Having tested her craft to little thanks, her name being bandied about as McConaughey’s sometime flame, she was now shooting the obligatory sequel to the movie that made her famous. The winter of 1996 found Bullock a box-office queen in an unenviable state. Ultimately, she turned out to be: our same sweet Sandra, working hard but overshadowed by a pro cast that included Samuel L. Showing up in a whiter-than-white (and plenty tight) tank top, flashing an equally brilliant smile, she tried to make her character into a whip-smart, city-bred brat and a gentle threat to the troubled marriage of a roosterish attorney (McConaughey) and his wife (Ashley Judd). One has written a song that’s posted on her followers’ adoration-laced (“ When did she take your heart?”) Web site: “Does anyone have of Sandra nude?/It’s something I’d like to see/Preferably in mesh stockings and high, high heels/Could you send them to me?”Ī Time to Kill, in 1996, was meant to be a transitional movie for Bullock: Could she be taken seriously as a character actress while still carrying that bewitched audience? The answer seemed to be: maybe. She followed with two more hits – While You Were Sleeping, a romantic comedy, and The Net, a thriller about hackers that unhinged a few Bullock fans on the Internet. “Jan – he made my career,” says Bullock, “because he had faith in me in his little silly bomb-on-the-bus movie that everyone laughed at.” “You really want to be her friend.” That’s what he became. “She had such an incredible freshness,” he says. Fox didn’t want her, but first-time director Jan De Bont did. The unmistakable pivot of Bullock’s career was getting behind the wheel of that big Santa Monica, Calif., bus in the first Speed.
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