Some enterprising journalist at today's Manhattan junket for The Other Boleyn Girl decided to pull Natalie Portman's chain on issues of women in film, and well ... she has a lot to say on that subject. I'll let her take over. "I've recently been getting frustrated. [turns to Scarlett Johansson] I don't know if you've had this experience, but we're probably seeing a lot of the same variety of what's out there, but I mean the number of roles for strippers or prostitutes -- or the opposite -- which, is like, 'She's the moral center of the film! She's the pure one. She's the one that makes the man realize who he should be', you know? That sort of dichotomy exists so strongly, it's like the virgin/whore thing evident to the greatest extent. So that's really been bothering me. Sort of finding a character who is complicated, like the women in this film, is very, very exciting. Also, I love comedies so much, but any kind of comedy the girl's like 'in fashion' or she's really into clothes, or like, she just wants to get married. Those are not values that I care to jump on the bandwagon of. I'd love to do a comedy. I'd love to do a romantic comedy, but you don't find something where the woman has, like, a real job.... so yeah, it is frustrating, but I also don't want to bitch about it."

Portman was much more circumspect when asked what we could see from her next on the big screen. She did say that she's already completed her work on the heavy romance-triangle drama Brothers -- wow, that was fast -- but said nothing about any future projects, like the Francis Lawrence martial arts fantasy she had been linked with a while back, or anything else. And I was nice enough to spare her the question about when she'll do a sequel to The Professional -- she gets that one at every junket.

Aussie thespian Eric Bana was on hand at today's junket for The Other Boleyn Girl in Manhattan, and no surprise -- he was peppered with questions about his recent, confusing comments regarding his role in the upcoming J.J. Abrams film adaptation of Star Trek. Bana was recently quoted in an Australian newspaper as speaking of the part of Nero -- thought to be the film's main villain -- as only a "cameo," so after a few polite questions about TOBG were tossed around today, I broached the subject with Bana. Isn't Nero the main villain in this movie, I asked? To which he replied: "Well, I guess he kind of is, but I guess what I mean is that in the context of the roles I usually do, the weight is firmly on other areas, you know what I mean? It's not one of those roles where you're carrying the movie, is what I'm saying. I feel like I'm very much in a supporting role, not one of the main guys. So 'cameo' is a way of saying I don't feel like, as I am in this film or some other films, where you're clearly carrying a lot of the film. It's a luxury to not be in that position. It's nice to be offered a part like that."

Bana went on to say that he had not filmed his part yet. "They started shooting quite a while ago," he said. "I've got the plum gig on that film, I've gotta say. I haven't even started yet. I just go in at the very end and do my cameo." When asked if he was a 'Trekkie,' he responded thusly: "I like the show, I liked the original as a kid. I loved it. I haven't seen a lot of the movies since, but I was a fan of the original series. But that wouldn't have been enough, even if I was crazy about the original series it wouldn't have been enough to make me sign on to a film I didn't want to do. I just read the script and I went 'that is an awesome script' and it's J.J. and it'd be a good time, to play a character like that. It was a very easy decision."

You could go batty trying to figure out why Oscar voters like what they like -- these are the rocket scientists who thought Crash was Best Picture material, as opposed to say, a candidate for the worst movie of that year -- so it was only with mild bemusement that I greeted the Academy's decision this year to snub Atonement director Joe Wright, who deserved a Best Director nomination for every reason you can possibly summon. A few reasons: 1) He managed the extraordinary challenge of taking a piece of dense, modern literature and turning it into a compelling drama and a romance that works as a movie without dumbing down the material. 2) He's a talented, 'every shot counts' style of director, who labors over his shot selections and has the visual acumen of a Stanley Kubrick. 3) He deserved a nomination for his last film and got snubbed that time too.

The Guardian recently got its own elaborate set visit to Wright's upcoming movie The Soloist, starring Robert Downey Jr. and Jamie Foxx, and the topic of Wright's snub was on everyone's mind. Downey, in particular, was ready to open up about it, saying that "it's a f**king crime Joe wasn't nominated. He's the goods, man, he really is." When Wright was asked directly about it, he responded "Well, out here it's all they bloody talk about, so yes for twelve hours or so I was gutted because everyone seemed so angry about it on my behalf. Then I just looked around and thought: What am I even thinking? I'm making a movie in Hollywood with these amazing actors I'd only ever seen sitting there in my cinema seat like a mad fan -- and they seem excited to work with me for some reason." A pretty classy response.

The snub talk is only one part of a huge and interesting set visit report that includes new details about The Soloist and a lot of funny stuff with Robert Downey, Jr. Here's a sample, to leave you with -- Downey talking about his working relationship with Wright: "First day, I said 'Listen Joe, just don't f**k with me and we'll be okay.' But the whole point is that we're supposed to f**k with each other and he did f**k with me -- for some reason he got under my skin and f**k, it worked."

I think I'm ready to give up trying to figure out what's going on with this movie -- I'll just wait till November and judge it then. But here's the latest intangible -- Bollywood actress and British tabloid staple Shilpa Shetty has just joined the cast of Quantum of Solace in an as-yet undetermined role, along with moderately well-known supporting actor David Harbour, whose role is also undetermined. Although it's being touted by MI6, the source of this information appears to be that Harbour and Shetty's names both popped up on IMDB over the weekend, so I would wait for EON confirmation next week before this becomes really, really official. IMDB does have a name for her character, though -- Devi. This late casting of Shetty is a curiosity, since she was considered a prime candidate for a Bond girl during the initial casting phase, and the Bond producers were known to be interested in working a Bollywood favorite into the film to take advantage of the synchronous orbit of Bollywood and British cinema.

Surely they don't have room for three Bond girls, do they? Shetty is very popular in Britain and recently got worldwide press attention for a mini-scandal involving Richard Gere, so I think it's more than likely that this role will amount to a cameo, like Madonna in Die Another Day or like British actress Christina Cole's role as "Ocean Club Receptionist" in Casino Royale. Remember that little scene where Bond checks into the Ocean Club and has a momentary flirtation with a stop-you-in-your-tracks-gorgeous blonde behind the front desk? I'm thinking they invited Shetty to do one of those parts and she agreed, perhaps after quietly losing out on getting one of the main Bond girl parts. But what do I know -- I thought Arterton was Moneypenny. Meanwhile, filming continues to roll on, and more confusion is sure to follow.

British jazz singer Amy Winehouse, who is known internationally more for her drug problems and wild antics -- in my five seconds of research, I see that she apparently heckled Bono while he was giving a speech, which makes me think she's good people -- has reportedly been offered the chance to sing the theme song for the new James Bond film. If British rag The Sun is to be believed, the producers of Quantum of Solace have gotten themselves involved in Winehouse's personal drama by offering the singer the theme song on the condition that she get herself clean and sober by April. "That's when the Bond people make a final decision on who sings the theme," the source said. "If Amy is clean then, it's hers." I don't know who this source is -- craft services guy, maybe -- but I also wouldn't put it past the crafty Bond producers to try to stir the media into a frenzy by putting Winehouse on the payroll in such a manner. For his part, Daniel Craig has already commented on this whole drama, saying "It's just way, way off that. Everyone's speculating about it but we've got other things to deal with -- there's no point in writing the song for a movie when we haven't got a movie." Yikes.

In other Bond news, there isn't any, really, but Craig did get into another tiff with journalists over his reputation for being difficult when it comes to press, which I didn't know he had. I met Craig during the junket for Casino Royale and found him to be as warm and as forthcoming as you could expect. On that so-called reputation, Craig says "I don't think it's true, it's just lazy journalism; they want to paint me as someone difficult. I think I'm quite nice, but maybe I'm delusional. There's no point in doing Bond if you're not going to sell it."

[via MI6]

If you're any kind of horror afficionado, you've probably either heard about or even read the script for George Romero's Diamond Dead -- it's one of those projects that's been around for so long no one even talks about it anymore. The film is a horror-comedy about a rock band called Diamond Dead whose members are all zombies and whose hot babe manager tries to use her media wiles to take them to the top despite their rather unappealing habits, like eating brains and stuff. It takes swipes at the media, Christian fundamentalists who hate the band, and various other Romero-style targets. In a forthcoming interview with Suicide Girls, Romero surprises by excitedly announcing to me that in the last week, Diamond Dead has raced back to the forefront of his upcoming projects slate. "I got a phone call two days ago, before I came here, from the producer saying 'We're back!'" he says, noting that he was more surprised than anyone because he worked for years on the project and "it looked dead." Since the financing has apparently just kicked in as this is going to press, no further details are available.

Romero also notes that he's very eager to get going on a sequel to his new film, Diary of the Dead, saying "I wish I could have gone further with it. If there is a possibility of a sequel, I'd actually love to do it, cause there's a hell of a lot more. I'd love to go further with that theme." At the same time, fans of Romero's previous and much larger film, 2005's Land of the Dead, should most certainly not expect a sequel to that any time soon. Romero expressed guarded admiration for that film, but called his experience with big-budget filmmaking "grueling" and said "it was just too hard." He also feels that Land "lost touch with its roots" and he has no idea how a sequel could even happen, if he were inclined to make one.

I'm delighted by today's news that UA is apparently pleased enough with what they've seen of Valkyrie that they've signed screenwriter Christopher McQuarrie to a first look deal. The Usual Suspects is one of my favorite films -- the kind of film that will make me overlook a guy not doing anything of note for the next ten to twelve years of his career -- and what little I've heard about Valkyrie so far has put it at the top of my must-see list for 2008. It's got Carice van Houten, for starters, which should be enough to get anyone into the multiplex. The actual terms of McQuarrie's deal are known only to him and United Artists COO Xenu, but The Hollywood Reporter's writeup says that there are currently "several projects under discussion." One of them, we know, will not be the Alexander the Great biopic that McQuarrie spent much time on, only to be beaten to the punch by Oliver Stone's worst movie ever, and yes, I've seen U-Turn and it's great by comparison.

McQuarrie is currently prepping The Stanford Prison Experiment, a film based on a famous behavioral study conducted at Stanford in the 70s in which students had to play the roles of guards and prisoners and things got out of hands. For some reason, this doesn't really ring my bell -- I can't see how it will work as a sensible movie -- but one thing I love about McQuarrie is his fascination with history and I'm crossing my fingers that he'll use this deal to get his John Wilkes Booth screenplay into the development cycle immediately. What little I know of the script is that people who read it a couple of years ago were floored by it and that its development seemed to follow the same trajectory as the Alexander script -- it was written, it was tossed around and toyed with by some A-list actors and then dropped because of competition concerns. But unless it's flown under my radar, I don't know of any competing Booth film that has made it to the filming stage, so why not do it now? And seriously, raise your hand if you'd rather see McQuarrie's John Wilkes Booth biopic than Steven Spielberg's Lincoln biopic. Just like I thought -- every hand in the room.