The Silence of the Lambs (1991) - IMDb IMDb 18 January 2017 8:17 PM, UTC NEWS There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error The Silence of the Lambs ( 1991 ) R | WATCH NOW ON DISC A young F.B.I. cadet must confide in an incarcerated and manipulative killer to receive his help on catching another serial killer who skins his victims. Director: a list of 46 titles created 02 Dec 2011 a list of 46 titles created 07 Jun 2012 a list of 41 titles created 22 Aug 2012 a list of 38 titles created 09 Sep 2013 a list of 31 titles created 26 Apr 2015 Title: The Silence of the Lambs (1991) 8.6/10 Want to share IMDb's rating on your own site?

Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 5 Oscars. Another 48 wins & 36 nominations. See more awards » Videos Two detectives, a rookie and a veteran, hunt a serial killer who uses the seven deadly sins as his modus operandi. Director: David Fincher Forrest Gump, while not intelligent, has accidentally been present at many historic moments, but his true love, Jenny Curran, eludes him. Director: Robert Zemeckis The lives of two mob hit men, a boxer, a gangster's wife, and a pair of diner bandits intertwine in four tales of violence and redemption. Director: Quentin Tarantino The lives of guards on Death Row are affected by one of their charges: a black man accused of child murder and rape, yet who has a mysterious gift. Director: Frank Darabont An insomniac office worker, looking for a way to change his life, crosses paths with a devil-may-care soap maker, forming an underground fight club that evolves into something much, much more. Director: David Fincher A computer hacker learns from mysterious rebels about the true nature of his reality and his role in the war against its controllers.

Directors: Lana Wachowski, Lilly Wachowski Stars: Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss When a Roman general is betrayed and his family murdered by an emperor's corrupt son, he comes to Rome as a gladiator to seek revenge. Director: Ridley Scott A thief, who steals corporate secrets through use of dream-sharing technology, is given the inverse task of planting an idea into the mind of a CEO. Director: Christopher Nolan Following the Normandy Landings, a group of U.S. soldiers go behind enemy lines to retrieve a paratrooper whose brothers have been killed in action. Director: Steven Spielberg In German-occupied Poland during World War II, Oskar Schindler gradually becomes concerned for his Jewish workforce after witnessing their persecution by the Nazi Germans. Director: Steven Spielberg Two imprisoned men bond over a number of years, finding solace and eventual redemption through acts of common decency. Director: Frank Darabont When the menace known as the Joker wreaks havoc and chaos on the people of Gotham, the caped crusader must come to terms with one of the greatest psychological tests of his ability to fight injustice.

Director: Christopher Nolan Edit Storyline FBI trainee Clarice Starling works hard to advance her career, including trying to hide or put behind her West Virginia roots, of which if some knew would automatically classify her as being backward or white trash. After graduation, she aspires to work in the agency's Behavioral Science Unit under the leadership of Jack Crawford. While she is still a trainee, Crawford does ask her to question Dr. Hannibal Lecter, a psychiatrist imprisoned thus far for eight years in maximum security isolation for being a serial killer, he who cannibalized his victims. Clarice is able to figure out the assignment is to pick Lecter's brains to help them solve another serial murder case, that of someone coined by the media as Buffalo Bill who has so far killed five victims, all located in the eastern US, all young women who are slightly overweight especially around the hips, all who were drowned in natural bodies of water, and all who were stripped of large swaths of skin. She also figures that Crawford... Written by Huggo See All (201) » Taglines: Dr. Hannibal Lecter. Brilliant. Cunning. Psychotic. In his mind lies the clue to a ruthless killer.

- Clarice Starling, FBI. Brilliant. Vulnerable. Alone. She must trust him to stop the killer. See more » Genres: 14 February 1991 (USA) See more » Also Known As: Silence of the Lambs See more » Filming Locations: Did You Know? Trivia Sean Connery was director Jonathan Demme 's first choice to play Hannibal Lecter, but he turned the part down. Connery later did a similar serial-killer thriller called Just Cause (1995), where Ed Harris plays a sort of bible-bashing, redneck rip-off of Hannibal Lecter. The film was neither a critical or commercial smash like The Silence of the Lambs (1991) was. See more » Goofs During the discussion Clarice has with Hannibal in the cage, she says "Now, please listen to me. We've only got five..." and Hannibal is supposed to interrupt her but it there is a brief pause before Hannibal speaks. It is clear that she stopped talking without being interrupted. See more » Quotes Crazy Credits The producers wish to thank Adele, Bobby and the rest of the gang at Bufa's.

See more » Connections Written by Bruce Licher (as B. Licher), Mark Erskine (as M. Erskine), and Jeff Long (as J. Long) Courtesy of Independent Project Records (Livonia, MI USA) – See all my reviews Sweeping all five major Academy Awards ("Oscars" for Best Movie, Director, Actor, Actress, Screenplay) is quite an accomplishment. Doing it nearly a year after a film was released is a miracle considering the notoriously short attention span of Oscar voters. It is a powerful example of how great a movie can be when superb writers, directors, actors, and others work at the top of their craft. `Silence of the Lambs' is the story of a young FBI trainee Clarice Starling (Jodie Foster) who is summoned to help find one serial killer called `Buffalo Bill.' by interviewing another. Foster's performance is absolutely brilliant. While Anthony Hopkins receives most of the (well-deserved) praise for his chilling portrayal of incarcerated serial killer `Hannibal the Cannibal' Lector', it is Foster's performance that holds the movie together. The fear she shows just behind her eyes makes Clarice's outward courage all the more interesting and vulnerable.

This is the perfect way to play the part because it explains Lector's interest in Clarice. Her only bargaining chip in getting Lector's help is to let him `feed' on her innermost secrets and fears in exchange for his brilliant insights into the psychotic mind. The title of the movie comes from these exchanges and is very poignant. Director Jonathan Demme is masterful. There is one scene late in the movie that I will not spoil. It is one of the most simply brilliant scenes ever staged in a movie. I don't know if all the credit goes to Demme or the writers, but there is a moment in the film where the suspense builds beautifully to a what seems to be a common movie scene. However, through skillful timing of the direction, the audiences assumptions are used against them and when the truth is revealed (hint: it involves a doorbell) it is shocking and induced a collective gasp from the audience I saw it with at the theatre. It set the stage for an edge-of-your seat climax. Do not miss this movie. The movie is incredibly suspenseful and an absolute must see. 333 of 382 people found this review helpful. Was this review helpful to you?

Yes 'Silence of the Lambs' character inspires new TV show - NY Daily News 'Silence of the Lambs' character inspires new TV show 'Silence of the Lambs' character inspires new TV show AFP RELAXNEWS Whatever actress lands the lead role in Lifestyle’s upcoming series about FBI agent Clarice Starling, from the Thomas Harris books and the Academy-Award winning movie, ‘Silence of The Lambs’, will have a tough act to follow: Jodie Foster. (Mark Sullivan/WireImage) AFP RELAXNEWS Tuesday, May 29, 2012, 12:53 PM In addition to Hannibal, which is scheduled to air next season on NBC, US television is drawing on another character from the literary works of Thomas Harris. According to Tvguide.com, Clarice Starling, the FBI agent brought to life on the big screen by Jodie Foster in The Silence of the Lambs, is the protagonist of a series in development for the Lifetime channel. Going by the title Clarice, the series will focus on the early career of Clarice Starling, just after she receives her FBI qualifications.

With limited details revealed to date about the show, it is unclear whether the action will take place before or after the federal agent's enounter with Hannibal Lecter. As of yet, no actress has been mentioned in association with the new version of the role, for which Jodie Foster won the Best Actress Academy Award. The character was also played ten years later by Julianne Moore, in Hannibal by Ridley Scott. Produced by MGM studios, Clarice will be developed as a parallel project to that of Hannibal, airing next season on NBC. That drama, also based on the literary world of Thomas Harris, will focus on the early relationship between the psychiatrist and sociopath Hannibal Lecter and FBI agent Will Graham. Join the Conversation: The Silence of the Lambs Movie Review (1991) | Roger Ebert Tweet A fundamental difference between “The Silence of the Lambs” and its sequel, “ Hannibal ,” is that the former is frightening, involving and disturbing, while the latter is merely disturbing. It is easy enough to construct a geek show if you start with a cannibal.

The secret of “Silence” is that it doesn't start with the cannibal--it arrives at him, through the eyes and minds of a young woman. “Silence of the Lambs” is the story of Clarice Starling, the FBI trainee played by Jodie Foster , and the story follows her without substantial interruption. Dr. Hannibal Lecter lurks at the heart of the story, a malevolent but somehow likable presence--likable because he likes Clarice, and helps her. But Lecter, as played by Anthony Hopkins , is the sideshow, and Clarice is in the center ring. Advertisement The popularity of Jonathan Demme's movie is likely to last as long as there is a market for being scared. Like “ Nosferatu ,” “Psycho” and “ Halloween ,” it illustrates that the best thrillers don't age. Fear is a universal emotion and a timeless one. But “Silence of the Lambs” is not merely a thrill show. It is also about two of the most memorable characters in movie history, Clarice Starling and Hannibal Lecter, and their strange, strained relationship (“people will say we're in love,” Lecter cackles).

They share so much. Both are ostracized by the worlds they want to inhabit--Lecter, by the human race because he is a serial killer and a cannibal, and Clarice, by the law enforcement profession because she is a woman. Both feel powerless--Lecter because he is locked in a maximum security prison (and bound and gagged like King Kong when he is moved), and Clarice because she is surrounded by men who tower over her and fondle her with their eyes. Both use their powers of persuasion to escape from their traps--Lecter is able to rid himself of the pest in the next cell by talking him into choking on his own tongue, and Clarice is able to persuade Lecter to aid her in the search for the serial killer named Buffalo Bill. And both share similar childhood wounds. Lecter is touched when he learns that Clarice lost both her parents at an early age, was shipped off to relatives, was essentially an unloved orphan. And Lecter himself was a victim of child abuse (on the DVD commentary track, Demme says he regrets not underlining this more). These parallel themes are mirrored by patterns in the visual strategy.

Note that both Lecter in his prison cell and Buffalo Bill in his basement are arrived at by Starling after descending several flights of stairs and passing through several doors; they live in underworlds. Note the way the movie always seems to be looking at Clarice: The point-of-view camera takes the place of the scrutinizing men in her life, and when she enters dangerous spaces, it is there waiting for her instead of following her in. Note the consistent use of red, white and blue: not only in the FBI scenes, but also in the flag draped over the car in the storage shed, other flags in Bill's lair and even the graduation cake at the end (where the U.S. eagle in the frosting is a ghastly reminder of the way Lecter pinned a security guard spread-eagled to the walls of his cage). Advertisement The movie's soundtrack also carries themes all the way through. There are exhalations and sighs at many points, as when the cocoon of the gypsy moth is taken from the throat of Bill's first victim. Much heavy breathing. There are subterranean rumblings and faraway cries and laments, almost too low to be heard, at critical points.

There is the sound of a heart monitor. Howard Shore's mournful music sets a funereal tone. When the soundtrack wants to create terror, as when Clarice is in Bill's basement, it mixes her frightened panting with the sound of Bill's heavy breathing and the screams of the captive girl--and then adds the dog's frenzied barking, which psychologically works at a deeper level than everything else. Then it adds those green goggles so he can see her in the dark. Jodie Foster and Anthony Hopkins won Oscars for best actress and actor (the movie also won for best picture, for Demme's direction and Ted Talley's screenplay, and was nominated for editing and sound). It is remarkable that the Academy would remember, let alone single out, a film released 13 months before the Oscarcast; it usually votes for films that are still in theaters, or new on video. But “Silence” was so clearly one of a kind that it could not be ignored. Hopkins' performance has much less screen time than Foster's, but made an indelible impression on audiences. His “entrance” is unforgettable.

After Clarice descends those stairs and passes through those doors and gates (which all squeak), the camera shows her POV as she first sees Lecter in his cell. He is so . . . still. Standing erect, at relaxed attention, in his prison jump suit, he looks like a waxwork of himself. On her next visit, he is erect, and then very slightly recoils, and then opens his mouth, and I at least was made to think of a cobra. His approach to Lecter's personality (Hopkins says on his commentary track) was inspired by HAL 9000 in “2001”: He is a dispassionate, brilliant machine, superb at logic, deficient in emotions. Advertisement Foster's Clarice is not only an orphan but a disadvantaged backwoods girl who has worked hard to get where she is, and has less self-confidence than she pretends. Noticing the nail polish on one of Bills' victims, she guesses that the girl is from “town,” a word used only by someone who is not. Her bravest moment may come when she orders the gawking sheriff's deputies out of the room at the funeral home (“Listen here now!”).

One key to the film's appeal is that audiences like Hannibal Lecter. That's partly because he likes Starling, and we sense he would not hurt her. It's also because he is helping her search for Buffalo Bill, and save the imprisoned girl. But it may also be because Hopkins, in a still, sly way, brings such wit and style to the character. He may be a cannibal, but as a dinner party guest he would give value for money (if he didn't eat you). He does not bore, he likes to amuse, he has his standards, and he is the smartest person in the movie. He bears comparison, indeed, with such other movie monsters as Nosferatu, Frankenstein (especially in “ Bride of Frankenstein ”), King Kong and Norman Bates. They have two things in common: They behave according to their natures, and they are misunderstood. Nothing that these monsters do is “evil” in any conventional moral sense, because they lack any moral sense. They are hard-wired to do what they do. They have no choice. In the areas where they do have choice, they try to do the right thing (Nosferatu is the exception in that he never has a choice).

Kong wants to rescue Fay Wray, Norman Bates wants to make pleasant chit-chat and do his mother's bidding, and Dr. Lecter helps Clarice because she does not insult his intelligence, and she arouses his affection. Advertisement All of these qualities might not be enough to assure the longevity of “Silence” if it were not also truly frightening (“Hannibal” is not frightening, and for all of its box-office success it will have a limited shelf life). “Silence” is frightening first in the buildup and introduction of Hannibal Lecter. Second in the discovery and extraction of the cocoon in the throat. Third in the scene where the cops await the arrival of the elevator from the upper floors. Fourth in the intercutting between the exteriors of the wrong house in Calumet City and the interiors of the right one in Belvedere, Ohio. Fifth in the extended sequence inside Buffalo Bill's house, where Ted Levine creates a genuinely loathsome psychopath (notice the timing as Starling sizes him up and reads the situation before she shouts “Freeze!”).

We are frightened both because of the film's clever manipulation of story and image, and for better reasons--we like Clarice, identify with her and fear for her. Just like Lecter. Popular Blog Posts Jodie Foster in Silence of the Lambs Jodie Foster in Silence of the Lambs Very scared, very scared reply 122 09/18/2013 I thought her performance in that movie was a piece of shit. The entire time she acts like she's on the verge of a nervous breakdown; twitchy, nervous, her voice quavering. The novel's Clarice Starling is a cool, tough cookie, which is why she's chosen to interview Lecter. As Jodie Foster plays her she's a scared little girl with an atrocious hick accent. by Anonymous reply 1 09/14/2013 Michelle Pfeiffer would have been equally brilliant. She was the intended choice for Clarice. Jodie was cast when the director tried everything he could possibly do to get Pfeiffer but according to this interview she found the subject matter disturbing so passed on it.

by Anonymous reply 2 09/14/2013 Believing one is scared, believing one is cold, believing one is in a a particular situation with particular needs, facing a particular obstacle in meeting them, in character, honestly, vividly, vibrantly when the scene one is playing calls for exactly that, is, by definition, acting. But you knew that, OP, didn't you? by Anonymous reply 3 09/14/2013 r1, if you didn't notice, Clarice in the screenplay is scared little girl with a hick accent. So if you have a problem it's with the screenplay, not with the fact that Foster was serving it. by Anonymous This is the best you have to bitch about OP? Good for you. by Anonymous reply 11 09/14/2013 Jodie Foster and her bad accent came across as believable as a cardboard standee with a voice box at a grocery store. Julianne Moore was tough (the shootout scene) and pretty (as the actors call Clarice in LAMBS). Jodie Foster is neither. She's a lump of coal, and Julianne Moore is a diamond. Seriously!

by Anonymous reply 12 09/14/2013 Well, Moore's Clarice would never have been the same as Foster's - they're playing the same character at different points in her life. Also R1, that sounds like a really interesting movie - not it all Clarice Starling isn't intimidated by anything even Hannibal Lechter! Do keep away from screenwriting. by Anonymous reply 13 09/14/2013 I just watched the Michelle Pfeiffer interview at R2. Michelle Pfeiffer comes off as a real little cunt with her "It's sooooo hard to be a rich, beautiful actress, everybody wants a piece of me......boo hoo!" I had no idea she was so narcissistic, what a bummer. by Anonymous 09/14/2013 God, Op, you're pathetic if it has really come down to this. No matter how much you hate Jodie Foster, her Clarice portrayal was brilliant. That's not just my opinion it's a widely held opinion by people who are actually actors, directors, filmmakers and critics who actually know what they're talking about.

by Anonymous reply 15 09/14/2013 I think it is a great performance and a difficult role to pull off. Most of it is reactive and internal. She has very few moments to verbally present stuff. by Anonymous R15: You mean "until they saw Julianne Moore playing Clarice Starling". Seriously! by Anonymous reply 17 09/14/2013 I thought jodie did great in the part and deserved the oscar. I found her accent totally believable. She had riveting chemistry with anthony hopkins. I think the whole point of her character was how you got to see the scared little girl underneath all the bravado and the entire film she was trying to mask this and overcome it. Some of her best acting in it is unspoken and what she conveys with her expressions. The scene in the elevator where her male fellow fbi trainees tower abover her, with policemen in the morgue when they look at her like who the hell are you and the scenes with hopkins when he makes her confess all the trauma of her childhood and loses all the bravado. You can actually see it drain from her in these scenes.

Yet clarice wants to excel in a male dominated world. I felt all of this in her performance. Julianne was good but didnt have this rich material to work with that jodie had. by Anonymous reply 18 09/14/2013 Jack Crawford wanted a non-sexually-threatening partner and he found it in jodie fost, er, i mean, clarice stalling and her west virginia bullshit background. The lighting and tension were perfect though. Tough to beat in this post CGI fabricated universes. Pluralized, for your pleasure. by Anonymous But that was enough R32. Lechter wouldn't have wanted a bimbo. They sure make that poor town in Ohio look like a hellhole. by Anonymous reply 33 09/14/2013 That poor town in Ohio was completely spot-on, and I loved the depressed bank teller girl. One of my favorite things about the movie is that it shifts so easily from the over-the-top, lurid crimes to the boring and mundane.

I had no problem with the men who leer at Clarice: a masturbating mental patient who likely hasn't seen a woman in years, geeks who work with insects, and a middle-aged hospital bureaucrat. Foster is no great beauty, but she's easily one of the most attractive women these men would encounter. It's not exactly Patrick Wilson going for Lena Dunham. by Anonymous 09/15/2013 "I loved the depressed bank teller girl" Is that a good job, FBI agent? You get to travel around and stuff? I mean, better places than this? Freddie was so happy for me when I got this job at the bank. Toaster giveaways and Barry Manilow on the speakers all day. She thought it was such hot shit. What did she know? Big dummy. If she had a guy, I'd have known, believe me. Sewing was her life by Anonymous reply 35 09/15/2013 I know that Foster's girlfriend at the time (was it C. Barnard or whatever the name is?) visited the set of Silence of the Lambs.

by Anonymous reply 36 09/15/2013 "I know that Foster's girlfriend at the time (was it C. Barnard or whatever the name is?) visited the set of Silence of the Lambs." Was she a large girl? Big through the hips? Roomy? by Anonymous the whole film is a shit show, terrible from beginning to end! by Anonymous reply 38 09/15/2013 It's definitely a homophobic movie, and it's also straight up trash. Hitchock it is not. More like Basic Instinct. Still, the performances are good. by Anonymous 09/15/2013 "That poor town in Ohio was completely spot-on." It was. The movie was lurid and flawed, but offered a realistic picture of pre-internet isolation and poverty. You could tell Clarice was afraid to revert to those conditions and that Hannibal knew how to push her buttons about her origins. The killer also lived off the beaten track in a scummy town no one wanted to go near. Kinda like an Ariel Castro situation.

by Anonymous reply 40 09/15/2013 I saw it on HBO a few weeks back, hadn't seen it since it came out. I thought it held up well. Hopkins was better than I remembered and Foster was OK though nothing more. I don't think Michelle Pfeiffer would have been as good. She was beautiful but she was never a great actress nor particularly compelling. They should have cast Debra Winger. The dialogue is unforgettable.. check out all the quotes on this thread... nobody CAN forget that dialogue even if they want to. Problem is Silence gave birth to so many wretched serial killer movies, serial killer TV shows. by Anonymous That must have been Gina Schock r36. Tell us more. by Anonymous reply 42 09/15/2013 [quote]All the guys were supposed to be leering at Clarice and I don't think any straight guys (well, except for John Hinckley) have ever had leering thoughts about Jodie Foster. So that didn't make sense. You don't know many straight men, do you? Jodie Foster was actually perfect for the part.

Attractive, but not unbelievable as an FBI agent. Doesn't anyone remember Melanie Griffith as a cop? Yeah, right. Again, everyone clamors for actors to come out and then go on about how they aren't believable playing straight people. That said, I know...Jodie rarely had any chemistry with her male co-stars. But she didn't play many romantic roles either. by Anonymous 09/15/2013 [quote]That must have been Gina Schock [R36]. Tell us more. I wasn't there. Someone who worked on the film had a photo that was taken on set and included Foster's girlfriend at the time. This was about 15 years ago and I honestly don't remember what the girlfriend looked like. (Also, I don't know what Gina Schock looks like.) What's interesting is that everyone in the business knew Foster was gay way back then, but no one ever outed her. by Anonymous reply 44 09/15/2013 She's was blond short straight haired around that time r44. Can't find any good picture of 1990 but this might be close. With each haircut she looked different.

by Anonymous reply 45 09/15/2013 That's another photo. You sure it was Silence of the lambs? What else did you friend say? Any good dish? by Anonymous reply 46 09/15/2013 I can't imagine Pfeiffer in this movie at all. She's way too glam. Plus a little old even then to be a rookie agent. by Anonymous reply 47 09/15/2013 So, because someone doesn't like the performance of an actor who happens to be gay, it's homophobic or hateful? And she was a closeted lesbian in a, let's face it, not very friendly movie towards gay people. I have to say that reading this thread makes me appreciate the "women should be seen, not heard" undertones throughout the movie. I only focused on the most obvious signs of this and missed some of those mentioned here. And I liked the entomologists. by Anonymous reply 53 09/15/2013 Clarice Starling, as played by Jodie Foster, was nothing like the Clarice Starling in the novel.

In the novel Starling was tough, strong, resilient, most of the time unflappable. Her strength and character and intelligence are the reasons Crawford chooses her to tangle with Hannibal Lecter. The movie Starling has a perpetual look of fear and uneasiness and she comes across as somebody constantly struggling to keep her emotions under control. As Foster played her, she's "the girl" in a horror movie. Foster's appearance is also nothing like that of the novel Starling. Although her physical appearance is never described in any detail (Is Starling blonde? Brunette? Tall? Petite? Blue-eyed? Brown eyed?) she is portrayed as being quite gorgeous. Chilton refers to her as "glorious" and "a winter sunset of a girl." In the movie Starling is a plain brunette; nothing special about her looks at all. by Anonymous Your family was working class! You have a nice purse but your shoes suck! (Have I broken your spirit yet?) by Anonymous reply 57 09/15/2013 [quote] What's interesting is that everyone in the business knew Foster was gay way back then, but no one ever outed her.

Chris Farley kind of outs here her in this early 90s SNL sketch. by Anonymous reply 58 09/15/2013 I have a feeling Jodie Foster doesn't believe she's gay or a lesbian because she "doesn't believe in labels." She just likes women more than men, but that doesn't mean she's like all the other gay people out there. She's better. Has she ever said, "I'm gay," or "I'm lesbian"? by Anonymous It puts the lotion in the basket, or else it gets the hose again! by Anonymous reply 68 09/15/2013 R44 come back with more details. I'm curious too if the gf is Gina Schock, which I think it is. Cydney came around '94. R67, there's no point in trying to actually have a discussion. Just troll-far about three posters and the place lights up. by Anonymous reply 69 09/15/2013 I know my posts light up troll-dar, but I really do believe Julianne Moore played the character so much better. Seriously!

by Anonymous reply 70 09/15/2013 And here I thought this was going to be about her body of work, not her body in the buff. Not that I'm complaining! She dated Kim Basinger in '89. Everyone knows that right? Gillian Anderson's entire career is owed to Jodie and Randy Stone /// she lived with Jodie in 1992 as her on-call sex outlet. Anderson had come from the Randy West school of low-level porn // FOX had to buy him off when she got the XF gig to stop him from rushing too many copies of her best work to market. Jodie used to order girls from West for parties /// she met Anderson at one. David Duchovny knew about this /// occasionally you could find him making references to Randy Stone to get under Anderson's skin. Almost certainly slept with Jamie Lee Curtis in an on again/off casual hook up relationship. Fucked Kelly McGillis for an age. Ended as the biggest lezzie drama in modern Hollywood. They loathe each other // neither will even acknowledge knowing the other. Whitney Houston was in the middle /// both slept with her, in a sort of Madonna versus Sandra Bernhard manner.

by Anonymous reply 71 09/15/2013 So, you guys are saying Jodie Foster doesn't play 'white trash, tornado bait', well? I don't know whether she should take this as a compliment or an insult. I wish I could chat about this longer but a friend is having me for dinner. by Anonymous reply 72 09/15/2013 Sometimes it's hard to tell Gillian Anderson and Julianne Moore apart. I'm a fan of both of em. I think everything worked out as it should. Jody did great in SOTL and JA did great in Hannibal. Both are among my favorite movies. I own them both and have watched them dozens of times. by Anonymous reply 74 09/15/2013 Uh r71, Jodie and Kelly are in good terms. She even appeared in her biography episode a few years back. Basinger was a fling. She had a break from that chick Schock but was back with her in'89. You are so full of shit.

by Anonymous reply 75 09/16/2013 Gossip's going to hell on here when we have people pretending that Jodie/Kelly didn't happen. They had an unpleasant Mercedes de Acosta+Garbo type thing going in their closet and McGillis shrivels up any time anyone asks her about Jodie on a personal level. Last I checked they were pretending that they only knew each other professionally. by Anonymous reply 77 09/16/2013 71 sounds a bit unhinged Kelly McGillis has never even met Whitney Houston. Her and JF are not on 'bad terms' Perhaps they had a little fling, but Jodie was with Gina Schock for most of the time by Anonymous reply 78 09/16/2013 Of course 71 and 76 are unhinged. Post @ 75 never mentions gillian anderson but 76 is having a meltdown. No one gives a fuck about her but she's being shoe horned into the conversation. Kelly and jodie are on good terms.

Have always been and no kelly did not need to be involved in an interview about jodie for the biography channel. She's saying it isn't her biz to comment, so did every other of jodies friends. And r77, no one is denying the possible fling but realisticly jodie was known to be in a relationship with Gina S before and after. Don't care about grammar but at least understand what is being said. So us a favor and keep the jodie/gillian gossip in the gillian thread. You gillian fanatics are too much to be spreading to other threads. by Anonymous reply 80 09/16/2013 R82 wow you really don't know how to read. I said I don't care about grammar. I'm F&F this bunch. They have ruined enough threads with this Gillian Anderson bullshit and ganging up on people. Enough. by Anonymous reply 83 09/16/2013 Um, R80 Gillian Anderson is on topic because she's well known as one of Jodie's lovers.

The whining about bullying in the post from R83 is a nice touch but this looks like the same old cleaner boo hooing we get from the Anderson Bunch. They get very upset about gossip that mentions her name then start accusing gossipers of hate or bullying. Right on time. by Anonymous reply 84 09/16/2013 R80 if you believe what celebs say about their private lives is the whole truth why on Earth would you be on Datalounge? Whitney didn't know Kelly. Right. Was that before or after they ate each other out? by Anonymous R87 you're really flagging people for gossip? Please crawl back into whatever hellhole you came from. by Anonymous reply 89 09/16/2013 And you have to love R87's logic. Disagreeing with her (you know it's a her) means you're bullying her. This place is so full of poor me'ing fangirls now that even age old gossip like Whitney and Kelly is seen as off limits.

And if you point out the absurdity of that stance they immediately go to the passive aggressive complaining that no doubt works on their boyfriends. What's a gay man to do? by Anonymous reply 90 09/16/2013 Julianne Moore could have eaten Gillian Anderson's x-box better than Jodie Foster could (and she just might do it, too). Julianne Moore would not, however, have gone near Whitney Houston's Cracker Jacked box because crack is whack! Who the fuck are the rest of these cunt mufflers that are being mentioned? We cunt hear you over all the Gillian Anderslut fancunts. by Anonymous reply 91 09/16/2013 They should reboot the franchise with a real plaid on the weekend wearing, UPS delivering, Elton John haircut having, short stocky lesbian in the Clarice role. I'd pay to see it. by Anonymous reply 92 09/16/2013 Re: her accent, when filming started, Jodie portrayed Clarice with a very slight accent which was just detectable when she was nervous. This is how Clarice is in the novel.

However, Jonathan Demme has said he thought she just sounded like "Californian Jodie Foster" speaking, so he insisted she do a broader accent. Foster wasn't happy, but complied with his wishes to keep the peace. by Anonymous It's actually pretty logical when you think about it, R98. by Anonymous reply 100 09/16/2013 You know what you look like to me, with your good bag and your cheap shoes? You look like a rube. A well scrubbed, hustling rube with a little taste. Good nutrition's given you some length of bone, but you're not more than one generation from poor white trash, are you, Agent Starling? And that accent you've tried so desperately to shed: pure West Virginia. What is your father, dear? Is he a coal miner? Does he stink of the lamp? You know how quickly the boys found you... all those tedious sticky fumblings in the back seats of cars... while you could only dream of getting out... getting anywhere... getting all the way to the FBI.

by Anonymous reply 101 09/16/2013 She's directing episodes of Kevin Spacey's HOUSE OF CARDS here in Baltimore, and my friend met her last week when he did a day of extra work on the show. He was in a scene that takes place at a BBQ joint, and he said that he was seated at a table, and while sitting there during downtime, someone dropped their keys on his table, and when he looked over it was Jodie. He texted me all excited, saying "I just met Jodie Foster!" He said she was really nice and unassuming. by Anonymous OP usually wears L'Air du Temps, but not today! by Anonymous reply 103 09/16/2013 Geezus, another good thread ruined by the Gillian Anderson psycho who insists that Hollywood celebrities (including GA) fuck each other in broad daylight in hotels and in public. Please ignore. BACK TO Jodie Foster in SotL. I thought Jodie was brilliant. Yes, she did look perpetually nervous bordering on insecure but that's partially why I found her heroine so compelling.

She's not some stereotypical tough-talking gun-slinging moll; she is terrified of the monsters and horror surrounding her, but quietly able to push through her fears and insecurities to catch the killer. Honestly, I don't remember Thomas Harris' Clarice Starling being any less insecure (there is a lot of inner monologue about feeling like inferior poor white trash; the only woman in a man's world). by Anonymous Julianne did a good job, but Starling's Clarice was more iconic/memorable. by Anonymous reply 107 09/17/2013 She is spectacular in the funeral home/Frederica Bimmel's body sequence. The fear, excitement, disgust and sorrow that play on her face while she describes the Bimmel's body is wonderful. FWIW, I think she won that Oscar by a landslide. People thought Geena Davis and Susan Sarandon might have split the "Thelma and Louise" vote, but I don't think so. I think Sarandon was a distant second to Jodie and whatever votes Geena got wouldn't have closed the gap.

Its too bad she stole Glenn's Oscar in 1988 with her so-so white trash impersonation in The Accused. by Anonymous ‘Silence of the Lambs’ at 25: Jodie Foster remembers chasing down the role of Clarice – EW.com Pinterest Cindy Ord/Getty Images On April 20 in New York City, the Academy of Motion Picture Arts and Sciences hosted a screening and panel discussion to celebrate the 20th anniversary of Silence of the Lambs. Jodie Foster, Jonathan Demme, screenwriter Ted Tally, and producers Ron Bozman and Edward Saxon were on hand and participated in a pre-screening talk with New York Times contributor Logan Hill. During the conversation, Tally revealed just how doggedly Foster pursued the part of FBI trainee Clarice Starling. Shortly after he had signed on to adapt Thomas Harris’ novel, Tally was working in a borrowed office on the first draft when he received a phone call. “Somebody came and said, ‘Jodie Foster is on the phone.’ I almost fainted,” Tally said. “‘How did she even know to find where I am?'” The two talked generally for a bit and got to know each other.

At the end of the conversation, things turned pointed. “Finally she said, ‘Are you going to write a good part for me?'” Tally recalled. “I said, ‘I’m already writing a good part for you.’ She said, ‘I know you are.'” The Clarice Starling that Tally wrote ended up being the only time in his career that he’s written with a lead character with an actor in mind. Looking back on her drive to get the role, Foster reflected that there may have been some unconscious reasons for wanting the part, aside from enjoying the material. “I had played a lot of women in peril. I played women who were victims. I chose them, and I chose them for all of the right psychological reasons,” she said. “But there did come a point in my life and my career where I said, ‘I feel like I’ve grown into a woman who saves the women in peril, and I’d like to see what that experience is.'” Show Full Article The Silence of the Lambs (1991) Crawford: The psychiatrist - Hannibal Lecter.

Clarice: Hannibal, 'the Cannibal.' Crawford: I don't expect him to talk to you, but I have to be able to say we tried. So if he won't cooperate, I want just straight reporting. How's he look? How's his cell look? Is he sketching, drawing? If he is, what's he sketching? By establishing a relationship with a captured serial killer Lecter, Crawford hopes that Clarice will find special insights into the personality of "Buffalo Bill" - the at-large, random serial killer. Clarice is given a dossier on Lecter, a questionnaire, and a special ID. Instinctively, she has guessed that there may be some connection between the homicidal "Buffalo Bill" and Lecter. Crawford cautions her about her upcoming interview and contact with the quick-witted, brilliant, convicted and imprisoned serial murderer, Dr. Hannibal "The Cannibal" Lecter (Anthony Hopkins), who has turned his ferocious oral desires for flesh into an astonishing facility with language: Be very careful with Hannibal Lecter. Dr. Chilton at the asylum will go over all the physical procedures used with him. Do not deviate from them for any reason whatsoever.

And you're to tell him nothing personal, Starling. Believe me, you don't want Hannibal Lecter inside your head. Just do your job, but never forget what he is. The scene ends with a question: "What is that?" There is a transitionary cut to the Baltimore hospital, where the answer is heard in voice-over from Dr. Frederick Chilton (Anthony Heald) in his office: Oh, he's a monster. Pure psychopath. It's so rare to capture one alive. From a research point of view, Lecter is our most prized asset. The smarmy, self-serving Dr. Chilton, who runs the facility where Lecter is imprisoned, is rebuffed for showing some uninvited letchery toward the seemingly-helpless young woman. Expectations for the introduction of the sinister Lecter (Chilton mentions that Lecter considers Chilton his "nemesis") are raised to great heights on their maze-like journey through the state institution for the criminally insane. An important parallel is established in the way that males have become predators, both on the side of the law and in the criminal behaviors of the mass murderers.

The doctor divulges that her employer Crawford may be exploiting his young trainee - he may be deceiving the attractive Starling into her mission with a fake questionnaire - using her as bait to lure, provoke and inspire psycho Lecter into providing the Bureau with information into the case of the latest serial killer Buffalo Bill. Chilton uses a disguised pun on Lecter's penchant for eating his victims: A pretty young woman to turn him on. I don't believe Lecter's even seen a woman in eight years. And oh are you ever his taste, so to speak. Dr. Chilton rattles off rules as they pass through locked gates in their menacing, lurid approach to the high-security area where she will have access to the killer: Do not touch the glass. Do not approach the glass. You can pass nothing but soft paper - no pencils or pens. No staples or paperclips in his paper. Use the sliding food carrier, no exceptions. If he attempts to pass you anything, do not accept it.

There are reasons for the high-security precautions - nearly a decade earlier, the cannibalistic Lecter proved how dangerous he really was: On the afternoon of July 8, 1981, he complained of chest pains and was taken to the dispensary. His mouthpiece and restraints were removed for an EKG. When the nurse leaned over him, he did this to her? (In the reddish-hued light, Chilton holds up a small photo) The doctors managed to re-set her jaw more or less, and save one of her eyes. His pulse never got above eighty-five, even when he ate her tongue. The film is most memorable for her introduction scene to the notorious, satanic, cannibal-psychiatrist Lecter, as she takes a tense walk along a dank row of medieval, high-security underground prison cells on her left to meet him. Before she proceeds - by herself - past other barred cells toward a chair in the middle of the corridor next to Lecter's cubicle - down a gauntlet in Hell itself - she steels herself for the confrontation.

One of the gibbering crazy inmates, a dark, grotesque occupant in one of the cells named Miggs (Stuart Rudin), mashes his face against the bars and hisses charmingly with some verbal abuse: I c-can sssmell your c--ttt! She finds Hannibal Lecter, the brilliant, but insane criminal monster, imprisoned in a windowless, glassed-in, dungeon-like cell, decorated with his own charcoal or crayon drawings of European cityscapes. [The name is symbolic, recalling the legendary, elephant-leading military leader Hannibal, and Lecter or lecteur, a French word for reader becomes the intellectual, cultured component of his fiercesome character.] Filmed from her point of view, the notorious psychiatrist makes a dramatic film entrance. He first appears standing, ironically still and at attention in his cell, watching her with twinkling, chillingly-dead, blue eyes. His hair is closely-cropped and his head is tilted slightly in her direction. The menacing, fiendish, but polite, suave and gracious Hannibal takes the initiative and urges the clever, intelligent, but inexperienced Clarice to step closer to his cell to show her ID credentials: "Closer, please.

Clo-ser." She complies, trying to hide her fear from the lethal predator. Their dialogue is a masterful parry and thrust confrontation, complemented with long, sustained, extreme close-ups of their faces on opposite sides of the glass wall - the elegantly-evil, brilliant, omniscient Lecter is skillfully observant with extraordinary, diabolically-developed human faculties, perceptively capable of acutely deducing much about her identity, life, and character with just a cursory glance (and smell). Contemptuous of her from the start, Lecter is initially insulted when he learns that Crawford sent a neophyte "trainee" to him. He tries to unnerve her by staring directly into her eyes and testing her with questions. Clarice struggles to maintain her separate identity from him to avoid being overwhelmed - she never flinches away or averts her gaze, and he begins to take an analytical and personal interest in Crawford's protege: Lecter: You're not real FBI are you? Clarice: I'm still in training at the Academy. Lecter: Jack Crawford sent a trainee to me? Clarice: Yes, I'm a student. I'm here to learn from you.

Maybe you can decide for yourself whether or not I'm qualified enough to do that. Lecter: Mmm. That is rather slippery of you, Agent Starling. (In a gentlemanly way, he offers her a seat in the metal chair in the corridor) Sit, please. Now then, tell me, what did Miggs say to you? Multiple Miggs in the next cell. He hissed at you. What did he say? Clarice: (openly with honest candor) He said, 'I can smell your c--t.' Lecter: I see. I myself cannot. (He acutely senses her smells through the air holes above him.) You use Evyan skin cream, and sometimes you wear L'Air du Temps, but not today. Clarice: (She changes the subject after noticing his works of art.) Did you do all these drawings, Doctor? Lecter: Ah! That is the Duomo, seen from the Belvedere. Do you know Florence? Clarice: All that detail just from memory, sir? Lecter: Memory, Agent Starling, is what I have instead of a view.

To get on with her job, Clarice changes the subject (and mood) and takes the questionnaire from her case, readying herself to proceed with the questions. But Lecter chides her, an ever-scolding teacher in her presence: No, no, no, no, no. You were doing fine. You had been courteous and receptive to courtesy. You had established trust with the embarrassing truth about Miggs, and now this ham-handed segue into your questionnaire. (He tuts reproachfully) It won't do. Lecter knows that Crawford has recruited help from "the student body" to "hunt" for "that new one" - the country's latest serial mass murderer: "Buffalo Bill": Lecter: What a naughty boy he is! Do you know why he's called 'Buffalo Bill'? Please tell me - the newspapers won't say. Clarice: Well, it started as a bad joke in Kansas City homicide. They said, 'this one likes to skin his humps.' Lecter: Why do you think he removes their skins, Agent Starling? (sarcastically) Thrill me with your acumen. Clarice: It excites him.

Most serial killers keep some sort of trophies from their victims. Lecter: I didn't. Clarice: No. No. You ate yours. Smiling to himself for her precise boldness and accuracy, he allows Clarice to send through the profile questionnaire. But he is deeply insulted by the few pages he glances at: Oh, Agent Starling, do you think you can dissect me with this blunt little tool? With a purring, soft voice, he dissects her personality with a witty, but perversely intimate portrait of her soul - it is a chilling speech, imitating her way of speech with mocking criticism. His assumptions about her hillbilly roots, her limitations, and her aspiring ambitions are based solely on her West Virginia accent and the appearance of her "cheap shoes" - the cadences of Lecter's delivery are memorable: You're so-o ambitious, aren't you? You know what you look like to me, with your good bag and your cheap shoes? You look like a rube. A well-scrubbed, hustling rube, with a little taste.

Good nutrition's given you some length of bone, but you're not more than one generation from poor white trash, are you, Agent Starling? And that accent you've tried so desperately to shed - pure West Virginia. What does your father do? Is he a coal miner? Does he stink of the lamp? You know how quickly the boys found you. All those tedious, sticky fumblings in the back seats of cars, while you could only dream of getting out. Getting anywhere, getting all the way to the F...B...I. The psychoanalytic words strike deep into Clarice's heart because she knows she hasn't lived up to her own expectations, and his words are right on target - her truest and most pleasurable thoughts were of leaving her home and moving ahead with her career. Her self-confidence is worn thin, and she is visibly shaken and ashamed. Yet she composes herself and manages to swing back with concentrated anger, retorting that he should fill out the questionnaire: You see a lot, Doctor. But are you strong enough to point that high-powered perception at yourself? What about it? - why don't you, why don't you look at yourself and write down what you see?

Or maybe you're afraid to... He slams the sliding food tray back through with the questionnaire. Lecter graphically tells her about his ferocious oral impulses and how he eats parts of his victims: A census taker once tried to test me. I ate his liver with some fava beans and a nice Chi-an-ti. (He approaches the glass and lets go with a slurping sound.) You fly back to school now, little Starling. (He turns his back on her and speaks in a whisper.) Fly, fly, fly. Fly, fly, fly. Lecter steps back from the glass window and turns his back on her. Resigned and frustrated by his denial, Clarice leaves the questionnaire in the tray and slowly walks down the corridor. She passes Migg's cell - the demented inmate is naked and masturbating on his bench/bed, moaning: "I bit my wrists so I can diiiiie...," and gleefully yells: "See how it bleeds?" He then flings a handful of fresh semen at her, spattering her hair and face with it. Agitated, stirred, and shaking with rage, Lecter calls out to her and she runs back to him.

Lecter sets up the beginnings of an irresistible, exploitative relationship with Agent Starling, bargaining with her to let him have a "view" in return for her "advancement." She will earn his complicity, and clues-information about Buffalo Bill if she will look "deep within" and share some of her personal self [Clarice has already dismissed Crawford's primary warning to not let Lecter inside her head]: Lecter: I would not have had that happen to you. Discourtesy is unspeakably ugly to me. Clarice: Then do this test for me. Lecter: No. But I will make you happy. I'll give you a chance for what you love most. Clarice: And what is that, doc? Lecter: Advancement of course, listen carefully. Look deep within your self, Clarice Starling. Go seek out Miss Mofet, an old patient of mine. M-O-F-E-T. Go now. I don't think Miggs could manage again so soon, even though he is crazy. GO NOW! Outside the hospital after being sent away on a cryptic treasure hunt, she is visibly upset and disturbed by her encounter with Lecter.

When she looks at her old Pinto in the parking lot, she experiences a short flashback which takes her back to when she was ten years old (Masha Skorobogatov), the daughter of a small-town West Virginia policeman/marshal. From the porch of the Starling house, she rushes into her biological father's (Jeffrie Lane) arms and embrace - and he twirls her around. The young agent slumps next to her car in the parking lot, sobbing. The scene cuts to a rapid series of gunshots on the FBI practice firing range - in a determined, combat stance, Clarice pumps and fires rounds into a rotating target, the silhouette of the chest of a man. Other training experiences are quickly presented: (1) with another male trainee, she breaks into a room with guns drawn, but forgets to cover her "danger area" in the corner. Clarice is instructed that, in real-life, she would have been dead. (2) with a female trainee/friend Ardelia Mapp (Kasi Lemmons) while jogging, Clarice mentally rehearses some of her studies.

(3) in the Academy library, Clarice intently looks at microfilm rolls of newspaper stories recounting the 'horrors' that renowned Baltimore psychiatrist Hannibal Lecter committed: NEW HORRORS IN 'CANNIBAL TRIAL' The Doctor of Death Cooked His Victims for Gourmet Meals Then Served Them to His Friends, Michael Ronboz of City Council Among Those at Dinner Table On the phone, "guru" Crawford tell Starling that "Miggs is dead" - he swallowed his own tongue and Lecter is implicated: "Lecter did it to amuse himself." Following up on the "Mofet" lead, Clarice discovers that Lecter altered or destroyed most of his patients' histories prior to capture and there is no record of anyone named Mofet. However, Clarice intelligently figures out that the "Your Self" reference in his words meant a "Your-Self Storage" facility outside downtown Baltimore close to where Lecter had his practice. At the storage area, the attendant Mr.

Lang (Leib Lensky) informs Clarice that Lecter's storage unit was leased for ten years and the contract was pre-paid in full since 1980: "The contract is in the name of 'Miss Hester Mofet.'" Resourcefully, Clarice retrieves the bumper jack from her own car and pumps open the jammed, wedged-tight storage door only about 18 inches. She peers into the storage area with a flashlight, and then non-chalantly, but ominously hands Mr. Lang her business card: If this door should fall down, or ha, ha, anything else, uh, this is the number for our Baltimore field office. Now they know that you're with me. You call them if anything should happen. As she squirms her way in, she snags one thigh on the metal edge of the door and draws blood. In the light of her flashlight, she sees lots of piled up, dusty pieces of furniture, boxes, a wooden statue of an owl in flight, mannequin parts lying on shelves, an old upright piano, and a 1931 Packard beneath a huge American flag.

After opening the door to the back passenger compartment, she finds a beheaded, dressmaker's mannequin seated there, garbed in a fancy satin evening gown and costume pearls, with elbow-length gloves. On the broad back seat next to the mannequin is an open album of lacy, old-fashioned Valentines. Clarice removes a red silky handkerchief, revealing a horrifying find - a grotesquely-bloated man's severed head preserved in a laboratory specimen jar. The face, whose identity is later revealed by Lecter, has been transformed into the face of a woman with the addition of heavy makeup (now smeared). After a penetrating close-up of the deformed, decapitated head, she drives up to the Baltimore hospital and rushes up the steps in the rain. A discussion with Dr. Lecter has already commenced, their second suspenseful confrontation in his darkened cell. Wet-haired Clarice, sitting on the floor, has deciphered his cryptic words: It's an anagram, isn't it, Doctor? Hester Mofet, 'The rest of me. Miss The-Rest-of-Me,' meaning that you rented that garage.

Suddenly, Lecter responds by sliding out his food carrier, making her jump. In the tray is a clean, folded white towel which she uses to dry off her hair [breaking another of the explicit rules of the institution]. From the floor in the shadows of his cell, he speaks intuitively: "Your bleeding has stopped." Behind Clarice is a television set tuned to a preacher on a gospel station. Although Lecter really wants to see the case file on Buffalo Bill, he tells her about "Miss Mofet" with moments of black humor: Lecter: His real name is Benjamin Raspail. A former patient of mine, whose romantic attachments ran to, shall we say, the exotic. I did not kill him, I assure you. Merely tucked him away, very much as I found him. After he'd missed three appointments. Clarice: If you didn't kill him, then who did, sir? Lecter: Who can say? Best thing for him, really. His therapy was going nowhere. Clarice: His dress, uh, makeup, Raspail was a transvestite? Lecter: In life, oh no. Garden variety manic-depressive, tedious, very tedious. No, no.

Just think of him as a kind of experiment. A fledgling killer's first effort at - transformation. And then, the ex-psychiatrist Lecter psychologically penetrates and presses into Clarice with personal questions, exposing more of the mind-messing, exploitative game he has prepared for her. Powerfully desirous of knowing more about her, he circles around her in a dance of questions like a predator or in a courting ritual, asking if Crawford is using her or wants her sexually: Lecter: How did you feel when you saw him, Clarice? Clarice: Scared at first. Then - exhilarated. Lecter: Jack Crawford is helping your career, isn't he? Apparently he likes you and you like him too. Clarice: I never thought about it. Lecter: Do you think Jack Crawford wants you sexually? Truly he is much older, but do you think he visualizes scenarios, exchanges, f--king you? Clarice: That doesn't interest me doctor. Frankly, it's, it's the sort of thing that Miggs would say. Lecter: Not any more.

When the lights come on in his cell, the cell walls have been stripped bare of his paintings: "Punishment, you see, for Miggs. Just like that gospel program. When you leave, they'll turn the volume way up. Dr. Chilton does enjoy his petty torments." Clarice returns to the subject of the killer during their riveting interview. Lecter slowly stands and rises above her, speaking down to her submissive figure, and enticing her with more information about the killer's characteristics: Clarice: What did you mean by transformation, doctor? Lecter: I've been in this room for eight years now, Clarice. I know they will never, ever let me out while I'm alive. What I want is a view. I want a window where I can see a tree, or even water. I want to be in a federal institution, far away from Dr. Chilton. Clarice: What did you mean by fledgling killer? Are you saying that he's killed again? Lecter: I'm offering you a psychological profile of Buffalo Bill based on the case evidence. I'll help you catch him, Clarice.

Clarice: (She rises) You know who he is, don't you? Tell me who decapitated your patient, doctor. Lecter: All good things to those who wait. I've waited, Clarice. But how long can you and old Jackie boy wait? Our little Billy must already be searching for that next special lady.

Question: What was the name of the character played by Jodie Foster in Silence of the Lambs
Answer: Clarice Starling