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TERMINAL

VELOCITY'

COSTAR

TIIEKIII$KI REPORT
Nesrass.l,c Ktu sri-action star. That's not quite the image you'd expect after all her roles as an exotic woman seduced by 19th-century aristocracy (?ess), by a supernatural catbrother (Cctt People), or by her own heated desires (Marla's Louers, Stay as Yott Are, The Moon [tr, the Gutter). "They certainly never had me in mind!" the 33-year-old Kinski conbrightly about the makers of Terminal Velocity, in which she runs, shoots, and sky-dives as a member of "the KG-used-to-B." "I had to meet with them twice and screen-test," Kinski says with her pouty German lilt. "But if you get typecast, it's up to you to break that. Since I started really young, getting roles where they would ask me to take my clothes off, I wbuld get those [types ofl scripts over and
cedes

t?

over. The fact that I'm here and still working-I don't know if it's so much

because of my performances or
something else."

Kinski, daughter of the late Ger-

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GI

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ilastassja is shifting gears

man actor Klaus Kinski, has been 11ying below American-mo';ie radar since the ill-fated Reuolutiott' (1985). There were a couple of art-house flowers (Tot'ren'ts of Spring and. Fa'raway, So CLose) and lots of Euroduds she'd rather forget. Meantime, after splitting from her first husband, Egyptian producer Ibrahim Moussa, with whom she hacl son Aljosha in 1984 and daughter Sonja in 1986, Kinski settled in the States with pop-music mogul Quincy Jones; they had a daughte4 Kenya Julia Miambi Sarah Jones, in February 1993. Of course, she has probably remained most famous for her nude poster by Richard Avedon, Natassja Kinski an'd the Serpen't (1981), which for yeals seemed to be in every male dorm room by law. And did she get a cut of the poster's sales? "No-I didn't!" Kinski says, seeming starfled. "That's a good point. I'm gonna call someone about this!" she adds in mock anger-springing, Louece so to speak, into action.

-Ft'artk

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