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Demi moore sitting crossed leg

By InStyle. Pin ellipsis More. Start Slideshow. Image zoom. At 49, Demi Moore has a body that any woman-at any age-would envy. Trainer Gregory Joujon-Roche, who has been working with Moore for years, owns a wellness organic bar and cleanse center called Real Raw Live in Hollywood. Walk your feet out just to the point where your heels start to leave the floor. Now freeze your knees in this position. Carefully curl your legs, knees frozen, to your chest. At the top of the motion, straighten your legs and point your heels straight at the ceiling, bringing your tailbone slightly off of the ground and squeezing your stomach and hold for a beat.
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Yet despite her enviable figure, Demi Moore, 43, always had one or two things she wanted to hide away - namely her knees. Now after finding a surgeon who has perfected a technique to remove saggy skin from the notoriously difficult-to-correct area, Miss Moore is once again a perfect After her flaw was pointed out to her, the mother of three - who is very conscious that actor husband Ashton Kutcher is 15 years younger than her - asked her plastic surgeon to see what he can do. Demi couldn't stand it that there was any part of her that is not perfect. Worrying about her knees, of all things, is just silly. She's lucky that's the only part of her left to sag! Knees are one of the hardest areas of the body to have done because there is nowhere to conceal the scarring. And even though the scarring might not be as bad as the sagging, it will be a telltale sign that you have had surgery. She has also paid an army of advisers including a nutritionist, personal trainer, yoga teacher and kick-boxing coach. After a string of film flops in the late Nineties and a difficult break up with her husband of 11 years, Bruce Willis, Miss Moore has enjoyed a comeback since having the main work done nearly four years ago.

Demi Moore sits in a limo, her dark eyes fixed on the Polaroids that Ellen von Unwerth has taken of her with the fascination of a paleontologist looking at something stuck in amber. Why such devotion to test shots? I gather them up. This way, no one gets any ideas. Who knows? A number of people work for her, yet no one orchestrates her life. There are actresses who are classically trained, commanding awe and respect. Others win Oscar nominations with such regularity that their extraordinary talent is offhandedly dismissed as a given. Then there are the dearly beloved, like Julia Roberts, the wounded whippoorwill in need of our mothering and nurturing. Moore is none of these, and she has none of their qualities.

Demi Moore sits in a limo, her dark eyes fixed on the Polaroids that Ellen von Unwerth has taken of her with the fascination of a paleontologist looking at something stuck in amber. Why such devotion to test shots? I gather them up. This way, no one gets any ideas. Who knows? A number of people work for her, yet no one orchestrates her life. There are actresses who are classically trained, commanding awe and respect. Others win Oscar nominations with such regularity that their extraordinary talent is offhandedly dismissed as a given.

Then there are the dearly beloved, like Julia Roberts, the wounded whippoorwill in need of our mothering and nurturing. Moore is none of these, and she has none of their qualities. Whatever she lacks in formal education is amply compensated for by her resolve to make a reality of her instincts. Nonetheless, the actress who embodied the psychological scenario for a generation in St. She was expected to follow the same trajectory as some of her St. But instead of winding up with a six-pack of straight-to-video movies, second banana-dom in a TV series, or desperately maintaining some semblance of recognition by showing up at fashion events where designers gladly lend you clothes, Moore took better aim.

If the Americans had been as aware of the Japanese heading for Pearl Harbor as Moore is of the media gunning for Striptease , the fleet might have been saved. Secret agendas. Luckily, my work provides me with a tremendous source of new opportunities. MOORE: I found myself in a film [ Striptease ] that has to do with the body, both the external and internal issues of it.

And by moving through it, it changed me. It changed my perception of me. And I think I take a lot out in an internally abusive way, looking at how I measure up, which usually was never enough. I never, never was as good as someone else. Happiness does not come from external material things. Doing Striptease helped me come to some terms.

Not on my behalf—although it was a wonderful compliment—because it could have been anybody. But from the day they offered me that much money, it changed the way women in Hollywood were viewed, and I like that. And do you know what? Tomorrow it will be somebody else. The only way to gain time is by living it. This is funny? And why is that? My feeling is there was such an immediate rush based on the idea that I was going to play a stripper, and that I became, at that same moment, the highest-paid female—of the moment, believe me—and that there was something in that combination that made people nervous.

MOORE: Look, I have no control over people thinking that way, and I always feel that those kinds of things are attempts to make me less. Praise for you is grudging at best even when your films are smashes, although Ghost was an exception to that.

None of this bothers you? How can you blow it off so effortlessly? By moving a lot, I learned to assimilate into whatever new surroundings I had and to become very comfortable with people quickly.

I think that was one of the strongest contributing factors to my becoming an actor, because I constantly had to readjust, even reinvent. But at the same time, it also became very easy for me not to become attached to people, places, or things. I learned to enjoy people and places for the time I had, for the moment, to be in the moment, and move on. I think that it gave me an internal strength, because I was comfortable doing whatever I had to do.

I was too afraid. I could live with that more easily. But yes, there was a part of me that felt that whenever I read anything having to do with a depth of emotion I just had no idea how to act it.

We all need it. But, no, it is not my favorite place to be. You knew your first two Vanity Fair covers [August and August ] were going to cause a ruckus.

She covered [the August cover] with brown paper [at the request of certain distributors]. She heightened it, God love her. And that was smart. I have no problem with what she did, but when Annie [Leibovitz] took the picture of me nude and pregnant, it was not for the magazine. We took it at the end of the session for me, for my family. So a lot of the responses to me being naked—although you saw nothing but a belly and a little bit of my butt—was realizing that a sexy picture featured a belly that had a child in it.

So, believe me, I never set out to make any big statement. She said people would say it was exploitative. But I thought it was so sexy to be painted and yet bare, so I held onto my Polaroid like a wishing stick. And there have been a lot of pictures of people—celebrities, models—who have done photographs with their bellies. So why did this particular cover stir it up? What suddenly made it discussable was that it was done with just enough fantasy and illusion and stakes high enough for people to think about it theoretically.

Nobody was offering a million to sleep with him. And I think the fantasy infused itself into the reality of Hollywood. People there have started to believe the setup. Who was worth as much as Demi Moore? Evidently no one these days. Your exalted position in the film became its own truth. So the movie had a to-the-nth-degree effect on your career. Why do I think you have different political views?

I want to clean up a false quote—[it was reported] that I said that not many people had read the book. I never said that, and it was perpetuated repeatedly. What I said was that it had been a very long time since people had read it. In fact, I proposed in our first meeting [on the film] that Dimmesdale should die. MOORE: And in the end, Joffe realized that he should have had him die, and actually, in the final hour, he wanted to reshoot the ending.

But we were so far down the line, it was just logistically and financially impossible. It was just too late. You had to have known you would get pilloried. I hope I get better. I feel like I am. Nobody knows. I can look at the script, I can look at who the director is, the co-star.

And you know what? Published March 2, That decision doomed the movie from the start. Related posts.



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