Jennifer Aniston’s Nightmare Is Our Reality In Adorable New Emirates Ad

Emirates,  a mainstay on any “Best Airline” list, has called on a familiar friend to help demonstrate its superiority over other carriers. 

Jennifer Aniston, clad in a bathrobe, stars in the new ad, which finds her aboard a flight with — gasp! — no shower and no bar. 

A self-proclaimed nervous flyer, Aniston is horrified to find out from the flight staff that all the second rate airline has to offer her are hot towels and peanuts, a reality us coach-flying-mortals are very much used to. 

Luckily, she awakes safe and sound in a first class Emirates cabin, free from the horrors of shower-less airplanes. She asks, “Is there someone that we can talk to about maybe flying this around a little bit longer?”

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Did Tony Curtis Say That Kissing Marilyn Monroe Was “Like Kissing Hitler”?

There is a particular fascination among movie fans with the on-screen kisses. The greatest smooches live on for decades after all the parties involved have long since passed away. Thus, it is no surprise that there are a number of legends out there about on-screen kisses, whether it be the surprising fate of Elvis Presley’s first on-screen kiss or the clever way a film managed to adhere to Kirk Cameron’s strict rule to kiss no one but his own wife.

One of the most famous legends about an on-screen kiss is what Tony Curtis supposedly said about kissing Marilyn Monroe when they filmed the classic Billy Wilder film Some Like It Hot together in the summer of 1958.


Curtis and Monroe had actually had a bit of a tryst in the very early 1950s (likely 1950 exactly, but maybe 1949), when neither were particularly famous.

But by the time they co-starred together in Some Like It Hot, Curtis was an established box office star and Monroe, well, Monroe was already a bit of a pop culture icon.

An icon that did not appreciate the fact that she was playing yet another dumb blonde in her first film in two years. She had come out of semi-retirement to appear in Some Like It Hot, but it is clear that she was not thrilled to do so, but rather was making a concession to the fact that it was likely to be a hit film.

While filming Some Like It Hot, Monroe was habitually late, ruined scenes and was overall an extremely difficult person to be around. Director Billy Wilder did not even invite her to the wrap party for the movie.

In the film, Curtis plays Monroe’s love interest.


When asked what kissing Monroe was like, Curtis reportedly said it was “like kissing Hitler.”

The story became an instant Hollywood legend, the sort of thing that would be repeated no matter the veracity.

As to the truth of the quote, Curtis muddied that up when he denied saying it a number of times. In an interview about fifteen years ago, Curtis said of Monroe:

She would play Jack Lemmon off against me or me against him, and Billy Wilder against both of us. But I never said kissing her was like kissing Hitler! I don’t know where that came from.

Where it came from was a screening room during the making of Some Like It Hot where most of the crew were watching the dailies of the film. Someone commented that Curtis’ kissing scene with Monroe looked like he was really enjoying himself, so they asked what it was like. Curtis blithely responded that it was like kissing Hitler. It got a big laugh, although it greatly upset Paula Strasberg, who in the room (Strasberg was Monroe’s acting coach, and her confidante – she was on the film as a sort of mini-entourage for Monroe). Monroe was not in the room at the time, but she of course was filled in soon enough by Strasberg. The room was filled with plenty of witnesses to the quote, though.

Soon before his death in 2010, however, Curtis finally admitted to the story, only he argued that it was not serious, he was just trying to get a laugh and to also make fun of the absurdity of the question.

That sounds believable enough, but either way, the legend is…


Thanks to David Fantle’s Reel to Real: 25 Years of Celebrity Interviews for the first quote from Curtis, and thanks to Curtis’ autobiography, released soon before his death, American Prince: A Memoir for his final admission regarding the quote.

Be sure to read more film legends like this at my archive of movie legends here.

Feel free (heck, I implore you!) to write in with your suggestions for future installments! My e-mail address is

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Jay Leno Disguises Himself As An Uber Driver

His massive chin veiled by a fake beard, former “Tonight Show” host Jay Leno hit the road recently. No, not for a string of standup gigs, but to go undercover as an UberBLACK driver to promote his new show set to air Wednesdays on CNBC, “Jay Leno’s Garage.”

He tells unsuspecting passengers his name is Rocco and he asks whether they would prefer to be driven by Jay Leno or David Letterman. Some rivalries never die.

 H/T Viral Viral Videos

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Jennifer Lawrence, Amy Schumer, Aziz Ansari And Chris Pratt Are Our New Favorite Squad

Jennifer Lawrence and her new BFF/writing partner Amy Schumer hung out with master hair braider and “Jurassic World” star Chris Pratt and funnyman Aziz Ansari over the weekend, and we may or may not be freaking out. Talk about #squadgoals.

Both Schumer and Ansari shared glimpses of the quartet’s weekend activities via Instagram, and if they’re any indication of future hangouts, we’ve got plenty to look forward to. 

It all started with a wakeup call.

This morning @azizansari and Jen woke up an angel #sleepmanager

A video posted by @amyschumer on

And then they got down to working. Just look at this short film, “Hi Guys,” directed by Lawrence and starring Ansari and Pratt.

Does this mean Pratt and Ansari will appear in the Schumer-Lawrence comedy we’re all waiting for? We hope so. 

H/T Vulture

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Cuba and Mick Jagger’s Kiss

We never got to hear Michael Jackson and Whitney Houston on our national stages. Freddie Mercury died without touching down in Havana, and when The Beatles broke up, we were a country where English music was considered ideological diversionism. We followed the career of Elvis Presley from a distance and the charismatic Amy Winehouse slammed the door on life without stepping foot on this island. However, now we are about to regain part of what was lost: Mick Jagger’s emblematic mouth is here, the eternal youth of The Rolling Stones has arrived.

While the analysts debate, looking for signs of change in the Cuban political or diplomatic scene, transformations are capricious and take another direction. This country is not going to change itself into a new nation because John Kerry visited, nor because of the third visit by a pope in less than two decades. But Cuba is changing when people like this British rocker, icon of good music and of the greatest possible irreverence, touch down in Havana.

The vocalist, 72, has made his way through the streets of Havana leaving a trail of incredulity and beating hearts. It is not, admittedly, the excitement provoked by Beyoncé or Rihanna with their escapades in this theme park of the past, but Jagger’s visit has more profound connotations. For several generations of Cubans he represents the forbidden, an attitude toward life that was denied us by an obsessive police control.

For a political system that tried to form the “New Man,” with a Spartan spirit, “correct” and obedient, this skinny guy with his turbulent life signified the anti-model, what we must not imitate. However, the laboratory man hawked by the pedagogical manuals didn’t work out… and Mick Jagger won the battle against the prototype of the militant boy, hair cut short and willing to denounce his own family.

A friend close to 70 came out into the streets this Sunday with the energy of a girl celebrating her fifteenth birthday. “Where is he?” she asked the guard at Hotel Santa Isabel, where the official news reported the idol of her youth to be staying, but the man gave her no details. Like an obsessed schoolgirl, she walked all the streets around the hotel looking in the windows, to try to see the lean figure of the leader of the Rolling Stones.

The lady displayed none of these reactions toward the American secretary of state, nor before the Bishop of Rome. For her, all these exalted visitors were in the range of the possible, no longer surprising nor moving. But Jagger… Jagger is something else. “I don’t want to die without seeing him,” she told me on the phone, with the conviction of one who will not tolerate leaving this world without “closing an era,” putting the capstone on her “best years,” she told me.

My friend infected me a little with her enthusiasm, I must confess. No sermon in the Plaza of the Revolution, no speech to open an embassy, caused my stomach to jump this way, a sudden feeling of living in historic times. A nervousness that will last until we see the legendary British band play next March at the Latin American stadium, in front of a crowd that will try to recover its lost years.

Jagger is much more than the living legend of rock and roll presented by the media. This beanpole, all mouth, all energy, all life, embodies a time that they snatched from us, an existence that we could have had and that they took from us.

It seems a shame to me that the political analysts don’t realize it: the future Cuba could start with the Rolling Stones in Havana.

14ymedio, Cuba’s first independent daily digital news outlet, published directly from the island, is available in Spanish here. Translations of selected articles in English are here.

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These Were The No. 1 Songs When Each MLB Playoff Team Last Won The World Series

The MLB playoffs are here! And with them inevitably comes talk of how long it’s been since Team X last won it all. 

Two teams this year are actually on the hunt for their first World Series title — hi, Rangers and Astros! — but for the other eight, there was a moment in time when they were king. To really convey how long it’s been since each team claimed a championship of its own, we decided to set the clocks back and list the songs that were No. 1 on Billboard’s Hot 100 list the week your playoff team last won the World Series. Sorry, Cubs fans. (Note: For the Rangers and Astros, we’ll just go with the the top song when they last appeared in the World Series.)

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Profiling the 15 Types of Movie Villains

This Post originally appeared on the blog ScreenCraft. ScreenCraft is dedicated to helping screenwriters and filmmakers succeed through educational events, screenwriting competitions and the annual ScreenCraft Screenwriting Fellowship program, connecting screenwriters with agents, managers and Hollywood producers. Follow ScreenCraft on Twitter, Facebook, and YouTube.


“Each film is only as good as its villain. Since the heroes and the gimmicks tend to repeat from film to film, only a great villain can transform a good try into a triumph.” — Roger Ebert

Villains. Throughout cinematic history, audiences have seen many come and go. They’ve booed them, hated them, loved to hate them, and sometimes even rooted for them. Before we get into the logistics of what makes a villain a villain, what drives them, and what types of villains fit best into any given genre or story, we must first define the word and differentiate it from another classic cinematic term.

Villain vs. Antagonist

Most writers will say that they are one in the same, however, at times, nothing could be further from the truth.

Villains are defined as “evil” characters intent on harming others.

Antagonists are defined as characters that work in opposition of the protagonist (the hero).

Villains aren’t always the antagonists — often, but not always — and antagonists aren’t always the villains. Case in point, Samuel Gerard (Tommy Lee Jones) from The Fugitive. While he is clearly the antagonist by definition — he is in opposition to Richard Kimble’s (Harrison Ford) escape — he is not the villain because there are no evil intentions.

So there is some gray area to be sure. Villains and Antagonists (and even Protagonists to a degree) do not live in a black and white world in the realm of cinematic and literary storytelling — a lesson that most writers can learn from. The best stories often blur the lines between antagonist, villain, and protagonist.

What Makes a Villain a Villain?

ScreenCraft has covered protagonists very well in Four Keys to Developing a Strong Protagonist and Five Keys to Making Your Protagonist Likable, but what makes a villain a villain? From the definition and breakdown above, we know that villains often have evil intentions that oppose the protagonist. I say “often” because that’s not always the case. How do we define evil? Cinema is subjective so we could argue this point all day, however, when looking at your own characters and stories, you need to put that term in a certain context depending upon what type of genre that “villain” is in.

Look at a film like Ferris Bueller’s Day Off — a comedy. Principal Rooney is clearly not evil, however, if you look at it from the context of the film — namely from the perspective of teenagers like Ferris, Sloane, and Cameron — Rooney is “evil” in terms of representing authority that opposes their will to have fun and enjoy life and school to its fullest. We all know how most teenagers feel about authority, especially a principal like Rooney, so in their eyes at that point in their lives, he’s evil — especially since comedies are allowed to present characters in more satirical or caricature fashion, which enhances the major elements in villains and antagonists. In the case of Gerard in The Fugitive, Kimble knows that Gerard is just doing his job. This moment between those two solidifies this notion:

So the word “evil” must be looked upon in a certain context, namely through the eyes of the protagonist. In fact, one of the greatest villains in cinematic history is Man. Man is the personification of evil in Disney’s Bambi. Now, we all know Man (in general at least) isn’t evil, however, in the eyes of Bambi, Man killed the one Bambi loves for no good reason. So it’s all in the context.

15 Types of Villains

With all of this gray area, how can writers differentiate between types of villains and what makes them do what they do? And how do writers know if a certain type of villain fits well into the context of their genre or story?

Here we’ve taken a look at some of the greatest villains of all time, many of whom are present in AFI’s celebrated 100 Heroes and Villains, and many of whom didn’t make that list — or came after it — but stand ever-present in the halls of cinema’s best villains.

While labeling villains is a difficult task, know that these are the general villain types in cinema, television, and literature — types that can be blended into whatever hybrid villain any given story needs.



Dr. Hannibal Lecter — Silence of the Lambs

Vincent and Jules — Pulp Fiction

Patrick Bateman — American Psycho

The Anti-Villain is pretty straight forward. While their intentions may be evil, such characters are present in the type of story that showcases that “villain” as having characteristics that are appealing or sympathetic to the audience. Anti-Villains are often, but not always — in the case of Hannibal Lecter — the forefront of the story. One could even say that they are written as the protagonist, as is especially the case in Pulp Fiction with Vincent and Jules. Make no mistake, they are evil. They have done some evil things. You could put those characters in other categories below, namely The Criminal, however, because we learn more about them and learn that they have appealing and sympathetic characteristics, and because we are seeing much of the story through their perspectives, they’ve now become Anti-Villains.

The Authority Figure


Principal Rooney — Ferris Bueller’s Day Off

Bill Lumbergh — Office Space

Gny. Sgt. Hartman — Full Metal Jacket

The Authority Figure is often an example of how “evil” is defined in terms of context. These three characters above are perfect examples. The Authority Figure represents opposition to a character’s free will. This type of character excels in a wide variety of genres, but often are more prevalent in comedies and dramas. Audiences always identify with opposition to authority. In films like the above, it’s easy to see that the protagonists look upon these characters as “evil” despite the fact that in the end, for the most part, they are just doing their jobs. That’s not to say that they are doing them right or well, but their intentions are to run a school, run an office, create soldiers ready for war, etc.

The Beast


The Alien — Alien

The Shark — Jaws

The Whale — Moby Dick

The Bear — The Edge

The Beast could just as easily be defined as Mother Nature (see below), however, we differentiate because the struggle is all too often much different between the two. The Beast has intent, whether it be due to their instincts or through the need to feed. Mother Nature is just ever present with no intent and humans and animals alike must survive through it. The Beast is something that is unleashed, stumbled upon, or stalking with the intent to kill. This type of character flourishes in horror and thriller genres. It can also be blended into other villain types, as is the case with the Alien in Alien. In the context of Alien, the alien is a beast rather than just a mere extraterrestrial.

The Bully


Mr. Potter — It’s a Wonderful Life

Johnny Lawrence — The Karate Kid

Biff Tannen — Back to the Future

The Socs — The Outsiders

Skut Farkus — A Christmas Story

Ace Merrill — Stand By Me

Nurse Ratched — One Flew Over the Cuckoo’s Nest

Fletcher — Whiplash

The Bully is straightforward opposition to the protagonist, often for little to no reason beyond the psychological explanations as to why bullies do what they do, whether it be due to stance in society (The Socs), lack of quality ethics or morals (Ace Merrill), or just outright meanness (Biff Tannen). Given what each of those films tell us — or don’t tell us — about The Bully, it’s simply a character that all audiences can identify with, thus it’s a character that is best saved for dramas and comedies, as you’ll see with the above examples. Action, thrillers, suspense, and other sub-genres like crime thrillers require a bit more in their villains. With The Bully, less is required. They’re just mean to be mean with little to no explanation needed.

The Corrupted


Michael Corleone — The Godfather Trilogy

Regan MacNeil — The Exorcist

Noah Cross — Chinatown

Captain Bligh — Mutiny on the Bounty

Mrs. John Iselin — The Manchurian Candidate

Gordon Gekko — Wall Street

Frank Booth — Blue Velvet

Alonzo Harris — Training Day

Little Bill Daggett — Unforgiven

Jack Torrance — The Shining

The Corrupted are often those that were once good, but have fallen. Look no further than Michael Corleone for a perfect example. If they haven’t fallen, they are simply characters that are in positions of authority that should be good, but aren’t. Corrupt cops, corrupt businessmen, corrupt politicians, etc. We also include supernatural intervention in the likes of Regan MacNeil and Jack Torrance. Their souls are corrupted. This is a very broad category and can apply to stories in almost all genres, namely dramas, thrillers, crime thrillers, horror, action, etc. Comedy isn’t as represented by The Corrupted villain, but there could be a place for them in any context.

The Criminal


Clyde Barrow & Bonnie Parker — Bonnie and Clyde

Tom Powers — The Public Enemy

Tony Camonte — Scarface

Frank Lucas — American Gangster

James Conway, Henry Hill, and Tommy DeVito — Goodfellas

The Criminal is just that… a criminal. They often broadly represent villains that are in it for money and power. And they will all too often do whatever it takes to get it. The Criminal is obviously most present in the crime thriller or crime drama sub-genres, however, they play well in action and dramas as well. Characters classified as The Criminal can often be considered as The Anti-Villain as well, as is the case with the wiseguys in Goodfellas, especially Henry Hill.

The Disturbed


Norman Bates — Psycho

Annie Wilkes — Misery

The Disturbed can be a very broad villain type. The Joker (see below) could easily be put into this category by some, however, we’re given no real insight into why he is the way he is — hence his classification below. We define The Disturbed as those with clear psychological problems. Norman Bates and Annie Wilkes are perhaps the perfect examples, both of whom are present in the horror genre. The key factor for a villain to fall under The Disturbed type is that they showcase some clear inner personality struggles. With both Norman and Annie, we see that they have a gentle and sympathetic side. We see qualities that make us sympathize for them. However, unlike the Anti-Hero type, we clearly do not find ourselves rooting for them by any means. This villain type is best represented by the horror and suspense thriller genres, because the fact that they are disturbed means that they will clash with the protagonist, often in violent and unpredictable fashion.

The Equal:


Neil McCauley — Heat

General Zod — Superman II and Man of Steel

The Equal isn’t as represented in most genres compared to others. The Equal shares the same skills, knowledge, and/or savvy of the protagonist, however, the ethics between the two are quite different. We know that Zod has the same powers that Superman has. They are equal in that respect. However, they differ in ethics and morals. And for Heat? Well, look no further than this iconic scene to showcase how the villain and protagonist are equal. In fact, this is another perfect example of gray area because McCauley is also clearly an Anti-Villain. Regardless, let’s look at him in this context as The Equal.

The Equal is usually found in superhero, action, and thriller genres because it’s enticing to watch two characters with similar characteristics but different ethics and morals going head-to-head, which leads to action and thrills most of the time.

Femme Fatale


Alex Forrest — Fatal Attraction

Eve Harrington — All About Eve

Suzanne Stone — To Die For

Catherine Tramell — Basic Instinct

Ilsa Faust — Mission Impossible: Rogue Nation

The Femme Fatale is one of the most classic villain types. An attractive and seductive woman, especially one who will ultimately bring disaster to a man who becomes involved with her. Because this villain type will clash with the protagonist, she best fits into the thriller genre, namely the sub-genres of crime thrillers, spy thrillers, and film noir. This villain trope can often be utilized in comedies as well, and needless to say is in almost every James Bond movie. The interesting aspect of this villain is that the Femme Fatale can work both sides of the conflict, and can even come out as a protagonist in the end… or not. Look no further than the end of Basic Instinct.

The Henchman


Boba Fett — The Empire Strikes Back and Return of the Jedi

Agent Smith — The Matrix

Mr. Joshua — Lethal Weapon

Clarence Boddiker — Robocop

The Henchman is the one that works for either The Mastermind or the overall major baddie of the film. They are often the most skilled, the most lethal, and the most ruthless of villains. They exist to do nothing but the bidding of their boss, which often means that they are in nothing but constant conflict with the protagonist — and they’re doing all of the dirty work that The Mastermind can’t or won’t do. They prevail in the action and spy thriller genres especially.

The Machine


HAL 9000 — 2001: A Space Odyssey

Terminator — The Terminator

Ultron — Avengers: Age of Ultron

Roy Batty — Blade Runner

The Machine is often one of the most terrifying of villains because they are lifeless. They have no emotion. And they can’t feel pain or fear. They are cold and calculating. The Machine is obviously best represented in the science fiction genre. Kyle Reese explains the draw of writing such a villain through his classic description in the below clip.

The Mastermind


Hans Gruber — Die Hard

Verbal Kint — The Usual Suspects

Auric Goldfinger — Goldfinger

Lex Luthor — Superman

Dr. Evil — Austin Powers Trilogy

The Mastermind is a favorite in the spy thriller genre especially, namely in almost every James Bond film, although we often see them appear in action movies as well. This is the brilliant and ruthless character that oversees the whole diabolical plan that is in opposition to the protagonist’s, however, all too often, they are not the characters directly opposing the protagonist — in a physical sense at least. That’s what they have The Henchman for. Everything may lead to a final confrontation of sorts, but most of the time The Mastermind is just that — the mind — while The Henchman works as the muscle.

Mother Nature

The Twisters — The Twister

The Storm — The Perfect Storm

The Tsunami — The Impossible

The Virus — Outbreak

The Ocean — The Poseidon Adventure

The Iceberg/Ocean — Titanic

What greater threat than Mother Nature herself? She is unforgiving. She is all powerful. She is always unstoppable. The protagonist can’t stop the twister, the storm, the tsunami, the ocean, or any of the elements. Sure, they can stop the virus, but a majority of the time the virus prevails, either killing most of the population or making zombies out of all of them. But the elements are impossible to stop. Protagonists can only survive until Mother Nature decides to move past them. This villain type can be found in dramas like The Impossible, but most often are showcased in their own sub-genre, the Disaster Flick.

The Personification of Evil

Darth Vader — Star Wars

The Emperor — Return of the Jedi

The Wicked Witch of the West — The Wizard of Oz

The Queen — Snow White and the Seven Dwarves

Alex De Large — A Clockwork Orange

Man — Bambi

Max Cady — Cape Fear

Count Dracula — Dracula

Cruella De Vil — 101 Dalmations

The Joker — The Dark Knight

Mola Ram — Indiana Jones and the Temple of Doom

Sauron — The Lord of the Rings

The Personification of Evil is just that — pure evil. The character is offered little to no backstory. Their motives are nothing more than performing evil doings, which obviously oppose the protagonist’s journey. While Darth Vader was given a backstory, in Star Wars: A New Hope George Lucas was adamant that the good guys and the bad guys would have no gray area between them.

The above examples, at least within the context of the films mentioned, are full force evil doers through and through. You could argue that Alex from A Clockwork Orange is dancing the line between The Disturbed and The Personification of Evil, but we’re pushing him into this category because the acts that he does perform are so outright evil that it overshadows any hope that the character has a true good side in the end. These villains can appear in all genres, but prevail in fantasy especially. Sauron is the ultimate example of The Personification of Evil.

The Supernatural/Extraterrestrial

Freddy Krueger — A Nightmare on Elm Street

Jason Voorhees — Friday the 13th

Ghosts/Demons — Poltergeist, The Amityville Horror, Paranormal Activity, etc.

Martians — War of the Worlds

Aliens — Independence Day

We combine these two villain types because they are all too often so similar, whether it be hauntings or alien abductions, and often fall in the same vein as faceless foes in horror, science fiction, and suspense thrillers. We broaden it a bit to include the Martians and Aliens because they too are faceless entities that are inhuman, in which case the villain type plays all too well in science fiction.

While Freddy Krueger and Jason Voorhees could just as easily be The Personification of Evil, in this context, they are supernatural beings that haunt their prey, be it in physical or supernatural fashion.

All fifteen of these villain classifications are not meant to state any rules or regulations as far as what villains writers can write and what stories or genres they can or cannot place them in. Consider them a compass that can lead your development process into what will eventually become the true strength of your script.

Beyond that, go through this list and see what names are missing. Where would you classify those missing villains that you come up with, and why? Let us know in the comments below.

Of the villains represented on this list, which could you mix and match into other villain types?

The point being is that these fifteen villain types allow us to explore the hows and whys of the villains that we are developing for our scripts — at least in the most broad of terms. Where the magic truly enters is when we find those gray lines to explore between any of these fifteen examples, because, as Roger Ebert said in the quote above, all too often the heroes and gimmicks are all too familiar throughout most movies. It’s the villains that can transform scripts. It’s the villains that can make an otherwise routine concept or premise seem fresh and new.

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Happy 40th Birthday, Kate Winslet! Quotes That Make Us Love Her

Kate Winslet turns 40 on October 5. The Oscar-winning actress has a refreshingly positive attitude about entering her fourth decade. As she told Net-a-Porter’s weekly online magazine, The Edit, “I’m baffled that anyone might not think women get more beautiful as they get older.”

Over the years, the down-to-earth Winslet has offered sound and healthy wisdom about body image and self esteem. For example, back in 1998 she told Clive James on the Clive James Show:

“There’s more to life than cheek bones.”


“I am insecure. If you ask me, everybody is.”


“I’d much rather be known as curvy Kate than a skinny stick.”

Celebrate Winslet’s birthday by reading our favorite quotes over the years. Click to this story and read 15 of her quotes. And look for her upcoming films The Dressmaker and Steve Jobs.

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