Pink Floyd rocker Roger Waters still bears the emotional scars of his tough upbringing – he bursts into tears whenever he is under stress.

The bassist was raised by his mother after his father died on a World War II battlefield when Waters was just a baby.

He admits the lack of a father figure during his formative years left him confused about women, and now he’s opened up about his innermost emotions, confessing he often breaks down and weeps over the slightest confrontation.

Waters tells The Sunday Times Magazine, “Learning to understand women has been an incredibly difficult journey for me. I hate anger in women, I’ve never known how to deal with it. The way I have always dealt with it was by crying, and I think women hate that.

“I have cried an enormous amount in my life. Under any kind of emotional stress I would burst into tears – in fights with the band, in fights with women, I would just weep. I’m being honest. I am not what people think.”

Those with Roger Waters tickets to his upcoming tour could be lucky enough to see him reunite with former Pink Floyd bandmate David Gilmour.

Waters will be touring the seminal Pink Floyd album The Wall, first released 30 years ago.

There have been recent rumours of Gilmour joining him on stage during one of the performances, with the last big gig the pair did together coming at Live 8 back in 2005.

However, in an interview with Sky News, Waters revealed that it is now likely Gilmour will indeed perform, but only at one gig.

“” hear the rumours – I think it’s beginning to look now as if he’ll do one gig, he’ll do Comfortably Numb at one gig,” he said.

“It’s a big secret when. Live 8 was the big one when Rick (Wright) was still alive – it was very moving.”

Roger Waters begins a UK tour with a six-date stint at the O2 in London starting on May 11th, with concerts in Manchester and Birmingham also scheduled.

The Dark Side of Innocence is an insider’s look at the rapidly exploding phenomenon of childhood bipolar disorder.  Back when I was growing up, the illness had no name, and no one ever dared talk about it.  I simply called it “the Black Beast,” and let it have its way with me.

After fifty years of silence, here’s how I finally came to write a book about those troubled early years.

When my surprise bestseller Manic came out in 2008, describing my adult life with bipolar disorder, I received hundreds of emails from readers.  The most heart-rending ones, the ones that I kept coming back to over and over again, were from parents of bipolar children.  They were desperate:  Why were their children acting like this?  Did I know of a cure?  Had I experienced any of the symptoms their kids were going through?

Intrigued, I began to research the subject, and was surprised to discover that over one million children have been diagnosed as bipolar.  In fact, there’s been a shocking four thousand percent increase in the diagnosis since the mid-1990s.  Clearly, there was a need for more information, more research, more clarity.

I hadn’t written much about my own childhood, nor did I discuss it in great detail in the interviews and speeches I gave after Manic’s publication.  The truth is, I didn’t like to think about it.  My childhood wasn’t just a strange one; it was a sick one, and it was painful to revisit that period.  But writing has always been intensely cathartic for me, and I thought that perhaps now, at last, it was time to excavate those buried memories – not just for the sake of all those parents who had reached out to me, but for my own recovery.

To my astonishment, once I started writing the memories came flooding back.  I recalled in terrifying detail what it felt like to attempt suicide at the age of seven; to battle manic demons at ten; to resort to hypersexuality and alcoholism and cutting to keep my depressions at bay, when I was barely old enough to drive.

I relied on what had worked in Manic:  I explored my illness from the inside out, from a personal rather than clinical point of view.  Finally, I was able to confront the ghosts that had haunted me for so many years.  I emerged from the experience stronger, more complete, and with infinitely greater compassion for all those whose lives are touched by this baffling and fascinating illness.

www.terricheney.com

March 19, 2011  Los Angeles: The Humane Society United States recognized Parker’s outstanding reporting and creative portrayals of animal protection issues in three stellar segments:  Puppy Mills Exclusive Investigation; Dog Fighting Investigation; and Hatchery Hell- Investigative Report.  Parker beat out CNN, ABC 7, and KHOU.

Falling leaves..Falling temps..how about new Fall gossip, new Fall shows??

What continues to play out is Lindsay Lohan’s rehab treatment now at the Betty Ford Clinic in LA where medics want mom Dina OUT as her manager and IN as a parent..gee what a concept huh? The Mel Gibson drama continues with his battle with ex GF Oksana over custody, abuse, etc… Now according to multiple reports looks like Mel will have a cameo in the highly anticipated sequel, The Hangover playing a tattoo artist; not sure if America is ready to laugh at him?!

What’s up with all the recent “celebrity splitsville couples”?  The finally finalized Tiger Woods and Elin; as he shells out $115 million..wowsie!! Too bad so sad, (I’m guessing depends who you ask)! Now Courtney Cox and David Arquette, Christina Aguilera and Jordan Bratman,  and recent sources saying Jennifer Garner and Ben Affleck in trouble?  Geez can’t we all just get along?

Moving on..how about the new cast of Dancing With The Stars?  I have to admit my first instinct before seeing any of them dance was putting Brandy at the top with Jennifer Grey not far behind; but now we know Jennifer is truly in it to win it!! Which were hearing behind closed doors some “tension” from fellow castmates that Jennifer’s high scores are really becoming a bit “annoying”?! Hey..the art of competition my friends!  Jersey Shore’s Mike “the situation” was quite the situation on the dance floor “eeeek”, and it was his time up for sure!  Bristol Palin, ehhhh boring..but hey, “A”  for effort!  I can go on and on..tune in on Tuesday’s to get the latest eliminations!

How about the new American Idol news for Season 10 “NEW” judging panel!  I think rocker Steven Tyler will be ROCKIN’!!  They needed to fill that seat with that rocker edge, especially with more and more “rock n’ rollers” auditioning every season..a no brainer..I GET IT!  Ms. Jenny from the block Lopez, yeah..okay..it will work.  I mean, Ellen did NOT belong in that seat..love her as a comdian/show host; not as a judge for IDOL.  Kara’s exit, knowing  she had the “goods” to stay but not that “celebrity power”.  I will miss Simon as I’m sure millions of others will,  you HAVE to give this season a chance; especially to all you IDOL “lifers”!

Finally,  I want to put my thoughts out on the new season of GLEE!  Yes, I’m a 100% certified GLEEK, but every episode this new season has put a high focus on SEX in many different forms.  I’m quite annoyed, considering it takes the 8:00 p.m slot and my 14yr old and 9yr old children have been fans since last season and watch!  Verrrrrry uncomfortable and not getting the “sexual story lines” ??  C’mon Glee directors/producers,  you certainly don’t need the boost in ratings so what gives? Quite frankly,  I think the show will lose some credibility on this.

As always, continue to tune in daily Monday-Friday on 102.9 DRCFM (www.drcfm.com) to hear my “Hollywood Headlines” reports! Follow DFX on Facebook, twitter, and vist us on the web, www.dfxentertainment.com.

Until next time, have a SPARKLIN’ (cider) lol

Michele Quadrato

www.dfxent.com

While playing football at Princeton University, Cris D’Annunzio discovered acting or, more appropriately, he was discovered. Since then Cris has written several plays and been featured on various movies and television shows. His most current theatre project is the autobiographical “Digging Up Dad”. His latest movie, “Chasing 3000″, is something he wrote and will act in alongside Ray Liotta and Rory Culkin.

For more, up-to-date information about Cris, please visit his official website.

Describe your transition from football player at Princeton University to being discovered by the John Houseman Acting Company.

The transition was not an intentional one. My summer job during college was at Chautauqua Institute in upstate New York. I was the instrument mover for the orchestra. One day I was removing the instruments from the pit when some members of the John Houseman Acting Company were preparing to go on stage. They were there doing summer stock. The director (Charles Newell, current artistic director of Chicago’s Court Theatre) saw me and asked if I’d like to be in their play. It was called, “Vaudevillian”. They needed a thuggish-looking guy and apparently there weren’t any in the company.

I didn’t have any lines – all I did was come on towards the end of the play and choke someone to death. But the experience of riding my bike to the theatre, going through the rehearsal process and watching how the actors worked, really stuck with me. I spent the rest of the summer working with the company in Chautuaqua and I was hooked.

Back in February you started your one-man play, “Digging up Dad”. Please tell us a little bit about it and how the idea for the play presented itself.

The play is about the sudden, mysterious death of my father in 1991 and the subsequent chain of bizarre events that occurred afterwards culminating in my being extorted for a significant amount of money by what would commonly be called, “The Mob”.

My parents had divorced when I was 12 and I never really developed much of a relationship with my father. Ultimately, the play is about coming to terms with that and, ironically, developing a relationship, posthumously, with a man I never really knew but loved. The idea was one that I always wanted to explore in the context of performance but for safety and various other reasons I never acted on it until recently. With the passing of years, the personal danger I and my family may have been in dissipated and I was contemplating the father-son relationship as I was about to have my first son. So the timing was right.

“Digging up Dad” is an autobiographical play. What are the pros and cons of presenting something so personal to a large audience?

Throwing your personal life on a stage for all to see is wrought with all kinds of interesting consequences – both good and bad. I would say that for me, it was personally freeing in the sense that I was able to get out a lot of things that I had been holding inside for many years. As far as presenting it to a large audience, there was the over-riding anxiety that as a commercial venture it may not succeed. Regardless of the very personal nature of the play, I still had to step back and deal with the business aspects involved in creating, putting up and promoting a show. That proved challenging at times as it became necessary to be objective about something that I was very close to. Ultimately, in performance, I could not worry about all that. I just had to go out and tell my story in the only way I knew – which was to simply be honest.

“Digging up Dad” opened to rave reviews. Do you have any more theatrical projects in the works?

Presently, I am doing some re-writes on “Digging Up Dad” with the idea of taking it to New York and/or possibly touring it. I am also working on another solo show that is based on my life in a more contemporary sense. I have a ‘performance art’ piece that I am developing as well as a multi-character stage play about – what else – life and death.

You’ve worked on stage and on screen. Which do you prefer and why? Is one easier to get a career in than the other?

Both have their redeeming qualities and as an actor I don’t necessarily see a major difference between doing one or the other.

Obviously, on stage you are asking yourself to adhere to the physical rigor of doing the same show night after night, week after week. But stage does carry an element that is not always present when doing a movie or TV and that is the idea of ensemble or team. You are working with the same people in a very intimate setting over a period of time and when it works, it’s magical. I’m not saying that doesn’t happen on screen, but by and large that is only the case for the nucleus of people – director, DP, stars.

The others often come in for a day or so, do their work and leave. Being a former athlete, I tend to gravitate towards team situations. That being said, I have found that getting and having a career in theater is infinitely harder than having one on screen.

You starred in the short film “Clemency” which was shown at this year’s Sundance Film Festival and won several awards at other film festivals. Please tell us the plot of the movie and the character you play.

The story is about a sadistic killer who tortures his victims in a series of gruesome murders. He is caught and put on death row but granted clemency by the governor. A reporter confronts the killer in an interview seeking to find answers to his seemingly inhuman behavior. What she learns can never be forgotten or forgiven. I play the sadistic killer.

You just wrote a screenplay titled, “Chasing 3000″ that will feature yourself and Ray Liotta. Please tell us a little about it and the character that you play. Do you hope to write more screenplays in the future?

On to nicer topics…the film is about two brothers, one of whom suffers from a debilitating physical condition, that “borrow” their mother’s car to drive across the country with the hope of seeing Roberto Clemente get his 3000th hit.

It’s a story about how the love of a hero brings out the love that two brothers have for each other – and the power that evokes. I play the role of Mr. Motley, the principal from the boys’ school.

I have actually written a few other screenplays as well, but currently, I am working on adapting the novel, “Wild Turkey” by one of my favorite authors, Michael Hemmingson. I optioned the book through my production company and hope to complete the script by the end of the summer and start shooting in the fall/winter of this year.

Actors read a lot of scripts. Some they agree to work on, others they throw away. When reading a script, what elements of it make you want to participate in the project?

I don’t know who those actors are that throw away scripts, but it’s not me. I do not have that luxury. I am attracted to writing that has an original voice and makes me think. That can come from any genre or budget size.

The main part about being an actor is getting into character. What are the basic steps an actor takes in order to get into his/her character?

This is a topic of which I have plenty to say — but I’ll try to paraphrase and spare you.

I think that it’s a personal and subjective choice about how one works. At the end of the day, if the audience believes you, that’s all that matters. For me, the term ‘actor’ is only an occupational description of how one (attempts) to earn a living. What I DO, however, is not act at all. I consider myself, to borrow the phrase from my teacher Eric Morris, a professional experiencer. As such, for me, there is no character. There is only myself saying the words that the author has given me. I must truthfully express what I feel in the given circumstances. It’s simple, but not easy. That’s the paradox. It has to come either from my own personal experiences – of which I have many to drawn on, much to the chagrin of my therapist – or from my extremely over-active imagination, much to the consternation of my wife.

Either way, I have to start by asking myself, “What would I do if…?” Then I must have the courage to apply, truthfully, what I feel – real or imagined – regardless of the consequences. Considering I’ve told you that I recently played a sadistic killer, this may sound a little frightening. But the reality is, I do have the capacity to be a sadistic killer. Now, before you get too wigged out, realize that I also have the capacity for extreme kindness and gentility. We all do. It is only the very foolish that enter the proposition of acting and say, “I would NEVER do that…” I believe that under the right circumstances, we all have the capacity to do anything, certainly to experience the gamut of emotions. So in such an instance, you have to ask yourself, “What would have to happen in order to make me….” For me, it’s very easy to find those answers. But my facility with my emotions is not highly coveted in normal society. Thankfully, acting is my antidote to that.

You’ve also done a lot of work in popular television shows including “Seinfeld”, “Without a Trace”, and “As the World Turns”. How does working on a TV show differ from working on a film? Do you prefer one over the other?

TV is a much quicker medium in which to work. There is not the time to develop a relationship with the other actors, really, unless you are a series regular and working with each other every day.

In that, again, it reduces the element of ensemble or team, so my preference would tend towards film. Unless, of course, as I said, I were to be a series regular. I would absolutely love to get up every day and go to the set at 6am and work until 9pm or so with the same group of people. I mean that, sincerely.

When you’re not acting or writing, what do you like to do in your free time?

I’m not sure I understand the concept of “free time”. I just try to live my life every day. I have four children – 3 girls ages 10, 8 and 5 – and a 6 month old son. I am very active in their lives, school, sports, friends, etc… I am a neat freak bordering on obsessive-compulsive so I am constantly picking things up and cleaning.

I’m a book junkie. There are five novels on my nightstand and another dozen or so on my kindle that I’m reading at any given time. I’m a major clothes horse and have a shoe fetish so I’m constantly looking for new items to add to my wardrobe. And with my manic-depressive nature, I have to go to the gym every day and exercise to the point of near collapse or I am unbearable – even to myself.

Other than that, I follow the New York Mets in baseball and the Tottenham Hotspurs of the English Premier League religiously. I like to eat and listen to music, especially jazz and blues. Is that enough?

What have you learned in your career that you can pass down to actors just starting out?

Make sure you are doing this for the right reasons. Honestly, if you’re not, admit it to yourself and move on. It’s just too hard. What I mean by that is this: most people get into acting because they have an hallucination about what it means to be an actor. What they really want is not to be an actor, but to be rich and famous. If you want to be rich and famous, there are easier ways to do it.

I will not deny that what often initially draws anyone, including myself, to this endeavor is the need to be liked. But you have to realize what the work entails. And it is work. And sacrifice. And insecurity. And many years, sometimes a lifetime, of near-poverty. Those are just the by products.

Brass tacks, if you don’t have a real passion for the process, you are going to be miserable, no matter if you do happen to become rich and famous. I myself have had fits and starts with an acting career. I have tried to do other things. Other things that were much more lucrative, secure and career-worthy. But I couldn’t stick it. I’m addicted to the process of self-discover that comes with the way I work as an actor. There’s no “retreat to the cave”, as I call it, in any other endeavor except this one. I have to do it or really, life is not worth it to me. If you feel similarly, then do it. And never, never, never give up.

Anything you’d like to add?

Thanks for the opportunity to share some of my experiences with you. I absolutely love your site, think it’s a tremendous resource and wish you all the best.

Source – http://jitzul.com/sections/interviews/?target=2762

Cris D’Annunzio on San Diego Living talks about his new film “Chasing 3000.”

Chasing 3000
Ray Liotta … Adult Mickey
Rory Culkin … Roger
Trevor Morgan … Mickey
Tania Raymonde … Kelly
rest of cast listed alphabetically:
Scott Aaronson … Baseball Coach
Michael R. Aubele … Dad
Nicholas Brady … Young Roger
Andrew Bryniarski … Gang Member
Seymour Cassel … Poppy
Ricardo Chavira … Dr. Boogie
Mercedes Connor … Admittance Nurse
Cris D’Annunzio … Principal Motley
Keith David … Officer L.
Dan Fastuca … Gang Member
Kevin Gage … Short Order Cook
Michael Govia … The Minister
Willa Holland … Jamie
Lauren Holly … Marilyn
Ryan R. Johnson … ER Doctor
Jay Karnes … Adult Roger
Drake Kemper … Danny
Madison Lanesey … Maddy Straka
Meritt Latimore … Pirates Fan
Louis Lombardi … Short Order Cook
Ryan March … Mets Catcher
Christopher May … Coach Johnson
Michael O’Keefe … Dr. Stuart
Lori Petty … Deputy Fryman
Katie Piel … Jr. Nurse K. Copland (as Katie Piel)
Alisa Schulz … Sally waitress
Patrick Sebes … Bobby Straka
Alisa Shulz … Waitress
M. Emmet Walsh … Chuck Ireland
Blake Woodyard … Young MIckey
Zakk Wylde … Gang Leader

Cris D’Annunzio

www.cdannunzio.com

Fashion Stylist Dalit Gwenna does Kimberly Cole

Having spent her life immersed in the world of art, fashion, and design, stylist Dalit Gwenna – www.dalitgwenna.com – has been able to label herself as “one the edgiest clothing stylists working today.” With an obsession for sequins, tulle and lace, Dalit has brought her creative twist to everyday style. Dalit’s clients range from glam pop stars and socialites, to business professionals and everyday fashionistas. Her fresh and unique eye allows her clientele to be ahead of the trend while remaining effortlessly chic.

As a fashion insider on both the east and west coasts, Dalit has had her creative hands in all cracks of the fashion industry. Currently, Dalit is responsible for styling Forever 21 Inc.’s worldwide window directive.

Dalit has been featured in WWD, WFIT TV, TV Lesson, HollywoodWorx, Cliché Magazine, LA’s The Place, Apparel News, LIFE, 944, Agenda Magazine, TV Hits Australia and Look Book LA.

1. What made you decide to direct this film? Had you always wanted to direct?

I didn’t really even make the decision to direct the film it naturally evolved and before I knew it I was directing the film and it feels as though it was always meant to be that way.

I was initially producing and starring in the film. I was going to play the role of Billy, which ended up being played by Jonathan Tucker who did fantastic work and I couldn’t have found anyone more perfect for the role. Once I added the director hat I knew I couldn’t act in it as well because I am such a crazed freak when it comes to my work. I need to focus on one thing and one thing only and for me that was directing.

2. Your background as an actor, how did it help with directing? What other elements did you feel you had that prepared you during the film?

I have always had the urge to direct and I come from a film background. My father ran the AFI film school for around 14 years and now runs the film school at Chapman University. He has been a director all his life and I think it has always been in my blood. Working on set as an actor, I always watched whenever I could to see what methods and techniques the director was using. I would watch on the monitor, always soaking in whatever knowledge I could… So yes I always had the urge to direct.

My background as an actor helped so much during the filming of Flying Lessons. I was able to really connect deeply with each and everyone of my actors. I know what actors need, when they need encouragement, when they need the camera rolling because I have the keen sense to know when the actor is at the breaking point of finding something beautiful and exciting in the scene. I know when an actor isn’t getting what they want or need from another actor, I can see it in the body language and in the face and eyes.

I know actors so well since I have been doing it for 19 years now that I think I was able to create a deep layer of trust between the talent and myself and for this film, nothing was more important! This was my first time behind the lens and I know and understand when actors of caliber, which I am blessed to have had work with me, become weary of a first time director, no matter who is executive producing or who says what.

I gained the trust of all my actors quickly and that was key for me because I needed them to trust my vision and trust I knew and know what is best for this film as I see it.

I was as prepared as humanly possible to direct this film. I did storyboards of the entire film prior to principal. Going into filming I knew in my head how I saw every shot, every scene, every angle, and every line of dialogue in the scene and how I wanted every frame to look. I was and will always be open to new ideas because I do believe filmmaking is a team effort.

I owe so much of the actual preparation to direct Flying Lessons to my father first and foremost. He was with me every step of the way during prep and really guided me on how to make my film the best it can be and then left it in my hands to create my own life force which is Flying Lessons because as my dad would say, “at the end of the day, it is you who calls the shots, you who yells action, you who controls the energy and flow on set, you.” I don’t think I could have done it without him. I am so grateful and humbled by everyone’s belief in the film and me.

3. How would you differentiate yourself from other directors, is there a specific vision and or genre of films that you are going after?

Differentiating myself from other filmmakers is a tricky question and always a tricky thing to do. In Flying Lessons specifically it wasn’t about the creativity as far as camera work and angles were concerned, it was much more about finding the right place for the camera to sit and letting the scene unfold and the actors unfold within their loose structure. This is a character drama piece and to me it was and is most important in that genre that the audience has every possibility to connect with the characters and become involved in the journey.

The next film I am going to do is a combination of a character drama but also has a huge element of being a thriller at the same time and I find that exciting because I can really go there cinematically.

I find that the truth about how directors define themselves is always a bit obscured and if i’m going to go against that grain and be honest, I am different from any other filmmaker in the sense the is my heart and soul that defines the projects I do.

As far as camera work and shots, I take little pieces from everyone I know and everyone I admire as an artist and director. Pieces from Scorsese, Malick, Kubrick, Kazan, Greengrass, Cassavettes, Cohen Brothers, Paul Thomas Anderson and Darren Arrenofsky.

4. Will you direct again and what about your future in acting?

I will always continue to act as its something that lives in me and I love very much.

5. What were some of your highlights and or memorable moments as a director during production? Please elaborate on any of the talent you worked with.

Working with Hal Holbrook was the biggest and most memorable highlight for me during this process. He is a brilliant actor and a wonderful human being.. I found him to be inspiring to me in so many ways above and beyond how brilliant he is as Harry Pleasant. By the 2^nd day on set he knew everyone’s name and would test himself and almost always was right! He never complained once working in heat that was grueling hitting as high as 103degrees! He is a true solider and warrior and he should be recognized for that in every way possible. I wish there were more people in the world like him and more artists in the world like him. I would be honored to work with him again and am blessed to have had this opportunity to work with him.

6. With how far you have come and opening for the Santa Barbara Film Festival, how was the overall experience. How do you feel people will react to this film?

Being asked to open the 25^th anniversary Santa Barbara International Film Festival is such as honor. I feel so grateful and humbled to be recognized in this manner and to be the first film in the festivals history to open that isn’t a studio film! It feels like it was meant to be and we have come full circle seeing as we shot almost the entire film in the Santa Ynez Valley which is part of Santa Barbara County. I am so excited and nervous for Feb 4^th and I hope what people take with them after watching this film is that they found something within this film and is interwoven story lines that they can relate to and connect to.

I hope people love the film and leave the theatre moved and with a sense of hope and freedom, that through all difficult things there is always a light at the end of the tunnel and we have to fight and struggle and stew in it sometimes to get there but we can and will get there if we try hard enough and if we believe in ourselves and in others. Sometimes it takes a friend to show you the way, a family member, a lover or a stranger but seeing the light and knowing its worth finding is what I hope people feel from this movie.

Dalit Gwenna Fashion Stylist & Costume Designer

Dalit Gwenna| Fashion Stylist | Costume Designer | Los Angeles | New York | Portfolio | Press| Bio| Contact

www.dalitgwenna.com