Carey Lowell Phone Number, House Address, Email, Biography, Wiki, Whatsapp and Contact Information
Lowell was the daughter of geologist James Lowell and was born in Huntington, New York. She spent her childhood in Libya, the Netherlands, and France, among other nations. She also resided in Houston, Texas, and Denver, Colorado, where her family moved when she was 12 years old. Following a year at the University of Colorado in Boulder, where she explored majoring in literature,she relocated to New York City to pursue modelling, working for clients such as Ralph Lauren and Calvin Klein, and attending New York University at one time. She also attended the Neighborhood Playhouse School of the Theatre in Manhattan.
She went on to play Bond girl Pam Bouvier in the James Bond film Licence to Kill (1989) and Assistant District Attorney Jamie Ross in the television drama Law.She had been dissatisfied with her acting profession and had applied to study documentary filmmaking at New York University shortly before that part.
Lowell has had three marriages. John Stember, a fashion photographer, was her first spouse, with whom she was married from 1984 to 1988. From 1989 to 1995, she was married to actor Griffin Dunne, with whom she shares a daughter, Hannah. Following the birth of their son Homer James Jigme Gere in February 2000, Lowell married actor Richard Gere in November 2002. After 11 years of marriage, the couple divorced in September 2013. The couple went through a three-year battle in New York Supreme Court over their divorce. In October 2016, the matter was settled.
Carey Lowell was interviewed by Cinefantastique magazine in July 1989 – THE GIRL OF BOND Carey Lowell gives the kiss-kiss and bang-bang a unique spin. Mark A. Altman is the author of this piece. Carey Lowell could barely utter “Mommy, Daddy” when Sean Connery first revealed himself to the world as James Bond in 1962, let alone “Dr. No.” The gorgeous 27-year-old is now making her big-budget debut with Timothy Dalton’s James Bond in LICENCE TO KILL, almost three decades later. Lowell, who plays CIA pilot Pam Bouvier in the new film, said, “DR. NO was the first one I ever saw.” “I saw it on TV and was blown away by the suaveness paired with the danger.”
Lowell confesses she isn’t a Bond fan, but she soon became acquainted with the franchise after landing the role in LICENCE TO KILL. “I rented LIVE AND LET DIE as well as a few other movies,” she explained. THE LIVING DAYLIGHTS, Dalton’s debut in the character of 007, was one picture she was really excited to see. “I rented it when I discovered out I had the part,” she explained.
playing Bond as someone who could always skate past these dangerous areas uninjured, Roger was a bit more stylized; he was more of a cartoon character.”
Lowell feels that the series’ new, more realistic direction will appeal to viewers who have grown tired of the Moore films’ far-fetched plotlines. “The current situation is more likely than someone attempting to blow up the world or stimulating the San Andreas fault and destroying Silicon Valley,” she remarked.
also want to be entertained by a realistic point of view.” Lowell, surprisingly, never read any of Ian Fleming’s novels. “The woman I was playing was not necessarily the woman Fleming wrote.” She highlighted that the misogyny that characterised Fleming’s work and the early Bond films is less noticeable in subsequent films with stronger female characters, such as her own depiction of Pam Bouvier in LICENCE TO KILL.
“It was a much-needed change for me.” I believe that when women go to see the movie, they don’t want to see someone who is only there to appear pretty and is a pain in the neck.” Honor Blackman’s Pussy Galore is Lowell’s favourite of all the Bond ladies. Unlike in Fleming’s novel, where Pussy is a lesbian, Blackman depicts Pussy as a powerful, independent, heterosexual woman. “She was more macho in her way,” Lowell said, “even though she was quite attractive.” “That’s probably why she wasn’t as receptive to Bond’s charm, and I’m not gay.” Lowell began her acting career as an elf in the Irish musical “Ballad of Brian Michael” while she was in sixth school. She didn’t know she wanted to be an actress until later, after doing some modelling and being offered a small part in Harold Ramis’ CLUB PARADISE.
Carey Lowell Biography/Wiki
Prior to LICENCE TO KILL, she appeared in the Albert Pyun actioners DOWNTWISTED and DANGEROUSLY CLOSE for Cannon, as well as ME AND HIM, one of the last pictures to be greenlit by former Columbia topper David Puttnam. Griffin Dunne played a man whose penis communicated to him in the film, which was shelved by the studio. Lowell had a bad time with the film’s director, Doris Doerrie, and grumbled about her. “She didn’t stick to the script,” Lowell added. “She didn’t provide me any kind of direction.” She was more concerned about how the camera moved.” Lowell hopes that LICENCE TO KILL will help her gain recognition as an actor in the same way as LIVE AND LET DIE did for Jane Seymour. She hopes to work with directors like John Boorman, Peter Weir, and Gillian Armstrong in the future. “That would be nirvana,” she said of Woody Allen. “I’m really astounded by the Bond flicks’ popularity,” she stated.
It’s also thrilling to be in the presence of those who came before me, such as Sean Connery and the women. Someone recently asked me how it feels to know that one day your name would be in book indexes. Licence to Kill (1989), like The Spy Who Loved Me (1977) and Casino Royale (2006) before it, introduced us to Carey Lowell, one of the best and most beloved Bond girls. Wouldn’t you agree that she saves Bond’s life the first time they meet, wears her hair short and a Berretta up her not one, but two heart-stopping evening gowns, and downs a vodka martini in one go?
Licence to Kill is one of the best Bond films, less fun and far-fetched, darker and grittier, with more reverberations and echos of Ian Fleming’s novels, allowing James Bond to function as a human being with fragile emotions. It’s a departure from the series’ narrative heritage, similar to In Her Majesty’s Secret Service (1969) and Casino Royale. “I intended to make the movies far more realistic and credible,” stated Timothy Dalton, who only played James Bond for two films, the first of which was The Living Daylights (1987).
They went through a phase where they grew more fanciful and gimmicky. Exaggerated, tongue-in-cheek humour had become the norm. When you return to the books, you’ll find that you’re dealing with a real guy, not a superman; a man troubled by moral ambiguities, apathies, and uncertainties, one who is frequently terrified, apprehensive, and tense.” When his buddies are wounded, he takes it personally and goes for the evil individuals in order to avenge them. We want him to succeed for that reason, not because it’s supposed to happen in a Bond movie. That is what distinguishes Licence to Kill as a credible and substantial Bond film. According to screenwriter Michael G. Wilson, the hero of Kurosawa’s film Yojimbo inspired Dalton’s Bond, “where the samurai comes to town and, without overtly confronting the enemy, sows the seed of suspicion, then watches as the evil pulls himself down.” At the time, everyone’s goal was to improve Bond’s image by making him more realistic.
They did add more humanity to Bond, but Timothy Dalton also created a harsher, darker, more serious Bond, in my opinion. James Bond was “a superb professional: merciless and cynical in his work; compassionate, clever, and fashionable off duty,” according to Fleming. They also hardened up Bond’s image from a stylistic standpoint, moving away from the gentlemanly spy. They altered Bond’s tuxedo’s appearance by opening the collar and even removing the jacket, revealing Dalton’s shirtsleeves. His other looks have been criticised as being unsuitable for the movie Bond. Many were, nevertheless, rather realistic in concept for the literary Bond, from whom Dalton took inspiration, recalling Fleming and his literary invention.
“You normally perceive Bond as a cool-headed secret agent,” Carey Lowell, Dalton’s on-screen companion, remarked of the new Bond. In his white outfits, Roger Moore was untouchable, and Sean Connery always came out unhurt and sort of dashing. Bond isn’t as tidy and attractive here. He had the appearance of hell. It was unlike anything a Bond fan had ever seen.”
The Pam Bouvier section, which successfully dehistoricized the Bond lady figure, was another element that advanced the Bond legacy by reinterpreting key features in the movie. We observe a departure from the Bond female type portrayed by Ursula Andress in Dr. No (1962) and other merely decorative women with whom 007 is generally identified. Barbara Bach had done it in The Spy Who Loved Me, and Eva Green would do it in Casino Royale. Pam Bouvier, played by Carey Lowell, is a capable, confident, and competitive modern-day Bond girl who is edgier, feistier, self-sufficient, and credible.
“I played Pam as strong and gritty. She’s dressed in black leather and holding a sawn-off shotgun when she meets Bond at the pub. She’s slinging men over her shoulder and stomping on their skulls with bottles. Lowell described her character, a former army pilot and CIA operative, as “very different from past Bond heroines.” Pam emerges in beige and wide-legged trousers, this time coupled with a white blouse, after the leather vest and denim combo from the bar. Bond gives her some extra money as he pays her for flying him to Isthmus and tells her to buy herself “some decent clothes.”
She reappears with short hair, a blue and white power suit-like garment, and later, a black rhinestone-encrusted gown. The side-slit, backless dress Carey wears in the casino was inspired by the attire Talisa Soto, Sanchez’s lover and the other topic of Bond’s attention, wore to her audition, according to Robert Davi, who plays the villain Franz Sanchez (director John Glen brought Davi in to consult him in casting the role of Lupe). “She donned a long evening gown in one scene, then pulled off the bottom and turned it into a small tiny dress.” Pam looks stunning in her gown, but its practicality (it’s smartly constructed as a beaded tear away gown) also demonstrates that she’s a capable Bond ally.
However, another halter-neck black dress (see top image in this article) appeals to me more, and it would be a fantastic complement for Bond’s tuxedo. Pam Bouvier’s under-the-knee-long greige dress with a deep v-neck, which Pam wears in a few action sequences, is my second favourite Pam Bouvier costume in the film. In its modern simplicity, it is both stylish and functional. But don’t you just adore how she keeps returning to the trouser look? She pulls it off again in a pair of wide-leg slacks and a white top. She’s still a tomboy, and even when she trades in her military uniform for a glitzy gown, she maintains her tomboyish demeanour and makes sure everyone knows it by having her hair chopped short.
|Popular As||Carey Lowell|
|Born||11 February 1961|
|Town/City||Huntington, New York|
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Carey Lowell ESTIMATED NET INCOME: $12Million Dollars
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Carey Lowell Personal Profile:
- Name: Carey Lowell
- Date of Birth:11 February 1961
- Birth Sign:Aquarius
- Nationality: American
- Birth Place/City: Huntington, New York, United States
- Boyfriend- N/A
- Profession: Actress
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