Current Cinema

Total Page:16

File Type:pdf, Size:1020Kb

Current Cinema Touch Each Picture to Read the Story INK TALES Star Wars: Captain Phasma The brilliant Kelly Thompson brings Issue 30 Cover: the famed First Order leader to life Illustration by in a Marvel miniseries that leads up Michael Koelsch to the events of The Last Jedi. By Danny Munso Letter from the Publisher BLOODLIST TALES Contributors Killing Time Jose Prendes combines horror, comedy Masthead and time travel into a script that landed him on the 2017 compendium Art and of the best dark scripts in Hollywood. Photo Credits By Danny Munso RETRO Reservoir Dogs: 25th-Anniversary Q&A Writer-director Quentin Tarantino, actor Michael Madsen and producer Lawrence Bender reminisce about the iconic heist flick, which emerged from a Sundance filmmakers lab. By Jeremy Smith q TV DVR’D Drunk History Derek Waters talks about the progression and process behind his hit Comedy Central series. By Danny Munso TV STREAMED Godless Writer-director Scott Frank on wrangling his beloved film script into an epic Netflix miniseries. By Jeremy Smith TV STREAMED The Punisher Steve Lightfoot on capturing the returning-vet experience and writing the tortured character at the heart of Netflix’s latest Marvel series. By Danny Munso INSIDE THE ACADEMY’S 2017 NICHOLL COMPETITION Goodfellows Meet this year’s Nicholl Fellowship recipients, rewarded for writing their labors of love by the Academy of Motion Picture Arts and Sciences. By Claude Chung q COVER STORY Star Wars: The Last Jedi The Writer/Director Rian Johnson discusses his film’s biggest moments and what it took to fly the space opera saga into uncharted territory. By Jeff Goldsmith COVER STORY Star Wars: The Last Jedi—The Producer Ram Bergman on his decade-plus collaboration with Rian Johnson, how he broke into the business and his role in the year’s blockbuster. By Danny Munso COVER STORY Star Wars: The Last Jedi The Cinematographer Steve Yedlin began shooting Rian John- son’s student films at 18. Now they’ve taken a trip to a galaxy far, far away. By Danny Munso COVER STORY Star Wars: The Last Jedi—The Editor Bob Ducsay on editing an effects-heavy project, making suggestions to Rian Johnson and crafting the key Luke-Rey sequence at the end of the film. By Danny Munso q CURRENT CINEMA All the Money in the World Scribe David Scarpa looks at a megalo- maniacal patriarch during a kidnap- ping crisis as he brings John Pearson’s novel to the big screen. By Amy Nicholson CURRENT CINEMA The Disaster Artist Scott Neustadter and Michael H. Weber on adapting the tell-all of one beloved—yet uniformly terrible—film. By Amy Nicholson NOVEL IDEA The Disaster Artist After surviving The Room, actor- turned-author Greg Sestero and co-writer Tom Bissell shaped his funny stories into a nonfiction saga. By Amy Nicholson CURRENT CINEMA I, Tonya—The Director Craig Gillespie on what drew him to Tonya Harding’s tragic story and how he crafted the spectacular skating scenes that are the film’s backbone. By Danny Munso q CURRENT CINEMA I, Tonya—The Writer Screenwriter Steven Rogers swaps grit for grace in his wild yet inti- mate peek at the life of disgraced figure skater Tonya Harding. By Amy Nicholson CURRENT CINEMA Lady Bird Greta Gerwig talks about her bril- liant directorial debut, a love letter to her hometown of Sacramento. By Danny Munso CURRENT CINEMA The Shape of Water Director/co-writer Guillermo del Toro and co-writer Vanessa Taylor blend fantasy, romance and danger in a unique fairy tale. By Claude Chung CURRENT CINEMA The Post—The Screenwriters Liz Hannah and Josh Singer on working with Steven Spielberg and creating the moments that shape the year’s most resonant film. By Danny Munso & Jeff Goldsmith q CURRENT CINEMA An Evening with The Post After a screening, Steven Spiel- berg, Meryl Streep, Tom Hanks and the creative team discuss the need to make this movie now. By Jeremy Smith SPOILERS & ALL Thor: Ragnarok Co-writer/director Taika Waititi divulges the secrets behind his runaway hit. By Jeff Goldsmith PODCAST ROUNDUP Hear top writers, directors and actors discuss their films in our Q&A screening series. BLACK LIST TALES Strongman Nicholas Jacobson-Larson and Dalton Leeb do a part-fact, part- fiction take on David Prowse, the man behind Darth Vader’s mask. By Danny Munso AWARDS-SEASON READ Enjoy 36 scripts from the trophy contenders for your winter reading pleasure. .
Recommended publications
  • Executive Producer)
    PRODUCTION BIOGRAPHIES STEVEN SODERBERGH (Executive Producer) Steven Soderbergh has produced or executive-produced a wide range of projects, most recently Gregory Jacobs' Magic Mike XXL, as well as his own series "The Knick" on Cinemax, and the current Amazon Studios series "Red Oaks." Previously, he produced or executive-produced Jacobs' films Wind Chill and Criminal; Laura Poitras' Citizenfour; Marina Zenovich's Roman Polanski: Odd Man Out, Roman Polanski: Wanted and Desired, and Who Is Bernard Tapie?; Lynne Ramsay's We Need to Talk About Kevin; the HBO documentary His Way, directed by Douglas McGrath; Lodge Kerrigan's Rebecca H. (Return to the Dogs) and Keane; Brian Koppelman and David Levien's Solitary Man; Todd Haynes' I'm Not There and Far From Heaven; Tony Gilroy's Michael Clayton; George Clooney's Good Night and Good Luck and Confessions of a Dangerous Mind; Scott Z. Burns' Pu-239; Richard Linklater's A Scanner Darkly; Rob Reiner's Rumor Has It...; Stephen Gaghan'sSyriana; John Maybury's The Jacket; Christopher Nolan's Insomnia; Godfrey Reggio's Naqoyqatsi; Anthony and Joseph Russo's Welcome to Collinwood; Gary Ross' Pleasantville; and Greg Mottola's The Daytrippers. LODGE KERRIGAN (Co-Creator, Executive Producer, Writer, Director) Co-Creators and Executive Producers Lodge Kerrigan and Amy Seimetz wrote and directed all 13 episodes of “The Girlfriend Experience.” Prior to “The Girlfriend Experience,” Kerrigan wrote and directed the features Rebecca H. (Return to the Dogs), Keane, Claire Dolan and Clean, Shaven. His directorial credits also include episodes of “The Killing” (AMC / Netflix), “The Americans” (FX), “Bates Motel” (A&E) and “Homeland” (Showtime).
    [Show full text]
  • Reframe and Imdbpro Announce New Collaboration to Recognize Standout Gender-Balanced Film and TV Projects
    FOR IMMEDIATE RELEASE Media Contacts: June 7, 2018 For Sundance Institute: Jenelle Scott 310.360.1972 [email protected] For Women In Film: Catherine Olim 310.967.7242 [email protected] For IMDbPro: Casey De La Rosa 310.573.0632 [email protected] ReFrame and IMDbPro Announce New Collaboration to Recognize Standout Gender-balanced Film and TV Projects The ReFrame Stamp is being Awarded to 12 Films from 2017 including Everything, Everything; Girls Trip; Lady Bird; The Post; and Wonder Woman Los Angeles, CA — ReFrame™, a coalition of industry professionals and partner companies founded by Women In Film and Sundance Institute whose mission is to increase the number of women of all backgrounds working in film, TV and media, and IMDbPro (http://www.imdbpro.com/), the leading information resource for the entertainment industry, today announced a new collaboration that leverages the authoritative data and professional resources of IMDbPro to recognize standout, gender- balanced film and TV projects. ReFrame is using IMDbPro data to determine recipients of a new ReFrame Stamp, and IMDbPro is providing digital promotion of ReFrame activities (imdb.com/reframe). Also announced today was the first class of ReFrame Stamp feature film recipients based on an extensive analysis of IMDbPro data on the top 100 domestic-grossing films of 2017. The recipients include Warner Bros.’ Everything, Everything, Universal’s Girls Trip, A24’s Lady Bird, Twentieth Century Fox’s The Post and Warner Bros.’ Wonder Woman. The ReFrame Stamp serves as a mark of distinction for projects that have demonstrated success in gender-balanced film and TV productions based on criteria developed by ReFrame in consultation with ReFrame Ambassadors (complete list below), producers and other industry experts.
    [Show full text]
  • 26Th Annual Austin Film Festival & Writers
    BADGES & PASSES EVERYONE FEELS LIKE 26TH ANNUAL LIMITED-TIME SAVINGS UP TO $50 IF A STAR IN AUSTIN PAID AUSTIN FILM FESTIVAL & YOU BUY BEFORE SEPTEMBER 20, 2019 US POSTAGE AUSTIN, TEXAS PERMIT NO. 1986 Always a top travel destination, Austin’s creative charm and quirky vibe create NON PROFIT ORG For a more detailed description of each Badge WRITERS CONFERENCE level, please visit austinfilmfestival.com. the perfect environment for this one-of-a-kind film festival. From its world-famous FILM PASS LONE STAR BADGE WEEKEND BADGE CONFERENCE BADGE PRODUCERS BADGE Congress Bridge bats to local brews over a breezy fall sunset, there are endless Before September 20, 2019 $65 $150 $275 $425 $650 OCTOBER 24 – 31, 2019 reasons Austin makes every “Best Place for…” list. COST Walk-Up $75 $150 $325 $475 $695 All Eight Days of Film 3 3 3 3 3 TEXAS-SIZED DISCOUNTS We’ve coordinated special budget-friendly Script Readings 3 3 3 3 3 deals for our Badgeholders to many of Priority Access to Films “AFF WAS (Admitted before Film Passes & GA) 3 3 3 3 Austin’s most popular hotels: INDELIBLE, A Exhibit Hall 3 3 3 3 CONFERENCE HEADQUARTERS TRUE REMINDER OF THE CORE All Panels on Thursday, October 24 3 3 The Driskill Hotel – $336 InterContinental Stephen F. Austin – $329 PASSION THAT All Panels on Friday, October 25 3 3 DREW ME TO THIS All Panels on Saturday, October 26 3 3 3 3 STAY LESS THAN 2 MILES AWAY WORLD…I CAME FILMS AND PANELS All Panels on Sunday, October 27 3 3 3 FROM THE CONFERENCE HOME WITH A La Quinta by Wyndham Austin Capitol – $209 RENEWED RIGOR Access
    [Show full text]
  • National Journalism Awards
    George Pennacchio Carol Burnett Michael Connelly The Luminary The Legend Award The Distinguished Award Storyteller Award 2018 ELEVENTH ANNUAL Jonathan Gold The Impact Award NATIONAL ARTS & ENTERTAINMENT JOURNALISM AWARDS LOS ANGELES PRESS CLUB CBS IN HONOR OF OUR DEAR FRIEND, THE EXTRAORDINARY CAROL BURNETT. YOUR GROUNDBREAKING CAREER, AND YOUR INIMITABLE HUMOR, TALENT AND VERSATILITY, HAVE ENTERTAINED GENERATIONS. YOU ARE AN AMERICAN ICON. ©2018 CBS Corporation Burnett2.indd 1 11/27/18 2:08 PM 11TH ANNUAL National Arts & Entertainment Journalism Awards Los Angeles Press Club Awards for Editorial Excellence in A non-profit organization with 501(c)(3) status Tax ID 01-0761875 2017 and 2018, Honorary Awards for 2018 6464 Sunset Boulevard, Suite 870 Los Angeles, California 90028 Phone: (323) 669-8081 Fax: (310) 464-3577 E-mail: [email protected] Carper Du;mage Website: www.lapressclub.org Marie Astrid Gonzalez Beowulf Sheehan Photography Beowulf PRESS CLUB OFFICERS PRESIDENT: Chris Palmeri, Bureau Chief, Bloomberg News VICE PRESIDENT: Cher Calvin, Anchor/ Reporter, KTLA, Los Angeles TREASURER: Doug Kriegel, The Impact Award The Luminary The TV Reporter For Journalism that Award Distinguished SECRETARY: Adam J. Rose, Senior Editorial Makes a Difference For Career Storyteller Producer, CBS Interactive JONATHAN Achievement Award EXECUTIVE DIRECTOR: Diana Ljungaeus GOLD International Journalist GEORGE For Excellence in Introduced by PENNACCHIO Storytelling Outside of BOARD MEMBERS Peter Meehan Introduced by Journalism Joe Bell Bruno, Freelance Journalist Jeff Ross MICHAEL Gerri Shaftel Constant, CBS CONNELLY CBS Deepa Fernandes, Public Radio International Introduced by Mariel Garza, Los Angeles Times Titus Welliver Peggy Holter, Independent TV Producer Antonio Martin, EFE The Legend Award Claudia Oberst, International Journalist Lisa Richwine, Reuters For Lifetime Achievement and IN HONOR OF OUR DEAR FRIEND, THE EXTRAORDINARY Ina von Ber, US Press Agency Contributions to Society CAROL BURNETT.
    [Show full text]
  • 1997 Sundance Film Festival Awards Jurors
    1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J.
    [Show full text]
  • EDITORIAL Screenwriters James Schamus, Michael France and John Turman CA 90049 (310) 447-2080 Were Thinking Is Unclear
    screenwritersmonthly.com | Screenwriter’s Monthly Give ‘em some credit! Johnny Depp's performance as Captain Jack Sparrow in Pirates of the Caribbean: The Curse of the Black Pearl is amazing. As film critic after film critic stumbled over Screenwriter’s Monthly can be found themselves to call his performance everything from "original" to at the following fine locations: "eccentric," they forgot one thing: the screenwriters, Ted Elliott and Terry Rossio, who did one heck of a job creating Sparrow on paper first. Sure, some critics mentioned the writers when they declared the film "cliché" and attacked it. Since the previous Walt Disney Los Angeles film based on one of its theme park attractions was the unbear- able The Country Bears, Pirates of the Caribbean is surprisingly Above The Fold 370 N. Fairfax Ave. Los Angeles, CA 90036 entertaining. But let’s face it. This wasn't intended to be serious (323) 935-8525 filmmaking. Not much is anymore in Hollywood. Recently the USA Today ran an article asking, basically, “What’s wrong with Hollywood?” Blockbusters are failing because Above The Fold 1257 3rd St. Promenade Santa Monica, CA attendance is down 3.3% from last year. It’s anyone’s guess why 90401 (310) 393-2690 this is happening, and frankly, it doesn’t matter, because next year the industry will be back in full force with the same schlep of Above The Fold 226 N. Larchmont Blvd. Los Angeles, CA 90004 sequels, comic book heroes and mindless action-adventure (323) 464-NEWS extravaganzas. But maybe if we turn our backs to Hollywood’s fast food service, they will serve us something different.
    [Show full text]
  • Steven Spielberg
    Ga.Pi. News Ga.Pi. News Steven Spielberg The Guardian - Jan. 19, 2018 Two days later, I am sitting opposite “And I saw the documentary. And it Spielberg – now 71 and looking like didn’t help.” Shortly after The Sixth Sense be- a kindly college professor, a sweater came a global sensation, its director, over his shirt and tie and under his As he told Daly, he doesn’t like to M Night Shyamalan – hailed on the jacket – about to ask the man him- overanalyse his own work too much, cover of Newsweek in 2002 as “the self. He is the most commercially for fear that the attempt to under- next Spielberg” – told an interviewer successful director in cinema histo- stand the source of all this creativity that, years earlier, he had realised ry, the man behind ET, Jurassic Park might cause it to dry up. the one ingenious trick that made and dozens more. So what makes a As it happens, The Post has a cou- Steven Spielberg movies so spec- Spielberg film? tacularly successful. Like a soft-drink ple of Spielberg hallmarks. There is manufacturer who had stumbled on He answers by noting that he re- the familiar clash of idealism against the secret recipe for Coca-Cola, Shy- cently saw Spielberg, a two-hour pragmatism, the brave soul (or amalan could not believe his luck. documentary by Susan Daly, detail- souls) ready to stand up for what’s What was Spielberg’s killer formula, ing each stage of his storied career. right, against the vastly bigger forc- Shyamalan was asked.
    [Show full text]
  • The Honorable Mentions Movies – LIST 3
    The Honorable mentions Movies – LIST 3: 1. Modern Times by Charles Chaplin (1936) 2. Pinocchio by Hamilton Luske et al. (1940) 3. Late Spring by Yasujirō Ozu (1949) 4. The Virgin Spring by Ingmar Bergman (1960) 5. Charade by Stanley Donen (1963) 6. The Soft Skin by François Truffaut (1964) 7. Who's Afraid of Virginia Woolf? by Mike Nichols (1966) 8. Dog Day Afternoon by Sidney Lumet (1975) 9. Love Unto Death by Alain Resnais (1984) 10. Kiki's Delivery Service by Hayao Miyazaki (1989) 11. Bram Stoker's Dracula by Francis Ford Coppola (1992) 12. Léon: The Professional by Luc Besson (1994) 13. Princess Mononoke by Hayao Miyazaki (1997) 14. Fight Club by David Fincher (1999) 15. Rosetta by Jean-Pierre Dardenne, Luc Dardenne (1999) 16. The Ninth Gate by Roman Polanski (1999) 17. O Brother, Where Art Thou? by Ethan Coen, Joel Coen (2000) 18. The Return Andrey Zvyagintsev (2003) 19. The Sea Inside by Alejandro Amenábar (2004) 20. Broken Flowers by Jim Jarmusch (2005) 21. Climates by Nuri Bilge Ceylan (2006) 22. The Prestige by Christopher Nolan (2006) 23. The Class by Laurent Cantet (2008) 24. Mother by Bong Joon-ho (2009) 25. Shutter Island by Martin Scorsese (2010) 26. The Tree of Life by Terrence Malick (2011) 27. The Artist by Michel Hazanavicius (2011) 28. Melancholia by Lars von Trier (2011) 29. Hugo by Martin Scorsese (2011) 30. Twice Born by Sergio Castellitto (2012) 31. August Osage county by John Wells (2013) 32. 12 Years a Slave by Steve McQueen (2013) 33. The Best Offer by Giuseppe Tornatore (2013) 34.
    [Show full text]
  • 400 Blows) Score 0 1 2 3 4 5 6 7 8 9 10 ~ ~ ~ 3 2 2 12 10 5 6 2 No of Reaction Slips Received = 42 Average Score = 6.74
    The Main Feature Season 39 - Issue 11 screening 28.2.19 USA 2018 1 hr 57mins Certificate PG Director Steven Spielberg Screenplay Liz Hannah and Josh Singer Cinematography Janusz Kamiński Music John Williams Editors Michael Kahn and Sarah Broshar Cast Meryl Streep Katharine (Kay) Graham Tom Hanks Ben Bradlee Alison Brie Lally Weymouth Carrie Coon Meg Greenfield David Cross Howard Simons Bruce Greenwood Robert S McNamara Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances. The First Amendment to the US Constitution The Post is in turn a thriller, a detective story, a nostalgic hymn to the printing press and a piece of political commentary. In a nutshell, it tells the story of the battle to reveal the truth about the failure of US policy in Vietnam, which had been suppressed by successive administrations for years, by publishing government papers. The New York Times announced the existence of the so-called ‘Pentagon Papers’ but were slapped down with an injunction. The Washington Post’s editor obtains a copy of the papers, leading to the legal and ethical dilemma at the heart of the film. Its timeliness led to Steven Spielberg and his team bringing the film from idea to screen in less than a year. Spielberg read the original script in February 2017, filming started on 1 May and the film was released in January 2018.
    [Show full text]
  • ALTON WALPOLE Line Producer/UPM
    ALTON WALPOLE Line Producer/UPM GODLESS (limited series) – Production Manager; Netflix; Prods: Scott Frank, Casey Silver, Steven Soderberg; Dir: Scott Frank; w/Jeff Daniels, Michelle Dockery, Jack O’Connell, Merritt Weaver, Sam Waterson THE BRAVE (series) – Production Manager; NBC/Universal; prods: Matt Corman, Chris Ord, Peter Traugott, Rachel Kaplan, Bill Johnson, John Terlesky; Dirs: Tessa Blake, Breck Eisner, Jeffrey Nachmanoff, John Scott, Yves Simoneau, David Straiton, Marisol Adler, Mikael Salomen; w/ Mike Vogel, Anne Heche MIDNIGHT, TEXAS (pilot) – Production Manager (New Mexico); NBC/Universal; Prods: Monica Owusu- Breen, David Janollari, Bill Johnson; Dir: Neils Arden Oplev; w/Arielle Kebbel, Francois Arnaud, Dylan Bruce THE MAGNIFICENT SEVEN – Production Manager (New Mexico); Metro-Goldwyn-Mayer; Prods: Roger Birnbaum, Todd Black; Dir: Antoine Fuqua; w/Denzel Washington, Chris Pratt, Haley Bennett, Ethan Hawke, Vincent D’Onofrio, Wagner Moura, Byung-hun Lee; Matt Bomer; Peter Sarsgaard, Griff Furst WAR ON EVERYONE – Line Producer/ Production Manager; Head Gear Films; Prods: Stephen Kelliher, Chris Clark, Flora Fernando-Marengo, Phil Hunt, Compton Ross; Dir: John Michael McDonagh; w/ Alexander Skarsgard, Michael Pena, Theo James DIG (series) -- Production Manager; USA / Universal Cable; Prods: Tim Kring, Gideon Raff; Dir: Gideon Raff, Millicent Shelton, Allan Arkush; w/ Anne Heche, Jason Isaacs, Alison Sudol, Lauren Ambrose THE REACH -- Lionsgate, Roadshow; Line Producer/Production Manager Prods: Michael Douglas, Robert Mitas;
    [Show full text]
  • Download Download
    New forms of masculinity in Miscellaneous Western films: The end of the David Blanco-Herrero Marlboro Man? https://orcid.org/0000-0002-7414-2998 [email protected] Universidad de Salamanca Abstract Westerns are one of the most masculine and stereotypical of film Laura Rodríguez-Contreras genres. In a social and film context where gender equality is https://orcid.org/0000-0002-3080-9420 increasingly important, it is worth looking at the evolution of the [email protected] genre in recent years. Especially because, as André Bazin said, the Universidad de Salamanca Western is “cinema par excellence” (1966) and its analysis allows a reflection on cinema itself. Taking the figure of the Marlboro Man Begoña Gutiérrez-San-Miguel as a prototype, this study carries out an analysis of three selected https://orcid.org/0000-0003-1254-258X case studies: Brokeback Mountain , Jane Got a Gun and Godless , [email protected] Universidad de Salamanca two films and a miniseries with main characters that do not follow heteronormative masculinity. Ang Lee’s work broke new ground not only in Westerns but also in industrial cinema by making Submitted August 14th, 2019 homosexuality visible, while Gavin O’Connor’s showed the Approved possibility of a woman playing the leading role in a classic September 2nd, 2020 Western. The miniseries produced by Netflix combines both by giving leading roles to female characters, some of them gay, while © 2021 reflecting on homosexuality. It was noted that the portrayal of Communication & Society masculinity in Western films remains valid in all three cases, but it ISSN 0214-0039 E ISSN 2386-7876 allows women and homosexuals to access leading roles, often by doi: 10.15581/003.34.2.1-14 acquiring typically masculine attributes.
    [Show full text]
  • 80S 90S Hand-Out
    FILM 160 NOIR’S LEGACY 70s REVIVAL Hickey and Boggs (Robert Culp, 1972) The Long Goodbye (Robert Altman, 1973) Chinatown (Roman Polanski, 1974) Night Moves (Arthur Penn, 1975) Farewell My Lovely (Dick Richards, 1975) The Drowning Pool (Stuart Rosenberg, 1975) The Big Sleep (Michael Winner, 1978) RE- MAKES Remake Original Body Heat (Lawrence Kasdan, 1981) Double Indemnity (Billy Wilder, 1944) Postman Always Rings Twice (Bob Rafelson, 1981) Postman Always Rings Twice (Garnett, 1946) Breathless (Jim McBride, 1983) Breathless (Jean-Luc Godard, 1959) Against All Odds (Taylor Hackford, 1984) Out of the Past (Jacques Tourneur, 1947) The Morning After (Sidney Lumet, 1986) The Blue Gardenia (Fritz Lang, 1953) No Way Out (Roger Donaldson, 1987) The Big Clock (John Farrow, 1948) DOA (Morton & Jankel, 1988) DOA (Rudolf Maté, 1949) Narrow Margin (Peter Hyams, 1988) Narrow Margin (Richard Fleischer, 1951) Cape Fear (Martin Scorsese, 1991) Cape Fear (J. Lee Thompson, 1962) Night and the City (Irwin Winkler, 1992) Night and the City (Jules Dassin, 1950) Kiss of Death (Barbet Schroeder 1995) Kiss of Death (Henry Hathaway, 1947) The Underneath (Steven Soderbergh, 1995) Criss Cross (Robert Siodmak, 1949) The Limey (Steven Soderbergh, 1999) Point Blank (John Boorman, 1967) The Deep End (McGehee & Siegel, 2001) Reckless Moment (Max Ophuls, 1946) The Good Thief (Neil Jordan, 2001) Bob le flambeur (Jean-Pierre Melville, 1955) NEO - NOIRS Blood Simple (Coen Brothers, 1984) LA Confidential (Curtis Hanson, 1997) Blue Velvet (David Lynch, 1986) Lost Highway (David
    [Show full text]