Kim Victoria Cattrall was born on August 21, 1956 in Mossley Hill, Liverpool, England to Dennis Cattrall and Gladys Shane. At the age of three months, her family immigrated to Canada, where a large number of her films have been made. At age 11, she returned to her native country and studied at the London Academy of Music and Dramatic Art. She returned to Vancouver and, at age 16, graduated from high school and won a scholarship to study at the American Academy of Dramatic Arts in New York City. During her final year at the Academy, she won a part in Otto Preminger's Rosebud (1975). Following her film debut, Kim returned to the theatre, first in Vancouver and then in repertory in Toronto prior to winning a contract at Universal Pictures in Los Angeles, California. Her best known film role is the Vulcan Lieutenant Valeris in Star Trek VI: The Undiscovered Country (1991). She is also best known for her role as public relations executive Samantha Jones on the HBO sitcom "Sex and the City" (1998).IMDb Mini Biography By: A. Nonymous
|Mark Levinson||(4 September 1998 - 2004) (divorced)|
|Andre J. Lyson||(1982 - 1989) (divorced)|
|Larry Davis||(31 May 1977 - 1979) (annulled)|
Often plays sexually aware women
Blonde hair and green eyes
Deep sultry voice
Is an advocate for senior citizens.
2000: Presented at the GLAAD Media Awards to honor films and television series that accurately portray gay and lesbian people.
Studied at the London Academy of Music and Dramatic Art when she was eleven and graduated from high school in Canada in 1972.
Was engaged to Daniel Benzali.
Named one of People Magazine's "25 Most Intriguing People of 2001".
9/25/02: Hosted the 12th annual "A Magical Evening" gala at the Marriott Marquis in New York City, in celebration of the 50th birthday of Christopher Reeve. All proceeds of the black-tie gala and live auction benefited the Christopher Reeve Paralysis Foundation (CRPF).
Is fluent in German.
One of the last participants in the studio "contract" system.
2000-2001: Capitalized on her role as a femme fatale on "Sex and the City" (1998) when she was hired by Pepsi as their television campaign spokesperson, appearing in steamy locker room- and Little Red Riding Hood-themed television spots promoting their short-lived Pepsi One product.
6/7/05: Won a Glammy Award at the British Glamour magazine's Women of the Year Awards held in Berkeley Square Gardens, London, England. She won for Theatre Actress of the Year for her performance in the West End play, "Whose Life Is It Anyway?".
Was a member of the International Order of Job's Daughters at Bethel No. 8, Courtenay, British Columbia, Canada.
Friend of Isabelle Huppert.
Said on "Tracks" (1997) she understood that many fans did not like the series finale of "Sex and the City" (1998). She believes that her character Samantha Jones would have left her younger boyfriend some weeks later.
Born in Liverpool, England, she moved with her parents at the age of three months to Canada and was raised in Little River, British Columbia, a small community on the eastern side of Vancouver Island.
Was immortalized in the song "Oh, Kim Cattrall" on the television series "Mystery Science Theater 3000" (1988). The song was performed by the character Crow T. Robot in an episode satirizing Cattrall's film City Limits (1984). Cattrall was so impressed by the song that not only did she send flowers to Trace Beaulieu (the voice of Crow), she also appeared at MST3K conventions to sign autographs.
Has an older sister who is a schoolteacher in Courtenay, British Columbia.
A lifelong fan of Rudyard Kipling.
Her grandmother was a babysitter of Ringo Starr.
Kim has two older sisters and a younger brother.
Sang "Nobody Does It Better" over a television satellite link for fellow-Liverpudlian Paul O'Grady on the occasion of his very last television show broadcast, "The Paul O'Grady Show" (2004) (Dec. 2009).
A British and Canadian citizen.
Received a star on Canada's Walk of Fame in Toronto on September 12, 2009.
After graduating from high school in 1972, she moved to New York City and attended the American Academy of Dramatic Arts and, upon her graduation, signed a five-year movie deal with Otto Preminger.
In a 2007 interview, admitted she had a ticket on Pan Am Flight 103 but canceled at the last minute to finish some last minute Christmas shopping in London. Turns out, Flight 103 became the victim of a bombing over Lockerbie, Scotland that left no survivors and killed many on the ground.
On the television show "Who Do You Think You Are?" (2010), Kim searched for information on her mother's father who abandoned his three young daughters in 1938. She discovered that her grandfather met another woman and married her in 1939, had two daughters and a son (who was younger than Kim), and immigrated to Australia.
There are so many avenues of performing. I'm not interested in the form of musical theater unless it's something like The Rocky Horror Picture Show (1975), which is a blast.
I don't know many women who can relate to Sharon Stone and the kind of movies she does. I don't know a lot of guys who can relate to Tom Cruise's movies because they're on a kind of fantastic level. I like movies I can relate to.
[on "Sex and the City" (1998)] The show is celebrating what it's like to be a woman. We do things people think about but don't vocalize. It gives men and women permission to talk in a way that is healthy.
I've been playing sexually aware women most of my life. At this point I expected to be playing moms and wives. It's exciting to play a femme fatale.
[on her role in Crossroads (2002/I), where she plays Britney Spears' mother, who abandons her daughter as a baby and later rejects her as a teen] It was one of the hardest jobs in my life. I had to be mean to Britney Spears. She is such a little Southern sweetie who is only 20. She was so nervous and so well-prepared, and I had to reject her on screen because I'm her horrible mother who has left her.
I'm finding now in my 40s that the less makeup I wear, the better. I think softer is better as you get older. With everything. Except men.
I prefer younger men. In some ways, they are much more open to a woman being stronger and independent then some of the men my age.
To me, 15 minutes worth of absolute genius in a film is so much better than two hours of mediocrity. I would rather pay to see something different like that.
People search me out, whether it's on a beach in Australia or walking down the street in New York, running after me and crying, "I had cancer diagnosed when your character was going through it, and you saved my emotional state at the time because I felt frozen". It's both amazing and devastating, because as an actress I imagined what it would be like - but these women's hair actually did fall out, they didn't have skullcaps and make-up.
The scene where Samantha takes her wig off when she is suffering from breast cancer, and throws it across the room wasn't in the script, it was something spontaneous I did [on "Sex and the City" (1998)]. Samantha's wigs became just another accessory. We didn't want the storyline to feel like "Oh my God, we're going to get her head shaved". Despite what was happening to her, we felt that her character could withstand it and so you went through it with her. She carried off the afro wigs, the pink wigs, it was really fun. Obviously, there was a serious side to that storyline, as well, and I got some very intimate responses
The clothes in "Sex and the City" (1998) were a blast! My favourite part was working with Patricia Field (Pat Field, the costume designer. It was just insane. My wardrobe was more outrageous than raunchy. Yes, the colours were bright and the necklines were super-low, but my behaviour was more daring than my wardrobe. I think some of the other characters' choices were more, "Soho trash queens", but Samantha was a professional woman who worked and lived uptown, so she was always well put together. For the first season, I had a connection at Yves Saint-Laurent, and I wore YSL suits with a brooch or a hat, or a bag that was kind of fun or zing, but never too raunchy.
What I wear is a reflection of where I am going and how I am feeling. If I'm in a good mood, it's got to be cashmere and jeans - just something comfy, soft and warm. When I'm down I might find something that I haven't worn for a while that was bought for me - or wear a brooch or a pair of shoes that are like old friends. If you look closely, you know a lot about someone by what they wear. Costumes are like fitting into a skin, whatever the period is, and I have never played anyone that had actually existed before, so my role in My Boy Jack was really exciting.
I'm 51 and I think I look my age, but I don't want to be 20 any more or even 30 or 40. Besides, I'm too terrified to get any proper work so I've had just little things done. I have a big crease between my eyebrows and I use Botox to get rid of that, but that's kind of it. I'm scared of surgery because I don't want to look in the mirror and not recognise who's looking back. I don't want to be in a room, and to have people turn when I leave and say, "what happened?"
I've seen some women who are not particularly attractive but they have an assurance, and there's something so attractive about someone who doesn't have to work so hard. Still, I really like it when my boyfriend makes suggestions about what I wear. I like him going into the closet and taking out the cowboy boots, and finding the white jeans, and sometimes I'll be wearing my hair up and he'll say, "you know what, put the ponytail a little higher".
I tend to look somewhere other than the media for my definition of what is beautiful. Is that a heavily retouched 18-year-old or a 40-year-old on that front cover? I don't think so; nobody looks like that. I look at people such as Helen Mirren or Judi Dench, these amazing women who look great, but they look like their age, and I think why would anyone want to lower themselves to look like an alien? Sex appeal is all about confidence, and that comes from self-knowledge.
There's no better feeling than when you know that you're going to be on stage each night, trying to make the part better and different for an audience. That's just the way I am. I don't think I'm going to change now.
It's no use saying (the cast of "Sex and the City" (1998)) are best friends - because we're not. And most of my work has been outside New York, so I haven't been around. They'd have had to travel to see me and nobody did. But it felt like no time had passed when we met up again, even though everyone seemed nerve-racked.
When I finally expressed my sexual frustrations to girlfriends, to my amazement many of them were going through the same problems. You just can't tell, because it's not widely discussed. It takes a lot of courage to admit, even to yourself, that you're not getting satisfaction from your husband or boyfriend.
On signing, at age 18, a long-term contract with Otto Preminger: It was an archaic system. You were, basically, under the control of one man and his whims. He wasn't easy and it wasn't an easy time. He wasn't a nurturing director and I thought, 'Maybe I don't want to be a film actor, after all.'
On the end of "Sex and the City" (1998): My job came to an end, and it was awful to say goodbye to such a great character. As far as I was concerned, I was sacked. It was the end. I had dedicated myself to the show, doing countless 17-hour days, and I had detached myself from (then-husband) Mark Levinson.
I am no size zero or super-thin Hollywood actress. I am built for men who like women to look like women.
I've been in love for most of my life, but that love has been for my work.
In Canada's Pacific Northwest, where I grew up, the beaches were strewn with thousands of fugitive logs that had escaped the water transporters bringing them down toward the prospering lumber sawmills and pulp and paper factories all around Vancouver Island. On our gray sand shores, those shaved logs became home to insects, birds and small rodents and made great hiding places or impromptu tents. A favorite childhood game was to see who could traverse the most beached logs without ever touching the sand. As teenagers, we'd drive out to the beaches with our sleeping bags in tow, stack up smaller moveable logs and build bonfires before bedding down to sleep protected by those fallen trees.
[on the role of Samantha Jones on "Sex and the City" (1998)] She was written by gay men and single women. But she was written with wit and panache. I always felt I was in some Restoration comedy. In the end, its not about the good lighting. That's not what you need. It's about the good writing.
Talented people are written off once they hit their 50s and 60s, and the saddest thing is, we just get better as we get older.
Theatre is so important to me because it has nothing to do with looks at all. When you're in movies, people say 'Oh, you look so pretty' but no one ever says 'Oh, I loved that moment.' In theatre. it's really about the moment.
When I first moved to Hollywood I was told I was gifted, but needed to lose some weight. I needed to have that little gap in my teeth fixed. I needed to cut my hair and maybe wear something other than jeans. Then there's this big redo that happens. Suddenly I was seeing a dermatologist and I was in a diet. And I kept thinking 'Wow, this has nothing to do with the work. This is just about what I look like'.
I was just a hippie chick from Vancouver Island. What did I know?
[on turning down the role of Samantha Jones for "Sex and the City" (1998) three times before accepting it]: I think that was about me turning 40, and feeling, 'I don't know if I can do this.' In 1998, people's idea of a woman being sexy and powerful in her forties was, well, that she was past it.
[on reading "Fifty Shades of Grey"]: It's fun - whatever turns you on. All these women of a certain age are finally having fun and what's wrong with that? We're all adults.
I was the last of the contract players that the studios had - myself and Jamie Lee Curtis.
I never stopped doing theatre because that was a place where I could really learn and stretch and grow. I was doing Chekhov and Molière and Shakespeare and Mamet and Miller - great characters with great words. And you are not always fortunate enough to have that with a film role, especially as a woman.
[When filming Rosebud (1975), director Otto Preminger] just felt the best way to get a performance out of someone was to intimidate them. I was determined that I was never going to cry in front of him. So I would go home and let it out there."
I'm smart with my money, I invest conservatively. I don't mind paying top-dollar, but I don't want to get ripped off.
I'm a British-born, Canadian-raised New Yorker. That seems to suit me. That's who I am. I also think as an actor, it's important to be an outsider. I think if I became an American, I'd feel... different.
[to men] It might seem strange, but every now and then, check out your backside in the mirror. If you don't like what you see, chances are we [women] feel the same.
(January 2005) Starring in the play "Whose Life is it Anyway?" in London.
(2002) Release of her book, "Satisfaction: The Art of the Female Orgasm" by Kim and her ex-husband, Mark Levinson.
(2005) Release of her book, "Sexual Intelligence".
(2006) Release of her book, "Being a Girl: Navigating the Ups and Downs of Teen Life" by Kim and Amy Briamonte. This is her first book for teens.
(April 2010) Currently playing "Amanda" in Noel Coward's "Private Lives" at the Vaudeville Theatre in London.
(2010) Named an Honorary Fellow of Liverpool John Moores University in recognition of her contributions to the dramatic arts.
(2010) Resides in New York City, in an East Hampton, New York waterfront home.
(June 2012) Advertising Mario games on Nintendo 3DS
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