Myndir Mánaðarins- Janúar 2018

Total Page:16

File Type:pdf, Size:1020Kb

Myndir Mánaðarins- Janúar 2018 Frá leikstjóra NON-STOP og THE SHALLOWS LIAM NEESON líf hans hangir á línunni NÝTT Í BÍÓ FRUMSÝND 12. JANÚAR Myndir mánaðarins Gleðilegt nýtt kvikmyndaár 2018 Janúar er runninn upp og þar með enn eitt árið, í þetta sinn 2018. Við tökum því auðvitað fagnandi, ekki síst vegna þess að hvað kvikmyndirnar varðar lítur það afar vel út og fram undan er enn ein kvikmyndaveislan þegar margar af þeim myndum sem taldar eru líklegastar til að fá eftirsóttustu kvikmyndaverðlaunin koma í bíó. FRUMSÝND Í blaðinu að þessu sinni rennum við yfir stærstan hluta þeirra mynda sem tilnefndar eru til Golden Globe-verðlauna, lítum aðeins yfir árið sem var að líða, kíkjum á nokkrar væntanlegar 19. JANÚAR myndir og kynnum svo eins og áður myndir mánaðarins. Janúardagskrá bíóhúsanna: 5. jan. All the Money in the World Bls. 20 5. jan. Father Figures Bls. 22 5. jan. Svanurinn Bls. 23 12. jan. The Commuter Bls. 24 12. jan. Downsizing Bls. 26 12. jan. Paddington 2 Bls. 28 19. jan. Three Billboards Outside Ebbing ... Bls. 30 19. jan. The Post Bls. 32 19. jan. 12 Strong Bls. 34 26. jan. Maze Runner: The Death Cure Bls. 36 26. jan. Den of Thieves Bls. 38 26. jan. Call Me by Your Name Bls. 39 26. jan – 4. feb. Franska kvikmyndahátíðin Bls. 40-41 Gleðilegt ár og við sjáumst í bíó! Viltu vinna bíómiða fyrir tvo í eitthvert kvikmyndahúsanna? Finndu þá flöskuna og taktu þátt í leiknum! Leikurinn er ekki flókinn. Þú þarft að finna litla flösku sem einhver hefur gleymt á einni síðunni bíómegin í blaðinu og lítur út eins og þessi: Ef þú finnur flöskuna og vilt taka þátt í leiknum skaltu fara inn á facebook.com/myndirmanadarins og senda okkur rétta svarið með skilaboðum, þ.e. númerið á blaðsíðunni þar sem flaskan er. Ekki gleyma að hafa fullt heimilisfang og póstnúmer með svarinu. Frestur til þátttöku er til og með 21. janúar. Valið verður af handahófi úr réttum lausnum fljótlega eftir það og verða nöfn vinningshafa síðan birt á Facebook-síðunni okkar og í næsta tölu- blaði blaðsins sem kemur út í lok janúar. Vinningshafar í síðasta leik, finndu jólagjöfina: Ásta Camilla Harðardóttir, Hraunbæ 30, 110 Reykjavík Andri Stanley Sigurðsson, Súlunesi 7, 210 Garðabæ Erla Jónatansdóttir, Skipalóni 5, 220 Hafnarfirði Petur Gabríel Gústafsson, Kirkjuvegi 26, 800 Selfossi Bjartur Orri Jónsson, Þinghólsbraut 30, 200 Kópavogi Takk fyrir þátttökuna! MYNDIR MÁNAÐARINS 288. tbl. janúar 2018 Útgefandi: Myndir mán. ehf., Trönuhrauni 1, 220 Hafnarfirði, sími 534-0417 Heimasíða: www.myndirmanadarins.is Ábyrgðarmaður: Stefán Unnarsson / [email protected] Texti / Umbrot: Bergur Ísleifsson Próförk: Veturliði Óskarsson Prentun / Bókband: Ísafoldarprentsmiðja Upplag: 22.000 eintök 4 Myndir mánaðarins FLÖGULEGA GOTT NÝTT ÁR! ÞÖKKUM SAMFYLGDINA Á LIÐNU ÁRI. HLÖKKUM TIL AÐ GERA ALLT FLÖGULEGT MEÐ YKKUR Á ÁRINU 2018. Bestu myndir ársins? Eins og áður snúast áramótin og janúar- mánuður í kvikmyndaheiminum að stóru leyti um að gera upp árið sem er nýliðið og heiðra þá og þær sem þóttu skara fram úr á sínum sviðum innan kvikmyndageirans, myndin The Shape of Water sem fékk flestar hvort sem þau stóðu fyrir framan eða aftan tilnefningar, sjö talsins, en fyrir utan að vera vélarnar. Um leið eru kvikmyndirnar sjálfar tilnefnd sem besta myndin er hún einnig vegnar og metnar af hinum ýmsu fag- og tilnefnd fyrir handritið, tónlistina, leikstjórn, áhugasamtökum, gagnrýnendum og al- besta leik í aukahlutverkum karla og kvenna mennu áhugafólki sem reyna síðan að komast og fyrir besta leik í aðalhlutverki kvenna. að niðurstöðu um hver sé besta mynd ársins. Í þeim efnum sýnist að sjálfsögðu sitt hverjum enda er smekkur fólks eins misjafn og það er margt auk þess sem góðu myndirnar eru bara svo margar að það er í raun útilokað að það sé hægt að gera upp á milli þeirra þannig að sanngjarnt sé í öllum tilfellum. Samt er það Your Name sem er tilnefnd fyrir besta leik í nú gert og eins og alltaf eru það stóru verð- aðal- og aukahlutverkum karla, The Greatest launahátíðirnar þrjár sem fá mesta athygli, Showman sem er tilnefnd fyrir besta lag og þ.e. Golden Globe-verðlaunin, bresku BAFTA- besta leik í aðalhlutverki karla og svo I, Tonya verðlaunin og svo Óskarsverðlaunin sjálf sem sem er tilnefnd fyrir besta leik í aðal- og að þessu sinni verða afhent sunnudaginn 4. aukahlutverki kvenna, en þessar myndir eru mars en tilnefningar til þeirra verða gerðar einnig allar tilnefndar sem besta myndin. opinberar 23. janúar. Tilnefningar til BAFTA- verðlaunanna verða hins vegar ljósar 10. janúar og fer sú verðlaunaafhending fram sunnudaginn 12. febrúar. The Post fékk sex tilnefningar, þ.e. sem besta mynd ársins, fyrir handrit, leikstjórn, tónlist og fyrir besta leik í aðalhlutverkum karla og kvenna. Önnur mynd með sex tilnefningar er svo myndin með langa heitið, Three Billboards Outside Ebbing, Missouri, en hún er tilnefnd fyrir leikstjórn, handrit, tónlist, besta leik í aukahlutverki karla og besta leik í aðalhlutverki kvenna auk tilnefningar sem besta mynd ársins. Með tvær tilnefningar af þeim myndum sem fengu tilnefningu sem besta myndin eru svo Þann 7. janúar verður Golden Globe-hátíðin að lokum myndirnar Get Out sem fær einnig haldin með pompi og prakt á Hilton-hótelinu tilnefningu fyrir besta leik í aðalhlutverki í Beverly Hills. Það er spjallþáttastjórnandinn karla og The Disaster Artist sem er einnig Seth Meyers sem verður kynnir hátíðarinnar tilnefnd fyrir besta leik í aðalhlutverki karla. í fyrsta sinn og heiðursgestur að þessu sinni Myndin All the Money er Oprah Winfrey sem veitir Cecil B. DeMille- in the World sem verður verðlaununum viðtöku fyrir framlag sitt til frumsýnd í janúar fær kvikmyndaiðnaðarins. Tilnefningarnar til svo þrjár tilnefningar verðlaunanna voru gerðar kunnar fyrir jól, en er eina myndin í en Golden Globe-verðlaunahátíðin er eins Með fjórar tilnefningar er svo myndin Lady þessari upptalningu og flestir vita ólík bæði BAFTA- og Óskars- Bird en hún hlaut þær fyrir besta handritið og sem er ekki jafnframt hátíðinni að því leyti að á henni fá tvær besta leik í aðal- og aukahlutverkum kvenna tilnefnd sem besta myndir verðlaun sem besta mynd ársins, auk tilnefningar sem besta mynd ársins. myndin. Þess í stað annars vegar í flokki dramamynda og hins Með þrjár tilnefningar eru síðan fjórar er hún tilnefnd fyrir vegar í flokki gaman- eða tónlistarmynda. myndir, þ.e. Dunkirk sem er tilnefnd fyrir leikstjórn, leik í auka- Í þessum flokkum var það að þessu sinni bestu leikstjórn og bestu tónlist, Call Me by hlutverki karla og leik í aðalhlutverki kvenna. 6 Myndir mánaðarins i i i Brakandi góð SALAThugmynd: i i i Gerðu SALATkröns úr sigdal hrökkbrauði Besti leikur ársins? Hin breska Sally Hawkins og hin bandaríska Ensku leikararnir Daniel Day-Lewis og Gary Ef deila má um einhverjar verðlaunaveitingar Octavia Spencer þykja einnig líklegar til Oldman þykja afar líklegir til að hampa ein- í kvikmyndabransanum þá eru það verðlaun stórræða á verðlaunapöllunum á næstunni, hverjum af stóru verðlaununum fyrir besta fyrir „besta leikinn“. Ekki það að hinir ýmsu Sally fyrir aðalhlutverk og Octavia fyrir auka- leik í aðalhlutverki karla, Daniel fyrir leik sinn leikarar sem tilnefndir eru hafi ekki skarað hlutverk í The Shape of Water eftir Guillermo í The Phantom Thread og Gary fyrir að leika fram úr í hlutverkum sínum og eigi skilið verð- del Toro, en þær eru ekki óvanar því að fá Winston Churchill í myndinni Darkest Hour. laun fyrir það heldur það að þeir eru bara svo tilnefningar til allra stóru verðlaunanna. ótalmargir sem skara fram úr á hverju einasta ári að það er eiginlega eins ósanngjarnt og hugsast getur að velja bara örfáa úr. En þetta er nú samt gert á hverju ári og við skulum kíkja hér á nokkra þeirra leikara sem þykja lík- legastir til að hampa stóru verðlaununum í ár. Þær Judi Dench og Helen Mirren eru fyrir Því er ekki að neita að orðrómurinn um að löngu orðnar vanar að veita verðlaunum fyrir þau Frances McDormand og Sam Rockwell frammistöðu sína á leiklistarsviðinu viðtöku muni hljóta stóru aðalverðlaun ársins fyrir og gætu vel gert það enn á ný á næstunni, besta leik í aðalhlutverki kvenna og besta Judi fyrir að leika Viktoríu drottningu í Victoria leik í aukahlutverki karla í hinni gráglettnu & Abdul og Helen fyrir leik í The Leisure Seeker. sakamálamynd Three Billboards Outside Fyrst skal nefna gömlu brýnin, þau Meryl Ebbing, Missouri eftir enska leikstjórann hæfi- Streep og Tom Hanks, sem geta alltaf á sig leikaríka, Martin McDonagh, er afar sterkur. blómunum bætt þrátt fyrir að eiga nú þegar En auðvitað getur allt gerst. svo marga verðlaunagripi að þau gætu fyllt heilt flugskýli með þeim. Þau leika aðal- hlutverkin í mynd Stevens Spielberg, The Post, og standa sig að sjálfsögðu frábærlega. Michelle Williams sem leikur Gail Harris í All the Money in the World eftir Ridley Scott og Christopher Plummer sem leikur fyrr- verandi tengdaföður hennar í þeirri mynd, Þeir Armie Hammer og Timothée Chalamet auðjöfurinn John Paul Getty, eru líka með eru líka mjög líklegir til að hampa a.m.k. ein- í keppninni um besta leik í aðalhlutverki um af stóru verðlaununum í ár fyrir besta kvenna og besta leik í aukahlutverki karla. leikinn enda þykja þeir hreint út sagt stór- kostlegir í myndinni Call Me by Your Name. Fjölmargir fleiri leikarar hafa verið nefndir á undanförnum mánuðum sem líklegir til að hampa einhverjum af stóru verðlaununum Mörgum þykir leikur þeirra Saoirse Ronan og og nefnum við hér að lokum þau James Laurie Metcalf í aðalhlutverkum myndarinnar Franco fyrir The Disaster Artist, Hugh Jackman Margot Robbie og Allison Janney leika Lady Bird eftir Gretu Gerwig bera af og þær fyrir The Greatest Showman, Willem Dafoe fyrir mæðgurnar Tonyu og LaVonu í myndinni afar líklegar til mikilla afreka á stóru verðlauna- The Florida Project, Denzel Washington fyrir I, Tonya, og ættu sannarlega báðar skilið öll hátíðunum.
Recommended publications
  • Bill's Guide to Week Two of the 47Th Annual Chicago International Film
    Bill’s Guide to Week Two of the 47th Annual Chicago International Film Festival By Bill Stamets Special for Films for Two® My recommended films in Week Two (in “must see” order): 1.) Pina: German director Wim Wenders previously profiled Japanese film director Yasujiro Ozu, Japanese fashion designer Yohji Yamamoto and Cuban musicians. His latest documentary introduces cinefiles to the choreography of German avant-gardist Pina Bausch. In his first use of 3-D cinematography, Wenders evokes the volume of the stage, even for performances staged in non-theatrical settings, including a tramway and an escalator. Four different works are presented. Some are revisited via archival 2-D footage. Seeing various versions adds more figurative depth to our appreciation of Bausch's work than the 3-D adds literal depth to our onscreen perception. Bausch's death during the making of the film may have lent an elegiac note to the laudatory interviews with members of her international company Tanztheater Wuppertal. They do not speak on camera during looking-into-the lens portrait sessions. The soundtrack excerpts their comments, apparently recorded off- camera, to underscore their role as voiceless dancers. Wenders channels Bausch's tactile and theoretical grasp of the body as metaphysical material for art. 2.) The Descendants: Alexander Payne (Sideways, About Schmidt, Election, Citizen Ruth) directs George Clooney as Matt King, an Hawaiian lawyer dealing with his wife hospitalized in a coma and their 10-year-old and 17- year-old daughters. Payne and his co-writers start from Kaui Hart Hemmings' 2008 novel for a truly touching male melodrama, as Clooney's character reconciles his mixed emotions about his wife.
    [Show full text]
  • Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode.
    [Show full text]
  • Richard Pells, "Film: Movies and Modern America"
    Film: Movies and Modern America By Richard Pells What is a "typical" American movie? People throughout the world are sure they know. A characteristic American film, they insist, has flamboyant special effects and a sumptuous décor, each a reflection of America's nearly mythic affluence. Furthermore, American movies revel in fast- paced action and a celebration of individual ingenuity embodied in the heroics of an impeccably dressed, permanently youthful Hollywood star. And they feature love stories that lead, inevitably if often implausibly, to happy endings. Yet over the past 15 years, for every high- tech, stunt-filled Mission Impossible, there Director Martin Scorsese and actor Daniel Day-Lewis have worked together are serious and even disturbing films such on such high-quality film projects as American Beautyand The Hours. For as Gangs of New York and The Age of Innocence. every conventional Hollywood blockbuster (© Associated Press) apparently designed to appeal to the predilections of 12-year-old boys, there have been complex and sophisticated movies such as Traffic, Shakespeare in Love, Magnolia, and About Schmidt that are consciously made for grown-ups. What is therefore remarkable about contemporary American movies is their diversity, their effort to explore the social and psychological dimensions of life in modern America, and their ability to combine entertainment with artistry. Profile: Filmmaker Alexander Payne The sweeping vistas of the Nebraska countryside outside the city of Omaha in the movie About Schmidt, and the hushed, stoic visages within the city itself, represent a homecoming of sorts for filmmaker Alexander Payne. The son of Greek parents who owned a prominent restaurant in Omaha, Payne left Nebraska after high school to study Spanish and history at Stanford University, with an eye toward becoming a foreign correspondent.
    [Show full text]
  • A MAN for OTHERS in MEDICINE DR
    A MAN for OTHERS IN MEDICINE DR. DANIEL W. JOHNSON ‘96 8 REUNIONS AT PREP 12 TOMORROW LABS: IN PROGRESS 20 OPERATION OTHERS AT 50 FALL 2017 8 PRESIDENT’S MESSAGE This year at Creighton Prep, our school theme is joy, and that includes the work that all of us do here to advance the mission to form men of faith, scholarship, 12 Volume 61 No. 2 Fall 2017 leadership and service. Carrying out our work with joy is also one small way Published by: that we can take to heart Pope Francis’ words about how integral joy is to being Creighton Prep 7400 Western Avenue a Christian. Omaha, NE 68114-1878 402.393.1190 My hope is that you will see the essence of joy coming through in many of the 4 20 www.creightonprep.org articles that comprise this issue of the Creighton Prep magazine. From the coverage on the life of Daniel W. Johnson ‘96, the alumni that gather for reunions, the President: Fr. Tom Neitzke, SJ ToMorrow Labs progress and the Loyola Dinner honorees to the write-ups on 4 A Man for Others in Medicine: 15 Fall Sports [email protected] other alumni servant leaders, Coach Pat Mooney and the baseball program, and Dr. Daniel W. Johnson ‘96 Operation Others at 50, there is a common thread through all of it: that joy is The Profile of a Prep Alumnus Who Rose to be 16 Building Excellence Principal: Jim Bopp essential to success, especially in efforts to help and inspire others. Part of the Fight Against Ebola Coach Pat Mooney and The Journey to the American Legion National Championship Baseball Game [email protected] As we strive to keep building a community of joy for students, I am excited by the 8 Reunions at Prep Assistant to the President: prospects of the comprehensive student support services program that will begin Reconnecting and Remembering in 2017 18 Prep Grads Living the Mission Fr.
    [Show full text]
  • HEADS the '" Pieilsfinr Iif Muii"'IJ Tdys Wiij,'"Ther Tulults
    THE RADICAL I................... , LEFTIN RETROSPECT Four writers' reimaginings ofthe Weather Underground reve41 their perslective on revolutionary violence, and offer lessom for the contemporary disco,.te,.ted. by GREGORY GIPSON "',' ........ w.uv_ ":,"U ' TERRORISM TRAPPED AND PORN IN THE GNARLED IN THE NEW WOODLANDS ••"1·0F GENRE THEATER The best literary thrillers are morally compli. eIIted works ofart-why are they soojten OF COMBAT ,;,,:,rAVIEKI)lARIAIi UIll THE roOLI cast aside as the stuffof «boyish daydream "? 'ii;:';:}A,JlMlIU:RS OF CERVANTES "; , " ;,)1. by JAN A "',·SAMLIPSYTE WINS * by TOM BISSELL * - • '. -. ADORABLE FLAWS, GOOFY CHARM, AND SOFT, RUBBERY HEADS The _'" pIeIlSfInr IIf muii"'IJ tDys wiiJ,'"ther tulults. _ by TOM BLIGH _ . - :".-., BORGES &CALVINO cencewhich made/or a telepathic say hello. but for a balked- quality in his friendship with tbe and before he could a word in At a conference at Harvard University. blind Borges; At the pa.rty, Calvino greeting. Borges had already turned Jorge Luis Borges and Halo Calvino approached Borges whose hack wa.s and asked: "ltalo. is that, you'!" "Yes," invited to attend a cocktail party: facing him. Now standing just behind Calvino confessed. "lfowcould you ALEXANDER PAYNE (SCREENWRITERI DIRECTOR) "IT'S REALLY HARD TO GENERALIZE ABOUT PEOPLE. WHEN YOU GET TO KNOW THEM,YOU DISCOVER EVERYONE'S GOT A STORY." Movies that precocious teenagers from Omaha were enjoying during the seventies: The Sting One Flew over the Cuckoo's Nest Bananas (for the breasts) Movies that precocious teenagers from Omaha did not enjoy quite as much: Star Wars The Exorcist Five Easy Pieces lexander Payne makesfilms with an eyefor ofOmaha, he can talk on and on endlessly.
    [Show full text]
  • Todd Haynes Alexander Payne
    TODD HAYNES ALEXANDER PAYNE Born: Todd Haynes, January 2, 1961 (Los Angeles, California, U.S.). Born: Alexander Papadopoulos, February 10, 1961 (Omaha, Nebraska, U.S.). Directing style: Influential director of new queer cinema; maker of period Directing style: Witty writer and director of satirical comedies; Omaha, melodramas; examinations of environment as disease, and the repressive nature Nebraska locations; commentary on U.S. suburban life; uses non-actors of societal conventions. to play minor roles. A key figure in the new queer cinema of the 1990s, Todd Writer and director Alexander Payne is one of the brightest Haynes became infamous years before the movement was talents to emerge in Hollywood recently, with a distinctive named when he used Barbie dolls instead of actors in his short style of comedy. After some student films, he worked at Superstar: The Karen Carpenter Story (1987), and the film was Universal Pictures and wrote unproduced screenplays. He then banned after the Carpenter family and the Mattel Corporation made contributions to two segments of the Inside Out (1992) objected. Haynes’s films reflect his background in art and portmanteau films, before completing his first feature, Citizen Top Takes… semiotics, and Superstar juxtaposed the squeaky-clean Ruth (1996). The film stars Laura Dern as an improvident drug Top Takes… plasticity of the singer’s public image against archival footage user and single mother, who can only be saved from jail if she I’m Not There 2007 Paris, je t’aime 2006 (Paris, I Love You) Far from Heaven 2002 of the invasion of Cambodia and the Watergate crisis, and terminates her latest pregnancy.
    [Show full text]
  • The Studio System and Conglomerate Hollywood
    TCHC01 6/22/07 02:16 PM Page 11 PART I THE STRUCTURE OF THE INDUSTRY TCHC01 6/22/07 02:16 PM Page 12 TCHC01 6/22/07 02:16 PM Page 13 CHAPTER 1 THE STUDIO SYSTEM AND CONGLOMERATE HOLLYWOOD TOM SCHATZ Introduction In August 1995 Neal Gabler, an astute Hollywood observer, wrote an op-ed piece for The New York Times entitled “Revenge of the Studio System” in response to recent events that, in his view, signaled an industry-wide transformation (Gabler 1995). The previous year had seen the Seagram buyout of MCA-Universal, Time Warner’s purchase of the massive Turner Broadcasting System, and the launch of Dream- Works, the first new movie studio since the classical era. Then on August 1 came the bombshell that provoked Gabler’s editorial. Disney announced the acquisition of ABC and its parent conglomerate, Cap Cities, in a $19 billion deal – the second- largest merger in US history, which created the world’s largest media company. Disney CEO Michael Eisner also disclosed a quarter-billion-dollar deal with Mike Ovitz of Hollywood’s top talent agency, Creative Artists, to leave CAA and run the Disney empire. For Gabler, the Disney deals confirmed “a fundamental shift in the balance of power in Hollywood – really the third revolution in the relationship between industry forces.” Revolution I occurred nearly a century before with the formation of the Hollywood studios and the creation of a “system” that enabled them to con- trol the movie industry from the 1920s through the 1940s. Revolution II came with the postwar rise of television and the dismantling of the studio system by the courts, which allowed a new breed of talent brokers, “most notably Lew Wasserman of the Music Corporation of America [MCA],” to usurp control of the film industry.
    [Show full text]
  • Alexander Payne Regis Dialogue Formatted
    Alexander Payne Dialogue with Kenneth Turan, 2005 Kenneth Turan: We're at the Walker Art Center for a Regis Dialogue with filmmaker Alexander Payne. We're going to be discussing his artistic vision, his sense of humor, and his love of film. Alexander Payne's films are characterized by his ability to bring emotional reality to drop dead funny character comedies managed to be achingly true to life while dealing with seriously out of control situations. Even the setting of most of them paints quintessentially all-American hometown of Omaha, Nebraska emphasizes the notion that these people could well be anyone's friends and neighbors. Maybe even yours. Kenneth Turan: I'm Kenneth Turan, film critic for the Los Angeles Times and National Public Radio. I'll be your host as we discuss Payne's work. Now, the Regis Dialogue with Alexander Payne is about to begin. Kenneth Turan: Well, I wanted to start at the beginning. I wanted to start with Omaha. You are famously born in Omaha. I had kind of a two-part question about that. I wonder, first of all, do you think people make too much of that? There's always every article that is written, it says, Omaha, films in Omaha. Do people make too much of it? On the flip side, what do you get from it? What do you think being born there, coming from there, has kind of done to the way you look at the world? Alexander Payne: It's so funny because you're commenting on the question and making too much of it at the same time.
    [Show full text]
  • Martin Scorsese and Film Culture
    Martin Scorsese and Film Culture: Radically Contextualizing the Contemporary Auteur by Marc Raymond, B.A., M.A. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Institute of Comparative Studies in Literature, Art and Culture: Cultural Mediations Carleton University Ottawa, Canada January, 2009 > 2009, Marc Raymond Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-47489-1 Our file Notre reference ISBN: 978-0-494-47489-1 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • Chat Room: Phedon Papamichael
    Chat Room: Phedon Papamichael Phedon Papamichael Cinematographer discusses Nebraska, his latest collaboration with director/writer Alexander Payne • BY • • ROBERT GOLDRICH Phedon Papamichael, ASC, enjoys ongoing collaborative bonds with several directors as reflected in his last two movies: The Monuments Men, for which he was finishing the DI at press time; and Nebraska, which debuted earlier this year at the Cannes Film Festival where it was nominated for the Palme d’Or and won the Best Actor honor for Bruce Dern. Last month, Papamichael was a nominee for the best cinematography Golden Frog at Camerimage on the strength of Nebraska which shortly thereafter picked up six nominations at the Film Independent Spirit Awards. Nebraska, which was shot in black and white, chronicles an alcoholic father nearing senility (Dern) making a road trip from Montana to Nebraska with his estranged son (Forte) in order to claim a supposed million dollar sweepstakes prize as touted by one of those ubiquitous marketing flyers. The son embarked on the shared experience with his dad in an attempt to patch up their relationship. Nebraska is the third feature Papamichael has lensed for Payne, the first being Sideways and then The Descendants. Both won Payne and his colleagues Best Adapted Screenplay Oscars-- Sideways in 2005, and The Descendants in 2012. Nebraska marks the first Payne-directed film that has been shot digitally (Papamichael deployed the ARRI Alexa M). It was on The Descendants that the film’s leading actor George Clooney saw first-hand the working relationship between Payne and Papamichael. Clooney was favorably impressed, so much so that he secured Papamichael to shoot The Ides of March, which Clooney directed and starred in.
    [Show full text]
  • No. 139 Alexander Payne November 2013 Food with a Greek Flavor. Humor with Hometown and Hollywood Flourishes. a Sellout Crowd P
    No. 139 Alexander Payne November 2013 Food with a Greek flavor. Humor with hometown and Hollywood flourishes. A sellout crowd primed for Friday night lights, cameras -- and fun. Combine all that with the star power of Alexander Payne, and you have one of the most memorable events in Omaha Press Club history. The Nov. 22 roast of movie director Payne escalated from gentle needling about Payne’s Omaha boyhood to a roaring Forte finish. That was Forte as in Will, the actor-comedian who stars in Payne’s newest film, “Nebraska.” Forte fired both barrels at the double Oscar winner in a hilarious (and profanity-spiced) routine. Forte barrel No. 1 discharged loud insults toward Payne. Barrel No. 2 followed each offensive remark with a whispered and fawning endearment. Emcee Tom Johnson got the roast off to a rollicking start. Johnson, retired communications director of the Nebraska Lottery, worked at radio station KFAB and mentored high schooler Payne in the late 1970s as part of the Creighton Prep student’s Junior Achievement project. Payne, Johnson recalled, became a BBF (bookie’s best friend), as part of the most-listened-to scoreboard show in the state. Alexander gathered scores for the show’s “games of interest,” the contests that appeared on the bookie sheets. Some highlights from the other roasters: Mike Decker, Omaha attorney and a Prep classmate – “In his early days in Los Angeles, Alexander would routinely go to the beach . to achieve the perfect golden tan he thought was needed to get ahead in Hollywood. Sadly, today a tanning-maintenance day for him is just 50 shades of grey.” Kurt Andersen, novelist, host of NPR’s “Studio 360” and a native Omahan -- “I can say with no fear of contradiction that Alexander is the greatest filmmaker of our time -- of movies about eastern Nebraska.” Dr.
    [Show full text]
  • Anna Anriana 40300115025 ENGLISH and LITERATURE DEPARTMENT ADAB AND
    PRESUPPOSITION IN “DOWNSIZING” MOVIE DIRECTED BY ALEXANDER PAYNE Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Sarjana Humaniora in English and Literature Department of Adab and Humanities Faculty of Alauddin State Islamic University of Makassar By: Anna Anriana 40300115025 ENGLISH AND LITERATURE DEPARTMENT ADAB AND HUMANITIES FACULTY ALAUDDIN STATE ISLAMIC UNIVERSITY OF MAKASSAR 2019 i Scanned by TapScanner ACKNOWLEDGEMENT Alhamdulillah Rabbil Alamin, all praises and thanks to the Almighty Allah SWT for His uncountable graces, faiths, and helps always stand behind the writer, show the writer the right way, and carry the writer out to the final step of this thesis writing. Shalawat and salam are addressed to our prophet Muhammad SAW, the greatest one who has shared inspiration, spirit, and power to the human. The writer realizes that this thesis could not be complete without getting assistance, guidance, understanding and encouragement from many people. Therefore the writer would like to express the deepest gratitude to the following: 1. The writer’s beloved parents, Mustafa and Rasia for their loves, cares, supports and prayers for the writer’s safety and successful. 2. The writer’s beloved brothers and sister, Rustam, Risnawati, Irwan Mustafa, Mawar Handayani and Kasmawati for their support and sincere prayer for the writer’s success. 3. The writer’s beloved big family for their support and sincere prayer for the writer’s success. Especially the writer’s aunty, Hayati. 4. The Rector of UIN Alauddin Makassar, Prof. H. Hamdan Juhannis, M.A., Ph.D. for his advice during the period when the writer studied at the university.
    [Show full text]