Anthony Lapaglia

Biographie:

Anthony Lapaglia est né à Adélaide en Australie, d'un père italien et d'une mère allemande.

Il commence par une carrière de fotballeur, de vendeur de chaussures, puis d'enseignant. A vingt-quatre ans, il décide de devenir comédien et s'installe à New York.

Il obtient son premier succès sur scène avec "Bounces", où il tient pas moins de huit rôles différents!

Sa carrière cinématographique décolle dans les années 1980 et il joue entre autres dans "Intimes confessions" en 1992, "Le client" en 1994, ou aux côtés de Sean Penn dans "Accords et désaccords" de Woody Allen.

Il reçoit un Tony award, un Drama Desk award et un Outer Critics Circle award pour "A view from the bridge".

Il joue aussi des rôles à la télévision, par exemple dans la série "Frasier", pour lequel il reçoit un Emmy Award.
En 2001, il est contacté pour jouer Jack Malone dans la série "FBI : Portés disparus".

Anthony Lapaglia est marié depuis 1998 à l'actrice Gia Carrides et il a une petite fille née en 2003, Bridget.


Filmographie:

Films en cours:
*Miracle
*View from the Bridge


Easter Sixteen (2011) joue le rôle de Spindler

Overnight (2009) joue le rôle du Capitaine Brody

Balibo (2009) joue le rôle de Roger East

Tellement vrai (2008)

$9.99 (2008) dans le rôle de Jim Peck

The Architect , de Matt Tauber

Happy hour , de Mike Bencivenga

Happy Feet (2006), de George Miller

Played (2006), de Sean Stanek

Winter Solstice (2004), de Josh Sternfeld

Perfect strangers (2003), de Gaylene Preston

Autour de Lucy (2002), de Jon Sherman

Salton sea (2002), de D.J. Caruso

Lantana (2002), de Ray Lawrence

The Guys (2002), de Jim Simpson

Pari à haut risque (2002), de Mark Malone

Chez les heureux du monde (2001), de Terence Davies

The Bank (2001), de Robert Connolly

Un Automne à New York (2000), de Joan Chen

Company Man (2000), de Peter Askin

Accords et désaccords (2000), de Woody Allen

Summer of Sam (2000), de Spike Lee

Phoenix (1999), de Danny Cannon

Commandments (1997), de Daniel Taplitz

Happy hour (1996), de Steve Buscemi

Empire records (1996), de Allan Moyle

Le Client (1994), de Joel Schumacher

Quand Harriet découpe Charlie (1994), de Thomas Schlamme

Mixed nuts (1994), de Nora Ephron

Innocent blood (1993), de John Landis

The Custodian (1993), de John Dingwall

Intimes Confessions (1992), de Christopher Crowe

29th street (1991), de George Gallo

Un Bon flic (1991), de Heywood Gould

He said, she said (1991), de Ken Kwapis

Le Mariage de Betsy (1990), de Alan Alda

Criminal Justice (TV) (1990), de Andy Wolk

Esclaves de New York (1989), de James Ivory

Sur le fil du rasoir (1987), de Dorothy Ann Puzo

Je vous poste un article paru il y a quelques semaines dans mon programme télé, Télépro. Enjoy.

Comme d'habitude, il est un peu petit et donc pas facilement lisible. Donc, si vous le voulez en grand, il suffit de me le demander sur msn ou via mp.

Merci et merci
Pour l'avoir en plus grand, il suffit à chacun de l'enregistrer sur son PC puis en l'ouvrant de zoomer et ça passe nickel

Ok, ça me rassure. Et de rien, c'est naturel. J'imagine que ceux sur Eric Close ne vous intéressent point?!

Petit article d'Anthony que j'ai trouvé trop mignon,il parle de sa mére.

Anthony LaPaglia: When I was a little kid, and I still am, I was a huge
soccer fan. My mother would drive me everywhere to play. It would take so
many hours out of her life, not just driving me to games, but washing all
my muddy clothes week after week after week. When I turned 15 or 16, I
turned pro for five or six years, so I trained five days a week, and my
mother would always have to do my laundry. I was a goal keeper so there
was a lot of mud involved. You know what? She is a great woman. You don't
have enough room on your Web site to list all the great things she did for
me.

En resumé il dit que lorsque qu'il etait enfant et qu'il est toujours (sacrée anthony)il était un enorme fan de football,sa mére le pousser à jouer partout et comme il etait gardien de but ses vêtements etait toujours plein de boue,et que sa mére laver ses habilles semaine aprés semaine un bon nombre de lessive pour Maman Lapaglia,il dit egalement qu'il n'y à pas assez de place sur le site web pour ecrire tout ce que sa mére fait pour lui et que c'est une femme formidable.

Source YTDW

Adorable ce petit article. Ca montre que Mister LaPaglia est un homme avant tout avec des sentiments. Ca le rend plus humain à mes yeux, lol.
Merci pour l'article Sofia.

C'est clair que c'est un homme avec des sentiments,d'aprés Poppy elle ne connait personne de plus gentil que lui mon chaton est formidable,de toute façon il n'y à qu'à voir la lueur dans ses yeux pour voir que c'est un homme bon et généreux

Merci pour ce passage sur Anthony

Plus que 4 semaines les filles

Plus que 3 pour voir mon petit chaton qui commençe à me manquer de plus en plus

Petit article sur ALP:

Il est long mais très interressant avec des photos sympas.

http://www.venicemag.com/pdf/april/lapaglia.pdf

Alp a fait une apparaition surprise au show Ellen aujourd'huibut recolté des fond charité pour la lutte contre le cancer et mon chaton a fait 250000 dollard au dunking pool

Plusieurs photos sont dispo sur le site destined

Volià l'apparition:

Dernière scène on ne le voit pas bien mais il est craquant, je n'en dis pas plus, surprise

Ci-joint une interview de ALP avec GIA de 06/2006 en réponse à des rumeurs sur une séparation entre eux et l'actualité de l'époque avec Lantana pour ALP. Interview très riche, désolée je n'ai pas traduis.

ANDREW DENTON: Nobody gets gasps. You got gasps.

ANTHONY LAPAGLIA: Wow. I got a gasp.

ANDREW DENTON: Did you pay gaspers to come here today?

ANTHONY LAPAGLIA: I did. I did. It wasn't much, only five bucks each.

ANDREW DENTON: I'll buy them off you for two dollars fifty after the interview

ANTHONY LAPAGLIA: Okay, great.

ANDREW DENTON: Is it true that as a young man growing up in Adelaide, that you, for a while, spoke in a Scottish accent to cover your Italian roots?

ANTHONY LAPAGLIA: Oh no. You see, that's amazing, how stories - it's like Chinese whispers.

ANDREW DENTON: Oh yes.

ANTHONY LAPAGLIA: What happened was, I played a lot of soccer when I was young and there was this guy, a young Scottish soccer player, who came up to me and he went, "Did I meet you on a bus going to a Glasgow Rangers game?" I went, "Yes." Just to have some fun.

ANDREW DENTON: And then I started doing my worst Scottish accent ever and he totally bought it. He said, "I think I was going to have a fight with you because you're a Rangers fan and I'm a Celtic fan." So this we ended up playing together in the same team and he thought I was Scottish because of that one interaction. So for two years this guy thought I was Scottish.

ANDREW DENTON: Didn't he ever wonder where the Mc LAPAGLIA clan came from? Which part of Scotland?

ANTHONY LAPAGLIA: No, it never crossed his mind. He was very open-minded that way.

ANDREW DENTON: He must have been. Was it cool growing up Italian when you were a kid?

ANTHONY LAPAGLIA: No. You were such a second-class citizen if you had Mediterranean descent. Even the teachers in school, I found, were - I remember they always used to pronounce all our names wrong, no matter what. So I was always LAPAGLIA, LAPAGLIA, LAPAGLIA, LAPAGLIA. Then I had this one Italian teacher, I still remember him, Mr Ludowici. He came up to me one day and he said, "Your name is LAPAGLIA, and every time somebody says it wrong, you have to correct them." I really took that to heart and I started correcting everyone, including my teachers. It didn't go down real well.

ANDREW DENTON: I'll bet it didn't.

ANTHONY LAPAGLIA: No. Also my father was very - you know, he was came to Australia as an 18 year old immigrant. He was a mechanic. He worked his tail off, didn't speak English, and I kind of watched him over the years kind of suffer at the hands of a kind of prejudice in a way. That's all gone now. It's interesting, because one of the reasons I left Adelaide and ultimately left Australia, because I felt that there was some kind of limitation put on me, some kind of - I was the son of an immigrant mechanic, therefore the expectations for me were not that high, and I felt like I wanted a bigger playing field than that.

ANDREW DENTON: Because I read somewhere that you said you were made to hate yourself for being different and you saw your father being treated this way. That must have been particularly difficult for you as a child.

ANTHONY LAPAGLIA: It was difficult. There were certain things that occurred when I was a kid and I watched my - and my dad's, he's a fantastic guy. He's very tough, you know. He's no pushover and he didn't take crap from anyone and I saw him get into more than one, you know, altercation with people who were impolite. He stood up for himself pretty well, and taught me...

ANDREW DENTON: Did you?

ANTHONY LAPAGLIA: Yes. He taught me how to do it. My father passed on to me some work ethic. He was an incredibly hard worker. He used to hold down two or three jobs. My mother had a job. He passed on the idea that it doesn't really matter what other people think of you, except your family, and that outsiders don't matter. It's really what you think of you and what your family thinks of you and that's all you have to live up to.

ANDREW DENTON: You mentioned before football, which is your thing. How deep does it get into your soul?

ANTHONY LAPAGLIA: I'm like a complete drug addict when it comes to football - soccer, if you want to call it that, but it's football. I've been playing it since I was nine and have not been able to put it - I just cannot get it out of my system.

ANDREW DENTON: What's the joy?

ANTHONY LAPAGLIA: It's democratic. It's what I love about it. It doesn't matter how smart you are, how dumb you are, how much money you have, how poor you are, where you come from. It's about you and this round ball. Once that round ball goes out into the middle of a beautiful green field, everybody is on the same level. You can play or you can't. You perform or you don't. Your friendship with someone is not going to influence with that. Your bank account is not going to influence that. So I find it highly democratic and I really like that about it.

la suite

ANDREW DENTON: When you play, for you is there a sense of infinite possibility?

ANTHONY LAPAGLIA: Yes, still to this day. I mean, I play in an over 40s league now and I played through - I had a quite bad degenerative hip condition for six years that I just kept playing through, and finally had my left hip replaced and have gone back to playing again because I just can't stop. Even my wife has said to me, "Don't you think it's a - come on, with the hip replacement, you have, like, a pound of metal in there. Why don't you just stop?" I said, "I just can't. I can't give it up." Even in the over 40s league that I play in now, we all think we're going to the World Cup. We can't just relax and go like, "Well, we're old guys playing now." Everybody's screaming at everybody. It's very intense and very competitive.

ANDREW DENTON: Because I was going to say that the great thing about being in an over 40s football league is you don't need slow motion replays. That's the actual speed of the game.

ANTHONY LAPAGLIA: It's fantastic. It's one of the most brilliant things is that your brain remembers how to do everything. I play goal keeper and sometimes somebody will hit a shot and my brain's going, "Go, go, go," and my body goes, "No. Not going," and it just sails in, you know, I just stand there.

ANDREW DENTON: The metal hip riveted to the ground.

ANTHONY LAPAGLIA: Riveted to the, yes.

ANDREW DENTON: Because you play with the Hollywood Football Club, don't you? Who else is in your team?

ANTHONY LAPAGLIA: It has a floating population.

ANDREW DENTON: Rod Stewart's got to be in there.

ANTHONY LAPAGLIA: No. Rod Stewart has his own team.

ANDREW DENTON: Oh, sorry.

ANTHONY LAPAGLIA: Rod Stewart has his own team called 'The Exiles'. 'Hollywood United' is, by and large, based on and around one of the ex-Sex Pistols named Steve Jones. It has, over the years, had a floating kind of attendance record from Vinnie Jones, who was a quite famous football player turned actor who was in 'Lock, Stock and Two Smoking Barrels'. They have a number of musicians. A lot of the guys I only know on a first-name basis, even after five years. So I know that Vivian plays for - he was in Def Leppard, but I couldn't tell you his last name. It doesn't matter.

ANDREW DENTON: So, hang on; you've got Vinnie Jones, who was renowned for being the most violent footballer...

ANTHONY LAPAGLIA: Incredibly violent.

ANDREW DENTON: You've got Steve Jones from the Sex Pistols, renowned for being incredibly violent.

ANTHONY LAPAGLIA: Incredibly violent, right.

ANDREW DENTON: I'm guessing your games are worth coming to.

ANTHONY LAPAGLIA: Well, I'll tell you something, because I play in goal I get to observe, thank God, a lot of stuff and I don't have to be in the middle of what's going on out there sometimes. Some of the games have actually ended with the LAPD coming to separate the two teams. Not that I'm proud of that, I was not part of it. I just stood back and watched it happen. But I think I saw the fastest red card I've ever seen in my life, which was Vinnie Jones. He came on as a substitute, ran onto the field, demolished a guy, got a red card and was off, all in the space of five seconds.

ANDREW DENTON: See that's Hollywood. It's time effective.

ANTHONY LAPAGLIA: He had something else to do and he needed to go, so he got himself sent off.

ANDREW DENTON: You actually, when you were younger, before your hip started being made of unnatural substances...

ANTHONY LAPAGLIA: Yes.

ANDREW DENTON: You played first grade for Adelaide and West Adelaide.

ANTHONY LAPAGLIA: Yes, I played at Adelaide City and West Adelaide when the first National League started.

ANDREW DENTON: You gave it away in your 20s. Why didn't you go on with it?

ANTHONY LAPAGLIA: It was a combination of things. It was, I wasn't as good as I would have liked to have been.

ANDREW DENTON: Can you ever be as good as you would like to be?

ANTHONY LAPAGLIA: I could have been better than I was, I think. I showed a lot of promise, you know, at 15, 16, 17, got picked to play for South Australia in representative teams. Came to Sydney, played in the big state tournaments and made the, I think, under-18s schoolboys select team. So it looked really promising. But I was only, like, 17 or 18 and I didn't have the mental - as a goalkeeper there's a tonne of responsibility. If you let a goal in and it's bad, you basically feel responsible. I used to feel responsible for all 10 guys out there. I would also have these lapses of concentration. Like, in training I was, like, incredible, but I'd be playing a game and if I didn't have much to do, about three quarters through the game I'd be thinking, "That girl's really cute that I met last week. I wonder if I could find her tonight." You know, I would just start my mind, and then the next thing you know it's whoosh - there was a goal.

ANDREW DENTON: So you were a goalie trying to score. That was your problem.

ANTHONY LAPAGLIA: Exactly right.

ANDREW DENTON: Never going to work.

ANTHONY LAPAGLIA: I also happened to come into the game at a time when South Australia was producing remarkable goalkeepers, and I just happened to be around at a time when they were better than me.

ANDREW DENTON: And there were attractive girls. What could you do?

ANTHONY LAPAGLIA: Yes, there was that.

ANDREW DENTON: You didn't really get into acting until your mid-20s. You applied for NIDA, did community theatre, applied for NIDA, they said no. Rather than hanging around, waiting for a second shot, you sold up everything and moved to New York, which is a big thing to do when you've only got 400 bucks in your pocket, and you lived tough. What is 'sidewalk shopping'?

ANTHONY LAPAGLIA: Sidewalk shopping. That's how I furnished my first apartments for the first five years of my life in New York. There's a thing in New York and in Los Angeles as well, where when people are done with stuff they put it on the sidewalk. The local city is supposed to pick it up and take it away, but if you get there first, it's yours. After I found out I couldn't get into NIDA - they said, "Come back next year," and I thought, "No, that's too long, I can't hang around that long waiting for that." So I made the decision I didn't want to wait around and that I was so excited about this new thing that had occurred in my life, this idea that maybe I could become an actor, that I thought, "I'll go to New York and I'll study there." All my favourite actors studied at the Actors' Studio and I loved black and white movies when I was a kid, and so I did. I had, like, 400 bucks. I left in December, which was summer here.

ANDREW DENTON: Yes.

ANTHONY LAPAGLIA: And I was so naïve, I had no idea. I flew into New York and it was the day after a huge snowstorm had hit New York and there was mountains of snow. I'd never seen snow. I was so freezing cold when I got there and I didn't know anyone, and just basically muddled my way through New York.

ANDREW DENTON: It wasn't a short muddle either.

ANTHONY LAPAGLIA: It was long.

ANDREW DENTON: You worked pretty crappy jobs for almost a decade.

ANTHONY LAPAGLIA: Almost, yes.

ANDREW DENTON: Did you always know in your head you were going to make it?

ANTHONY LAPAGLIA: No.

ANDREW DENTON: What kept you going?

ANTHONY LAPAGLIA: I didn't care. It's because it's what I wanted to do. I grew up always being told what was possible for me. That's what I felt like. There were so many restrictions placed on me growing up,

ANDREW DENTON: As you were making your way up the acting tree, was your Australian accent helpful? Did it open doors for you?

ANTHONY LAPAGLIA: No, it was a huge hindrance.

ANDREW DENTON: Really?

ANTHONY LAPAGLIA: Yes, 20 years ago they didn't want to know if you were - well, they did want to know if you were from Australia, but for the worst reasons. When I got there the only Australian, I think, that was well-known was Mel Gibson, and that was from Mad Max. The other Australian that was incredibly famous, more than Mel, was Paul Hogan, and it was because of that Australian Tourist Commission commercial.

ANDREW DENTON: "Throw another shrimp on the barbie."

ANTHONY LAPAGLIA: "Put another shrimp on the barbie," which became the bane of my existence. Every time I went for an audition, they'd say, "So where you from?" I'd go, "Australia." They'd go, "Oh my God, we love that Paul Hogan guy. He's incredible. He's so funny, 'Put another shrimp on the barbie'. 'G'day mate'". They'd do all this and it would go on for, like, 20 minutes. I'd be sitting there, and as an actor you're all pumped up to do the audition and you're ready to go, and there's 20 minutes of, "Put another shrimp on the barbie", Paul Hogan. Then they'd, "So how's your American accent?" Well, they wouldn't - they'd say, "Okay, go ahead, read." So I'd read the part and they'd go, "I can hear your Australian accent." I used to think, "Oh, bullshit. You cannot. It's just because I was speaking with an Australian accent and you were talking about Paul Hogan and now it's in your ear and now you think you can hear it."

ANDREW DENTON: So you dropped the accent eventually?

ANTHONY LAPAGLIA: Well, what happened was, I just got fed up. So one day I went to an audition, after going through eight or nine, "Put a shrimp on the barbie," I went in and I was just fed up, and somebody said, "Where you from?" And I went, "Brooklyn." They went, "Great, let's read." That was it. There was no 20-minute discussion about shrimps or barbecues or Paul Hogan or anything, I got to just be an actor. So, from that point on, I lied.

ANDREW DENTON: Wouldn't it have been great if, at the end of that audition, they said, "We love you, but we're looking for an Australian."

ANTHONY LAPAGLIA: It's really funny, a couple of Australian parts came up in films and I would be submitted, and those people would say, "He's from Brooklyn. We don't want to see him. He's an Italian American guy from Brooklyn." So I would miss out on those parts.

ANDREW DENTON: You taught yourself Brooklynese - I don't know if that's the correct term.

ANTHONY LAPAGLIA: It is.

ANDREW DENTON: Is it? By listening to Al Pacino, is that right?

ANTHONY LAPAGLIA: Dog Day Afternoon...

ANDREW DENTON: Great film

ANTHONY LAPAGLIA: ...Was a great film that I was heavily addicted to. I decided that the best way for me would be to - you know, when in Rome, integrate. Just start speaking like an American. At first the people that knew me gave me a lot of - especially in Australia. My Australian friends were like, "God, you sound like a septic tank. You sound awful. Why do you have that accent?" I mean, I still get it now. You know, I still get...

ANDREW DENTON: I love the fact that when you're doing an Australian accent you shut your mouth.

ANTHONY LAPAGLIA: Well that's how Australians talk. They don't move their mouth. I love it. Listen, I left not being so thrilled, but I've become - because of being married to Gia, she really brought me back into Australia and a different Australian culture, and I've really fallen in love with it all over again. Australians are - there's something in the mentality, like that's why I think Australians do so well in Hollywood, because they're mentally - they don't take themselves too seriously, for the most part.

Like, I was in Myer today. I was trying to buy something. Some guy come up to me and he said, "I recognise your face." I said, "Oh yes?" He said, "You look fatter on TV." He said, "Are you fatter or did you lose weight?" I said, "Well, actually I had a," and I just thought, just to mess with him a little, I said, "I had a really horrible debilitating operation and I managed to come out of the other end of it, but I was a little bit thinner." He just went like, you know, and I thought, "Well don't ask me stuff like that." But I really appreciate that kind of candour. In LA they have big Australia actor nights and celebrations of actors doing well in Hollywood and all that stuff. It's fantastic because some Australian - inevitably, at every function - I'm going to have to use you as a dummy - they'll come up to you and they've had too much white wine so they have that white wine breath...

ANDREW DENTON: Yes.

ANTHONY LAPAGLIA: ...And they come up to you and they have no have no idea of personal space, and they're like, "I really love your films. They're fantastic, unbelievable, fantastic. The best actor I've ever seen in my life." You just, like, "Just back it off about five feet. That wine breath is killing me." I don't mind the invasion of the personal space, but that breath is really - anyway, it's the lack of pretence that I love.

ANDREW DENTON: Gia, who is sitting over there - we're going to get to you shortly. But I now realise that when I do talk to you, I'm going to feel like I'm going to know you intimately just from that moment of personal space then. I almost feel violated.

ANTHONY LAPAGLIA: That was a little too close, wasn't it?

ANDREW DENTON: No, it was absolutely fine. Let's move forward to when you won the Tony award, the first Australian ever to do so, for a 'View from the Bridge'. Yes, absolutely. In the speech you said that this was the one of the greatest moments of your life. Can you recall that thrill?

ANTHONY LAPAGLIA: It was. When they read my name out, everything just - it was at Radio City Music Hall, which is gigantic, and it was packed to the rafters with people. They called my name out and I looked at Gia and everything went into, like, slow-mo, like really like over 40s. Everything just went, you know like, whoa. I couldn't - I just could not - to this day I still can't really wrap my head around the whole thing. It was the greatest moment because, to me, theatre is the last place left, as an actor, where you can't fake it. 'View from the Bridge' is one of those plays you cannot phone in. You have to really come up with the goods every night to make that as powerful as it can be. I always felt this incredible obligation to not only the material, but my co-star in that was a woman named Allison Janney, who's now on West Wing. She's responsible, largely, for me winning that Tony because she was so amazing.

It was so intense between the two of us when we were on stage, it got to the point where these argument scenes, we'd have these big argument scenes, they became so intense that literally I would - like, the entire audience would black out for me. I wouldn't see anything. I'd see like dust, like these speckles of dust coming through the light in the air, and it felt real to me, to the point where we were having this one of these huge battles on stage and we were screaming at each other, we were like this far from each other, you know like the Australian wine thing, and suddenly I saw this look on her face, like, "Oh my God." In the middle of screaming - she was a little bit taller than me, she's tall, she's like six foot tall. In the middle of the argument she had somehow, with her two front teeth, bitten down into the front of my nose and blood started to come pouring out. I was so, like, in the thing that I didn't even feel it. But I knew something horrible had happened from the look on her face. She'd started to panic and she was doing this and she pulled out this Kleenex, she had a Kleenex, and she gave it to me, and I'm still yelling at her. I'm screaming at her and I'm yelling and screaming and then I realise, I feel like this wet thing, and I say, "Oh I've got blood." Afterwards I had to get, like, eight stitches. Her two front teeth are very big.

ANDREW DENTON: Yes, I know. Of course then you had to do this every night of the week for the rest of the year because it looked great.

ANDREW DENTON: Yes. Looking very scarred.

ANDREW DENTON: Gia, welcome. What is Anthony like when he comes home after a night at the office like that, when it's been so intense?

GIA CARIDES: After that particular night - I mean, they were just full of the story and excited and, you know, it was kind of a great exciting night about the wound of the nose. But, generally, I mean he would come home - that's an intense play and he threw himself in it completely - but he would never, kind of, come home tortured from it or even exhausted seeming, he would just come home like it was just another day at work. He really does show up, do the job brilliantly and just come home and sit back on the couch, put the soccer on and get some ice cream. I mean, really, that's the guy.

ANDREW DENTON: Anthony said, when he won the Golden Globe for Without a Trace, that he thanked you for supporting all his bad habits. How much support are we talking about here?

GIA CARIDES: He doesn't have many bad habits that I have to put up with...

ANDREW DENTON: I do. I have, like, Attention Deficit Disorder, you know, and stuff...

GIA CARIDES: Look, he's obsessed with soccer, which I think is a fantastic, healthy habit. He's not one of those guys that really watches it from morning to...

ANDREW DENTON: Is he pathetic when he comes home from a game? I mean, is the metal hip clanking on the floor? Is it like...

GIA CARIDES: No, no, look, I just want to go back to the metal hip. I've never said to you, "You've got a metal hip in there, don't play anymore."

ANTHONY LAPAGALIA: I thought you suggested to me at one point...

GIA CARIDES: No, when you were recovering.

ANTHONY LAPAGLIA: Oh, when I was recovering, you said...

GIA CARIDES: He was supposed to not play for 10 weeks and he was, sort of, trying to get back on the field about three weeks after the operation. I was like, "Come on, darling, don't fall on it and have it poke through your healing flesh and have to have the operation again."

ANDREW DENTON: Yes, she likes to make it vivid.

GIA CARIDES: That's the truth of it. But I completely support the soccer. When he has lost, he will definitely come home from a game - and he's really sweet and he'll come in the house and, sort of, hug me and kiss me more or something, and I'll say, "Did you guys lose?" And he goes, "Yes." He's a bit gentler and sweeter. When he's won, he's buoyant, he'll come in happy. But he's a little bit gentle and sweeter when they've lost.

ANDREW DENTON: Anthony, recently you went on the Barbara Walters Show and you referred to the fact that all Gia seems to want to talk about at home is kinky sex. Now, can we get a little bit of clarity here?

ANTHONY LAPAGLIA: Okay.

GIA CARIDES: It's a good story. It's a little long. We'll try and make it short.

ANTHONY LAPAGLIA: I'm going to let her tell the bulk of it because she tells it much better than I do, but I want to set up the premise first. First of all, I'm, like, terrible - I'm not great at a lot of this stuff. I'm not great at a lot of talk show stuff, and in America it's not as relaxed as this. You know, you got five minutes, you tell a funny story and get out. So I go to do 'The View' - I don't know if you get it out here, but it's five women and they're talking about women's issues and stuff. I got there and there was this AD, studio executive, whatever it was, bouncing around, going, "Now when you get out there, you got to really flatter the ladies. You really got to," and there were these signs going everywhere saying - there was a sign next to the make up mirror saying, "Flatter the women, flirt with the women." Do this, do that, do that. It was like instructions everywhere. So I was like - and I wasn't listening to what they were talking about before I got out there; and to Gia.

GIA CARIDES: Before he came on, the guest prior to Anthony was Marcia Cross, who's the beautiful redheaded actress from Desperate Housewives. She's a gorgeous woman, she's 42, single, beautiful, and because she's 42 and single America has decided to say that perhaps she's gay. So she was on the show, clearing her name as a heterosexual actress who happens to be 42 and single, like, you know, "Sorry for that, but it doesn't make me gay." So he walks out and as soon as he sits down, Joy Behar, who's the, kind, of fast-talking, deep-voiced, sort of, tough chick, immediately as soon as he walks out says, "So, Anthony, are you a lesbian?" Anthony replies, "No, but I'm thinking about it," and he gets a huge laugh. So that's great, you know. The innocent just comes out with this line. Then the next question thrown at him is Barbara Walters saying, "So, Anthony, what about kinky sex?" Anthony says, to his credit again, "I don't know, Barbara, it's eight in the morning. What did you have in mind?" He gets another huge laugh. So at this point he's gotten two huge, fantastic laughs, and then the other girl, who is like 32 and pregnant, says, "No, seriously, Anthony, is kinky sex something you can talk to your wife about?" Anthony just comes straight out with, "Kinky sex? My wife loves talking about nothing more than kinky sex. My wife loves talking about sex. If my wife wrote a life thesis, it'd be on sex. She does nothing but talk about sex." It's like he had Tourette's talking about sex, talking about me and sex.

ANTHONY LAPAGLIA: I just lost the plot.

GIA CARIDES: Now, I'm definitely a bit of loudmouth and I'll talk about sex, but I mean kinky sex, you know.

ANTHONY LAPAGLIA: I just wanted the ground to open up and swallow me as far as...

GIA CARIDES: He got lost in the whole world of kinky sex.

ANDREW DENTON: Were you watching this unfold?

GIA CARIDES: I wasn't watching it unfold, no. I saw the show hours later, and then of course we went on-line and Australian headlines were running with it, with, you know, "Gia's big fat kinky sex chat," were, you know, the Aussie headlines. It just made me laugh because I'm married to a Catholic boy who lost his virginity at 20.

ANTHONY LAPAGLIA: Nothing funky, let me tell you.

GIA CARIDES: Needless to say, there's no kinky sex. I've married a loyal, beautiful...

ANDREW DENTON: Excuse me one second. 20?

ANTHONY LAPAGLIA: 20. Thanks for sharing.

ANDREW DENTON: More seriously, you talk about the press in Australia. There was a story in one of the women's magazines a few weeks ago, God bless them, about your marriage difficulties, your marriage splitting up, which you came out about, saying, "This is rubbish." How do you guys deal with that kind of stuff?

GIA CARIDES: Well that was the first time anybody had ever written anything awful about us, actually. Awful and incorrect.

ANTHONY LAPAGLIA: Second. The first time was about me --

GIA CARIDES: Oh, first one was The Enquirer.

ANTHONY LAPAGLIA: I laugh. Listen, some of it's hilarious and some of it you just have to laugh at because...

GIA CARIDES: We did read that article, giggling, on the computer.

ANTHONY LAPAGLIA: It comes as...

GIA CARIDES: Just ticking the box of all the mistakes in the article.

ANTHONY LAPAGLIA: But this is what I love is. It's the first time I ever had somewhat negative press. I've been very lucky in Australia, actually, the press have been great to me. But, as I said, I play soccer all the time and I've been in various states of disrepair physically. My weight's gone up, down, whatever. About two years ago I came out and I was playing for a local team just on Sundays, to have some fun. But they didn't have dressing rooms or anything, so I would whip my shirt off and just put my goalie shirt on, and some paparazzi guy just took shots of the gut, right. Then they put them in...

GIA CARIDES: New Idea, I think. Woman's Day, or one of those...

ANTHONY LAPAGLIA: Woman's Day, or one of those things, and you know like...

ANDREW DENTON: They said you were pregnant.

ANTHONY LAPAGLIA: La Pudgia. No, no, I was called La Pudgia, and it was a really, kind of, mean-spirited article, right.

GIA CARIDES: Nasty.

ANTHONY LAPAGLIA: It was mean-spirited. I thought, "You know what? I'm going to give them a call." So I called the managing editor and I said, "Do we know each other? Did I do something to offend you or something, did I?" In actual fact I had. What had happened was that Bridget had been born and they had approached us about getting a photo of her, and we'd made a decision that we may have made the choice to be in show-business, but our daughter has not, therefore we'd like to protect her from it. It was really interesting because I hadn't realised that it was the ripple effect of that. It kind of slipped out of her. She said, "Well, you know, if you'd done the photo with your baby in the first place, this would never had happened." I just went, "Oh, okay, I get it. This was like a little bit of payback for not playing ball with you guys." So I said to her, "It's very mean-spirited, what you've done." I said, "How much would you have paid that photographer to," and she said, "You know, two or three thousand." I'm not sure if they're telling the truth or not, "Two or three thousand dollars for that photo?" I said, "I tell you what, I'll make a deal with you. If you donate the same amount of money to the Starlight Foundation I won't be mad anymore, I'll drop it." She said, "Okay," and they did. So I emailed her and I said, "Thank you very much for the donation to the Starlight Foundation. Next year I'll give you a shot of my ass if you donate five thousand dollars."

ANDREW DENTON: Is it worth that, Gia?

ANTHONY LAPAGLIA: Oh it's worth twice that, Andrew.

ANDREW DENTON: Five for each buttock. The thing is, though, whatever the truth of your marriage, once these rumours are out there people think that of...

ANTHONY LAPAGLIA: Well my mother calls me. My mother calls me up and her sister...

GIA CARIDES: Most people think those magazines are gospel truth.

ANTHONY LAPAGLIA: My mother reads them, like, you know, they're real, it's real.

GIA CARIDES: They kind of get the facts vaguely right. But the funniest one was that - I'm thrilled that he's bought into this soccer team. I've got no issue with how he spends his pocket money, you know. I've got no - I couldn't care less. But they said that I was so furious with his "cash splashes". The wording they use is always so funny, too, that some friend said 'Gia's fuming with every cash splash'. I don't think anybody says 'cash splash'. A journalist does, but a human being doesn't, you know. So you can always tell that they're always making it up in the room, you know.

ANDREW DENTON: So if your marriage breaks up, it's a 'Cash Splash Smash'.

ANTHONY LAPAGLIA: Yes, it's fantastic.

ANDREW DENTON: '...Flash'.

GIA CARIDES: I think they must literally sit around saying, "Who's been married seven years? Look up the files," because of the seven-year itch, because I think we'd literally been married seven years, I think, when this article came out recently. But we tricked them because we were together five years before that. So our seven-year itch was years ago, you know.

ANDREW DENTON: Anthony, Gia said a lovely thing about you before. What do you love about Gia?

ANTHONY LAPAGLIA: Oh, pretty much everything. She's beautiful. She's really funny, makes me laugh almost everyday, which is a huge thing in your relationship. She is an unbelievable mother. We have a little girl and she was built to mother. She takes such extraordinary care of that child, who we both love and worked very hard to have. I've had the unique opportunity of having to look after her for a whole day by myself, and at the end of that day realised what a saint my wife is, because it's hard work.

ANDREW DENTON: Is it true, Gia, that you're teaching Bridget to speak in an Australian accent?

GIA CARIDES: I just speak in my accent, and I mean, yes, we're in America, but she hears me. So she says, you know, 'fast' and 'past' and she's not running around saying 'fast' and 'past'. But the last two weeks she's developed a really broad Australian accent. A girlfriend of mine is Allie Fowler, the actress, and Bridget says, "Allie Fowler," you know this really strong...

ANTHONY LAPAGLIA: And, "I loike her. I loike her."

GIA CARIDES: "I loike it."

ANDREW DENTON: Have you been showing her 'Kath and Kim' tapes? Is that...

ANTHONY LAPAGLIA: Oh, we love 'Kath and Kim'.

GIA CARIDES: Well I don't show her 'Kath and Kim', but I do say to her, "Kimmie, look at me, Kimmie," I can't help it. So I say that to her and she - I did teach...

ANTHONY LAPAGLIA: Gia's actually fiercely Australian.

ANDREW DENTON: Yes, yes.

GIA CARIDES: Anthony teaches her James Cagney, 1940s black and white gangster dialogue.

ANTHONY LAPAGLIA: Yes, yes. I'm a huge...

ANDREW DENTON: So what's she saying?

ANTHONY LAPAGLIA: I did. I taught her how to say, "Back off, you dirty screw, you'll never put me back in the can."

GIA CARIDES: Seriously, I had her at toddler group one day in LA and it's a great toddler group, it's very forward thinking and very down-to-earth and it's in a really beautiful leafy little gully. It, sort of, reminds me of Australia. One of the lovely mothers was standing there and Bridget just looks up at her and said, "Back off, you dirty screw." I had to, kind of, say to the mother, "Well, daddy loves his 1940s gangster films, you see."

ANDREW DENTON: You mentioned the 'splash cash' earlier, and you've actually been quite outspoken about the salaries paid to stars.

ANTHONY LAPAGLIA: Yes.

ANDREW DENTON: You think a 25 million dollar salary is wrong for Hollywood stars. Have you ever considered...

ANTHONY LAPAGLIA: The actual thing that I say is this, the advent of the 25 million dollar actor has kind of ruined movies. Has actually ruined movies. Because what's happened is this, two things. It's affected the quality of scripts. It's also affected the quality of - I'm basically a character actor. Now, I don't begrudge anybody getting paid 25 million dollars. That's fine. If that's what you're worth and that's what the studio wants to pay you, that's fantastic for you. However, what's happened is, is that the studios then say, "We spent all the money on that guy," or that girl, "and we can only pay you scale."

There's a level of narcissism in the films now, where it's not really about the story anymore. Because the studio is paying the person that much money, they want every single frame - that person has to be in every single frame and all the supporting actors are nothing more than connective tissue or furniture to get that actor to the next point in the story. So the scripts suffer. In the old days, if you look at the movies from in the '70s, for example, even the supporting characters had an arc. They started somewhere, they went somewhere and they finished somewhere. Now, you see a character come into a film, have his two little seconds and then they're gone. There's no explanation of where they went, what happened to them, nothing. I know what happened to them: There's no money for them to do anything. It went all on the other person.

ANDREW DENTON: If you were to be offered 25 million dollars to do a film...

ANTHONY LAPAGLIA: Mm'hm. I've often said this, but you know what, it's easy for me to say it because it's never going to happen. Listen, I'm a working class boy from Adelaide. If somebody offered me 25 million bucks my teeth would fall out, you know. I'd have to say - you know, I'd have to think, yes, well of course I want to do it. But I'm also connected enough, still, to the real world to think this thought, I want the best actors around me because they're going to make me look even better. To get the best actors around me, you got to pay them more. So therefore I'll take a chance on the film and I'll take less money, but give me a piece of the back end of the film. So if it succeeds, I succeed; if it fails, it's my fault too. If you're lucky to be born with the gift of acting, with the gift to be able to act and communicate, that's a gift. As you become more successful, it's incumbent upon you to exhibit largesse as a person. You have a lot of power, you make a lot of money for, really, doing bugger all, to be honest with you. Acting's not rocket science. I've never found it difficult. I found some things difficult to do, but it's a joy for me to do it, so...

ANDREW DENTON: Have you ever discussed this with Russell Crowe?

ANTHONY LAPAGLIA: No. I haven't.

ANDREW DENTON: I would love to hear the conversation between you about this.

ANTHONY LAPAGLIA: I've met Russell on a number of occasions in the past and I don't know what his feelings would be about that, but...

ANDREW DENTON: Yes, you do.

ANTHONY LAPAGLIA: Well, I wouldn't venture to comment on them, you know.

ANDREW DENTON: Different philosophies?

ANTHONY LAPAGLIA: Listen, the truth is, is that Russell is probably one of the finest actors that New Zealand's ever produced. I'm kidding. He's very much Australian. He spent his most formative years here and he is one of the finest actors, I think, in the world.

ANDREW DENTON: We're getting towards the end of the interview, but I do want to show this. This is from 'Lantana', the Ray Lawrence film, with Geoffrey Rush and Anthony LAPAGLIA.

(FOOTAGE SHOWN)

ANDREW DENTON: You play a lot of tough guys, a lot of hard men. Is there a trick to that? Do you clench your buttocks? What's the technique?

ANTHONY LAPAGLIA: For 5000 dollars a buttock I do. I don't know. I think it's just because of the way I look physically, because I'm not a tough guy by any stretch of the imagination, you know.

ANDREW DENTON: You know what it is to be angry though. You were angry when you were younger, you've said, in your past, you...

ANTHONY LAPAGLIA: Oh sure. Listen, I have a whole, like, well of stuff in there to tap into. Things change as you get older. The things that fuel you when you're young - all that anger and determination that I had when I was young was all about proving everybody wrong, that I would not end up in jail and good for nothing. It then, once you start to achieve some kind of success - you know, it took me a long - I didn't really get anywhere, you know I did - no, I was in New York for 10 years without much success. I did a lot of theatre and stuff, but nothing in terms of film or TV. But I was happy because it was what I wanted to do, it was my choice, and it didn't matter if I made money out of it or not. It wasn't important. In a way it's weird, as I've gotten older and more successful, some of it's become less enjoyable, because as you become more successful there's more responsibility that goes with it, and the more you start thinking about the wrong things. Like, you know, money or - it just starts to creep into - and you have to constantly check yourself.

ANDREW DENTON: Because you've said that you may give acting away. To do what?

ANTHONY LAPAGLIA: Oh, to be, you know, on the board of Sydney FC. That would be my - I tell you, it's the greatest thing I've ever done in my life, was to invest in this team. It makes me proud to be associated with them and, to be perfectly honest, I live a little vicariously through them as well.

ANDREW DENTON: I can see the light in your eyes.

ANTHONY LAPAGLIA: Oh, it's amazing. I love it.

ANDREW DENTON: You may not be very experienced at doing this sort of television, but you're bloody good at it. Anthony LAPAGLIA, thank you very much. Thank you Gia.

ANTHONY LAPAGLIA: Thank you.

J'ai mis 3 plombes à lire cet article mais il est super intéressant. ALP est vraiment incroyable. Merci pour l'article Jenny.

ALP sera l'invité de Ellen c'est un show le 2 décembre. Bien sûr si j'arrive à obtenir une vidéo je la mettrai en ligne et sinon je vous donnerai les informations.

Super good news interessant j'espère ALP va lacher les spoils

Dernière nouvelle, publiée il y a une heure, ALP coupe les liens avec le Sydney FC

ALP et FC Sydney c'est fini

Le deuxième article on a le sentiment et les explications de ALP, et c'est fraiment un type bien mais ça on le savait déjà:

Commentaires ALP

Finalement, Anthony ne sera pas chez Ellen ce soir d'après la liste des invités finalement fournie. Peut-être a-t-il un empêchement?

Pas de nouvelles de lui depuis un certain maintenant, espérons qu'il se porte bien.

Et voilà, sur le site d' Ellen on peut s'apercevoir qu' ALP devrait y être le 9 décembre, il a décalé d'une petite semaine, rien d'affolant.

1 p.m. The Ellen DeGeneres Show: Actor Anthony LaPaglia ("Without a Trace"); Darius Rucker performs.

ça c'est une big news thank a lot