My nemesis


And it’s not because she’s inhumanly hot. It’s a long story, which I’ll explain in another post — and an old story, from years ago when we were starting out as actresses at the Stella Adler Conservatory in Hollywood. But every time I see her picture, especially ones like this,

who can compete with that?

I’m reminded of that little building with wall-to-wall carpeting on the tiny faux stage off Hollywood Boulevard, and the way I felt — like I’d been silenced, voided and replaced. Although, clearly, I was never a voluptuous latin siren, so don’t get me wrong; I have no illusions there. Like I say, it’s a long story.

Anyway, here’s pics of my beautiful latin classmate, doing what she does best – looking preposterously hot. See? I’m so over it!

The actress was shot by Mario Testino for this month’sAllure, appearing on the cover along with the headline (right at cleavage level): “I’m not complaining about my boobs.” In the accompanying interview, she explains that they looked better ten years ago than they do now, but: “They’re not bad, by the way.” Neither is her hair, which she attributes to her mom, a beautician. “Once, she shaved our heads and put egg on it and all these things. But I have to give her credit — my hair is great.” Unsurprisingly, there’s no mention of the current scandal involving Hayek’s husband, PPR chief François-Henri Pinault, who’s in the midst of a court battle with Linda Evangelista over child support for their 4-year-old son.

More of one of the hottest babes ever to torment me, albeit unknowingly…this is the photo shoot for her recent Allure cover.


In case you hadn’t had enough of James Franco…

“Many filmmakers would consider the discarded material worthless,” Franco writes in The Paris Review, “but I, as an actor who has spent fifteen years in front of the camera, consider all of it valuable. They are the essence of my art. [ … ] Sometimes — as when they feature an actor like River Phoenix in a film like My Own Private Idaho, the best of his generation giving his best performance — every scrap is gold. [ … ] When I heard that Gus [Van Sant] had held onto the editor’s film rolls, I told him that I would do anything to see them. We spent two days in Portland watching as much as we could. [ … ] We were naturally led to wonder what Idaho would be like if he made the film now, and Gus offered to let me make my own cut. [ … ] I cut it as if Gus had made it today.”

<p><a href=”″>River</a&gt; from <a href=””>The Paris Review</a> on <a href=””>Vimeo</a&gt;.</p>