Alanis Morissette tells The Mirror she can’t wait to walk up the aisle with her Canadian actor boyfriend Ryan Reynolds.
“It used to scare the living daylights out of me but now I’m really happy to be getting married,” the singer revealed.
“I’m looking forward to learning what marriage is all about in 2004.”
Alanis Morissette is attempting to appear in films agian. I write again becase she had a role in Dogma a few years back playing God which kind of disturbed a few people.
Anyway, the long-chopped stroppy popstrel has signed up to make an appearance in a new film devoted to the life and times of jazz songwriting genius Cole Porter.
Other music stars who’ve agreed to muck in and lend their vocal talents include Robbie Williams and Sheryl Crow.
Alanis Morissette was asked how she felt about fellow Canadian Avril Lavigne being compared to her.
“She appeals to a certain group of people so that’s cool. Catchy lyrics and all that so it’s definitely rocking pop.”
When asked whether the pair talked about music during their photo shoot together in New York recently, Alanis said “We talked about it a little bit. Having been in a position similar to hers when I was younger and having been on the receiving end of a lot of people saying, ‘Call me,’ I know that the very act of expressing support can be a very sustaining thing.”
“I definitely invited her to call if ever she needed anyone to talk to, that she’s welcome to connect with me, and I send her love.”
Alanis Morissette’s new CD “Under Rug Swept” is available for pre-order now at her Official Online Store:
Visitors may also stream her new video “Hands Clean” from the site.
Written and produced by Alanis in both Canada (writing and demoing) and Los Angeles (subsequent tracking, layering and mixing), these 11 songs were created with her playing both acoustic and electric guitar and keyboards and were written in a very stream-of-consciousness accelerated way…UNDER RUG SWEPT ranges from the guitar-heavy ’21 Things I Want In A Lover’ and the unapologetic expression of frustration, humanness and humor of ‘Narcissus,’ to the subtle rhythmic grooves of the self-affirming declaration ‘So Unsexy’ and ‘ou Owe Me Nothing In Return,’ to the expansive balladry of ‘Flinch’ and ‘That Particular Time,’ which strides the mysterious divide between men and women in the hope of establishing and sustaining a genuine connectedness.