DOCSLIB.ORG

"Sleepless in Seattle" Hopes to Sing on Stage - the Culture Files Blog - Los Angeles Magazine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
6/3/13 "Sleepless in Seattle" Hopes to Sing on Stage - The Culture Files Blog - Los Angeles magazine → PRIN T | DIGITAL → DIN IN G APP Today's w eather forecast: → THIS MON TH June-y → ARCHIV ES 74° F HOME FEATURES FOOD CULTURE STYLE CITYTHINK BEST OF LASearch BLOGS TRAVEL VISIT L.A. DATING LA SOCIAL SIGN UP FOR THE CULTURE NEWSLETTER! Like 66 61 2 Google + 0 16 MA NA GE YOUR INSIDER A CCOUNT CHECK OUT TODA Y'S PROMOTIONS Culture Files Blog > "Sleepless in Seattle" Hopes to Sing on Stage Adv ertisement "Sleepless in Seattle" Hopes to Sing on Stage Trying to turn a hit film into a Broadway musical Posted on 5/23/2013 2:11:00 PM by Renee Camus Stay Connected Follow Us Like 66 Subscribe NOW! Become an Insider Photo courtesy Spencer Liff / Melissa Kobe PROMOTION Spencer Liff has been through the process before. The dancer and choreographer who's known for his work on So You Think You Can Dance and How I Met Your Mother has been involved with four other movie-to-musical adaptations on Broadway. Now he's choreographing Pasadena Playhouse’s Broadway-bound musical version of the beloved 1993 romantic comedy, Sleepless in Seattle, starring Meg Ryan and Tom Hanks. The story centers on Sam (Hanks), a lonely widower whose son calls a radio talk show to ask Advance Screening of This is The End for a new mom, and Annie (Ryan), a journalist who hears the call. "This is a very specific www.lamag.com/laculture/culturefilesblog/2013/05/23/sleepless-in-seattle-hopes-to-sing-on-stage 1/3 6/3/13 "Sleepless in Seattle" Hopes to Sing on Stage - The Culture Files Blog - Los Angeles magazine genre: taking a famous movie and trying to capture what people liked about it, without copying it," Liff says. "I’ve done that now four times and seen what works and doesn’t." Liff has also learned a lot from his mentor, Rob Ashford, the Tony and Emmy award- winning choreographer behind Thoroughly Modern Millie and the 81st Annual Academy Advance Screening of White House Down Awards. Liff worked with Ashford on the Broadway adaptations of Cry Baby and The Wedding Singer, and continues to perform in the Tony Awards presentations Ashford MORE PROMOTIONS choreographs (including the one on June 9). Yes, Prime Minister – Girls Night Out at the Geffen June 20 Like Ashford, Liff considers himself a storyteller. "I love telling the stories and making that the main focus," says SYTYCD’s go-to choreographer for Broadway. "It’s not just putting on a bowler hat and doing Fosse hands.” Fairmont Scottsdale Princess Fourth That reflects the lessons Liff learned at Ashford's dancing feet. "You cannot do a piece of of July Sw eepstakes movement without it meaning something,” Liff says. It’s not always easy to do that in the 90 seconds allotted him on SYTYCD, despite working with contestants who are “capable of doing anything you want.” Arizona Skippin' Tow n In adapting Sleepless in Seattle, Liff has the additional challenge of working with strong singers and actors who are not necessarily strong dancers. The show, which has changed writing and directing teams at least twice since the adaptation was announced in 2009, was not initially going to feature dance. The film doesn’t have much of an ensemble, but Liff believes ensembles represent the voice of the show. He explains that Sleepless, the musical, “could’ve been about any one of these people, and we choose to focus in on the lives of [Sam and Annie],” played here by Tim Martin Gleason and Chandra Lee Schwartz. Subscriber Services “I was given the cast of people and they are in all shapes and sizes and dance ability backgrounds,” says Liff, who joined the production in March. “We wanted the ensemble to look like that. They weren’t meant to look like six-foot tall, leggy, beautiful chorus people that were cookie cutter and all looked the same. That wouldn’t have served the rest of the show well.” Liff faces a tall order for this show: “How can I do something interesting and creative that is physically within the capability of our cast, but looks impressive and serves our story?” He explains the need to give the cast something they can run with. He hopes to do that by “bringing interesting ways to use furniture or props, something that might be a mundane activity and turning that into a dance. I’ve tried to do movement that feels like it’s new and not seen before.” The trend of turning films into musicals has been around for decades—think of the original 1968 Promises, Promises based on the 1960 film The Apartment—but has become much more prevalent in recent years. As with jukebox musicals like Mamma Mia and Rock of Ages, movie adaptations are safer investments because they are based on successful titles that build on nostalgia. “They’re very safe to do because it’s a nice title, and people want a title,” Liff explains, “but New York is very harsh on them because they don’t call them original.” It is difficult to know what will be successful on Broadway. Many movie musicals, including the ones Liff danced in, are not considered commercially successful but were popular with fans. “The Wedding Singer was critically mixed and ran for a year, but I’ve never seen better fans,” Liff says. “There were people who saw the show in that year 150 times. They would see it three times a week. People really got into it.” As to whether Sleepless will make it to Broadway, Liff says, “I’ve stopped speculating because www.lamag.com/laculture/culturefilesblog/2013/05/23/sleepless-in-seattle-hopes-to-sing-on-stage 2/3 6/3/13 "Sleepless in Seattle" Hopes to Sing on Stage - The Culture Files Blog - Los Angeles magazine you never know what people like.” He's hoping that people will connect to the story in a fundamental way despite the unusual romance in which the two characters fall in love but don’t meet until the curtain closes. “I think this show offers a tremendous amount of heart and hope,” Liff says. “It deals with loss and moving on, second chances and first chances. The love story is really at the heart of it, and it does that so well.” It's up to audiences to decide whether Liff is right. Pasadena Playhouse’s Sleepless in Seattle: The Musical runs May 24 through June 23, 2013, featuring music by Ben Toth, lyrics by Sam Forman, and direction by Pasadena Playhouse’s artistic director, Sheldon Epps. Jeff Arch, who co-wrote the original screenplay with the late Nora Ephron, wrote the book. Tags: L.A. Culture , Pasadena , Musicals , Pasadena Playhouse , Broadway , Tom Hanks , SY TY CD , So Y ou Think Y ou Can Dance , Spencer Liff , How I Met Y our Mother , Sleepless in Seattle , Meg Ryan Related Articles "So Y ou Think Y ou Can Dance" Season 10, Episode 4 Recap: Some Wicked Good Dancing in Beantown "So Y ou Think Y ou Can Dance" Season 10, Episode 3 Recap: L.A. Once More and The Many Star State "So Y ou Think Y ou Can Dance" Season 10, Episode 2 Recap: The Motor City "So Y ou Think Y ou Can Dance" Season 10, Episode 1 Recap: Hooray for Hollywood From Prince Protegés to Punk Rockers, Here Are Y our June Music Residencies Previous Singing Songs in the Key of Next This Week in L.A. History: The L.A. King of Late Night Bids "A Heartfelt Good Night" Leave a comment: · Subscribe to comments 0 Comment Be the first to comment here. About Us Contact Advertise Become An Insider Employment Privacy Policy Newsletters Subscribe Now! Visit our other publications in Atlanta Cincinnati Indianapolis Orange Coast Texas Copyright © 2013. All rights reserved. www.lamag.com/laculture/culturefilesblog/2013/05/23/sleepless-in-seattle-hopes-to-sing-on-stage 3/3.
Load more

Recommended publications
  • Discussion Questions for Women in Film Gathering, September 11, 2012
    1 Discussion Questions for Women in Film Gathering, September 11, 2012: Focal Film: Heartburn (1986; U.S.; Written by Nora Ephron; Directed by Mike Nichols) Nora Ephron (1941‐2012) was a journalist, playwright, novelist, producer, screenwriter, and director. She was one of the most prominent female talents ever to work in American film. Nora Ephron was the eldest of four daughters born to screenwriters Henry and Phoebe Ephron (Belles on Their Toes, Carousel, Desk Set, There’s No Business Like Show Business, Take Her She’s Mine (loosely based on the letters Nora sent home from college)). Growing up in Beverly Hills, Nora had contact with many great Hollywood writers of the 1940s and 1950s (e.g., Charles Brackett, Julius Epstein). At then all‐female Wellesley, she encountered many young women seeking their “MRS” degree; she later claimed that her alma mater had turned out a generation of “docile women.” She chose a career track, working as a journalist for The New York Post and Esquire, and eventually transitioned into novels and screenplays. All four of the daughters of Henry and Phoebe Ephron became successful writers. Nora Ephron wrote the roman à clef Heartburn in 1983, a novelization of her volatile second marriage to Carl Bernstein of Washington Post/Watergate fame. The novel was adapted for film in 1986, with friend and frequent collaborator Mike Nichols directing. Some other Ephron films you might recognize are Silkwood (1983; Screenwriter), When Harry Met Sally (1989; Producer and Screenwriter), My Blue Heaven (1990; Producer and Screenwriter), Sleepless in Seattle (1993; Director and Screenwriter), Michael (1996; Producer, Director, and Screenwriter), You’ve Got Mail (1998; Producer, Director, and Screenwriter), and Julie and Julia (2009; Producer, Director, and Screenwriter).
    [Show full text]
  • “The Wright Touch” Dance Band
    Swing, Jump, High Society and Show Songs A Foggy Day ( In Old London Town ) Just In Time (Sinatra) * Ain't Misbehavin' Just One Of Those Things All of Me Kiss To Build a Dream On (Louis Armstrong) All of You (Cole Porter) Lady Be Good All or Nothing At All (Sinatra) * Lady Is a Tramp (Sinatra) * Anything Goes La Vien Rose (Louis Armstrong)) As Time Goes By Let the Good Times Roll Autumn Leaves Let’s Call The Whole Thing Off Begin the Beguine Like Someone In Love Believe It Or Not Lil Darlin’ Best of Times Lili Marlene Beyond The Sea L-O-V-E Birth of the Blues Love And Marriage Call Me Love for Sale Change Partners Luck Be A Lady (Sinatra) * Chattanooga Choo Choo Mack The Knife Cheek to Cheek (Sinatra) * Make Someone Happy Chicago Makin’ Whoopee Choo-Choo Cha Boogie Moonglow Come Fly With Me (Sinatra) * More I See You Dancing in the Dark My Kind of Girl (Siantra) * Dancing on the Ceiling New York, New York (Sinatra) * Deep Purple Nice Work if You Can Get It Don't Blame Me Night and Day Embraceable You Oh, Lady be Good Foggy Day Once in a While Forty Second Street On A Clear Day Girl Talk On The Street Where You Live Glory of Love On The Sunny Side of the Street Got It Bad Once In Love With Amy Heart (Damn Yankees) One (Chorus Line) Hey There (You With The Stars In Your Eyes) Orange Colored Sky (Nat King Cole) I Concentrate on You Our Love is Here to Stay I Could Write a Book Puttin' on the Ritz I Get a Kick Out of You Red Roses For A Blue Lady I Remember You S’Wonderful I’m Beginning To See The Light Second Time Around I’m Putting All My
    [Show full text]
  • Time Highest Grossing Movies in the United States Since 1977, Inflation Adjusted
    All Time Highest Grossing Movies in the United States Since 1977, Inflation Adjusted The chart below contains figures for all 457 movies to make over $100 million at the US box office, adjusted for ticket price inflation. Note: This chart is adjusted for ticket price inflation. The gross is estimated based on how much the movie would have made if it sold as many tickets today as when it was originally released. The chart takes into account re-releases during the life of the movie. Released Film Name Total Box Office 1 1977 Star Wars $1,012,785,986 2 1982 ET: The Extra-Terrestrial $836,075,432 3 1997 Titanic $801,330,773 4 1980 Empire Strikes Back, The $591,388,817 5 1983 Return of the Jedi $578,423,035 6 1993 Jurassic Park $536,911,818 7 1999 Star Wars: Phantom Menace $529,866,325 8 1981 Raiders of the Lost Ark $515,440,596 9 1994 Forrest Gump $499,673,369 10 1994 Lion King, The $475,768,310 11 1977 Close Encounters of the Third Kind $463,013,454 12 1978 Grease $444,630,884 13 1984 Ghostbusters $441,694,049 14 2004 Shrek 2 $436,721,700 15 2002 Spider-Man $432,940,282 16 1996 Independence Day $430,853,566 17 1990 Home Alone $421,602,958 18 1984 Beverly Hills Cop $421,137,739 19 1989 Batman $391,577,724 20 2003 Lord of the Rings: The Return of the King $386,177,918 21 2004 Spider-Man 2 $373,524,485 22 2004 Passion of the Christ, The $370,498,399 23 1985 Back to the Future $367,692,308 24 2002 Lord of the Rings: The Two Towers $363,231,113 25 1999 Sixth Sense, The $359,498,553 26 1978 Superman $356,767,550 27 1982 Tootsie $355,525,404 28 1977 Smokey and the Bandit $353,500,806 29 2003 Finding Nemo $350,418,466 30 2001 Harry Potter and the Sorcerer's Stone $349,106,326 31 2001 Lord of the Rings: The Fellowship of the Ring $342,395,481 32 1996 Twister $340,394,967 33 1997 Men in Black $338,991,039 34 1984 Indiana Jones and the Temple of Doom $332,974,134 35 1993 Mrs.
    [Show full text]
  • Semiotic Approach to the Analysis of Interpersonal Communication in Modern Comedies
    SEMIOTIC APPROACH TO THE ANALYSIS OF INTERPERSONAL COMMUNICATION IN MODERN COMEDIES Maria Kochetkova A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2010 Committee: Ellen W Gorsevski, Advisor Lara Lengel Donald McQuarie © 2010 Maria Kochetkova All Rights Reserved iii ABSTRACT Ellen W Gorsevski, Advisor The present research takes a cultural prospective on the tensions in interpersonal relations based on the movies of the 90’s, such as Sleepless in Seattle (1993), As Good As It Gets (1997), and You’ve Got Mail (1998). The romantic comedy films of the 90’s were innovative in their genre, for they have touched upon serious drama subjects, hiding behind the “romantic” and “comedy’ style. Through the prism of the semiotic analysis I try to analyze how cultural codes play into the formation of hidden conflicts in interpersonal communication, mainly loneliness. Umberto Eco’s theory of the openness of the “author’s message” permits to illustrate the many possibilities of interpretation by the audience of the given films and allows an in-depth analysis of the cultural situation. iv ACKNOWLEDGMENTS Firstly, I would like to thank my advisor, Dr Ellen Gorsevski, who has not only supported me throughout this process, but through her guidance I was able to see my research in a different way. I would like to thank my family, especially my mom and dad, Natalia and Alexander, without whom not only this project would not be possible, but only through their guidance and support I was able to understand the true meaning of education.
    [Show full text]
  • Tim Rice, Howard Ashman Alfie Burt Bacharach Song
    Airport Alfred Newman Song: Winds of Chance Aladdis(1992) Alan Menken T: Tim Rice, Howard Ashman Alfie Burt Bacharach Song : Alfie An American Dream (1966) Johnny Mandel T: Paul Francis Webster Aristocats (1968) Al Rinker,Terry Gilkyson,Richard M. u. Robert B. Sherman T: Floyd Huddleston Around the World in Eighty Days (1956) Victor Young T: Harold Adamson Song: Around the World Artists and Models (1937) Frederick Hollander T: Leo Robin Song: Whispers in the Dark The Band Wagon(1931) Arthur Schwartz T: Howard Dietz Song: Dancing in the Dark The Beauty and the Beast Alan Menken The Bells of St. Mary(1945) Jimmy Van Heusen T:Johnny Burke Song: Aren`t You Glad You’re You Der blaue Engel Friedrich Hollander Song: Ich bin von Kopf bis Fuß auf Liebe eingestellt Ins blaue Leben Franz Grothe Song: Guten Tag , liebes Glück Bodyguard Dolly Parton Songs: I Will Always Love You Bonjour, Kathrin Heinz Gietz T: Kurt Feltz Breakfast at Tiffany Henry Mancini Song: Moon River Burgtheater Peter Kreuder nach Johann Strauß Butch Cassidy and the Sundance Kid Burt Bacharach Songs: Raindrops Keep Fallin' on My Head Casablanca Herman Hupfeld Song: As Time Goes By Casino Royale Burt Bacharach Song: The Look of Love Chaplin Charles Chaplin Song: Smile Charade Henry Mancini Song: Charade Check and Double Check (1930) Harry Ruby T: Bert Kalmar Songs: Three Little Words A Countess from Hong Kong Charles Chaplin Song: This is My Song A Damsel in Distress (1937) George Gershwin T.Ira Gershwin Song: A Foggy Day Dear Heart Henry Mancini Song: Dear Heart Dirty Dancing
    [Show full text]
  • The Last of the Romantic Comedies
    THE LAST OF THE ROMANTIC COMEDIES: THE DEATH AND EVENTUAL REBIRTH OF THE GENRE A Thesis Presented to The Honors Tutorial College Ohio University In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Fine Arts in Film by Luke Porst April 2016 2 The Romantic Comedy has been a staple of the Hollywood movie system since the birth of sound. The allure of the genre is easy to see. Comedy has always appealed to the human yearning for enjoyment and laughter. Romance is one of our deepest and truest desires. And the two go hand-in-hand in a way that truly connects with the audience’s own real experiences of love and relationships. Traditionally, the romantic comedy is synonymous is with the ideas of “true love,” “destiny,” and “happily ever after.” Of course, like all genres, the traits upon which the romantic comedy was founded have gone through various cycles and revisions. As society and culture go through shifts, so does the art that reflects it. With motion pictures being one of the most dominant art forms of the last one hundred years, naturally it most closely mirrors the changes of the world it exists in. Romantic Comedies have experienced incredible highs and some dark lows. Currently, the romantic comedy is in something of a low. While some prominent recent work in the genre has proven quite popular and critically applauded, it is all part of a current cycle in which the romantic comedy is trying to figure out it’s place in our present cynical world.
    [Show full text]
  • Youve Got Email Kindle
    YOUVE GOT EMAIL PDF, EPUB, EBOOK Anna Johansson | 302 pages | 13 Sep 2017 | Blue Panda Interactive | 9780692949757 | English | none Youve Got Email PDF Book Veronica Grant Veanne Cox This Email ID is already registered. What happens when so much of our technology is based on the writings of some fallen energy tycoons? Fox Salesperson Ronobir Lahiri And should the emails have been released in the first place? Billy Williams. With a unique loyalty program, the Hungama rewards you for predefined action on our platform. Patricia Eden. We have receieved your request. My Favorite Tom Hanks Films:. Meanwhile they have been corresponding over the internet without knowing who either of them are. Electronic Folk International. Frank Navasky Parker Posey Select From Existing Playlist. Annabelle Fox Jeffrey Scaperrotta Quotes Frank : [ to TV interviewer ] Thank you're. We also use third-party cookies that help us analyze and understand how you use this website. But while all of their matches are good on paper, they find date after date unfulfilling. How did he ever think this could work? Thinks "Thor: The Dark World" gets too much hate. AllMusic relies heavily on JavaScript. Kevin Jackson Dabney Coleman Streams Videos All Posts. Birds Chirping In The Forest. Release Date November 24, See our picks. Valentine's Day Suggestions on Amazon Video. Youve Got Email Writer Tom Hanks comes back in and says, "Good thing it wasn't the fish. Of the companies involved in cross-promotion or product placement deals for the film, only Apple would discuss financial details of its arrangement. One morning my phone rang and on the other end was the man whose job was keeping that email server up and running, but the server was having lots of issues, like running slow and dropping emails.
    [Show full text]
  • Cinematic Cultural Diffusion: American and Chinese Films
    Intercultural Communication Studies XXV: 1 (2016) WANG Cinematic Cultural Diffusion: American and Chinese Films WANG Ning Harbin Engineering University, China Abstract: The process of borrowing from one culture to another is complex and it involves cultural diffusion (the spread of one culture item from one culture to another). The focus of this paper is on the kinds of cultural diffusion and adaptation that one finds in the film industries of the United States and China. It focuses on the film Sleepless in Seattle, and highlights how portions of that film were borrowed and adapted for a new cultural audience in China by the film director Xiaolu Xue, in her film Finding Mr. Right. It is argued that culture plays a key role in what is borrowed and how it is borrowed. Keywords: International diffusion, culture, films 1. Introduction Cultural diffusion has to do with the spread of items from one culture to another (Kroeber, 1940). One of the more prominent forms of diffusion in modern times has been the spread of English as a Second Language. Braj Kachru (2005) has documented the use of English in the Indian subcontinent and Nobuyuki Honna and his colleagues have elaborated on the use of Asian English in Japan, Singapore, and China (Honna & Takeshita, 2000). They have noted that the process of borrowing a language involves both diffusion and adaptation. Figure 1. Diffusion and Adaptation When English is transplanted into a foreign country, it is adapted to regional cultures. This same kind of diffusion and adaptation takes place in the film industry. The focus of this paper is to discuss the borrowing of American films and their diffusion and adaptation in Chinese films.
    [Show full text]
  • Frances Marion, Screenwriter of the BIG HOUSE. According to Imdb, She Is
    Frances Marion, screenwriter of THE BIG HOUSE. ​ ​ ​ According to IMDb, she is the “most renowned female screenwriter of the 20th century and one of the most respected scripters of any gender”. Marion has 188 writing credits including THE SCARLET LETTER (1926), THE RED MILL (1927), and THE CHAMP (1931). She received one Oscar for THE BIG HOUSE in 1930, making her the first woman to win a Best Writing Oscar, and another Best Writing Oscar for THE CHAMP (1932) – the only woman to win back to back Oscars in the same category, as the Oscars were not held in 1931. She also received an Oscar nomination for the PRIZEFIGHTER AND THE LADY under the Best Writing – Original Story category in 1934. Robin Smith, writer and director of HE’S ONLY MISSING, is a documentary ​ filmmaker, whose work includes COME WALKING IN MY SHOES, WOMEN OF SUBSTANCE, and SHOOTING BACK: PHOTOGRAPHY BY HOMELESS CHILDREN, which is an Emmy Award winner. Her nonprofit organization, Video Action, produces educational television and multimedia programs on issues affecting women and at­risk children. She was a network news producer on CBS and NBC News. Jennie Livingston, director of PARIS IS BURNING, is known for directing the two shorts ​ WHO’S THE TOP? (2005) and THROUGH THE ICE (2006). Her work is recognized by several awards such as a Best Documentary/Non­Fiction Film Award from the Los Angeles Film Critics Association Awards (1990), an International Documentary Association Award (1990), a Best Documentary Film from Berlin International Film Festival (1991), a Grand Jury Prize from Sundance Film Festival (1991), a Student Jury Award for Best Short Film from the Czech Gay and Lesbian Film Festival (2007), and three Cinema Eye Honors Award (2015 and 2016).
    [Show full text]
  • ADVENTURE 007 Skyfall A13 12 Strong A124
    ADVENTURE John Wick A112 Taken 2 A78 Blazin’ Saddles C1 007 Skyfall A13 Kill Bill 1 A46 The Bourne Legacy A96 Bride Wars C71 12 Strong A124 Kill Bill 2 A47 The Bourne Ultimatum Bruce Almighty C29 13 Hours A117 Kill the Messenger D138 A95 Big Momma’s House 2 The Count of Monte Cristo 15:17 to Paris A125 King Arthur A51 C18 A22 2 Fast 2 Furious A30 Kingsman Secret Service Charlie Wilson’s War C60 2Guns A105 A111 The Expendables A82 Cheaper By the Dozen 2 The Family Stone C52 3:10 to Yuma A71 Knight & Day A83 C23 300 A70 Legend of Tarzan A118 The Fast and The Furious Cheaper By the Dozen C22 47 Meters Down A121 License To Kill A7 A29 Chef C112 A Good Day to Die Hard Live Free or Die Hard A72 The Fate of the Furious Chuck & Larry C59 A73 Lone Survivor A106 A35 Crazy Rich Asians C123 Air Force One A19 Master and Commander The Fugitive A17 Daddy’s Home C117 American Sniper A110 A48 The Grey A94 Dan in Real Life C63 Apocalypto A69 Max A115 The Guardian A65 Date Night C84 Atomic Blonde A129 Mission Impossible A61 The Interpreter A55 Due Date C88 Baby Driver A128 Mr. & Mrs. Smith A56 Dumb and Dumber Too Black Sea A109 The Italian Job A27 National Treasure A75 C111 Blood Diamond A67 The Last Samurai A39 National Treasure/ Book Duplicity C74 Book of ELI A81 The Legend of Zorro A58 of Secrets A76 Eddie the Eagle C118 Bullitt A14 The Magnificent A127 North by Northwest A1 Evan Almighty C62 Captain Phillips A107 The Magnificent Seven A2 Now You See Me 2 A103 Four Christmases C70 Casino Royale A11 The Man with the Golden Now You See Me A102 Freak Friday
    [Show full text]
  • June Brochure Digital
    JUNE 2019 80 YEARS OF CINEMA JUNE 2019 GLASGOWFILM.ORG | 0141 332 6535 CINEMASTERS: NORA EPHRON | ANNA MAGNANI | WE THE ANIMALS 12 ROSE STREET, GLASGOW, G3 6RB GLORIA BELL | APOLLO 11 | THE CAPTOR | LATE NIGHT | BOOKSMART CONTENTS 16 10 Access Film Club: Booksmart The Peddler and the Lady Doctor Who: Spearhead from Space - 6 Apollo 11 13 Scarred 10 Jon Pertwee 100th Birthday Celebration 5 Balloon 12 Teresa Venerdi 10 Father’s Day: The Italian Job 6 The Blue Angel 14 Volcano 10 Funny You Never Knew + Q&A 5 Booksmart 11 CINEMASTERS: Late Night: RoboCop - 4K 5 The Captor 13 NORA EPHRON Love Me or Leave Me Preview: In Fabric + Q&A 4 Diego Maradona 12 Heartburn - 35mm 9 Preview: Robert the Bruce + Q&A 4 Dirty God 12 Sleepless in Seattle 9 Saving Private Ryan: Force of Nature Natalia 13 When Harry Met Sally... - 4K 9 4 D-Day Anniversary Screening Freedom Fields 11 You’ve Got Mail - 35mm 9 Unquiet Graves + Q&A 4 Gloria Bell 12 EVENT CINEMA INFORMATION The Hummingbird Project 13 Margaret Atwood: Live in Cinemas 14 Accessible Screenings & Tuesday Treats 18 In Fabric 4 NT Live: The Lehman Trilogy 14 Ticket Prices & About GFT 17 Kind Hearts and Coronets - 4K 14 NT Live: Small Island 14 Late Night 11 MOVIE MEMORIES 13 Memoir of War Rebel Without a Cause 15 For updates, newly programmed Papi Chulo 12 @glasgowfilm To Have and Have Not - 35mm 15 titles and events, sign up to our 13 Prophecy SOUND & VISION weekly enewsletter at: Rory’s Way 11 glasgowfilm.org/enewsletters Liam Gallagher: As It Was + Exclusive 7 Sunset 11 satellite performance Support the Girls 14 Pavarotti + Satellite Q&A 7 11 facebook.com/glasgowfilm Thunder Road Resound Metropolis 7 Glasgow Film Theatre is a not-for- profit educational charity registered Unquiet Graves 4 Rudeboy: The Story of Trojan Records 8 in Scotland No.
    [Show full text]
  • An Auteur Analysis of Films Directed by Adrian Lyne
    CREATING DISCUSSION: AN AUTEUR ANALYSIS OF FILMS DIRECTED BY ADRIAN LYNE Stephanie Oliver, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2017 APPROVED: Harry Benshoff, Major Professor George-Larke Walsh, Committee Member Jacqueline Vickery, Committee Member Eugene Martin, Chair of the Department of Media Arts David Holdeman, Dean of the College of Arts and Sciences Victor Prybutok, Vice Provost of the Toulouse Graduate School Oliver, Stephanie. Creating Discussion: An Auteur Analysis of Films Directed by Adrian Lyne. Master of Arts (Media Industry and Critical Studies), May 2017, 137 pp., 31 figures, bibliography, 88 titles. This thesis examines the various "signature" threads that are present within the "oeuvre" of the Hollywood filmmaker Adrian Lyne. The goal of this thesis is to showcase both how and why Lyne can be thought of as an auteur and to open up his films to new and previously unexplored meanings. Lyne's eight feature films are analyzed in-depth individually and in comparison to one another from a variety of theoretical frameworks and points of focus in each of the body chapters. Copyright 2017 by Stephanie Oliver ii ACKNOWLEDGEMENTS This thesis is the product of so many extraordinary forces. First, I will always fondly remember the COUNTLESS nights that I struggled to write it while watching Texas Rangers Baseball games, Kingsman: The Secret Service (2015), Bridget Jones’s Diary (2001), Shakespeare in Love (1998), and Dancing With The Stars (Val Chmerkovskiy videos on YouTube got me through some of the darkest times of my writing process). Second, this thesis would not have been possible without the COUNTLESS hours I spent talking about it (in person and on the phone) with my mother (first and foremost), father, uncle, chihuahuas, committee members, best friends, and fellow graduate students (you all know who you are).
    [Show full text]