Hoffman Shines in Powerful Capote W Seth Motel W Editor in Chief You Know a Movie Is Good When the Only Major Complaint About It Is Its Misleading Title
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In Cold Blood, Half a Century On
http://www.theguardian.com/books/2009/nov/16/truman-capote-in-cold-blood In Cold Blood, half a century on Fifty years ago, Holcomb, Kansas was devastated by the slaughter of a local family. And then Truman Capote arrived in town . Truman Capote in the living room of the Clutter ranch. Photograph: AP Ed Pilkington @edpilkington Sunday 15 November 2009 River Valley farm stands at the end of an earth road leading out of Holcomb, a small town on the western edge of Kansas. You can see its pretty white gabled roof floating above a sea of corn stubble. The house is famous for the elm trees which line the drive, giving it the tranquil air of a French country lane. The trees are in poor shape though, and desperately in need of pruning; their branches, leafless now, protrude at wild angles. There's something else not quite right about the setting. There is a large "stop" sign at the entrance to the road, backed up by a metal barrier and a hand-written poster in red paint proclaiming: "No Trespassing. Private Drive." The warnings seem belligerent for such a peaceful spot. The explanation for these warnings lies about half a mile away in Holcomb's local park. A memorial plaque was unveiled there two months ago in honour of the former occupants of River Valley farm: the Clutter family, who lived in that house at the end of the elm drive until one tragic night half a century ago. The plaque carries a lengthy eulogy to the family, recording the many accomplishments of the father, Herb Clutter, and telling us that the family's leisure activities included "entertaining friends, enjoying picnics in the summer and participating in school and church events". -
Christopher Plummer
Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz, -
It's a Conspiracy
IT’S A CONSPIRACY! As a Cautionary Remembrance of the JFK Assassination—A Survey of Films With A Paranoid Edge Dan Akira Nishimura with Don Malcolm The only culture to enlist the imagination and change the charac- der. As it snows, he walks the streets of the town that will be forever ter of Americans was the one we had been given by the movies… changed. The banker Mr. Potter (Lionel Barrymore), a scrooge-like No movie star had the mind, courage or force to be national character, practically owns Bedford Falls. As he prepares to reshape leader… So the President nominated himself. He would fill the it in his own image, Potter doesn’t act alone. There’s also a board void. He would be the movie star come to life as President. of directors with identities shielded from the public (think MPAA). Who are these people? And what’s so wonderful about them? —Norman Mailer 3. Ace in the Hole (1951) resident John F. Kennedy was a movie fan. Ironically, one A former big city reporter of his favorites was The Manchurian Candidate (1962), lands a job for an Albu- directed by John Frankenheimer. With the president’s per- querque daily. Chuck Tatum mission, Frankenheimer was able to shoot scenes from (Kirk Douglas) is looking for Seven Days in May (1964) at the White House. Due to a ticket back to “the Apple.” Pthe events of November 1963, both films seem prescient. He thinks he’s found it when Was Lee Harvey Oswald a sleeper agent, a “Manchurian candidate?” Leo Mimosa (Richard Bene- Or was it a military coup as in the latter film? Or both? dict) is trapped in a cave Over the years, many films have dealt with political conspira- collapse. -
Denzel Washington
Copyright material – 9781844574841 CONTENTS ACKNOWLEDGMENTS VI INTRODUCTION 1 1 STARDOM AND THE POLITICS OF REPRESENTATION 15 2 AFTER BLAXPLOITATION, BEFORE NEW JACK CINEMA 34 3 ACADEMY AWARD-WINNING ACTOR 62 4 ONE OF AMERICA’S FAVOURITE MOVIE STARS 90 5 BLUES DETECTIVES 115 CONCLUSION 135 NOTES 141 BIBLIOGRAPHY 145 FILMOGRAPHY 155 INDEX 158 Copyright material – 9781844574841 INTRODUCTION Star studies are deceptive. They seem like fun, easy projects, when in reality they are arduous ventures beset by countless pitfalls. The actor (whose creative labour produces the performances) can become obscured by the star (associated with existential qualities). It is difficult to accurately assess the industrial, cultural and aesthetic factors that shape audience perspectives and actors’ careers. There are no straightforward ways to connect star studies with accounts, for example, of African-American cinema. Even ‘star image’ is an ambiguous term. Martin Shingler notes that star studies can (and should) consider a host of issues, including ‘a performer’s star qualities and idiolect, their career trajectory … the significance of collaborators … the emergence of their type and star vehicles’ (2012: 183). Beyond this, these studies will show how ‘stars embody, incarnate or personify social groups or historical moments, [and negotiate] ideological contradictions that emerge within or between social groups’; on the flip side, they also aim to clarify ‘how certain types of audiences or members of a specific social group … have engaged with and made use of stars at particular historical moments’ (ibid.). Juggling disparate visions of stardom, these studies consider how a star functions as ‘an industrial marketing device’, a meaning- producing element within films and a working professional involved in the fields of art and performance (Gledhill 1991a: xiii). -
Naturalism, the New Journalism, and the Tradition of the Modern American Fact-Based Homicide Novel
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml48106-1346 USA 3131761-4700 800!521-0600 Order Number 9406702 Naturalism, the new journalism, and the tradition of the modern American fact-based homicide novel Whited, Lana Ann, Ph.D. -
BCPE Press Kit Aug.Text
Sales Contact (US & Canada) Sales Contact (International) Submarine Entertainment Films Transit Josh Braun Diana Holtzberg Dan Braun [email protected] Amada Lebow 917-757-1444 [email protected] Press Contact [email protected] [email protected] Other Noises [email protected] 212-501-9507 www.centralparkbirdfilm.com LOG LINE A diverse group of full-of-attitude New Yorkers reveals how a hidden world of beautiful wild birds in the middle of Manhattan has upended and magically transformed their lives. SYNOPSIS The Central Park Effect reveals the extraordinary array of wild birds who grace Manhattan’s celebrated patch of green and the equally colorful, full-of-attitude New Yorkers who schedule their lives around the rhythms of migration. The film focuses on seven main characters who regularly visit the Park and have found a profound connection with this hidden natural world. Movie-star handsome Chris Cooper dodges the morning rush hour traffic on bustling Central Park West, his binoculars knocking against his leather bomber jacket as he ducks into the Park. “My friends mock me for what I do in the spring because – they know from experience. From April 15 until Memorial Day, they won’t see me. Because I’m birding!” Anya Auerbach, a radiant fashion-averse teenager, admits that “I take my binoculars pretty much everywhere – except school.” Acclaimed author Jonathan Franzen recalls that he walked through Central Park almost daily for seven years, noticing only the pigeons and sparrows. Then one day, friends invited him to come along with them on a tour of the Park’s famous Ramble section and handed him a pair of binoculars. -
Milloi' KCTONYC
M U ALUMNI SHOW TALENT AND GUTS AS THEY MAKE IT IN SHOW BIZ. Chris Cooper was no stranger to the stage the actresses turned her back to the audio »itl, Journ '86. in MU's constellation of when he made his first live performance enee to feed hini his lines. movie stars. in a Kansas City community theater pro, Cooper, 48, has come a long way since duction of A Streetcar Named Desire. delivering the II lines of the paperboy in KCTONYC He was, however, a stranger to acting. Streetcar. Best known for his portrayals Cooper grew up in the Kansas City sub, Cooper, then a set builder, stepped into of broo<ly lawmen-Sheriff July Johnson urbs, but the sel f·described introvert felt the spotlight only after Tom Be renger for· in theTV miniseries LOIlesome D ove and more at home on the family's 1,280.acre got about a matinee. Sheriff Sam Deeds in L Olle S tar--the Kansas canle ranch. where he spent his " By curtain time, it ....1LS clear that Tom man whom director Joel Schumacher summers. As he grew older, he and his probably wasn 'tgoing to show up," says hails "a consummate artist" receive(1 the buddies ventured on the wrong side of the Cooper. BGS '76, "so I quickly memo· "show Me" Award las t October at the law- let's just say petty theft , he says rized his lines and stood in for him. It fifth annual FilmFest in Kansas City. He but Cooper didn't like keeping time with went off without a hitch." \\-c ll , more or joins the likes of Berenger, AD '71 , Kate trouble. -
Page 1 Hacettepe Ontversttest Edebiyat Fakültesi Dergist Cilt 8
TRUMANCAPÔ7F:S JNCOLD BLOOD -WRJ:rl1VG . NONFlC'1.'J(JN NOVEL. GMEAN1N:QOlJXOF FActS . -, . .' " - -" - Thevtolmt changeQltheı960s.aıu1"ihe exbaust1onof certam..' (anrıs. 'of ftet10n that have dOttı1natedthenoVel smee WOrld-Warlı~.ha~'ed l1cwoPPoıtuntt1es rorWnters~ The d~trı~~t'..of~Çtf. ın~eı96()$w.apoea1ypt1e. '. e,tJıe- ~repQ~4aUY byn~apers ~tth~' . and m.~C$ dUıevast~.:ın...every.seetor.otWe . U~totheP.~tı:ıtofbj:reduUty.Gradually, stı'atntng . eveıyday it '. ~e8JDe ,morefantasUc than the.f1et1onal V1S1oI1$ofevm ~.~.>~rıtşt~t seemedbeyt?ndthe wil~ f~bec.aıne'. a part ofeveJ'YC1ayre8Uty when the pı:esidentta1n:ı . O:W88.1U'e4upQ1i IJı,.Qaııas1n 1963. This was a tJıne. when. the ıı9VeJ1et\q8 confrOnted wtth t\Vo dilemmas: . F1rst1y,hoW-to daform)nOte~e1y reeonclled W1th the _mod1fled natqt'e ofrea1itY tn ~er1c~th~ thetrad1t1onal real1st1c novel; .d'-ısecond11..~ hoWto~~ .andmatntatıı ~ au~ence(Hon9W. U..1.)-. CcmseCNent1y,.the.emeıgeıice of. a new trend,. theNew. J urqaltJD)..gr the~ct1onfoi1n.,tts growtng . s1p1tIc.mce atıc1, ııı.ıtyw..~ab1e..' . ı a"nonftct1onnovel" .:,'.. ", '. ,'o '. ". 'i Tnunaıi9apot ~ed lnC9ktBlood" and h..uter&ryU'at1~.\Vent.ta1"beyond "~reitJoumal1sDı. Iiacottepe.UntvcJ'8.,~. ot~..~pwtiDent of ~rICan c~ture'anei ./. Uterat11nl ina r. '.' 183 ',. \.. :. His iongpunmltot: ;.h~'eı.~'i"',,~~1Um. to HQlcoıııb. KanSaS 'and~ to..a,~:"'~$b.tp;wtththeınurderetı!l" \Vitlı'tbe aesthet1c~_t~CQ~be ratsed ~ . '. totheıeveı ()f~ ," . ," : .kcordtıJg., to ~.t:tıis .CO\ikt., ..~...~" ..t>y' ..~ ıa) .~. .~:~o:.b)(..~dePth: and , c) . no.v.eUısıtç '!o:mıWlU! ",hatM ~d ~thereallt1esof . JourrnillsnJ!', '"., :ManY~VIWı;~..'.he'.'~tbe'Uı@teScorıcemıng c the .J)onfteucmnove1.~to~. '''a~fotmthat euıp10yed aI1the..~ Of.~art.buf .was neverthe1ess u.nmacul.telyfactua1."2'(l.f~~6t Viewed tt _J1ıfJ"t'atlure. -
Sagawkit Acceptancespeechtran
Screen Actors Guild Awards Acceptance Speech Transcripts TABLE OF CONTENTS INAUGURAL SCREEN ACTORS GUILD AWARDS ...........................................................................................2 2ND ANNUAL SCREEN ACTORS GUILD AWARDS .........................................................................................6 3RD ANNUAL SCREEN ACTORS GUILD AWARDS ...................................................................................... 11 4TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 15 5TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 20 6TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 24 7TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 28 8TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 32 9TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 36 10TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 42 11TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 48 12TH ANNUAL SCREEN ACTORS GUILD AWARDS .................................................................................... -
Museum of the Moving Image Presents Comprehensive Terrence Malick Retrospective
FOR IMMEDIATE RELEASE MUSEUM OF THE MOVING IMAGE PRESENTS COMPREHENSIVE TERRENCE MALICK RETROSPECTIVE Moments of Grace: The Collected Terrence Malick includes all of his features, some alternate versions, and a preview screening of his new film A Hidden Life November 15–December 8, 2019 Astoria, New York, November 12, 2019—In celebration of Terrence Malick’s new film, the deeply spiritual, achingly ethical, and politically resonant A Hidden Life, Museum of the Moving Image presents the comprehensive retrospective Moments of Grace: The Collected Terrence Malick, from November 15 through December 8. The films in the series span a period of nearly 50 years, opening with Malick’s 1970s breakthroughs Badlands (1973) and Days of Heaven (1978), through his career-revival masterworks The Thin Red Line (1998) and The New World (2005), and continuing with his 21st- century films—from Cannes Palme d’Or winner The Tree of Life (2011); the trio of To the Wonder (2012), Knight of Cups (2015), and Song to Song (2017); and sole documentary project Voyage of Time (2016)—through to this year’s A Hidden Life. Two of these films will be presented in alternate versions—Voyage of Time and The New World—a testament to Malick’s ambitious and exploratory approach to editing. In addition to Malick’s own feature films, the series includes Pocket Money (1972), an ambling buddy comedy with Lee Marvin and Paul Newman, which he wrote (but did not direct), and Thy Kingdom Come (2018), the documentary featurette shot on the set of To the Wonder by photographer Eugene Richards. -
Screenwriters on Screenwriting. the BAFTA and BFI Screenwriters
Screenwriters On Screenwriting. The BAFTA and BFI Screenwriters’ Lecture Series in association with The JJ Charitable Trust Guillermo Arriaga 26 September 2011 at BFI Southbank Guillermo Arriaga: Thank you all for being here. were of the same level, of the same quality, of It’s kind of intimidating with this light, but I hope the first ones. When you’re supposed to gain all it will be good. I have chosen some clips of the the wisdom that age brings with it, man, you films I have written, some of the ones I directed, cannot write good stuff any longer. and I will talk a little about this craft of screenwriting, or storytelling. It happened to Hemingway. A Farewell To Arms for example, is much better than Across The I didn’t study screenwriting at all, ever. I have River. You say, ‘It’s not possible, it’s the same no film studies. Where I come from, where my guy.’ So we never know when this changes. We storytelling comes from, is that need to tell hope it never ends. In my case I am very, very stories. I was saying in an interview that when I bad at adapting. I have no idea how to was a kid I had this gigantic crush on girls. I express the ideas of other people, or to adapt loved girls. But I was too shy to approach them. a novel or do anything like that. I cannot make I’m telling you, when I was nine or ten years old, a living adapting. -
MELISSA GIROTTI Cell: 416-268-0425 E-Mail: [email protected]
MELISSA GIROTTI Cell: 416-268-0425 E-mail: [email protected] Production “Downsizing” Feature Film Paramount Pictures Coordinator Producers: Mark Johnson 2016 Director: Alexander Payne Line Producer: Diana Pokorny UPM: Regina Robb Cast: Matt Damon, Kristen Wiig, Jason Sudeikis, Christoph Waltz Production “11.22.63” Mini Series Bad Robot / Warner Bros. Coordinator Producers: JJ Abrams, Kathy Lingg, Bridget Carpenter 2015 Director: Various Line Producer: Joseph Boccia UPM: Anna Beben Cast: James Franco, Sarah Gadon, Chris Cooper, Josh Duhamel, George MacKay Production “MARILYN” Mini Series Asylum / Lifetime Supervisor Producers: Don Carmody, David Cormican 2014 - 2015 Director: Laurie Collyer Line Producer / UPM: Joseph Boccia Cast: Susan Sarandon, Emily Watson, Kelli Garner, Jeffrey Dean Morgan Production “POLTERGEIST” (Reshoots Only) Feature Film MGM Coordinator Producers: Sam Raimi, Nathan Kahane, Roy Lee 2014 Director: Gil Kenan (Re-shoots) Line Producer: Becki Trujillo UPM: Joseph Boccia Cast: Sam Rockwell, Rosemarie DeWitt, Jared Harris Production “AGATHA” TV Pilot ABC Studios Coordinator Exec. Producers: Mark Gordon, Nick Pepper, Michael McDonald 2014 Director: Jace Alexander Line Producer: Todd Arnow UPM: Joseph Boccia Cast: Bojana Novakovic, Clancy Brown, Meta Golding Production “MAPS TO THE STARS” Feature Film Independent Supervisor Producers: Martin Katz, Saïd Ben Saïd, Michel Merkt 2013 France / Canada Director: David Cronenberg Co-Production Line Producer / UPM: Joseph Boccia Cast: Julianne Moore, John Cusack, Mia Wasikowska,