Stephen Schaefer interview

Stephen Schaefer: It's unusual for any second- generation actor to really make it. Did you worry about the odds?

Angelina Jolie: I dropped [my father's] name, and I didn't grow up with him [after my parents divorced]. I mean, he was around and I love him, but when I was really getting into this business, he wasn't doing very much. It's not like he really lived "Hollywood" or had lots of money. I wasn't around it, and he wasn't really working on it.

Stephen Schaefer: You grew up apart from it.

Angelina Jolie: I grew up apart from it. He was in the past. He was an artist but not going to premieres.

Stephen Schaefer: Did you always know you wanted to act?

Angelina Jolie: I loved some kind of expression. I didn't know what it was going to be. I didn't know if I could write it, or paint that well, but I knew I could feel it.

Stephen Schaefer: So you didn't have a sense of destiny?

Angelina Jolie: No, but I mean if you can feel it, I think that's an actor. I didn't know exactly what I wanted, but I knew I could know. I didn't know any other way to express [myself]. Some people are very good at moving things around, at moving sentences around. I know I want so much to try to explain things to somebody, so I'm very good at trying to just explore different emotions and listen to people and feel things. That is an actor, I think. So that's what I had to do.

Stephen Schaefer: How did The Bone Collector, your first starring role in a big studio film, come together?

Angelina Jolie: Phillip [Noyce, the director] and Marty [Bregman, the producer] had seen Gia, and they had to convince the studio. I wasn't a name to sell tickets. They had to fight and adjust the budget, do a lot of things. For me to lead this movie was insane at the time.

Stephen Schaefer: You spent a lot of time in tunnels and stockyards. It looks pretty creepy.

Angelina Jolie: The tunnels were amazing. It was just damp and cold … and dirty, and the stench and smell and being there for days! Going back to the hotel room at night, you feel like you're [still] in there.

Stephen Schaefer: Did you have a rat phobia before this movie?

Angelina Jolie: I don't have a fear of rats. It's a good thing. I didn't have to work with them except on a table where one comes at me. [She smiles.]

Stephen Schaefer: Why is your character, Amelia, always threatening to walk off the case? It's the break of a career yet she doesn't want it.

Angelina Jolie: A policeman does not go near a dead body [the way she does in order to gather evidence]. They don't take it apart or smell it. At the beginning she wants to be away from the streets and at a desk. She doesn't want to become her father [an honest cop who killed himself] and commit suicide. She's not qualified to do that [line of investigative work]. There are lives at stake.

Stephen Schaefer: The experience sounds intense. Was Amelia the strongest woman you've played?

Angelina Jolie: It was a lot less intense than I thought it would be. I thought this cop would be the strongest … but in many ways she's the weakest. She had very little self- esteem, and she wasn't very fun and not very free. And very emotional and very disturbed. She's very soft.

Stephen Schaefer: Are you soft?

Angelina Jolie: There's a side of me that's that. It's hard when I'm intense — I'm crying and I'm angry. If I'm soft, I'm angry.

Stephen Schaefer: Do you think you're simply self- reliant and don't want to lean on someone else?

Angelina Jolie: I don't know if it's self- reliance. I need to learn to let somebody hug me, to need other people. Because I do.

Stephen Schaefer: Do you go to therapy?

Angelina Jolie: I do my own therapy quite a lot. My choice of characters is my therapy, from one to the next. Playing by Heart — there is a need for love, somehow she's not very focused on a purpose and work. Amelia [who's all work] was next. Then I go to Girl, Interrupted, a complete sociopath with no emotion and no sensitivity. It was my own way of tapping every side.

Stephen Schaefer: Did you say you were in a straitjacket for Girl, Interrupted?

Angelina Jolie: I'm tied to a bed in Girl, and it's a padded room, and they'd sedate my character. She gets shock treatment; it takes place in the '60s and that happened a lot. One of the other characters, she's in there because she's gay, and they shock her out of it.

Stephen Schaefer: What do you think when you see yourself like that on-screen?

Angelina Jolie: It's very strange. We don't know much about her. They took out a line that said she's been there 12 years, and she's 26, 27. She's been in all her life.

Stephen Schaefer: What about the Oscar talk?

Angelina Jolie: I'm not sure. They're still putting the film together. [She breathes deeply.]

Stephen Schaefer: You've just completed a film with Nic Cage about car thieves?

Angelina Jolie: Gone in 60 Seconds, it was my summer vacation — and I wanted to learn about cars. I learned that all the expensive fun cars are fun to drive, like the Lamborghini Diablo, it's like an apartment car. Actually, I learned … how to steal a car.

Stephen Schaefer: Did you really turn down Charlie's Angels?

Angelina Jolie: There was never [an offer] — they'd asked me and talked to me. Their selling points were: strong characters for women, and I'd been able to do that; that it will make you a big star, which is frightening and not exactly a plus; and that it's women being able to be sexy. All very fun, but it would have just been a month [of work]. For me, I didn't watch it, and I don't get dressed up. For me, Gone in 60 Seconds is my fun movie — and I'm doing it with the guys.

Stephen Schaefer: But there is all this anticipation [for the Charlie's Angels movie]. It sounds like such a big deal.

Angelina Jolie: It's funny, I read the script but you go so far as "'90s woman being strong" and you go to her in high heels doing the James Bond thing. It's cute. Drew Barrymore and Cameron Diaz [who are set to star] are already celebrities. It's great they can make fun of themselves. I'm not like that, I'm not known for that.

Stephen Schaefer: What effect has your rising fame had?

Angelina Jolie: I've lost a little of my privacy. That would be the only thing that makes me paranoid.

Stephen Schaefer: A stalker, I understand, is enough to make you paranoid.

Angelina Jolie: I had a good nut guy.

Stephen Schaefer: You have this connection, this electrical charge, with the camera. Is that something you just have or is it something you can study and learn?

Angelina Jolie: I think you can study techniques, and it's like different self-help programs where you say certain things to yourself, certain meditations.

Stephen Schaefer: To get into a certain state?

Angelina Jolie: Yeah. Acting class is the same thing really. You have different tricks you can do, like with your voice, or to get yourself to throw away anything that's covering you. They're just tricks.

Stephen Schaefer: Are you surprised when aspiring actors come to you for advice?

Angelina Jolie: No. What I think they should do is be aware of their life as they live it. And practically, be involved in a theater group that's going to produce something, put on some plays. Not where they sit and listen to some bulls--t.

Stephen Schaefer: Do it rather than theorize?

Angelina Jolie: Do something with your life. That's the best thing.

Stephen Schaefer: When you see yourself on the cover of Rolling Stone or on a poster for a movie, do you think they're creating a persona that is not really you?

Angelina Jolie: Yeah, sure. There is an image and an ego thing. I am an actor, somebody who likes to dress up. Like the cover of Rolling Stone. Yeah it's me, but there's also a picture inside of me crying, because I felt like a whore in that outfit [on the cover], and I didn't want to wear it. It's all me. It's Rolling Stone and it's sexy and I find a part of me is sexual and so it's all me.

Stephen Schaefer: But what do you think when it's your name up there? There are so many that wanted the roles that you've had.

Angelina Jolie: I know it's not about me. Others have done it, now my name is above title on that film. I have the same abilities. Hopefully I'm growing and getting better. It's not that I'm a better person, I'm on more covers and [because of that] it's easier to give me a script.

Stephen Schaefer: But why isn't it about you?

Angelina Jolie: Yeah. Well, part of it is. But I also had the opportunity to do those roles and somebody else didn't. I am secure since I have myself to offer and that's great.

Stephen Schaefer: What do you think made the difference really?

Angelina Jolie: I think I got very lucky. Gia and Bone Collector and Playing by Heart, Girl, Interrupted … I felt I was the best person to do [those roles], otherwise I wouldn't have taken it. These have been great — and just right for me to do.

Stephen Schaefer: They showcase your talents.

Angelina Jolie: And they're characters I believe in. It's hard to find women who are interesting. They all have a certain sense of justice. I'd sit down and have lunch with each. Even if she's a bad person.

Stephen Schaefer: They're all single, aren't they?

Angelina Jolie: Maybe I have a thing.

Stephen Schaefer: What do you want to do next?

Angelina Jolie: There's something I love, a period piece. There's a problem of who they want to cast. [It's a remake of Love Me or Leave Me, the Doris Day-Jimmy Cagney hit '50s musical drama about 1920s singer Ruth Etting and her mentor/lover, a crippled gangster named Moe Snyder]. A lot of discussions.

Stephen Schaefer: What's really next then?

Angelina Jolie: Michael Cristofer wrote this great piece Dancing in the Dark [a dark film noir suspense story about sexual obsession].

Stephen Schaefer: Do you have an ambition to do it all, act on Broadway and in the movies?

Angelina Jolie: I do, I do. But I don't need to be doing it right away. I want to do everything. I don't want to be separated [from people and projects by stardom].

Stephen Schaefer: Is it intimidating to play a real person like Ruth Etting, who can be seen on old movie reels? Or doesn't that matter because no one today knows who she is?

Angelina Jolie: It's the essence. It's the same way with the name above the title in a poster — it's really the essence of the movie and what the movie is about. It wouldn't be about, "Oh God, will people see me as Ruth?" It wouldn't matter — as long as they get the story.

Stephen Schaefer: Would you lip sync the vocals or do your own singing?

Angelina Jolie: I haven't heard her voice yet. From what I understand, she's got a funny one anyway. So maybe we'll be OK.

Stephen Schaefer: Gia was such a doomed character, and Ruth Etting is a gutsy survivor. Is that the direction you want to go?

Angelina Jolie: In the end they're all resurrected or strengthened by the fire, by an acceptance. Ruth had that love, as doomed as it was. She had a fire in life and knew nothing was going to be perfect or clean.

Stephen Schaefer: Does Girl, Interrupted have that for you?

Angelina Jolie:  Girl is the other side of Amelia. It's that begging to feel something, begging for people to just be honest and drop their guard. That's who she is. But it's a sickness, and she's the bad girl. I still don't understand that, I still don't see why she's the bad girl, why she would be locked up.

Stephen Schaefer: Is success making you happy. Are things working out like you thought it should?

Angelina Jolie: I'm more than happy. I am so fortunate. I couldn't have asked for more. Generally, it's good for people to always want more. Never be satisfied with something. But certainly, I've had more than my 15 minutes.

Prairie Miller Interview

PRAIRIE MILLER: Your character Amelia must have been totally fascinating to play. 

ANGELINA JOLIE: Yeah. Well, she's a woman! I say that actually, because to me she was in many ways. They don't have a lot of strong women's roles, and they always say it's hard to find them. And a lot them are very angry or they're not feminine at all, they're not emotional. And she was all of that. And strong in her way. 

But she was just a very well rounded character. And had a great arc to her. She would find her use, you know, discover that she was useful. She would find her purpose or her strength, and understand all kinds of involvements in many ways And find this man that understood her, and spoke to her. 

PM: Were you a little nervous when you heard you would be co-starring with Denzel? 

AJ: Yeah, yeah, very much! Obviously when he was cast and they had talked about me, they had to show him my work and he had to approve me. Then he had to meet me, to see if the chemistry was there, what kind of person I was, and if we could work together. But I was so excited that he liked my work enough to actually sit down with me. But yeah, I was very excited. 

And I also thought he would be so brilliant. He was perfect. It wasn't just that he's a great actor. I could really see him as this man. And I don't think there are that many actors who could be that absolutely still, and do so much at the same time. You know, have that kind of presence. 

And we never did think about the race issues. But when they have come up, I also thought, what a great thing that is as well. You know, that it's there, but it's not an issue. And it shouldn't be really. That was nice. 

PM: You have said that this was one of the most intense love stories you ever played... 

AJ: Oh completely. The most! 

PM: ...But which seems a little strange in the love department, when he's totally immobile. 

AJ: Well, in reality you could have sex with anybody. But there are very few people that can hold me in a way, to look at them and talk to me. And to make me cry, and talk to me about my life. And also to say, get out there, I believe in you. Go, go, go. And get me to go, and to get my life together. And for me to want to come back and say, look what I did. You know, nobody else could do that. But I can have sex with anybody. 

PM: Anybody? 

AJ: Well, I've only had a handful in my life! But that's the reality. And that relationship with Denzel in the movie even changed my view of relationships. You know, anybody in my life at that time. Or if I was seeing somebody or just talking to them. If they were just like, hi, how are you, I want to see you. If it was just about sexuality and had nothing to do with like, how is your work, what are you doing, what are you feeling, what are you thinking. You know, nobody was doing that. So they didn't have anything close to what I had when I was on the set. So... 

PM: You said that you were afraid Denzel might not like your work. What is there not to like? 

AJ: Oh, I just know he's very clear about what he likes. You know, about what's right or wrong for something. I didn't think that he wouldn't like me as an actress, that he would hate my work, but that in some way he wouldn't connect to it. Or if he thought I would be right for the role, or have the strength to play this woman. And there are other things. Like if I was woman enough to play opposite him. You know, just many things. But it always means so much when you meet another actor that has moved you, and that you're making sense to them. You know, that
means a lot. 

PM: How did you go about figuring out the sexual tension with a paralyzed male? 

AJ: Oh, I didn't have any problem with him! It's like the scenes you'd have with some guy in other movies, you'd end up having these fun scenes. And then you'd have a sex scene. Denzel and I had days and days of scenes where I'd just give him juice, or something. And when we would talk, it was all in the way we had to look at each other. Because he couldn't grab me and say, stay here. He couldn't hold me. He had to really feel it. 

So he was more connected with me sensually. And I mean, the slightest touch was like, you know, electric. Because you can hardly do the slightest thing. And because both characters are very internal anyway. They hardly know what the other is thinking. But no, it was just very sensual. And it doesn't hurt that he's a stunning man! And a very powerful presence. So he is mesmerizing. 

PM: But there was a lot of chemistry and a lot of eroticism going on, yet not even one kiss. 

AJ: It wasn't necessary. It was just lots of little, subtle things. Also, to me Amelia just couldn't be too sexy. It had to match him, if they were going to be in a relationship. I think that's more elegant, and he's a very classy man. Like, there's no reason for her to be sexy, or to see her legs with a short little dress on, with the reality of her standing next to him in his wheelchair. That's just playing on and hinting a bunch of sexuality that's not necessary, I think. I think the way it is, is beautiful. 

PM: We tend to think of police women as not that vulnerable. Did you base your character on police women that you met? 

AJ: Yeah, I met a lot. And they were actually stronger than I thought she should be, Amelia. I mean, they really had made a decision to be what they needed to be. Like a lot of them are tougher than the men. You know, like you'll see the men hanging out. And when the women walk into the room, they're like dead serious. They're like, what do you want? They're not playful, because they just need to keep that authority. They tended to seem that way, with some of the women I met. They were very respected, and they worked very hard. 

And Amelia is just sickened by the world and by people, and she doesn't think she can do anything about it. But she doesn't want to go behind a desk. And of course Denzel's character doesn't feel very useful. He just feels like he should be at the end of his life, because that's it for him. And so they meet at that same time in their lives. 

PM: Denzel's character is so limited physically, confined with no movement to that bed the whole time. How did his limitations tend to limit you? 

AJ: Well, you see how he sent me running around the city! When we were in the room together, it was actually easy. It was kind of an acting dream. You know, you have new obstacles, new things to just react to. And I found myself just naturally not moving too much around him. Or staying in his eye line. I know if I moved a certain way, he couldn't see me. And his bed became this thing that nobody would even nudge, because it was like his body somehow. So you didn't lean on it, you didn't touch it. And you just felt him in the room all the time. So it was a very
haunting kind of resonance. 

PM: There was something mentioned about Amelia being a model before she became a cop. 

AJ: Yeah, and I tried desperately to get it out of the script. Among other things! That did get
out, though. 

PM: Like what else? 

AJ: The movie was supposed to open with a sex scene. 

PM: And....? 

AJ: Um, I don't know. I fought them for a while. I actually insisted that I be like in school. But that made it just that much more funny, because I ended up being in Catholic school clothes, and it just made it more...you know! Like we had the outtake pictures of that, with handcuffs! 

PM: Are you against the whole idea of doing sex scenes? 

AJ: It depends on the film. I thought when I did Gia, that it was so much who she was, that her sexuality would be free with her running down the hall naked. But I thought it was so important, I loved it. I've never done frontal nudity though, I don't think that it's necessary. But if it was in a film, I'd consider it. 

But with Bone Collector, I certainly didn't feel it was. And I especially thought about her sexuality in the beginning, it needed to be more her work. I thought if she didn't enjoy sex, then it would somehow translate to her then being with somebody who was quadriplegic. If she did enjoy sex, then we would feel that she would be missing something, do you know what I mean? 

So all of those things I felt needed to be introduced. It's hard enough for me to be introduced as a female cop. But to introduce me naked was just not right. And they agreed. They had to think about it, because it was in the script and they had been living with it. And I want the audience to first see me on the street. But they felt it was necessary to show a boyfriend. So we compromised. But the modeling thing, I don't know why they felt that was necessary. But they did. 

PM: Those were some pretty scary and gory scenes in The Bone Collector. Did you ever have to remind yourself that it was just a movie? 

AJ: Yeah. But I think I had to remind myself I wasn't a cop, that was my thing. Like I would come home to New York, and I was ready to go up to those guys and be like, hey! There was actually an accident at the side of the road, and I got out and talked to the person. I was moving traffic and thinking to myself, why aren't they blocking off the crime scene? And why aren't they protecting the evidence from the other car? 

It was great though, when I had Denzel's voice on the headphones in those tunnels, even though it was all pre-recorded. His voice carried me through all those lonely days, where I had to shoot again and again in those dark places. When you hear that voice saying, I'm with you, I'm here, his voice became my strength. It was the only person I was talking to. And when I heard his voice, I forgot it was a tape. I knew he had heard me, and that I had heard him. So... 

But I never got scared. I didn't think there was a false reality to it. I was scared by the reality of it. Because I went to actual forensics labs in New York, and saw pictures of a lot of things in buildings not far from where I live, things that happen every day here. And they were so brutal, things I just never knew anybody could do to another person. Like I had never seen anybody beaten to death with a tree branch, or burnt to death. 

PM: How did it feel to see those things in the lab, like a cut up corpse? 

AJ: There was a part of me that was fascinated by all of it, just to see it. Then you see like chipped nail polish, and you realize that a week ago this woman wanted to go out and find a boyfriend. You see her stretch marks, and you realize that this was a woman who was beaten to death by her husband, and that she had his children at some point. You see her glasses broken. 

You see that, and then you see the mother and the daughter burned to death, and you see the way they seem to have been running together. And that moment where they must have been screaming together. But then you go past that, and at a certain point you start to see like with the woman who was beaten, you start to see how the blood was splattered. And you just want to get the guy. You know, you just want to find him. So that's the duality, that half of her is that death. But the other side is you as the person who has to go after that guy. 

PM: Is there the possibility of losing all feeling because of those experiences? 

AJ: I never did, no. I never could. And I think it's the same for those cops, I've asked a lot of them. They've said that a lot of times you have to try to forget yourself, to remind yourself that it's not my mother. But at the same time, you can't. And that's why there are so many cop suicides. But when I asked, what was the worst thing you ever saw, one of them said to me, not even a murder. They said it was when they saw a baby that had died from crib death. There were cockroaches everywhere in the apartment, and little kids eating cereal that roaches were
crawling over, and just asking questions. 

PM: You said in an interview that you're not going to have children. Was that just a momentary feeling or what? 

AJ: I'm not having any, no. I don't think I'll give birth. There are a lot of children in the world that need homes. I don't think I want to. I'd love to be a mother. But I think they were asking me if I was pregnant. I certainly now feel that I have so much, and feel so complete in many ways. But I feel like I'm not in many ways. 

Jon Voight Interview with movie actress Angelina Jolie

JON VOIGHT: This is a momentous occasion for me, because the last public conversation we had was when you were born. You don't remember it, but when you emerged from your mother's womb, I picked you up, held you in my hand, and looked at your face. You had your finger by the side of your cheek and you looked very, very wise, like my best old friend. I started to tell you how your mom [actress Marcheline Bertrand] and I were so happy to
finally have you here, and that we were going to take great care of you and watch for a]l those signs of who you were and how we could help you achieve all that wonderful potential God gave you. Your more and I made that pledge and everyone in the room started crying. But we weren't crying; we were rapt in each other's gaze. 

ANGELINA JOI.IE.: [laughs]

JV: I'm delighted to have had these twenty-two years between then and now to watch you grow. I've always wondered about all the energy you've always had, how it was going to find a home, end what you would do with it. And from the beginning, there were signals along the way. I remember you had a distinctly original
approach to an early role you played, a role that was meant for a man - Mr. Wagner in Room Service.

AJ: I thought, You know which character I want to audition for? The big, fat, forty-year-old German man - that's the part for me.

JV: How old were you then?

AJ: I was at the Strasberg Institute. It was my second time there, so I must have been fifteen.

JV: And when you put on that German accent and you were walking around as Frau Wagner -

AJ: This dominatrix.

JV: - I was a little shocked. But the shock came from the realization that, Oh my god, she's just like me. She'll take these crazy parts and be thrilled that she can make people chuckle or whatever. And there were other signals that you'd want to be an actor. Do you remember what some of them were?

AJ: God, my earliest memories are of my brother, Jamie - your son - pointing the home video camera at me and saying, "C'mon, Ange, give US a show'" Neither you or Morn ever said, "Be quiet! Stop talking!" I remember you looking me in the eye and asking, "What are you thinking? What are you feeling'?" That's what I do in my
job now - I say, "OK, how do I feel about this?" And I immediately know, because that's how I grew up.

JV: You have a very strong, specific presence on-screen. I think it's a presence that will always make a difference, storywise.

AJ: I have a certain energy, yeah, and it's either needed or it's definitely not needed. I know that I can stick out like a sore thun1b, and there are some women I'm not ready to play. I'm curious what you'll think of some of the things I've done recently.

JV: First of all, you have Playing God.

AJ: That was very rock 'n' roil and fun and loud and say-what-you-want-to-say, dress wild and love wild - you know
that fantasy. I really allowed myself to get into that word. Being the age I am, I sometimes feel like a punk kid walking onto certain sets, but I didn't this time. I felt very much a woman.

JV: You have a relationship with these three young lions - your husband, Jonny [Lee Miller], and his friends Ewan McGregor and Jude Law. Knowing these British fellas, do you see any differences in the way they approach their work compared with American actors like yourself?

AJ: Sure, I see differences, but a lot of similarities too. Jonny and I work differently, but we both try to take a certain moral high ground when we're questioning what the other is doing. As a young woman, there are parts I'll look at that may not be in the best projects, but l'm starting out in this business and trying to figure out how I can make it work.

JV: And Jonny gets into that with you?

AJ: Yeah, he does, but he's been blessed to have been sent some great projects that don't need to be fixed as much. I'm having to do a lot just to keep my clothes on and not be cast in girlfriend roles. Some women will say, "I don't want to be a man - I want the opportunities I can get as a woman." Women have a certain sexuality, and I think their bodies are beautiful and I'm not embarrassed to explore that in a film. But there are things you get
offered that are vulgar and violent - just like there's a side of me that's vulgar and violent.

JV: Sometimes, to present the truth, you have to play a vulgar or violent character.

AJ: Yes, although in the films I've done recently, I've been learning a little more about the side of myself that enjoys being a light. I remember when I used to dress all in black and you'd say, "Just be pretty, hold your head up, be proud. Be a pleasant person and don't cover yourself so much with all your darkness, your need to
be a little crazy." Now, I have nothing against anything I've been in before, because I love all sides of me, but I have been experimenting more with that lovely woman side. In this age of feminism, I would hate for the whole gentlemen and ladies thing to be lost.

JV: I have no doubt that your generation will sort that out. Anyway, I'm excited that you're as happy with your work as I am with mine right now. I'm happy to be going from one challenge to the next, although I must say, in the middle of a role, I always get to a point where I have anxiety that I'm not quite going to solve it.

AJ: I'm feeling that on Hell's Kitchen, the the film I'm shooting here in New York right now. It's a scary thing, when you put yourself out there and make strong choices as a character.

JV: You had a nice little experience with your brother - he took you to the hospital when you cut your hand on the set.

AJ: Jamie was just great. I saw how he would be as a dad or a husband. He was so cool under pressure - held my other hand and got me a lollipop and kept making jokes. I said, "So, how do you like your first day in New York with your sister?" He said, "Well, you're never dull."

JV: What do you do when you're not working?

AJ: I find it hard, so I usually find a way to put myself back to work - I'll work with Tom [Bower, Jolie's partner in her theater company], or on a play; I'll read or write. And I think it's important, in between projects, for me to sit down with who I've just become and allow her to continue to evolve and find a home inside me before I go and become somebody else. But I think I also need to learn to relax and not prepare too much, just enjoy life. I notice
that my characters go out to dinner and have fun and take these great trips, but I spend so much time on their lives, I don't have much of a personal life of my own. I have to sort of remember to fill out that little notebook on me.

JV: OK, Angelina, I think we've done our job and that Andy Warhol, wherever he is, is smiling on behalf of Interview. I mean, we haven't heard even a portion of the wonderful Angelina Jolie stories we know, but we've suggested some of the energy that is uniquely you> I send you much love, my dear.

A.J: I love you too, Daddy.

read more: Betsy's and IGN Interview