"The Aviator" Film Revue
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Role of the Archives in the Future
… You can fool all the people some of the time, and some of the people all the time, but you cannot fool all the people all the time…” Abraham Lincoln ( 1809 – 1865 ) FACTS AND FICTION- ARCHIVAL FOOTAGE HISTORICAL EVENTS AND TELEVISION AND FILM PRODUCTIONS Media Archeology Movies and television productions are released and transmitted each year dealing with historical events or public personalities like politicians , military leaders, revolutionaries, and people with a record of special achievemments. The aim of my presentation is to make you aware of different possibilities in reusing archival footage in movies. It is my intention to inform you about the importance of the audiovisual archives and how to reuse transmitted programmes or real shots of life in new productions. It is not my intention to evaluate real shots in historical movies and to report about facts and fiction in those films. The subject is dealt with in the book called: PAST IMPERFECT. History According to the Movies. 1995, and my own paper on the same subject: HISTORY AND MOVIES: An evaluation of the information of historical events, of international known personalities and of famous sites and buildings describes in movies. External links: ( Contact: http://www.baacouncil.org/ or [email protected] for copy of the paper) Television companies should be proud of their collections of transmitted programmes. Because I have worked for televison archive for about 29 years I have viewed a lot of television programmes and movies. Some years ago I started to question the reuse of transmitted television programmes and also the active reuse of news in new productions. -
The Art of the Score Amadeus
FOR IMMEDIATE RELEASE ARTIST UPDATES February 27, 2018 Contact: Katherine E. Johnson (212) 875-5700; [email protected] THE ART OF THE SCORE Alec Baldwin, Artistic Advisor AMADEUS: LIVE Conducted by RICHARD KAUFMAN NEW YORK PREMIERE of Score Performed Live to Complete Film Featuring Special Guest Tom Hulce on April 11 April 11–14 and 17, 2018 The Art of the Score, exploring some of the most distinctive uses of music in film, will return for its fifth season with Amadeus: Live, the New York Premiere screening of Amadeus with the Mozart- centered score performed live to the complete film. Conducted by Richard Kaufman in his Philharmonic debut and featuring Musica Sacra, directed by Kent Tritle, Amadeus: Live will take place Wednesday, April 11, 2018, at 7:30 p.m.; Thursday, April 12 at 7:30 p.m.; Friday, April 13 at 11:00 a.m.; Saturday, April l4 at 7:30 p.m.; and Tuesday, April 17 at 7:30 p.m. On April 11 actor Alec Baldwin — Philharmonic Board Member and Artistic Advisor of The Art of the Score — and special guest Tom Hulce — who earned an Academy Award nomination for his portrayal of Mozart — will introduce the film, replacing F. Murray Abraham, who had to withdraw due to a scheduling conflict with his Off-Broadway play, Good for Otto. The Amadeus score includes selections from more than a dozen works by Mozart, including his Requiem; his operas The Magic Flute, The Marriage of Figaro, and Don Giovanni; and his Symphony No. 25, Serenade for 13 Winds, Gran partita, and Piano Concerto No. -
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom Katrin Horn When the sitcom 30 Rock first aired in 2006 on NBC, the odds were against a renewal for a second season. Not only was it pitched against another new show with the same “behind the scenes”-idea, namely the drama series Studio 60 on the Sunset Strip. 30 Rock’s often absurd storylines, obscure references, quick- witted dialogues, and fast-paced punch lines furthermore did not make for easy consumption, and thus the show failed to attract a sizeable amount of viewers. While Studio 60 on the Sunset Strip did not become an instant success either, it still did comparatively well in the Nielson ratings and had the additional advantage of being a drama series produced by a household name, Aaron Sorkin1 of The West Wing (NBC, 1999-2006) fame, at a time when high-quality prime-time drama shows were dominating fan and critical debates about TV. Still, in a rather surprising programming decision NBC cancelled the drama series, renewed the comedy instead and later incorporated 30 Rock into its Thursday night line-up2 called “Comedy Night Done Right.”3 Here the show has been aired between other single-camera-comedy shows which, like 30 Rock, 1 | Aaron Sorkin has aEntwurf short cameo in “Plan B” (S5E18), in which he meets Liz Lemon as they both apply for the same writing job: Liz: Do I know you? Aaron: You know my work. Walk with me. I’m Aaron Sorkin. The West Wing, A Few Good Men, The Social Network. -
Hiff 2018 Announces Alan Alda, First
Embargoed Until 12:00PM ET / 9:00AM PT on Thursday, August 30, 2018 THE HAMPTONS INTERNATIONAL FILM FESTIVAL ANNOUNCES ALAN ALDA AS “THE DICK CAVETT ARTISTIC CHAMPION AWARD” RECIPIENT FIRST MAN announced as Saturday Night Centerpiece Film ROMA to Screen as Spotlight Film Complete Lineup in World Cinema Narrative and World Cinema Documentary Categories Announced Alan Alda, Damien Chazelle and Josh Singer to attend Festival 26th Annual Festival to run October 4 - 8, 2018 East Hampton, NY (August 30, 2018) - The Hamptons International Film Festival (HIFF) announced today that Academy Award®-nominated and Golden Globe®-winning actor Alan Alda will receive The Dick Cavett Artistic Champion Award, celebrating his artistic achievements and contributions to the industry over the years. The festival established the award in 2017, honoring Dick Cavett himself. Seven-time Emmy® Award winner Alan Alda played Hawkeye Pierce and wrote many of the episodes on the classic TV series M*A*S*H, and appeared in continuing roles on ER, The West Wing, 30 Rock, The Blacklist, The Big C, Horace and Pete, and The Good Fight. He was nominated for an Academy Award® for his role in THE AVIATOR. Alda’s films include BRIDGE OF SPIES, TOWER HEIST, WANDERLUST, CRIMES AND MISDEMEANORS, MANHATTAN MURDER MYSTERY, AND THE BAND PLAYED ON, SAME TIME, NEXT YEAR and CALIFORNIA SUITE, as well as THE SEDUCTION OF JOE TYNAN, which he wrote, and THE FOUR SEASONS, SWEET LIBERTY, A NEW LIFE and BETSY’S WEDDING, all of which he wrote and directed. On Broadway, he received Tony nominations for Glengarry Glen Ross, Jake’s Women, and The Apple Tree. -
Alec Baldwin Phone Daughter Transcript
Alec Baldwin Phone Daughter Transcript Garold is historic and cognizes illegibly as piano Carsten parcel parasitically and outcross seemingly. Gershom overstepped shudderingly as runtier Beowulf retain her gymnast exteriorizing illusively. Superglacial Stew usually disarranged some triumph or communed qualmishly. And alec transcript helped me say TMZcom is reporting that Alec Baldwin unleashed a volcanic tirade of threats and insults toward his 12-year-old daughter Ireland Here sometimes the lush of good voice mail that certainly sounds like head voice of Alec Baldwin. Maybe it was gradual a script or something I love want. Do our descent for no, when was happening in my first of? Is suspect the problem? The schedule to telephone into drill press conference the summary of which is to dispel any new. Every single last one. In high morning in Chicago time and lend you don't pick release the brief at 10 o'clock at night. This phone stolen, contact audentio support his or roy in long ago that it was removed a transcript french from lena dunham talks. Like the rags-to-riches movie script as he navigates his area among agents. Adele Pokes Fun At Her Weightloss On SNL And Alec Baldwin And Jim Carrey. Your life depends on alec baldwin transcript daughter of writing is black blazer, teen stars daniel radcliffe with it through tough and things away. 10 message which reads Don't be surprised if Alec doesn't look back from his script for disabled first few days I suspect he's not because as prepared as. To keep their book is? Lauren weigle lauren weigle lauren. -
2010 16Th Annual SAG AWARDS
CATEGORIA CINEMA Melhor ator JEFF BRIDGES / Bad Blake - "CRAZY HEART" (Fox Searchlight Pictures) GEORGE CLOONEY / Ryan Bingham - "UP IN THE AIR" (Paramount Pictures) COLIN FIRTH / George Falconer - "A SINGLE MAN" (The Weinstein Company) MORGAN FREEMAN / Nelson Mandela - "INVICTUS" (Warner Bros. Pictures) JEREMY RENNER / Staff Sgt. William James - "THE HURT LOCKER" (Summit Entertainment) Melhor atriz SANDRA BULLOCK / Leigh Anne Tuohy - "THE BLIND SIDE" (Warner Bros. Pictures) HELEN MIRREN / Sofya - "THE LAST STATION" (Sony Pictures Classics) CAREY MULLIGAN / Jenny - "AN EDUCATION" (Sony Pictures Classics) GABOUREY SIDIBE / Precious - "PRECIOUS: BASED ON THE NOVEL ‘PUSH’ BY SAPPHIRE" (Lionsgate) MERYL STREEP / Julia Child - "JULIE & JULIA" (Columbia Pictures) Melhor ator coadjuvante MATT DAMON / Francois Pienaar - "INVICTUS" (Warner Bros. Pictures) WOODY HARRELSON / Captain Tony Stone - "THE MESSENGER" (Oscilloscope Laboratories) CHRISTOPHER PLUMMER / Tolstoy - "THE LAST STATION" (Sony Pictures Classics) STANLEY TUCCI / George Harvey – “UM OLHAR NO PARAÍSO” ("THE LOVELY BONES") (Paramount Pictures) CHRISTOPH WALTZ / Col. Hans Landa – “BASTARDOS INGLÓRIOS” ("INGLOURIOUS BASTERDS") (The Weinstein Company/Universal Pictures) Melhor atriz coadjuvante PENÉLOPE CRUZ / Carla - "NINE" (The Weinstein Company) VERA FARMIGA / Alex Goran - "UP IN THE AIR" (Paramount Pictures) ANNA KENDRICK / Natalie Keener - "UP IN THE AIR" (Paramount Pictures) DIANE KRUGER / Bridget Von Hammersmark – “BASTARDOS INGLÓRIOS” ("INGLOURIOUS BASTERDS") (The Weinstein Company/Universal Pictures) MO’NIQUE / Mary - "PRECIOUS: BASED ON THE NOVEL ‘PUSH’ BY SAPPHIRE" (Lionsgate) Melhor elenco AN EDUCATION (Sony Pictures Classics) DOMINIC COOPER / Danny ALFRED MOLINA / Jack CAREY MULLIGAN / Jenny ROSAMUND PIKE / Helen PETER SARSGAARD / David EMMA THOMPSON / Headmistress OLIVIA WILLIAMS / Miss Stubbs THE HURT LOCKER (Summit Entertainment) CHRISTIAN CAMARGO / Col. John Cambridge BRIAN GERAGHTY / Specialist Owen Eldridge EVANGELINE LILLY / Connie James ANTHONY MACKIE / Sgt. -
Actors' Stories Are a SAG Awards® Tradition
Actors' Stories are a SAG Awards® Tradition When the first Screen Actors Guild Awards® were presented on March 8, 1995, the ceremony opened with a speech by Angela Lansbury introducing the concept behind the SAG Awards and the Actor® statuette. During her remarks she shared a little of her own history as a performer: "I've been Elizabeth Taylor's sister, Spencer Tracy's mistress, Elvis' mother and a singing teapot." She ended by telling the audience of SAG Awards nominees and presenters, "Tonight is dedicated to the art and craft of acting by the people who should know about it: actors. And remember, you're one too!" Over the Years This glimpse into an actor’s life was so well received that it began a tradition of introducing each Screen Actors Guild Awards telecast with a distinguished actor relating a brief anecdote and sharing thoughts about what the art and craft mean on a personal level. For the first eight years of the SAG Awards, just one actor performed that customary opening. For the 9th Annual SAG Awards, however, producer Gloria Fujita O'Brien suggested a twist. She observed it would be more representative of the acting profession as a whole if several actors, drawn from all ages and backgrounds, told shorter versions of their individual journeys. To add more fun and to emphasize the universal truths of being an actor, the producers decided to keep the identities of those storytellers secret until they popped up on camera. An August Lineage Ever since then, the SAG Awards have begun with several of these short tales, typically signing off with his or her name and the evocative line, "I Am an Actor™." So far, audiences have been delighted by 107 of these unique yet quintessential Actors' Stories. -
Raoul Walsh to Attend Opening of Retrospective Tribute at Museum
The Museum of Modern Art jl west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart NO. 34 FOR IMMEDIATE RELEASE RAOUL WALSH TO ATTEND OPENING OF RETROSPECTIVE TRIBUTE AT MUSEUM Raoul Walsh, 87-year-old film director whose career in motion pictures spanned more than five decades, will come to New York for the opening of a three-month retrospective of his films beginning Thursday, April 18, at The Museum of Modern Art. In a rare public appearance Mr. Walsh will attend the 8 pm screening of "Gentleman Jim," his 1942 film in which Errol Flynn portrays the boxing champion James J. Corbett. One of the giants of American filmdom, Walsh has worked in all genres — Westerns, gangster films, war pictures, adventure films, musicals — and with many of Hollywood's greatest stars — Victor McLaglen, Gloria Swanson, Douglas Fair banks, Mae West, James Cagney, Humphrey Bogart, Marlene Dietrich and Edward G. Robinson, to name just a few. It is ultimately as a director of action pictures that Walsh is best known and a growing body of critical opinion places him in the front rank with directors like Ford, Hawks, Curtiz and Wellman. Richard Schickel has called him "one of the best action directors...we've ever had" and British film critic Julian Fox has written: "Raoul Walsh, more than any other legendary figure from Hollywood's golden past, has truly lived up to the early cinema's reputation for 'action all the way'...." Walsh's penchant for action is not surprising considering he began his career more than 60 years ago as a stunt-rider in early "westerns" filmed in the New Jersey hills. -
Selling Masculinity at Warner Bros.: William Powell, a Case Study
Katie Walsh Selling Masculinity at Warner Bros.: William Powell, A Case Study Abstract William Powell became a star in the 1930s due to his unique brand of suave charm and witty humor—a quality that could only be expressed with the advent of sound film, and one that took him from mid-level player typecast as a villain, to one of the most popular romantic comedy leads of the era. His charm lay in the nonchalant sophistication that came naturally to Powell and that he displayed with ease both on screen and off. He was exemplary of the success of the new kind of star that came into their own during the transition to sound: sharp- or silver-tongued actors who were charming because of their way with words and not because of their silver screen faces. Powell also exercised a great deal of control over his publicity and star image, which is best examined during his short and failed tenure as a Warner Bros. during the advent of his rise to stardom. Despite holding a great amount of power in his billing and creative control, Powell was given a parade of cookie-cutter dangerous playboy roles, and the terms of his contract and salary were constantly in flux over the three years he spent there. With the help of his agent Myron Selznick, Powell was able to navigate between three studios in only a matter of a few years, in search of the perfect fit for his natural abilities as an actor. This experimentation with star image and publicity marked the period of the early 1930s in Hollywood, as studios dealt with the quickly evolving art and technological form, industrial and business practices, and a shifting cultural and moral landscape. -
John Lithgow ‑‑ "The Crown"
AWARD 1 Supporting Actor – Drama John Lithgow ‑‑ "The Crown" JOHN LITHGOW: Well, this is fantastic. I feel so lucky to have won this in the company of my fellow nominees. You guys, so many of you are my friends and former cast mates. I can congratulate all of you. Congratulations. You deserve this. "The Crown" just keeps on giving, and this is just the last of its gifts. Once again, I have to thank Peter Morgan, Stephen Daldry, Andy Harries, Ted Sarandos of Netflix, my reps, my wife, the magnificent English crew and company of actors led by the wonderful Claire Foy. (Applause.) But most of all, I have to thank Winston Churchill. In these crazy times, his life, even as an old man, reminds us what courage and leadership in government really looks like. I thank Winston Churchill. I thank the Academy. And I thank all of you.This is simply wonderful. AWARD 2 OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES KATE MCKINNON ‑ "SATURDAY NIGHT LIVE" KATE McKINNON: Yikes. Well, I can't ‑‑ thank you so much. Being part of this season of "Saturday Night Live" was the most meaningful thing that I will ever do. So I should probably just stop now. Thank you so much to Lorne Michaels for letting me be a part of this and for everything else in my life. Congratulations to our incredible cast, especially Vanessa, Leslie, and Alec. Love you all so much. Thank you to our crew and thank you to our amazing writers. It's all about the writing, you guys. -
Louis CK Wasn't Prepared for His Emmy Nomination
Engels havo 2015-I Tekst 3 Louis C.K. wasn’t prepared for his Emmy nomination By Joe Flint 1 Like the character in his comedy show Louie, Louis C.K. was ready for bad news when the Emmy Award nominations were announced Thursday morning. 2 “I was expecting to be disappointed,” said C.K., who was nominated for lead actor in a comedy series. Louie has become a cult hit for cable TV network FX. A dark show starring C.K. as a somewhat depressed comedian struggling to make sense of the world around him, Louie is not the type of comedy that the sometimes conservative Academy of Television Arts & Sciences Emmy voters typically embrace. Besides being peppered with language that is raw even for cable, Louie is unafraid to address taboo topics in the raunchiest of ways. His character often finds himself in awkward situations with results that swing seamlessly between the comic and the tragic. 3 C.K. attributes his success among critics and viewers to the network’s creative freedom – an atmosphere that encourages him to explore his inner demons and put it all on the screen. “It takes a huge amount of courage on their part, that’s why I’m glad to pay them back with this,” C.K. said of the network. 4 In typical C.K. mode, the comedian doesn’t give himself much of a chance of winning on Emmy night, which is slated for Sept. 18. “I’m pretty outclassed there,” he said of his fellow acting nominees, which include Steve Carell of The Office and Alec Baldwin of 30 Rock. -
1947-08-22, [P ]
August it, 1847 TOLEDO UNION JOURNAL Five & Cry Wolf9 Combines Adventure, ttomance in Thrilling Tashion •T f A . I ‘ ' r - > r -------- --.-II.- I/-............................ ---------- I Warner Bros.’ screen version of Marjorie Carleton’s popular 'ftovel. “Cry Wolf,” which opened at the Paramount Theatre, RETURNS TO MGM proves to be a highly ^warding motion picture experience. Be MelcMor end 'Chief Heflin, Hart Join Calvert; To Appear HOLLYWOOD — For her role sides the superlative performances turned in by Errol Flynn and Give Duet ‘Weight1 Barbara Stanwyck 5X ith James Mason in “Cass Timberlane,” starring Barbara Stanwyck in this, their initial co starring venture, the HOLLYWOOD — Phyllis Cal picture boasts a remarkably HOLLYWOOD — “Luxury HOLLYWOOD — Outstand Spencer Tracy and Lana Turner, vert’s next film assignment, lively pace set down under the £ Liner,” Metro-Goldwyn-Mayer ing performances in Metro-Gold- Rose Hobart returned to Metro- Technicolor production, will wyn-Mayer’s soon to be rleased when she completes her starring able direction of Peter Godfrey role opposite Melvyn Douglas Goldwyn-Mayer after an ab in the film’s exciting opening feature the “heaviest” duet “Green Dolphin Street,” opposite in Paramount’s "My Own True sence of four years. She was sequence and artfully maintain ever seen on the nation’s mo- Lana Turner, have won for Van Love,” will be a bit part in an previously at M-G-M in "Su ed throughout, right up to the tion picture screens. san and God” and “Swing-shift Helfin and Richard Hart the untitled picture which James Maisie ” c’—^hing climax. “Five hundred thirty powerful male leading roles as Mason is writing »pd producing »L mie story, essentially a mod in New York.