Epstein Secrets

There is pressure when you are making a sequel to a hit. I watch the action on monitors while sitting on the producers' canvas chairs with Pressman, Eric Kopeloff ("Monsters Ball") and Celia Costas, who was a location manager on the first "Wall Street.” They have asked me to be an extra in the Alzheimer's Ball

ique Van Vooren, both in their 80s, are seated in front of the fireplace chatting in French. Production assistants fuss over them. Debonair macho man Chuck Pfieffer, who appeared in the original film, and I immediately invent a back story—I am his corporate wife—and we position ourselves on a couch next to the di

There is pressure when you are making a sequel to a hit. I watch the action on monitors while sitting on the producers' canvas chairs with Pressman, Eric Kopeloff ("Monsters Ball") and Celia Costas, who was a location manager on the first "Wall Street." They have asked me to be an extra in the Alzheimer's Ball

ique Van Vooren, both in their 80s, are seated in front of the fireplace chatting in French. Production assistants fuss over them. Debonair macho man Chuck Pfieffer, who appeared in the original film, and I immediately invent a back story—I am his corporate wife-and we position ourselves on a couch next to the di

There is pressure when you are making a sequel to a hit. I watch the action on monitors while sitting on the producers' canvas chairs with Pressman, Eric Kopeloff ("Monsters Ball") and Celia Costas, who was a location manager on the first "Wall Street." They have asked me to be an extra in the Alzheimer's Bal

que Van Vooren, both in their 80s, are seated in front of the fireplace chatting in French. Production assistants fuss over them. Debonair macho man Chuck Pfieffer, who appeared in the original film, and I immediately invent a back story—I am his corporate wife—and we position ourselves on a couch next to the

There is pressure when you are making a sequel to a hit. I watch the action on monitors while sitting on the producers' canvas chairs with Pressman, Eric Kopeloff ("Monsters Ball") and Celia Costes. who was a location manager on the rust "Wall Street." They have asked me to be an extra in the Alzheimer's Ball

que Van Voorcn, both in their 80s, arc seated in front of the fireplace chatting in French. Production assistants fuss over them. Debonair macho man Chuck Pfieffer, who appeared in the original film, and I immediately invent a back story—I am his corporate wife—and we position ourselves on a couch next to the d

nse. There is pressure when you are making a hit sequel. I watch the action on monitors while sitting on the producers' canvas chairs with Pressman, Eric Kopeloff ("Monsters Ball") and Celia Costas, who was a location manager on the first "Wall Street." They have asked me to be an extra in the Alzheimer's Bal

nd her friend Monique Van Vooren, both in their 80s, are seated in front of the fireplace. Production assistants fuss over them. Debonair macho man Chuck Pfieffer, who appeared in the original film, and I immediately invent a back story—I am his corporate wife—and we position ourselves on a couch next to the d

There is pressure when you are making a sequel to a hit. I watch the action on monitors while sitting on the producers' canvas chairs with Pressman, Eric Kopeloff ("Monsters Ball") and Celia Costas, who was a location manager on the first "Wall Street.” They have asked me to be an extra in the Alzheimer's Ball

ique Van Vooren, both in their 80s, are seated in front of the fireplace chatting in French. Production assistants fuss over them. Debonair macho man Chuck Pfieffer, who appeared in the original film, and I immediately invent a back story—I am his corporate wife—and we position ourselves on a couch next to the di

There is pressure when you are making a sequel to a hit. I watch the action on monitors while sitting on the producers' canvas chairs with Pressman, Eric Kopeloff ("Monsters Ball") and Celia Costas, who was a location manager on the first "Wall Street." They have asked me to be an extra in the Alzheimer's Ball

ique Van Vooren, both in their 80s, are seated in front of the fireplace chatting in French. Production assistants fuss over them. Debonair macho man Chuck Pfieffer, who appeared in the original film, and I immediately invent a back story—I am his corporate wife—and we position ourselves on a couch next to the di