Enrique Iglesias admits he loves the all-powerful rush of live performance. The deliberately small part he took for his film debut, Once Upon a Time in Mexico, though, strikes fear in him.
RED HOT CHILI PEPPERS front man Anthony Kiedis has never been known for holding back, and he doesn't here either, especially when it comes to big movie stars.
Considering what an enormous celebrity he is, P. Diddy (aka Puff Daddy and Sean Combs) could have jumped into a number of splashy big-budget films, but he waited for a gem. Now, after finding one with Monster's Ball, he's sticking to his plan.
Beyoncé Knowles has already caused a stir with the pop trio she fronts, Destiny's Child. Now she's out to seduce moviegoers by playing Mike Myers's sidekick in Austin Powers in Goldmember. But your typical hot-headed megacelebrity hyphenate she is not.
With his melancholy voice, unashamedly flamboyant personality and lush melodies, Rufus Wainwright wowed critics with his 1998 self-titled DreamWorks debut, last year's follow-up, Poses, and contributions to soundtracks like Moulin Rouge and I Am Sam.
The 1975 satire Shampoo depicts an insane and vain, but far from plain, L.A. Here, Ian Somerhalder, Marina Black and Clare Kramer put a modern spin on the cut-and-blow classic.
No one knows Hollywood like Faye Dunaway, who's starred in everything from the classics Bonnie and Clyde and Chinatown to Gia and the upcoming The Rules of Attraction. Here's her take on a town that, according to her, isn't what it used to be.
Legendary producer Robert Evans, whose career includes Chinatown, The Godfather, the new The Kid Stays In The Picture and an upcoming Matthew McConaughey flick shows off his home theater spread.
Ever since it was announced he would play the antihero of the dark, romantic Star Wars: Episode II--Attack of the Clones, Hayden Christensen has been feeling everyone's eyes on him. Here he reveals how he's been dealing with the pressure, while George Lucas and other Star Wars crew explain why they've entrusted their golden franchise to a newcomer from Canada.
When Hollywood makes movies about Hollywood, the villains are really sick and the backstabbing is extra painful.
French star Olivier Martinez is out to seduce American moviegoers as successfully as he does Diane Lane in Adrian Lyne's Unfaithful.
How do people whose lives consist of taking on serial identities, assuming the psyches of one made-up character after another, figure out how they wish to be at home? How do they and all the other people who help them win at pretending, come by an environment in which they can rest their multiple selves, soothe their insecurities, renew their will, and still present to all who enter their inner sanctums an image of success and sophistication?
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