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While shooting a commercial on location in the stifling, mosquito-infested
Amazon the following year, Liv somehow decided she wanted
to act more than anything else. Not long after that, an agent
read about the intriguing lass in an article in The New York
Times concerning children of the rich and famous, and Liv
was officially "discovered." Her first feature role was as
the older sister of an autistic boy in the Bruce Beresford
straight-to-video drama Silent Fall (1994); Liv went 0-for-2
with her less-than-memorable follow-up film, Empire Records
(1995). The film was such a stultifying experience for the
neophyte that she nearly abandoned acting altogether. But
Liv persevered, and rebounded nicely with a role in the low-budget
indie film, Heavy, and a break-out performance in famed Italian
director Bernardo Bertolucci's Stealing Beauty.
Liv was the toast of the 1996 Cannes Film Festival, where
Stealing Beauty was entered in competition. French critics
ooh-la-laed over the young actress, nicknaming her Liv Taylor
in deference to that other nubile young brunette starlet who
rocked the Continent decades before. Bertolucci's sentimental
opus tells the coming-of-age story of a young American naif
summering at a Tuscan villa who attempts to a) lose her virginity,
and b) discover the identity of her father. The quest-for-deflowering
story line aside, the film's plot most certainly struck a
chord with Liv, whose own search for her father's identity
is the stuff of a rock ballad.
The
love child of an eight-month-long relationship between former
Ford model, Playboy Playmate, sometime singer, and rock groupie
Bebe Buell and full-lipped Aerosmith frontman Steven Tyler,
little Liv grew up believing that her mother's long-term boyfriend,
rock musician Todd Rundgren, was her father. After all, her
birth certificate said so. An early backstage introduction
to Tyler at a Rundgren show, however, planted a niggling suspicion
in her ten-year-old brain, and a subsequent encounter at an
Aerosmith concert with Tyler's daughter Mia, who was like
a rubber stamp of Liv, prompted the curious young girl to
confront her mother about the subject of her paternity. Buell
confirmed that the Jagger-esque rocker was indeed her biological
father, and Liv subsequently adopted the name Tyler as her
own by her twelfth birthday. She has since remarked shruggingly
of the whole situation, "It was the '70s."
Liv
is most definitely the product of newfangled parenting. A
permissive upbringing by Buell, who unashamedly discusses
with anyone who will listen her free-wheeling rock-chick love
experiences with the likes of Mick Jagger, Elvis Costello,
Jimmy Page, David Bowie, and Rod Stewart, nevertheless conferred
upon Liv a remarkably level head. To give credit where it's
due, though, Buell evidenced quite a savvy business head when
it came to managing the early stages of Liv's modeling and
acting careers. She had the foresight to steer her daughter
away from a proffered lead in the sexploitative embarrassment
Showgirls, and lapsed in sound judgment only when it came
to Liv's appearance with rival teen goddess Alicia Silverstone
in her father's now-classic music video for Aerosmith's "Crazy"
in 1994. By virtue of her sassy romping about in a silver
bra, Liv became an instant sex symbol - a "video vixen" -
to a slavering following of what her mother calls "psychos."
Who would have guessed? As for Steven Tyler, he and his progeny
have become fast friends in the years since their rapprochement
- in fact, one of their favorite things to do together is
to have "slumber parties" at which they swap beauty tips and
give each other facials. Says Tyler of his contribution to
Liv's personhood (apart from the obvious legacy of his lip
genes and more teeth than nature intended for any creature
but a shark to have), "What she inherited from me was just
the great art of being herself."
Liv's
next acting triumphs came in Tom Hanks's directorial debut,
That Thing You Do!, in which she played the groupie-girlfriend
of a small-town band circa 1964, and in Pat (Circle of Friends)
O'Connor's Inventing the Abbotts, in which she played another
small-town sweetheart. She gamely entered the big-budget arena
in 1998, co-starring with Bruce Willis and Ben Affleck in
Disney's Armageddon. 1999 brought roles in Robert Altman's
Cookie's Fortune, in which she engaged in small-town slapstick
romance with Chris O'Donnell, and in Plunkett & MaCleane,
which positioned her as the aristocratic inamorata of a highwayman.
She finished out the year on a more serious note, playing
opposite typically and terrifically brooding romantic Ralph
Fiennes in the Alexander Pushkin adaptation Onegin. The year
2000 brought a role in the Robert Altman film Dr. T and the
Women. Coming down the pike is her turn as Arwen in the Lord
of the Rings trilogy. |