Interview

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"The most miserable, boring, long-winded pathetic pitch I had ever heard in my life," is how producer and screenwriter James Schamus describes his first meeting with director Ang Lee.

Their first meeting might have been a dud, but twenty years, eight movies, and a few Oscars later, the partnership has turned out to be one of the most successful in Hollywood.  Lee was equally effusive about their collaboration, explaining, "James is always part of the movie. I don't see him as producer or writer: He's a collaborator." Last night, the National Arts Club celebrated the duo by giving each a Lifetime Achievement Award. Sneaking in among certified club members were Sigourney Weaver and Christina Ricci, both of whom starred in 1997's Schamus-Lee collaboration, The Ice Storm.

Crowded into an alcove filled with wood carvings of angry lions, Weaver remembered her own first encounter with the honorees, which occurred on the birth of Schamus's second child: "So there Ang and I were and we were so shy I don't think we spoke for twenty minutes." They finally decided that The Ice Storm should be a comedy, and Lee let Weaver pick her part among the cast of characters. Ricci, only fifteen at the time of shooting, remembers to Lee and Schamus as forgiving parental figures. Playing in a film set in the 1970s, the actress had no idea why she was wearing a Nixon mask: "I think they both secretly knew I didn't do the homework."

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 Don't Stop, the latest full length from Nordic electropopper Annie, delivers a collection of irrepressibly upbeat bangers produced by Xenomania, Bloc Party collaborator Paul Epworth, and Timo Kaukolampi and Richard X, with whom she collaborated on her first album Anniemal. The call-and-response opener "Hey Annie" combines her sweet and direct songwriting with a gritty, 80s analog aesthetic, leading the charge through a dozen sparkly pop songs that mix surface sweetness with a self-aware, and sometimes times melancholy, interior. (PHOTO BY NINA MERIKALLIO)

While a label dispute delayed the release of Don't Stop for more than a year, Annie relocated from Bergen, Norway to Berlin and has been immersing herself in the global capital of forward-thinking electronic music. I spoke with her during her quick DJ tour of the U.S (the New York stop is Saturday at the Tribeca Grand).

ALEX SHERMAN: Are you familiar with some of the laws in New York City that prohibit where and when you can dance? They call them Cabaret Laws.

ANNIE: Yeah! That I find really exotic! It's really strange to have a place where it's not allowed to dance. It's like, you can dance over there but not over here. I find that more exotic than annoying.

SHERMAN: What do you mean by exotic?

ANNIE: I don't know any other place in the world where you have rules that you're not allowed to dance in certain places. I can understand some places you're not allowed to spit or scream something awful, but not allowed to dance to me is really... interesting.

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Whether it's a vampire-themed movie premiere on the West Coast or the CFDA/Vogue Fashion Fund Awards back east, Hollywood glam and starlet style were out in full force was out in full force this week. Yet again, ladies seem to be returning to the classic look. One favorite was model Jessica Stam, who attended the CFDA/Vogue fete earlier this week. Ricky Wilson for Dior Beauty, the artist responsible for the look, explained "My inspiration was a modern day Veronica Lake." Also there to honor winner Sophie Theallet, MTV's Alexa Chung went for hipster sophistication with a old-school red lip and a loose chignon.

Meanwhile, back in LA, Twilight: New Moon premiered with a similar vibe. Vanessa Scali for Lancome, who created star Ashley Greene's look, said she was going for "Classic 60s...Well defined eyes with lots of lashes, a strong brow, and clean skin with subtle pink and coral cheeks and lips." With her pencil straight hair, Dakota Fanning, also at the premiere, looked all grown up, though her dress–a throwback to 1970s girly innocence–was pure flower child.

Sarah Howard is the editor of Beauty Banter.

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Viktor & Rolf's Spring 2010 collection featured a hot pink tulle ball gown with a bite taken out of it and a purple ruff collar to make Queen Elizabeth blush. Not to imply that such a look wasn't an instant classic, but the Parisian designers have also taken on some staple looks with a soon to be launched capsule collection of five black cocktail dresses.

"Viktor & Rolf Black Dress" sounds simple, but then V&R set out to reinvent the LBD entirely. The looks are heavy on their use of illusion netting and drooping bows. But Miss Havisham, they're not. All of the garments are cleverly conceived. Some employ hand embroideries, while others rely on ingenius trompe l'oeil tailoring. Timeless was due for an update.

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