they create characters. They do not, like lesser actors, upend their selves in an endless display of “Here I am—like me, like me! He too stares down at the wet spot, and then he reaches out, and kind of scoops up, with one finger, the small wet spot. And then there's a quick cut—the next shot is the car shrieking off down the road, Jeff Bridges at the wheel. I see a lot of different things in it, I come up with different “meanings” for it every time I see the film. Watch how he strolls up and down that haunted hallway of photographs, buck naked, holding his young daughter in his arms, talking to her about the photographs of his dead sons. But what a difficult tightrope walk Bridges does in that film. He could have gone the easy route, which would be to make Ted Cole a villain. A lesser actor would have gone that way (not to mention a lesser director, with a more obvious and cautious screenplay); it also would have protected the actor from being judged harshly by the audience. Therefore, I cannot be objective about it as a movie. It's a toe-curlingly sexy performance (excuse me as I allow a small fan-girl appreciation of that level of his appeal—which cannot be discounted.

“I immediately fell in love with the opportunities the script had.

I’d spent a bit of time in west Texas before and so was familiar with the vibe and knew I wanted to make a film in that world,” he says.

His only anaesthetic against grim reality is a daily overdose of Jack Daniel’s, until a light comes into his life in the shape of Jean (Maggie Gyllenhaal), a journalist and struggling single mother half his age.

When I ask Jeff Bridges whether he had to dig deep into his own soul to make Bad come alive as a character, he dismisses the idea that that sort of thing is necessary: it’s all about the “magic trick” of acting, he says, and the way your fellow actors help to raise your game (“Maggie was just wonderful to work with”).

That was my first encounter with Jeff Bridges, and I found him riveting to such a degree that my passion for his work has never waned, and that was over 20 years ago. It seems that his curiosity about his fellow man and his openness to stepping into another person's shoes keeps him from repetition. There are many possible answers, and we all have our own criteria. Jeff Bridges seems singularly uninterested in reminding us of who he is. There is such a thing as being “anointed” by the insiders in Hollywood, and Bridges never has been. It's a difficult performance, difficult to take. In the last scene between him and his wife, when she is leaving, and he kneels by the driver side, and slowly kisses her hand, leaning on the car door, we see something emerge on his face that we have never seen before. I've never seen such a quiet, sad face as his in that exquisite moment. He has taken the cue from John Irving's words, obviously, which you get when you read the book. How on earth is it that you ache for Ted Cole just as much as you ache for his wife Marion? But what a joy it is to watch him in a group scene, with the camera including 3 or 4 people in the frame. It came to Jeff Bridges in a flash: “I must wear jellies when I play The Dude.” I cannot imagine why, I do not know why he made this choice, or where it comes from… All I know is that every time I see that movie, and I watch him galumphing across a parking lot, jellies flapping on the pavement, I know that it is . I must wear jellies.” And this is why he is my favorite actor.

I remember seeing him stand up, a grown-up hunk of a man, with the twitchy awareness of an infant playing with its toes and discovering that its arms move, and whatever was going on in his eyes was , and as I watched him in all of these different roles, I realized: Okay. He also, unlike many big movie stars, does not have a set persona. There is a catalog of indelible characters he has not just created, but inhabited… His Ted Cole is a masterpiece, and there are moments in the film that rank among his best work. But what I am left with in this masterful performance, which includes comedy, tragedy, farce, subtlety, and also a kind of alpha male gorilla-pounding-his-chest, is Jeff Bridges' uncanny gift. I love the humor of this performance, and it somehow is campy without ever sacrificing reality. It seems so right that it feels as though it must have been a conscious choice from a wardrobe department, or somehow imposed from above. gave me hope in one of the darkest periods of my life.

It’s a bit of a cliché to say of a particularly powerful performance that the actor “inhabits” the role, that he “is” that character up there on the big screen.

But, in his new hit movie, which has made him favourite for the Best Actor Oscar, Jeff Bridges is so utterly convincing as a country singer that he really has become one.

in 2002, David Mackenzie has amassed a distinctive body of work without ever quite nailing the formula for box-office success.

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