DOCSLIB.ORG

Richard Harris Responds to Robert Lantos

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Richard Harris Responds to Robert Lantos • INTERVIEW • The 'brutalization' of Your Ticket Is No Longer Valid , - ~> . " ' A • . ~. l:. .~ rla{fiS .. · d RiCnar d \}a1id lea \..onger 1.c.... e \ I s tlo • ,{our \ _ r, an producer Stephen Roth Richard Harris responds to Robert Lantos Cinema Canada: Let's start with the falsifications. I consulted a lawyer to see Richard Harris: I was in Toronto doing by Tom Perlmutter Robert Lantos interview that upset you about the pos$ibility of suing because it a picture called High Point. I got a so much. How did you come across it? ·was exceedingly damaging. A producer phone call from my agent at the time, Richard Harris: It was sent to me by a may have an opinion of an actor and an Marty Baum. Marty Baurn plays a very During a recent Canadian tour of a Canadian producer. actor's performance. He is entitled to leading role in Mr Lantos' manipulation theatrical production of Camelot, that But Robert Lantos went far in ex­ of the whole project. Marty was a very British actor Richard Harris learned of cess of that. He made statements that I successful independent agent. Then he remarks made about his role in the Cinema Canada: Was there a note at­ deliberately destroyed his picture. He was head of ABC films , where he made Canadian film Your Ticket Is No tached to it? made statements to the effect that I some very successful films. He then be­ Longer Valid (1980) that appeared in Richard Harris: Yes. The producer never read the script; that I only read came an independent producer and Cinema Canada's interview with pro­ suggested I read certain sections of it. I the script on transit to location and, hat­ then went back to being an agent He is ducer Robert Lantos in issue no. 123 contacted him and he said he thought it ing the script, set about to destroy the regarded as being one of the most reli­ last October. At Richard Harris' re­ was exceedingly damaging. He believed picture; that I only did the picture for able agents in the business. He is also quest, the fOllowing interview in To­ the article hadn't done me any good money. I found his comments exceed­ one of the most honest and tasteful. ronto with Cinema Canada allowed whatsoever in Canada. ingly offensive and unworthy, even for He's a wonderful reader of scripts. Lan­ Harris to respond to the allegations Robert Lantos. Mr. Lantos was quite tos and Roth had contacted him and he contained in the Lantos interview. aware of the extensive preparations I put them in touch with me. They left Cinema Canada: What was your first had done for the picture in terms of me the script which I immediately read. reaction when you read Lantos' com­ script and character analysis. I asked for a copy of the book on which Formerly Cinema Canada's Toronto re­ ments? the sCript was based. They didn't have a porter, Tom Perlmutter is a freelance Richard Harris: I was horrified, abso­ Cinema Canada: How did you get in­ copy. After a lot of pain and search I journalist and playwright. lutely horrified by the inaccuracy and volved in the project in the first place? found a copy of the book and read it. I February 1986 - Cinema Canada /17 • INTERVIEW • found the script exceedingly interesting lantos'S statement absolutely immoral. der to direct the picture. And I walked Cinema Canada: Did you feel that but in certain aspects it was inexplicit. I And he knew because I produced my to my caravan. with Robert Lantos you were working then had meetings with Lantos, Roth notes. Lantos speedily came down to the set. with someone who was highly crea­ and the director, George Kaczender. I I told him he had lied to me. He sat tive? met George for the first time. They told Cinema Canada: Were y ou meeting there very, very quiet. I said, however, Richard Harris: Not at all. What trans­ me what he had done. I made, for me, with the SCriptwriter at the point where that's a f ait accompli. What you do in· pired during the making of the picture the usual inquiry into his abilities as a your ideas about the man were being your private life is your own business, was very interesting. I had this wonder­ director. I got a copy of a film that he discussed and accepted? but I don't wart it interfering with the ful idea about the end of the picture. At had directed, In Praise of Older Richard Harris: No, we never met. picture. I had very high hopes fot this the end, my character decides to com­ Women. I found it an interesting pic­ This is another strange behaviour on picture. mit suicide. Before he does so he takes ture but very sloppy. It appeared to me their part. They stopped meeting me to­ From then on, they made rewrites. off a hairpiece and he looks like a to have fragments of such cohesion and gether. They came one at a time. I was The director was coming to me with grotesque caricature of a human being­ then of such sloppiness. I had to. put it meeting either with the director or one ideas for rewrites as we went along. I little band-aids that kept the hairpiece down to editing problems. It's impossi­ of the two producers. never forced a rewrite on anybody in in place. At a pre-ordained strike of a ble for a director to have that kind of the picture. Prior to the starting of the clock, as he walks to his death, his left style and for it to go out of style every Cinema Canada: Had you agreed by picture I did. I asked for rewrites but shoe falls off and we discover he's limp­ now an<i then. I questioned him about this time to do the picture? never put pen to paper. But through the ing. He even had high heels to .make that. He said that the picture had been Richard Harris: No, not at all. It was shooting they were ignoring everything himself as big as his father. The director taken out of his hands at a certain stage subject to their accepting what I had to they had guaranteed me before. wondered whether that scene would be of the proceedings by the producers, bring to the part. At this stage we all ag­ advisable given my image. I didn't care Lantos and Roth. I got a little wary. I reed that my analysis was superb. They about that. I asked him what it was like want to go into a picture with a director were going to go in that direction. I Cinema Canada: Were you frustrated for the picture. He said it was stagger­ who is in total control-of what he is finished the film I was doing in Toronto by that? ing. But apparently Lantos had terrible doing and has complete authority over and agreed to do the picture, with the Richard Harris: No. Whoever was objections. what he is doing. usual clauses like cast approval. I asked However, at the meeting we dis­ who was going to play the leading role cussed the script which even Lantos in opposite me, the girl. They suggested the interview admits wasn't complete. I three people. They showed me three endorse that admittance on his part. photographs. I don't remember two of At that time I had done a lot of work their names. I remember the third. She and research on the script. I had sent it was Jennifer Dale. Mr Lantos never dis­ to a psychiatrist in California, a man closed to me at that stage that he was called Eugene Landy who is a very close living with Miss Dale. I would have had friend of mine. I would go to him with an objection to doing the picture. It's a certain scripts and we'd have endless very tricky situation if the producer is sessions on character analysis. We went sleeping with the leading lady. There through the script of this film to such an are all kinds of complications. I wanted extent that, at the end of my discussions to avoid complications. with Landy, I must have had at least 52 By the way, before I accepted the piC­ pages of notes. ture, to show you how serious I was, I I met Lantos, Roth and Kaczender made inquiries about the producers. I again. We all conceded that the script discovered that Jennifer Dale was lan­ was not perfect. I hadn't committed to tos' girlfriend. I asked for a meeting doing the film yet. I knew at this stage, with Lantos. I told him that he had failed through Mr Baum, that other actors had to disclose to me that Jennifer Dale was turned it down. One or two very big ac­ his live-in girlfriend. I said, "You sub­ tors turned it down because of the very mitted three names to me but I have reasons that we are about to embark on, been told that she has already been in investigating the weaknesses of the signed to the picture and yet I have ap­ script, which lay basically in the charac­ proval. Am I to believe that you submit­ ter of the man. ted to me those other names as a kind The story is very simple - and it's a of blind? It appears you haven't been wonderful story - about a man who in very honest with me." Lantos said, "Oh middle-age is impotent.
Load more

Recommended publications
  • A Canadian Perspective on the International Film Festival
    NEGOTIATING VALUE: A CANADIAN PERSPECTIVE ON THE INTERNATIONAL FILM FESTIVAL by Diane Louise Burgess M.A., University ofBritish Columbia, 2000 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the School ofCommunication © Diane Louise Burgess 2008 SIMON FRASER UNIVERSITY Fall 2008 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or by other means, without permission ofthe author. APPROVAL NAME Diane Louise Burgess DEGREE PhD TITLE OF DISSERTATION: Negotiating Value: A Canadian Perspective on the International Film Festival EXAMINING COMMITTEE: CHAIR: Barry Truax, Professor Catherine Murray Senior Supervisor Professor, School of Communication Zoe Druick Supervisor Associate Professor, School of Communication Alison Beale Supervisor Professor, School of Communication Stuart Poyntz, Internal Examiner Assistant Professor, School of Communication Charles R Acland, Professor, Communication Studies Concordia University DATE: September 18, 2008 11 SIMON FRASER UNIVERSITY LIBRARY Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the "Institutional Repository" link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work.
    [Show full text]
  • Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-20-2012 12:00 AM Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century Sean C. Fitzpatrick The University of Western Ontario Supervisor Dr. Christopher E. Gittings The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Sean C. Fitzpatrick 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Fitzpatrick, Sean C., "Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century" (2012). Electronic Thesis and Dissertation Repository. 784. https://ir.lib.uwo.ca/etd/784 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. FIGHTING, SCREAMING, AND LAUGHING FOR AN AUDIENCE: STARS, GENRE, AND THE QUESTION OF CONSTRUCTING A POPULAR ANGLOPHONE CANADIAN CINEMA IN THE TWENTY-FIRST CENTURY (Spine title: Fighting, Screaming, and Laughing for an Audience) (Thesis format: Monograph OR Integrated-Article) by Sean Fitzpatrick Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Sean Fitzpatrick 2012 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ ______________________________ Dr.
    [Show full text]
  • Barney's Version Pr#4B2A0C6
    PRODUCTION NOTES Paul Giamatti Dustin Hoffman Rosamund Pike Minnie Driver Rachelle Lefevre Scott Speedman Bruce Greenwood BARNEY’S VERSION Directed by Richard J. Lewis Produced by Robert Lantos Based on the novel by Mordecai Richler Release date: March 24, 2011 Running time: 131 minutes Rated: TBC For more information contact Jillian Heggie at Hopscotch Films on: 02) 8303 3800 or email: [email protected] 1 BARNEY'S VERSION Short Synopsis Based on Mordecai Richler's prize-winning comic novel, BARNEY'S VERSION is the warm, wise, and witty story of Barney Panofsky, (Paul Giamatti), a seemingly ordinary man who lives an extraordinary life. Barney’s candid confessional spans four decades and two continents, and includes three wives (Rosamund Pike, Minnie Driver, and Rachelle Lefevre), one outrageous father (Dustin Hoffman), and a charmingly dissolute best friend (Scott Speedman). BARNEY’S VERSION takes us through the many highs -- and a few too many lows -- of a long and colorful life with an unlikely hero at its center —the unforgettable Barney Panofsky. BARNEY'S VERSION About The Story Based on Mordecai Richler's prize-winning comic novel--his last and, arguably, best--BARNEY'S VERSION is the warm, wise, and witty story of Barney Panofsky, (Paul Giamatti), a seemingly ordinary man who lives an extraordinary life. A candid confessional, told (as its title implies) entirely from Barney's point of view, the film spans three decades and two continents, taking us through the many highs, and a few too many lows, of our hero's long and colorful life. The reason that Barney must tell his story now--or, at least his version of it-- is that his sworn enemy has just published a tell- all book that dredges up the more compromising chapters of Barney's past: the many, often murky entrepreneurial schemes that lead to his success; the three marriages, all of them terminated; and, most problematically, the mysterious, as-yet-unsolved disappearance of Barney’s best friend, Boogie, a possible murder for which Barney remains the prime suspect.
    [Show full text]
  • Written and Directed by Jeremy Podeswa Produced by Robert Lantos Based Upon the Novel by Anne Michaels Runtime: 105 Minutes to D
    Written and Directed by Jeremy Podeswa Produced by Robert Lantos Based upon the novel by Anne Michaels Media Contacts: New York Agency: Los Angeles Agency: IDP/Samuel Goldwyn Films Donna Daniels Lisa Danna New York: Amy Johnson Melody Korenbrot Liza Burnett Fefferman Donna Daniels PR Block-Korenbrot, Inc. Jeff Griffith-Perham 20 West 22nd St., Suite 1410 North Market Building Samuel Goldwyn Films New York, NY 1010 110 S. Fairfax Ave., #310 1133 Broadway – Suite 926 T: 347.254.7054 Los Angeles, CA 90036 New York, NY 10010 [email protected] T: 323.634.7001 T: 212.367.9435 [email protected] [email protected] F: 212.367.0853 [email protected] [email protected] [email protected] LA: Mimi Guethe T: 310.860.3100 F: 310.860.3198 [email protected] Runtime: 105 minutes To download press notes and photography, please visit: www.press.samuelgoldwynfilms.com USER NAME: press LOG IN: golden! 1 FUGITIVE PIECES THE CAST Jakob Stephen Dillane Athos Rade Sherbedgia Alex Rosamund Pike Michaela Ayelet Zurer Jakob (young) Robbie Kay Ben Ed Stoppard Naomi Rachelle Lefevre Bella Nina Dobrev Mrs. Serenou Themis Bazaka Jozef Diego Matamoros Sara Sarah Orenstein Irena Larissa Laskin Maurice Daniel Kash Ioannis Yorgos Karamichos Allegra Danae Skiadi 2 FUGITIVE PIECES ABOUT THE STORY A powerful and unforgettably lyrical film about love, loss and redemption, FUGITIVE PIECES tells the story of Jakob Beer, a man whose life is transformed by his childhood experiences during WWII. The film is based on the beloved and best-selling novel by Canadian poet Anne Michaels.
    [Show full text]
  • Robert Lantos
    • p R o D u c E R 5 • The apprenticeship of Robert Lantos RSL's Robert Lantos, together with partner Stephen Roth, and ICC's John Kemeny and Denis Heroux have just jOinedforces as equal partners in a new separate venture, Alliance Entertainment Corp: Thefoursome ofLantos, Roth, Kemeny and Heroux represent the closest Canada comes to having movie moguls of its own, and, as'Lantos explains below, Alliance is a last stand attempt to establish a US-modelled approach to volume film and television production in Canada. For Lantos, the achievement ofCanadian producers like himself is that they have realized what he terms "the dream" ofevery foreign producer alive, namely to penetrate the American system from within. Lantos very candidly revealed in three lengthy interviews with Cinema Canada's Tom Perlmutter what that process has meant for one Canadian film producer. The interviews have been editedfrom a 100-page transcript. From a film and communications student at McGill University in the early '70's, the Hungarian-born, Latin-American-raised Lantos has become, with thisfall's Canadian premiere ofJoshua Then and Now, the co-producer, with Roth, ofthe largest budgetfeature in Canadian film history. Thefollowing interview is Robert Lantos' view ofthe road he has travelled. A Cinema Canada interview with RSL's president by Tom Perlmutter October 1985 - Cinema Canadal25 • p R o D u c E R 5 • Cinema Canada: Why don't we start it. Their interest was that they had heard at the beginning. You've had a long of the New York Erotic Film Festival career in filmmaking and it's taken through the press and they really you down some curious roads.
    [Show full text]
  • Robert Lantos Wins CMPA Producer's Award at the Toronto International Film Festival
    Robert Lantos wins CMPA Producer’s Award at the Toronto International Film Festival TORONTO, September 10, 2015—The Canadian Media Production Association (CMPA) is delighted to announce Robert Lantos (Serendipity Point Films) as the winner of the 10th annual $10,000 CMPA Feature Film Producer’s Award. The award was presented this afternoon at the Festival’s Filmmaker’s Lounge at the CBC Glenn Gould Studio at the opening of the 40th Toronto International Film Festival®. Robert Lantos has been a prominent player in the development and growth of the Canadian film and television industry over the past 40 years. He has received international awards and accolades for many of his films including Barney’s Version (2011), Eastern Promises (2008), Being Julia (2004), Ararat (2002), Men With Brooms (2002), Sunshine (2000), The Sweet Hereafter (1997) Crash (1995) and Black Robe (1991). His latest film, Remember, will have its North American premiere at a TIFF gala at Roy Thomson Hall on September 12th. Remember is a story of long-delayed justice and revenge by a 90-year old Holocaust survivor played by Academy Award- winning actor Christopher Plummer. “Remember had to be made now for two reasons. First, because anti-Semitism has once again raised its ugly head and second, because in a few years none of the protagonists would be alive and the story would have to be told as a period piece, which would diminish its immediacy,” says Lantos, “My passion is to make films which tell stories that matter and should be told. I am delighted that the CMPA is honouring these stories with this award which I, in turn, share with my producing partners Mark Musselman and Ari Lantos.” “Robert Lantos is a trailblazer who decided early in his career that he would stay in Canada and make his mark here,” says Reynolds Mastin, President and CEO CMPA.
    [Show full text]
  • Le Fonds Harold Greenberg, 10 Years of Action!
    20 YEARS OF ACTION! ANNUAL REPORT 2005-2006 LE FONDS HAROLD GREENBERG, 10 YEARS OF ACTION! WE WERE THE FIRST BROADCASTER TO SET UP A PRIVATE FUND FOR FILM FINANCING THE HAROLD GREENBERG FUND 20 YEARS OF ACTION! INVESTMENTS TO DATE IN SUPPORT WE REMAIN COMMITTED TO CONTINUING OF CANADIAN WRITERS, DIRECTORS, PRODUCERS AND PERFORMERS TOTAL $50.7 MILLION OUR FINANCIAL SUPPORT FOR CANADIAN FILM AND TELEVISION PRODUCTIONS MESSAGE FROM OUR PARTNER One of the most important objectives of The Fund/Le Fonds when This is a special year for Astral Media The Harold Greenberg Fund/ Since 1986, The Fund/Le Fonds has continued to grow and to diver- it was founded was to assure that the elements necessary to Le Fonds Harold Greenberg. It marks the 20th anniversary of sify. Investments to date in support of Canadian writers, directors, make a successful industry could be found right here in Canada. support for the Canadian film and television industries for its producers and performers total $50.7 million, and this year alone As a funding partner, we are very proud of our long history of English-language Program and ten years of operation for its $5.1 million has been invested in 168 projects. The Fund/Le Fonds support for the industry and we feel strongly that the growth and French-language Program. Astral Media has always been unique in has programs in both official languages, supporting a wide array success of this industry will continue to depend on the essential its approach to the industry. Not only were we the first broadcaster of film and television productions including: feature films, mix of private and public funding.
    [Show full text]
  • “CLARA” Starring Patrick J. Adams and Troian Bellisario
    Serendipity Point Films announces start of principal photography on “CLARA” Starring Patrick J. Adams and Troian Bellisario Akash Sherman Writes and Directs Ari Lantos Produces TORONTO, March 6, 2017 - Producer Ari Lantos (Remember, Barney’s Version) announces today that production is underway on the sci-fi drama, “CLARA”, a feature film written and directed by newcomer Akash Sherman. Patrick J. Adams (Suits) and Troian Bellisario (Pretty Little Liars) will star opposite each other, with Kristen Hager (Wanted) and Ennis Esmer (Miss Sloane) rounding out the principal cast. Principal photography will take place in Toronto. “CLARA” tells the story of Isaac Bruno (played by Adams), an astronomer obsessed with searching the cosmos for signs of life beyond Earth, despite the collapse of his own personal life around him. Isaac takes on an unqualified but spirited young research assistant named Clara (played by Bellisario) who restores balance and perspective in the midst of his downward spiral. Working together as a team, their research ultimately leads Isaac to a shocking and profound scientific discovery. “Over the last few years we have entered a new era of science fiction storytelling whereby scientific accuracy and plausibility have superseded pure fantasy as the convention which audiences have come to expect from the genre.” says Sherman.”’CLARA' is a film which aims to deliver on these elevated expectations, while telling a distinctly human and emotional story of self-discovery and love which we can all relate to. I’m truly humbled to have the opportunity to tell this story with Patrick and Troian, and with the full support of Serendipity Point Films." Says producer Ari Lantos, “It’s incredibly exciting to be working with such a gifted and sophisticated young filmmaker.
    [Show full text]
  • The King of Canadian Television
    ® A PUBLICATION OF BRUNICO COMMUNICATIONS LTD. FALL 2013 2013 UNSPOOLING the HALL OF FAME FUTURE REVEALED + OF FILM 102WATCH ALSO: FILM DIARIES | STEBBINGS VS. SOBOL | SERENDIPITY POINT FILMS AT 15 PB.Cover.fall13.indd 1 13-08-21 7:31 PM THE ART OF THE STEAL ENEMY TIFF® Gala Presentation TIFF® Special Presentation THE F WORD THE HUSBAND TIFF® Special Presentation TIFF® Special Presentation Credit / Courtesy: Photo © Edward Burtynsky Courtesy Nicholas Metivier Gallery, Toronto Courtesy Nicholas Metivier Gallery, Screening at TIFF® and proudly supported by the OMDC Film Fund WATERMARK TIFF® Special Presentation CONGRATULATIONS TO ALL ONTARIO FILMMAKERS AND FILMS AT TIFF® OMDC is a proud supporter of the Toronto International Film Festival®. Ontario is home to the third largest entertainment sector in North America, attracting production from around the world. Visit OMDC at the TIFF Industry Centre to find out how our programs and initiatives are helping to create a thriving, multi-billion-dollar industry and a wealth of opportunity. Be part of it. OMDC.on.ca We’ve got it going ® Toronto International Film Festival Inc., used under license. PB.23549.OMDC.Ad.indd 1 2013-08-26 3:46 PM FALL 2013 table of contents Big picture: Canadian director Paul Haggis frames a shot in Third Person, his upcoming feature shot in Rome and New York. 9 Upfront 26 In conversation with... 48 Tribute: Serendipity Point Films New money, new deals, Peter Stebbings and Jonathan Sobol Producer Robert Lantos recalls new businesses highlights from the company’s last 30 Playback’s 2013 Hall of Fame 15 years, and discusses its expanding 14 The new indie marketplace They changed the industry for vision for the future Canadian fi lmmakers are building a the better: here are six icons of worldly profi le as they traverse new Canadian fi lm and TV.
    [Show full text]
  • Barney's Version
    a Robert Lantos production a Richard J. Lewis film BARNEY’S VERSION Directed by Richard J. Lewis Produced by Robert Lantos Based on the novel by Mordecai Richler Screenplay by Michael Konyves Running Time 2 hours 12 min Publicity Contact Charlene Coy Media Site 416-646-4980 (office) www.eonefilmsmedia.ca 416-277-0081 (cell) log in: eonemedia [email protected] password: publicity1 BARNEY’S VERSION Cast: Paul Giamatti Dustin Hoffman Rosamund Pike Minnie Driver Rachelle Lefevre Scott Speedman Bruce Greenwood Macha Grenon Jake Hoffman Anna Hopkins Thomas Trabacchi Cle Bennett Harvey Atkin Massimo Wertmuller Howard Jerome Linda Sorensen Paul Gross David Cronenberg Denys Arcand Atom Egoyan Ted Kotcheff 2 BARNEY'S VERSION Short Synopsis – 100 words Based on Mordecai Richler's prize-winning comic novel, BARNEY'S VERSION is the warm, wise, and witty story of Barney Panofsky, (Paul Giamatti), a seemingly ordinary man who lives an extraordinary life. Barney’s candid confessional spans four decades and two continents, and includes three wives (Rosamund Pike, Minnie Driver, and Rachelle Lefevre), one outrageous father (Dustin Hoffman), and a charmingly dissolute best friend (Scott Speedman). BARNEY’S VERSION takes us through the many highs -- and a few too many lows -- of a long and colorful life with an unlikely hero at its center —the unforgettable Barney Panofsky. BARNEY'S VERSION About The Story – short synopsis Based on Mordecai Richler's prize-winning comic novel--his last and, arguably, best-- BARNEY'S VERSION is the warm, wise, and witty story of Barney Panofsky, (Paul Giamatti), a seemingly ordinary man who lives an extraordinary life.
    [Show full text]
  • Reading the Tax-Shelter Boom in Canadian Film History
    1979: Reading the Tax-Shelter Boom in Canadian Film History By Peter Urquhart, Department of Art History and Communications Studies, McGill University, Montreal. Submitted July, 2004. A thesis submitted to McGill University in partial fulfillment of the degree of Doctor of Philosophy. © Peter Urquhart 2004 Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 0-494-12959-X Our file Notre référence ISBN: 0-494-12959-X NOTICE: AVIS: The author has granted a non­ L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque 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 télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell th es es le monde, à des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • The Toronto New Wave Was a Kitchen Party, Atom Egoyan, Bruce Mcdonald, Peter Mettler and Don Mckellar Would Take the Prime Spot Between the Sink and the Fridge
    STANDING IN THE KITCHEN ALL NIGHT All photos (except Peter Mettler) by Anne Levenston. "Independents stand alone. decade already: Peep Show, Scissere, Let Me See..., Passion: A Letter in 16mm. Then the features: Next of Kin, Listen to the Other terms like underground, City, Family Viewing, I've Heard the Mermaids Singing. By the fall of 1988, when the "Outlaw Edition" hit the streets, avant-garde, low budget or new Toronto had produced enough solid work to back up the wave leave a bad taste in everyone's boasts. mouth. Being an outlaw is more "We are paving the ground for the creation of the new Canadian Feature Film," McDonald claimed. "This new cin- fun. It's cool. It's dangerous." ema needs new freedoms. Freedom from the customary conventions of the trade. Freedom from the influence of It didn't last. commercial partners. Freedom from the tutelage of vested interests." When Bruce McDonald dropped his manifesto on the world in Cinema Canada's 1988 "Outlaw Edition," he gave the new style a name. The films had been brewing for most of a He always talked a great line. 0 SUMMER 2000 OK, so that particular revolution never happened. Sooner or The question remains: What exactly was this new wave? And later, they all worked for television. Or Alliance Or both. But what wasn't it? First, it wasn't about reality. The will to docu- between, say, 1984 and 1995, something new did develop in ment reality that had ruled Canadian cinema since its birth was Toronto. Filmmakers shook off the dead skin of tax-shelter over.
    [Show full text]