Kings of Pastry Discussion Guide
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A Film by Chris Hegedus and D a Pennebaker
a film by Chris Hegedus and D A Pennebaker 84 minutes, 2010 National Media Contact Julia Pacetti JMP Verdant Communications [email protected] (917) 584-7846 FIRST RUN FEATURES The Film Center Building, 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] PRAISE FOR KINGS OF PASTRY “The film builds in interest and intrigue as it goes along…You’ll be surprised by how devastating the collapse of a chocolate tower can be.” –Mike Hale, The New York Times Critic’s Pick! “Alluring, irresistible…Everything these men make…looks so mouth-watering that no one should dare watch this film on even a half-empty stomach.” – Kenneth Turan, Los Angeles Times “As the helmers observe the mental, physical and emotional toll the competition exacts on the contestants and their families, the film becomes gripping, even for non-foodies…As their calm camera glides over the chefs' almost-too-beautiful-to-eat creations, viewers share their awe.” – Alissa Simon, Variety “How sweet it is!...Call it the ultimate sugar high.” – VA Musetto, The New York Post “Gripping” – Jay Weston, The Huffington Post “Chris Hegedus and D.A. Pennebaker turn to the highest levels of professional cooking in Kings of Pastry,” a short work whose drama plays like a higher-stakes version of popular cuisine-oriented reality TV shows.” – John DeFore, The Hollywood Reporter “A delectable new documentary…spellbinding demonstrations of pastry-making brilliance, high drama and even light moments of humor.” – Monica Eng, The Chicago Tribune “More substantial than any TV food show…the antidote to Gordon Ramsay.” – Andrea Gronvall, Chicago Reader “This doc is a demonstration that the basics, when done by masters, can be very tasty.” - Hank Sartin, Time Out Chicago “Chris Hegedus and D.A. -
Unlocking the Cage
UNLOCKING THE CAGE A film by Chris Hegedus and D A Pennebaker Running Time: 91 minutes filmswelike CANADIAN DISTRIBUTION Films We Like Bookings and Inquries: [email protected] UNLOCKING THE CAGE A film by Chris Hegedus and D A Pennebaker LOGLINE Unlocking the Cage follows animal rights lawyer Steven Wise in his unprecedented challenge to break down the legal wall that separates animals from humans, by filing the first lawsuits that seek to transform a chimpanzee from a “thing” with no rights to a “person” with legal protections. SYNOPSIS Unlocking the Cage follows animal rights lawyer Steven Wise in his unprecedented challenge to break down the legal wall that separates animals from humans. After 30 years of struggling with ineffective animal welfare laws, Steve and his legal team, the Nonhuman Rights Project (NhRP), are making history by filing the first lawsuits that seek to transform an animal from a “thing” with no rights to a “person” with legal protections. Supported by affidavits from primatologists around the world, Steve maintains that, based on scientific evidence, cognitively complex animals such as chimpanzees, whales, dolphins and elephants have the capacity for limited personhood rights (such as bodily liberty) that would protect them from physical abuse. Using writs of habeas corpus (historically used to free humans from unlawful imprisonment), Wise argues on behalf of four captive chimpanzees in New York State. Unlocking the Cage captures a monumental shift in our culture, as the public and judicial system show increasing receptiveness to Steve’s impassioned arguments. It is an intimate look at a lawsuit that could forever transform our legal system, and one man’s lifelong quest to protect “nonhuman” animals. -
COM 321, Documentary Form in Film & Television
1 COM 321, Documentary Form in Film, Television, & Interactive Media Notes from and about Barnouw’s Documentary: A history of the non-fiction film 11. Documentarist as. Observer Definition(s): [British] Free Cinema—A series of showings at London’s National Film Theater, 1956-58 with films by such filmmakers as Lindsay Anderson (primarily known for his narrative films If. ., O Lucky Man), Karel Reisz & Tony Richardson (primarily known for his narrative films The Entertainer, Tom Jones), and Georges Franju (see below); characterized by filmmakers acting as observers, rejecting the role of promoter; made possible by new, light film equipment that allowed an intimacy of observation new to documentary (including both sound and image). [American] Direct Cinema—A term coined by filmmaker Albert Maysles, this is another type of “observer” documentary that attempts to limit the apparent involvement of the filmmaker, using little or no voiceover narration, no script, and no “setting up” subjects (stagings) or reenactments. As David Maysles has indicated, “direct” means “there’s nothing between us and the subject.” Following the British Free Cinema, the American Direct Cinema took advantage of the new, maneuverable 16mm film equipment; after a series of experiments, a wireless synchronizing sound system for this equipment was developed by the Drew Unit at Time, Inc. The main Documentarists: Robert Drew, Ricky Leacock, D. A. Pennebaker, David & Albert Maysles (and associates), Frederick Wiseman. The influence of Direct Cinema has been felt around the world (e.g., prominent films from Holland, Japan, India, Sweden, Canada). [French] Cinema Verite—According to Barnouw, this term is reserved for films following Jean Rouch’s notions of filmmaker as avowed participant, as provocateur (as what Barnouw calls catalyst), rather than the cool detachment of the Direct Cinema. -
Don Alan Pennebaker [*] Kevin Finner
Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 203 Don Alan Pennebaker [*] Kevin Finner [*] Don Alan Pennebaker, auch nominiert als D.A., Don A. oder Donn A. Pennebaker. Geboren am 15. Juli 1925, dreht der heute vierundachtzigjährige Don Alan Pennebaker, Sohn eines Fotografen, noch immer Filme. Nach seinem Militärdienst und einem Ingenieurstudium in Yale sowie am M.I.T in Cambridge arbeitete er in verschiedenen Berufen, bevor er auf Drew und Leacock stieß. Michael Barchet zufolge verdiente Pennebaker sein Geld zunächst als Werbetexter und entwickelte u.a. ein computergestütztes Buchungssystem für Fluglinien (Barchet 1991, 154). Inspiriert durch den Filmemacher Francis Thompson drehte Pennebaker mit Ende zwanzig mit DAYBREAK EXPRESS (1953) und BABY (1954) seine ersten Filme über die New Yorker U-Bahn und einen Zoobesuch mit seiner Tochter. Letzterer war eigentlich nichts anderes als ein Amateur-Familienfilm. Jedoch wurde ihm während des Schneidens bewusst, dass er nicht seinem Material eine Story aufdrängen, sondern dass er sich Story und Rhythmus später in der Montage aus sich selbst heraus entwickeln lassen sollte (Saunders 2007, 10). Zusammen mit Richard Leacock wurde Pennebaker ein Gründungsmitglied von Drew Associates und arbeite dort für die nächsten drei Jahre. Nach den Erfolgen um PRIMARY (1960, Robert Drew), THE CHAIR (1963, ROBERT DREW) und CRISIS: BEHIND A PRESIDENTIAL COMMITMENT (1963, Robert Drew) sah sich Pennebaker nicht mehr in der Lage, die Forderungen von ABC, Time-Life und Drew zu erfüllen und strebte zusammen mit Leacock nach mehr künstlerischer Freiheit: My decision to quit wasn’t the result of any great moral conflict, I simply wasn’t able to fulfill their demands, because I realized that our process of filming could produce better films. -
Comic Books & Graphic Novels
October 6-12, 2010 \ Volume 20 \ Issue 38 \ Always Free Film | Music | Culture COMIC BOOKS & GRAPHIC NOVELS Where to Shop, What to Score, What’s in the Works KEIR EMMA and ZACH GILCHRIST ROBERTS GALIFIANAKIS Get an exclusive look at IT’S KIND OF A FUNNY STORY iTunes.com/FocusFeatures IT’SKINDOFA FUNNYSTORY IN THEATRES OCTOBER 8TH Area Codes: (213), (310), (323), (562), (626), (661), (714), (760), (805), (818), (866), (877), (888), (909), (949), (951) ©2010 CAMPUS CIRCLE • (323) 939-8477 • 5042 WILSHIRE BLVD.,LA Campus #600 LOS Circle ANGELES,• Wed CA10/6 90036 • 5x3’’ • WWW.CAMPUSCIRCLE.COM • ONE FREE COPY PER PERSON JobID#: 464929 Name: 1006_Its_CmpCir.pdf #100 9/29/10 2:19 PM pt *464929* INVITE YOU AND A GUEST TO AN ADVANCE SCREENING OF WEDNESDAY, OCTOBER 13 7:30 PM TO ATTEND THIS SCREENING, R.S.V.P. AT CAMPUSCIRCLE.COM/ SCREENING/ CONVICTIONHOLLYWOOD THIS FILM IS RATED R. RESTRICTED. Under 17 Requires Accompanying Parent Or Adult Guardian. Please note: Passes received through this promotion do not guarantee you a seat at the theatre. Seating is on a first-come, first-served basis, except for members of the reviewing press. Theatre is overbooked to ensure a full house. No admittance once screening has begun. All federal, state and local regulations apply. A recipient of tickets assumes any and all risks related to use of ticket, and accepts any restrictions required by ticket provider. Fox Searchlight Pictures, Campus Circle and their affiliates accept no responsibility or liability in connection with any loss or accident incurred in connection with use of a prize. -
Chris Hegedus and D a Pennebaker
a Film by Chris Hegedus and D A Pennebaker Contacts: Frazer Pennebaker Pennebaker Hegedus Films Jane Balfour (212) 496-9195 Jane Balfour Services, Ltd. [email protected] P: 44 20 772 71528 www.kingsofpastry.com M: 44 (0) 771 076 9488 www.phfilms.com [email protected] CREDITS Directed by Chris Hegedus D A Pennebaker Executive Producers Frazer Pennebaker for Pennebaker Hegedus Films Nick Fraser for BBC Barbara Truyen for VPRO Produced by Frazer Pennebaker Flora Lazar Associate Producers Rebecca Lando Patricia Soussloff Camera and Sound by Chris Hegedus D A Pennebaker Nick Doob Edited by Chris Hegedus D A Pennebaker Featuring Sebastien Canonne, M.O.F. Jacquy Pfeiffer Rachel Beaudry Philippe Rigollot Stephane Glacier, M.O.F. Regis Lazard Frederique Lazard Philippe Urraca, MOF Musicians Alex Toledano, Music Supervisor Sebastien Giniaux Guillaume Singer Jeremie Arranger Corentin Giniaux Generous Support The Richard H. Driehaus Charitable Lead Trust The Florence Gould Foundation The Grand Marnier Foundation 1 DIRECTORS STATEMENT People often ask why we would make a film about a French pastry competition but as soon as we met chef Jacquy Pfeiffer it became clear that the Meilleurs Ouvriers de France competition was not going to be your average Top Chef cook off. These reality TV shows seemed like mere wind sprints compared to the marathon three-day M.O.F. contest which he was preparing to enter. But winning is not all that this epic contest represents. Becoming a M.O.F. (Best Craftsman in France) is a lifelong dream for French artisans that can only come true by seeking excellence. -
Ein Leben Aus Musik
Kieler Beiträge zur Filmmusikforschung 05.2// August 201o Topic: Rockumentaries Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 169 Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 170 Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 171 Impressum Copyright by Kieler Gesellschaft für Filmmusikforschung, Kiel 2010 Copyright (für die einzelnen Artikel) by den Autoren, 2010 ISSN 1866-4768 Verantwortliche Redakteure: Susan Levermann, Patrick Niemeier, Willem Strank Kieler Beiträge zur Filmmusikforschung ISSN 1866-4768 Herausgeber: Niemeier, Patrick (Kiel) Strank M.A., Willem (Kiel) Wulff, Prof. Dr. Hans Jürgen (Westerkappeln/Kiel) Redaktion: Kerstin Bittner (Kiel) Janwillem Dubil (Kiel) Julia Fendler (Kiel) Knut Heisler (Kiel) Jan Kästel (Kiel) Frederike Kiesel (Kiel) Patrick Kraft (Kiel) Susan Levermann (Kiel) Imke Schröder (Kiel) Editorial Board: Claudia Bullerjahn (Gießen) Christoph Henzel (Würzburg) Linda Maria Koldau (Frankfurt) Georg Maas (Halle) Siegfried Oechsle (Kiel) Albrecht Riethmüller (Berlin) Fred Ritzel (Oldenburg) Hans Christian Schmidt-Banse (Osnabrück) Bernd Sponheuer (Kiel) Jürg Stenzl (Salzburg) Wolfgang Thiel (Potsdam) Hans J. Wulff (Kiel) Kontakt: [email protected] Kieler Gesellschaft für Filmmusikforschung c/o Hans J. Wulff Institut für NDL- und Medienwissenschaft Leibnizstraße 8 D-24118 Kiel Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 172 Inhaltsverzeichnis Impressum..........................................................................................................................171 -
Full Frame Documentary Film Festival Will Open with the U.S
FOR IMMEDIATE RELEASE CONTACT INFORMATION: Peggy Albertson, Jennings, 919-929-0225, [email protected] Full Frame Announces 2010 Opening Night Film US Premiere of DA Pennebaker and Chris Hegedus’s “Kings of Pastry” Durham, N.C., - February 4, 2010 – The 13th annual Full Frame Documentary Film Festival will open with the U.S. Premiere of “Kings of Pastry”. The new feature from directing team DA Pennebaker and Chris Hegedus captures never-before-seen footage of the prestigious Meilleur Ouvrier de France competition, the ultimate recognition for any French pastry chef. The film follows Jacquy Pfeiffer, co-founder of the French Pastry School in Chicago, through the intense contest‟s three days of mixing, piping and sculpting everything from delicate chocolates to six- foot sugar sculptures, as he teeters between a dream and an obsession. “We are extremely proud to host „Kings of Pastry‟ on Opening Night. Not only is it a celebration of culinary artistry, but it also illustrates the capacity for immense dedication to mastering one‟s craft,” said director of programming, Sadie Tillery. “DA Pennebaker and Chris Hegedus‟s continued support, involvement, and friendship have meant so much to us over the years, and we are especially honored to highlight their newest film.” The festival has featured many of Pennebaker and Hegedus‟s films at past festivals including “Town Bloody Hall,” “Startup.com,” “Al Franken: God Spoke,” “The War Room,” “Dont Look Back,” “Bob Dylan: 65 Revisited,” and “Elaine Stritch at Liberty,” which screened as the Opening Night film of the 2004 Festival. Pennebaker served as guest curator for the 2002 thematic series “Score! Music and Documentary.” Hegedus also co-curated the 2004 thematic program “Leadership through a Gender Lens.” Additionally, Pennebaker and Hegedus received Full Frame‟s Career Award in 1999. -
Unlocking the Cage
Pennebaker Hegedus Films and HBO Documentary Films present UNLOCKING THE CAGE A film by Chris Hegedus and D A Pennebaker 91 min / 2016 / Color / USA / Digital FIRST RUN FEATURES The Film Center Building 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 / Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] 1 LOGLINE Unlocking the Cage follows animal rights lawyer Steven Wise in his unprecedented challenge to break down the legal wall that separates animals from humans, by filing the first lawsuits that seek to transform a chimpanzee from a “thing” with no rights to a “person” with legal protections. SYNOPSIS Unlocking the Cage follows animal rights lawyer Steven Wise in his unprecedented challenge to break down the legal wall that separates animals from humans. After 30 years of struggling with ineffective animal welfare laws, Steve and his legal team, the Nonhuman Rights Project (NhRP), are making history by filing the first lawsuits that seek to transform an animal from a “thing” with no rights to a “person” with legal protections. Supported by affidavits from primatologists around the world, Steve maintains that, based on scientific evidence, cognitively complex animals such as chimpanzees, whales, dolphins and elephants have the capacity for limited personhood rights (such as bodily liberty) that would protect them from physical abuse. Using writs of habeas corpus (historically used to free humans from unlawful imprisonment), Wise argues on behalf of four captive chimpanzees in New York State. Unlocking the Cage captures a monumental shift in our culture, as the public and judicial system show increasing receptiveness to Steve’s impassioned arguments. -
Kings of Pastry PK
a Film by Chris Hegedus and D A Pennebaker 84 minutes, Digibeta, 2010 1.33 / Stereo National Media Contact Julia Pacetti JMP Verdant Communications [email protected] (917) 584-7846 FIRST RUN FEATURES The Film Center Building, 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] PRAISE FOR KINGS OF PASTRY “The film builds in interest and intrigue as it goes along…You’ll be surprised by how devastating the collapse of a chocolate tower can be.” –Mike Hale, The New York Times Critic’s Pick! “Alluring, irresistible…Everything these men make…looks so mouth-watering that no one should dare watch this film on even a half-empty stomach.” – Kenneth Turan, Los Angeles Times “As the helmers observe the mental, physical and emotional toll the competition exacts on the contestants and their families, the film becomes gripping, even for non-foodies…As their calm camera glides over the chefs' almost-too-beautiful-to-eat creations, viewers share their awe.” – Alissa Simon, Variety “How sweet it is!...Call it the ultimate sugar high.” – VA Musetto, The New York Post “A delectable new documentary…spellbinding demonstrations of pastry-making brilliance, high drama and even light moments of humor.” – Monica Eng, The Chicago Tribune “More substantial than any TV food show…the antidote to Gordon Ramsay.” – Andrea Gronvall, Chicago Reader “This doc is a demonstration that the basics, when done by masters, can be very tasty.” - Hank Sartin, Time Out Chicago “Chris Hegedus and D.A. Pennebaker engross viewers in a pins-and-needles odyssey into mythical kitchens, where master pastry chefs dare to reach for immortality. -
COM 321, Documentary Form in Film & Television
1 COM 321, Documentary Form in Film, Television, & Interactive Media Notes from and about Barnouw’s Documentary: A history of the non-fiction film 11. Documentarist as. Observer Definition(s): [British] Free Cinema—A series of showings at London’s National Film Theater, 1956-58 with films by such filmmakers as Lindsay Anderson (primarily known for his narrative films If. ., O Lucky Man), Karel Reisz & Tony Richardson (primarily known for his narrative films The Entertainer, Tom Jones), and Georges Franju (see below); characterized by filmmakers acting as observers, rejecting the role of promoter; made possible by new, light film equipment that allowed an intimacy of observation new to documentary (including both sound and image). [American] Direct Cinema—A term coined by filmmaker Albert Maysles, this is another type of “observer” documentary that attempts to limit the apparent involvement of the filmmaker, using little or no voiceover narration, no script, and no “setting up” subjects (stagings) or reenactments. As David Maysles has indicated, “direct” means “there’s nothing between us and the subject.” Following the British Free Cinema, the American Direct Cinema took advantage of the new, maneuverable 16mm film equipment; after a series of experiments, a wireless synchronizing sound system for this equipment was developed by the Drew Unit at Time, Inc. The main Documentarists: Robert Drew, Ricky Leacock, D. A. Pennebaker, David & Albert Maysles (and associates), Frederick Wiseman. The influence of Direct Cinema has been felt around the world (e.g., prominent films from Holland, Japan, India, Sweden, Canada). [French] Cinema Verite—According to Barnouw, this term is reserved for films following Jean Rouch’s notions of filmmaker as avowed participant, as provocateur (as what Barnouw calls catalyst), rather than the cool detachment of the Direct Cinema. -
E L E C T R O N I C P R E S S K
A FILM BY LIZ MARSHALL MEAT THE FUTURE ELECTRONIC PRESS KIT The next agricultural revolution is coming to your plate. Meat made from cells, without animal slaughter, will change how we think about food. DOWNLOAD POSTER Meat the Future is a timely, character-driven documentary focusing largely on Dr. Uma Valeti, a former Mayo Clinic cardiologist, and the co-founder and CEO of Upside Foods (previously Memphis Meats), an American start-up company. Upside Foods (previously Memphis Meats) is at the forefront of a new revolutionary industry. With animal agriculture occupying nearly half of the world’s land surface, producing more greenhouse gases than cars, the prospect of meat consumption doubling by 2050 is a wake-up call for solutions. The planet’s future may lie with “clean meat,” also known as “cell-based meat” and “cultured meat”, a food science that grows meat from animal cells, without the need to slaughter animals. Billionaires Bill Gates and Richard Branson, and food CLICK FOR ALL VERSIONS OF LOG LINES AND SYNOPSIS giants Cargill and Tyson have invested in the birth of this new industry, instilling confidence that “cell-based meat” may soon come to market as a sustainable alternative to conventional meat. Featuring DR. UMA VALETI A cardiologist by training, Dr. Uma Valeti is laser focused on advancing the commercial viability of real meat farmed directly from animal cells. During his childhood in Vijayawada, India, Valeti would dream of meat growing on trees as an alternative to killing animals. His inspiration came during his tenure at the Mayo Clinic, where he injected stem cells into patients’ hearts to regenerate heart muscle.