SIR KEN ADAM OVERVIEW by Sir Christopher Frayling
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Stanley Kubrick's 18Th Century
Stanley Kubrick’s 18th Century: Painting in Motion and Barry Lyndon as an Enlightenment Gallery Alysse Peery Abstract The only period piece by famed Stanley Kubrick, Barry Lyndon, was a 1975 box office flop, as well as the director’s magnum opus. Perhaps one of the most sumptuous and exquisite examples of cinematography to date, this picaresque film effectively recreates the Age of the Enlightenment not merely through facts or events, but in visual aesthetics. Like exploring the past in a museum exhibit, the film has a painterly quality harkening back to the old masters. The major artistic movements that reigned throughout the setting of the story dominate the manner in which Barry Lyndon tells its tale with Kubrick’s legendary eye for detail. Through visual understanding, the once obscure novel by William Makepeace Thackeray becomes a captivating window into the past in a manner similar to the paintings it emulates. In 1975, the famed and monumental director Stanley Kubrick released his one and only box-office flop. A film described as a “coffee table film”, it was his only period piece, based on an obscure novel by William Makepeace Thackeray (Patterson). Ironically, his most forgotten work is now considered his magnum opus by critics, and a complete masterwork of cinematography (BFI, “Art”). A remarkable example of the historical costume drama, it enchants the viewer in a meticulously crafted vision of the Georgian Era. Stanley Kubrick’s film Barry Lyndon encapsulates the painting, aesthetics, and overall feel of the 18th century in such a manner to transform the film into a sort of gallery of period art and society. -
Dean Tavoularis
DEAN TAVOULARIS Né aux États-Unis Il vit et travaille à Paris. Directeur artistique de films et artiste- peintre, il compte plus de 50 ans de carrière aux côtés de metteurs en scène de légende … Arthur Penn, Michelangelo Antonioni, Wim Wenders, Francis Ford on les nomme à Hollywood –, ils ont Coppola, Roman Polanski. posé les jalons d’un corps essentiel du cinéma : donner une matière aux visions L’artiste, né en 1932 à Lowell dans le d’un cinéaste. Parmi leurs successeurs, Massachusetts, de parents grecs originaires Dean Tavoularis s’est imposé comme du Péloponnèse, arrive à l’âge de 4 ans à le plus précieux, précis et inventif. Son Long Beach en Californie. regard sidérant n’est pas étranger à la Son père travaille dans la compagnie de réussite de Coppola : nous lui devons café familiale. Son environnement familial les salons opaques du Parrain, les néons encourage les goûts du jeune Dean pour le luminescents de Coup de cœur, la folie dessin et les beaux-arts et à 17 ans il intègre sauvage du labyrinthe où les personnages une des premières Film School des Etats- d’Apocalypse Now s’égarent – ainsi que les Unis et rejoint les studios Disney, qui font costumes des bunnies Playboy. Sa vision ne véritablement office d’école de cinéma. En se limite pas à son domaine, elle englobe parallèle il suit des cours d’architecture, de le projet dans sa totalité. » écrit Léonard dessin et d’art. Son apprentissage au sein Bloom dans un article de Numéro consacré des studios Disney lui permet de mettre à Dean Tavoularis (avril 2019). -
* Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
* hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film -
Oscar®-Nominated Production Designer Jim Bissell to Receive Lifetime Achievement Award at 19Th Annual Art Directors Guild Awards on January 31, 2015
FOR IMMEDIATE RELEASE OSCAR®-NOMINATED PRODUCTION DESIGNER JIM BISSELL TO RECEIVE LIFETIME ACHIEVEMENT AWARD AT 19TH ANNUAL ART DIRECTORS GUILD AWARDS ON JANUARY 31, 2015 LOS ANGELES, July 15, 2014 — Emmy®-winning and Oscar®-nominated Production Designer Jim Bissell will receive the Art Directors Guild’s Lifetime Achievement Award at the 19th Annual Excellence in Production Design Awards on January 31, 2015 at a black- tie ceremony at the Beverly Hilton Hotel. The announcement was made today by John Shaffner, ADG Council Chairman, and ADG Award Producers Dave Blass and James Pearse Connelly. “Jim Bissell’s work as a Production Designer is legendary and we are proud to rank him among the best in the history of our profession. He is an extraordinary artist and accomplished leader in the industry and it is our pleasure to name him as this year’s Lifetime Achievement Award recipient,” said Shaffner. A veteran leader of the ADG, Bissell was a past Vice President and a Board member for more than 15 years. He also chaired the Guild’s Awards Committee for the first three years of its existence. Bissell’s distinguished work can be seen on such notable films as E.T. the Extra- Terrestrial (1982), which took home four Oscars® with an additional five Oscar® nominations in 1983; The Rocketeer (1991), Jumanji (1995), 300 (2006), Mission: Impossible – Ghost Protocol (2011) and most recently The Monuments Men (2014), directed by and starring George Clooney. Monuments Men is Jim’s fourth collaboration with Clooney, which began with Confessions of a Dangerous Mind (2002), followed with Oscar®-nominated Good Night, and Good Luck (2005) and continuing with Leatherheads (2007). -
Museum Salutes James Bond and His Creators Critic Judith Crist Moderates Forum
The Museum of Modern Art % 50th Anniversary to MUSEUM SALUTES JAMES BOND AND HIS CREATORS CRITIC JUDITH CRIST MODERATES FORUM In any time capsule of the 20th century, there is sure to be a commentary on and, more than likely, a print of a James Bond movie. So great is the impact of Secret Agent 007, archetypical hero of the second half of this century, that it is estimated one out of three people throughout the world have at one time or another viewed one of his spy thrillers. The most popular Bond film so far, "The Spy Who Loved Me" reportedly has drawn one and a half billion viewers or over one eighth of the earth's population. Given these facts, the Department of Film of The Museum of Modern Art, considers the phenomenon of James Bond noteworthy and is rendering, at an appropriate time concurrent with the premiere of the new James Bond "Moonraker," an homage to the producer, Albert R. Broccoli and his colleagues. Recognizing that each of the Bond films is a collabora tive project, Larry Kardish, Associate Curator in the Department of Film, has included in this tribute Lewis Gilbert, the director, Ken Adam, production designer, and Maurice B inder, title creator and graphics artist. The James Bond program, organized by Mr. Kardish, opens on June 25, with a documentary titled "The Making Of James Bond." It takes the viewer behind the scenes of the production of "The Spy Who Loved Me." Produced by BBC, it consists of four half-hour films: the first deals 11 West 53 Street, New York, N.Y. -
Desenho E Cinema
Faculdade de Belas Artes da Universidade do Porto Mestrado em Desenho e Técnicas de Impressão Dissertação de: Elisa Almeida Trindade Orientado por: Doutora Cristina Mateus 2013 Desenho e Cinema Agradecimentos: À minha orientadora Doutora Cristina Mateus, à minha família, aos meus amigos e a todos que tornaram possível este trabalho. Índice Resumo/Abstract 9 3.1. Storyboards 93 Introdução: Breve enquadramento histórico. 3.2. Cenários 99 Projeto e método 11 O gabinete do Dr. Caligari 103 Capítulo 1 Metropolis 104 Realizadores desenhadores 17 A Casa Encantada 106 George Méliès 19 Ken Adam 107 Alfred Hitchcock 21 Fritz Lang 25 3.2.1. Desenhos técnicos e Sergei Eisenstein 28 desenhos concetuais 109 Akira Kurosawa 31 Orson Welles 36 3.2.2. Desenhos de Artefactos 115 Saul Bass 37 Federico Fellini 41 3.3. Desenho de Guarda-roupa 119 Satyajit Ray 45 Collen Atwood 122 Roman Polanski 47 Ngila Dickson 124 Ridley Scott 49 Sandy Powell 125 Martin Scorsese 52 Jacqueline Durran 127 Peter Greenaway 55 Eiko Ishiola 128 Tim Burton 56 3.3.1. Outros Figurinos 129 1.1. Storyboards e outros realizadores 59 F.W. Murnau 61 Jonh Huston 62 3.3.2. Desenhos de outros personagens 133 Terry Gillian 63 Jane Campion 65 Capítulo 4 Told Haynes 66 Outros processos 137 Capítulo 2 Carlos Saura 139 O desenho como parte integrante do filme 67 Pedro Costa 141 Voyage dans la Lune 69 Peter Greenaway 142 A invenção de Hugo 70 Sang d’un poète 71 Capítulo 5 O contrato do desenhador 72 Do Cinema ao Desenho 143 A walk through H 72 Gustav Deutsch 145 O sol do marmeleiro 74 William Kentridge 147 American Splendor 74 Quentin Tarantino 148 Quem tramou Roger Rabbit? 75 Kill Bill 75 Harry Potter e os Talismãs da Morte 76 Detachment 76 Reflexões finais 149 Tabu 77 Argo 78 Bibliografia 153 Culpados por suspeita 80 Capítulo 3 Índice de imagens 158 Função do desenhador de produção e do diretor artístico 81 Henry Bumstead 85 Dante Ferretti 87 Stuart Craig 90 7 8 Resumo: Esta dissertação dá uma pequena contribuição para a análise da utilidade do desenho na arte do cinema, em algumas das suas vertentes. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
Curriculum Vitae
Jason Knox-Johnston Mobile: +44 7802 812 875 email: [email protected] http://www.jknoxj.com FEATURE FILM & TV DRAMA “The Flash” Warner Bros/DC 2022 Supervising Art Director Director-Andy Muschietti, Production Designer-Paul Austerberry “School for Good & Evil” Netflix 2022 (Budgeting & Development) Supervising Art Director Director-Paul Feig, Production Designer-Andy Nicholson “Red Notice” Netflix 2020 Supervising Art Director Director-Rawson Marshall Thurber, Production Designer-Andy Nicholson “Krypton-Season 2” Warner Horizons/SyFy 2019 Production Designer Exec Producer-David S Goyer, Showrunner/Exec Producer-Cameron Welsh “The Merlin Saga” Disney 2018 (In Turn-around) Supervising Art Director Director-Ridley Scott, Production Designer-Chris Seagers “Outlaw King” Netflix / Anonymous 2017 Supervising Art Director Director-David Mackenzie, Production Designer-Donald Graham Burt “Jurassic World-The Fallen Kingdom” Universal 2017 Supervising Art Director Director-JA Boyena, Production Designer-Andy Nicholson “Transformers-The Last Knight” Paramount 2016 Supervising Art Director (UK) Director-Michael Bay, Production Designer-Jeffrey Beecroft “Allied” Paramount 2016 Supervising Art Director Director-Robert Zemekis, Production Designer-Gary Freeman “Star Wars-The Last Jedi” Lucasfilm/Disney 2016 Art Director Production Designer-Rick Heinrichs. Sup.Art Director-Chris Lowe “The Martian” 20th Century Fox 2015 Art Director Director-Ridley Scott, Production Designer-Arthur Max. Sup Art Director-Marc Homes “Mowgli” Warner Brothers 2015 Supervising Art Director Director-Andy Serkis, Production Designer-Gary Freeman “Avengers-Age of Ultron” Marvel Studios/Disney 2014 Digital Set Designer Production Designer-Charles Wood. Sup.Art Director-Ray Chan “Hercules-The Thracian Wars” MGM/Paramount 2013 Supervising Art Director Director- Brett Ratner, Production Designer-Jean Vincent Puzos “Robopocalypse” Fox/Dreamworks 2012 (In Turn-around) Art Director Production Designer-Guy Dyas. -
Full Members of the British Academy of Film and Television Arts (Updated 22 March 2011)
Full Members of the British Academy of Film and Television Arts (updated 22 March 2011) Roberta Aarons Yavar Abbas Allison Abbate Jeff Abberley Peter Abbey Paul Abbott Steve Abbott Bassem Abdallah Brian Abel David Abraham Eric Abraham Georgina Abrahams Bruce Abrahams Joe Abrams Jenny Abramsky Farah Abushwesha Huda Abuzeid Juliet Ace Roy Ackerman Steve Ackhurst Joss Ackland Barry Ackroyd Ken Adam Richard Adams Ross Adams Mark Adams Gordon Adams Benetta Adamson Madeline Addy Henry Adeane David Adler Melanie Adorian Tony Ageh Phil Agland Joss Agnew Steen Agro Jenny Agutter Sanjiv Ahuja Pippa Ailion Lucy Ainsworth-Taylor Christopher Aird Dawn Airey Tony Aitken Eleanor Aitken Mike Aiton Abby Ajayi Jovan Ajder Niyi Akeju Zara Akester Colin Akester Nassreen Akhtar Odunayo Akinwolere John Akomfrah Basi Akpabio Timothy Alban Francesco Alberico Philip Alberstat Simon Albury Julian Alcantara Jane Aldous Nuala Alen-Buckley Tom Alexander John Alexander Eva Alexander Darrell Alexander Jon Alexander Arnna Alexander Adam Alexander Rob Alexander Michael Algar Rosie Alison Luke Alkin Foz Allan Shane Allen Joe Allen Ged Allen Tony Allen Kenton Allen James Allen Katherine Allen James Allen Belinda Allen Angela Allen Peter Allen Richard Allen-Turner Lynn Alleway Rebecca Alleway Anthony Alleyne Waheed Alli Christopher Allies Ron Allison Daisy Allsop Christine Allsopp Pedro Almodovar Agustin Almodovar David Alpin Tess Alps Caroline Alterskye-Knight John Altman Richard Alwyn Vanessa Amberleigh Chris Ambler David Ambrose Arash Amel Paul Amer Asitha Ameresekere -
Newsletter / Winter 2019
Dear {Contact_First_Name}, here is your BFDG Winter Newsletter! NEWSLETTER / WINTER 2019 Welcome from our Chairman Adam O'Neill Welcome to the Winter newsletter. This year has started extremely well with our hugely successful Awards Gala held on February 9th at the Royal Horseguards Hotel in London hosted by Mark Kermode. It was a fantastic evening celebrating with BFDG members, guests and sponsors the extraordinary talents of individuals in British Television and Film Art Departments during 2018. A big thank you should go to all those involved especially our event management team and our sponsors, without whom the awards could not take place. Congratulations to all the BFDG Awards winners and nominees who were selected.Our members include some of the most well known and respected Production Designers around, but it is always nice to get another one, particularly when that designer happens to be Stuart Craig, designer of the Harry Potter and Fantastic Beasts films, as well as a three times Oscar winner for The English Patient, Dangerous Liaisons and Gandhi. Stuart has agreed to become an Honourary Member of the BFDG and although I can’t take any credit for this achievement (that goes to Neil Lamont and Gary Tomkins) I feel very pleased for this to have happened during my time as Chairman, as Stuart gave me my first job in the industry, as Art Department Runner on ‘Chaplin’. It was the best possible introduction to the world of production design and art direction I could have had and on Saturday it was an emotional moment when Stuart received his Lifetime Achievement Award to a standing ovation at our Awards Gala. -
August2010 Newsletter
LATE SUMMER – An editorial The Studios are full to the brim with a multitude of productions. The employment levels are at near record levels and it is at present quite difficult to put any sort of Art Dept. crew together yet alone find stage space in the UK. Over the past month I have been to France – scouting for locations, Los Angeles for meetings and now am in Bucharest preparing a film for directors Neveldine and Taylor, of “CRANK” and “GAMER” fame. Unfortunately, the Guild has had to take a back seat in my thoughts whilst my time and energy have become refocused on the day to day business of making a movie and as importantly earning a crust. Before I embarked on my World Journey, I had to inform the Committee that, unfortunately, Mary Krauss had given notice to me as to her desire to retire from her position as Guild Administrator, in the near future, and as soon as a worthy replacement can be found. Mary has been in this position since 2003, and as well as magnificently looking after us all, she also manages and co ordinates the "Woman of the Year." This event continues to expand in scope, and together with the increasing demands of the Guild, the running of which has expanded enormously with the thrust of email and other online/media based communications. I think she has done a fantastic job for us all over the years and we will have to think very hard about who is to replace her in this most vital of Guild positions, being the lynch pin, and public face to the entire organisation. -
NOMINATIONS ANNOUNCED for 17Th ANNUAL
NOMINATIONS ANNOUNCED FOR 17th ANNUAL ART DIRECTORS GUILD EXCELLENCE IN PRODUCTION DESIGN AWARDS PRESENTED BY BMW; CEREMONY TO TAKE PLACE FEBRUARY 2 AT BEVERLY HILTON HOTEL LOS ANGELES, January 3 – The Art Directors Guild (ADG) today announced nominations in nine categories of Production Design for theatrical motion pictures, television, commercials and music videos competing in the ADG’s 17th Annual Excellence in Production Design Awards Presented by BMW for 2012. The nominations were announced by ADG Council Chair John Shaffner and Awards co-producers Greg Grande and Raf Lydon. Deadline for final voting, which is done online, is January 31. The black-tie ceremony announcing winners will take place Saturday, February 2, 2013, from the International Ballroom of the Beverly Hilton Hotel in Beverly Hills with Paula Poundstone serving as host for the fourth consecutive year. Production Designer Herman Zimmerman will be the recipient of the Guild’s Lifetime Achievement Award. Hall of Fame inductees are Preston Ames, Richard MacDonald, and Edward S. Stephenson. The Production Designers behind the JAMES BOND franchise, Sir Ken Adam, Allan Cameron, Dennis Gassner, and Peter Lamont will be honored for Outstanding Contribution to Cinematic Imagery. NOMINEES FOR EXCELLENCE IN PRODUCTION DESIGN FOR A FEATURE FILM IN 2012: Period Film ANNA KARENINA Production Designer: Sarah Greenwood ARGO Production Designer: Sharon Seymour DJANGO UNCHAINED Production Designer: J. Michael Riva LES MISÉRABLES Production Designer: Eve Stewart LINCOLN Production Designer: