'Terminal Velocity' Costar
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Nastassja Kinski — action star. That’s not quite the image you’d expect after all her roles as an exotic woman seduced by 19th-century aristocracy (Tess), by a supernatural cat-brother (Cat People), or by her own heated desires (Maria’s Lovers, Stay as You Are, The Moon in the Gutter).

”They certainly never had me in mind!” the 33-year-old Kinski concedes brightly 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 would get those (types of) scripts over and 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 German actor Klaus Kinski, has been flying below American-movie radar since the ill-fated Revolution (1985). There were a couple of art-house flowers (Torrents of Spring and Faraway, So Close) and lots of Euroduds she’d rather forget. Meantime, after splitting from her first husband, Egyptian producer Ibrahim Moussa, with whom she had son Aljosha in 1984 and daughter Sonja in 1986, Kinski settled in the States with pop-music mogul Quincy Jones; they had a daughter, 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 and the Serpent (1981), which for years 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 startled. ”That’s a good point. I’m gonna call someone about this!” she adds in mock anger — springing, so to speak, into action. — Frank Lovece

Terminal Velocity
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