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How to Fight Loneliness the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival How To Fight Loneliness The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Logo of How To Fight Loneliness, 2016. Contents Information on the Play Synopsis 4 HowCharacters To Fight Loneliness4 About the Playwright 5 Scholarly Articles on the Play How To Fight Loneliness 7 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: How To Fight Loneliness Brad and his wife Jodie are anxiously awaiting the arrival of a guest to their home. They are both are in their mid-thirties and have been married for a number of years. They have been through a lot together, especially recently. -
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. -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
Filthy Talk for Troubled Times Scenes of Intolerance by Neil Labute
City Garage presents the West Coast Premiere of Filthy Talk for Troubled Times Scenes of Intolerance by Neil LaBute Directed by Frédérique Michel Production Design by Charles Duncombe January 6 — February 26, 2012 Filthy Talk for Troubled Times Scenes of Intolerance by Neil LaBute Directed by Frédérique Michel Production Design by Charles Duncombe Art Talk text by Charles Duncombe Cast Troy Dunn .................................................................. Man 3 David E. Frank ............................................................ Man 4 Kye Kinder ....................................................... Art Object #1 Dave Mack ................................................................ Man 1 Cynthia Mance ......................................................Waitress 1 Katrina Nelson ......................................................Waitress 2 Heather Leigh Pasternak ..................................... Art Object #3 Vera Petrychenka .............................................. Art Object #2 Kenneth Rudnicki ........................................................ Man 2 Production Staff Set and Lighting Design .............................. Charles Duncombe 1st Assistant Director .........................................Justin Davanzo 2nd Assistant Director ...........................................Yumi Roussin Costume Design ........................................... Josephine Poinsot Sound Design/Publicity Photography .................Paul Rubenstein Light/Sound Operator ......................................Mitchell -
The Shape of Things
The Shape of Things Neil LaBute first made a name for himself as a caustic commentator on male-female relationships in films like In the Company of Men and Your Friends and Neighbors, unsettling little dramas that depicted the little cruelties people visit on each other in living their lives, but dramas, too, that made you think about your actions. After taking a breather with productions like the antic Nurse Betty and the intelligent romance Possession, the director seems to have come back home to his native ground in his new film The Shape of Things (based on his own play). Here again the scale is small and the action limited: two college couples attracting and repelling, fencing and trying to find their way. On a California campus, budding artist Evelyn (Rachel Weisz) takes an interest in nerdish but nice Adam (Paul Rudd) when they meet cute in the local museum, where she is thinking of defacing a statue and he is supposedly guarding same. He is smitten with her, and she reciprocates, taking a special interest in making him over into a more stylish guy, urging him to lose weight and dress more modishly. Her hold on Adam discomfits his friends, fiances Jenny (Gretchen Mol) and Philip (Frederick Weller), whose own relationship hits a rough patch as they become more involved with the "new" Adam and his outspoken girl. Ultimately, Adam realizes that his make over is a sham and that succumbing to the mere "shape of things"--even if it brings him newfound confidence and vigor--can most cruelly disappoint. -
The Playwright As Filmmaker: History, Theory and Practice, Summary of a Completed Thesis by Portfolio OTHNIEL SMITH, University of Glamorgan
Networking Knowledge: Journal of the MeCCSA Postgraduate Network, Vol 1, No 2 (2007) ARTICLE The Playwright as Filmmaker: History, Theory and Practice, Summary of a completed thesis by portfolio OTHNIEL SMITH, University of Glamorgan ABSTRACT This paper summarises my doctoral research into the work of dramatists who became filmmakers – specifically Preston Sturges, Rainer Werner Fassbinder, David Mamet, and Neil Labute. I began with the hypothesis that there is something distinctive about the work of filmmakers who have a background in writing for text-based theatre, an arena where the authorship is, on the whole, not a vexatious issue, as is the case in commercial cinema. Through case studies involving textual and contextual analyses of their films, I found common threads linking their work, in respect both of their working methods and their approach to text and performance. From this, I evolved a theoretical position involving the development of a tentative ‘dogme’ designed to smooth the path between writing plays and making films, and produced short no- budget videos illustrating it. KEYWORDS Theatre/film, Dogme, theoretical practice, Mamet, Fassbinder. Introduction The aim of this project – a thesis by portfolio, completed at the now-defunct Film Academy at the University of Glamorgan – was to contribute to that area within film theory where creativity is taken seriously as a field of study; an attempt to reconcile theory with artistry, without attempting to theorise artistry. The ‘theatrical’ is often characterised as the ‘other’ of the cinematic, within both popular and scholarly discourse. My intention was to examines the interface between the two forms, and isolate those aspects of the theatrical aesthetic which can be profitably employed within cinema, looking at the issue from the perspective of the working dramatist – my background being as a writer for theatre, radio and television. -
Medea & Phaedra
Medea & Phaedra: Tragedies of Passion, Betrayal, and Revenge Theater of War creator Bryan Doerries returns to BAM to lead discussion surrounding mental health through readings from Euripides’ Medea and Seneca’s Phaedra Medea & Phaedra: Tragedies of Passion, Betrayal, and Revenge Led by Bryan Doerries With Elizabeth Marvel, Amy Ryan, Donnetta Lavinia Grays, and Bill Camp Mon, Jun 20 at 7pm BAM Fisher (Fishman Space), 321 Ashland Pl Free with RSVP Brooklyn, NY/May 19, 2016—BAM Humanities presents Medea & Phaedra: Tragedies of Passion, Betrayal, and Revenge—an evening of performance and dialogue featuring dramatic readings of scenes from Euripides’ Medea and Seneca’s Phaedra, followed by discussion about the relevance of these myths to contemporary society. The evening will be led by Theater of War founder Bryan Doerries, using his translation of Medea and a translation of Phaedra by Laura Weber, with performances by Elizabeth Marvel, Amy Ryan, Donnetta Lavinia Grays, and Bill Camp. Medea and Phaedra—both of which timelessly explore how scorned passion can lead to revenge and unthinkable violence—will serve as the gateway to a discussion surrounding mental illness. These plays pose the question as to whether the irreversible actions of the titular characters are driven by mental illness. From there, Doerries will facilitate a conversation that will address under-discussed mental health issues—such as post-partum depression and psychosis—and will extend to recent incidents that seem uncannily similar to the plots of these ancient plays. For press information contact Christina Norris at [email protected] or 718.636.4129 x8. About the artists Writer, director, and translator Bryan Doerries is the founder of Theater of War, a project that presents readings of ancient Greek plays to military and civilian communities to initiate conversations about the wounds of war. -
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter -
35 Years of Nominees and Winners 36
3635 Years of Nominees and Winners 2021 Nominees (Winners in bold) BEST FEATURE JOHN CASSAVETES AWARD BEST MALE LEAD (Award given to the producer) (Award given to the best feature made for under *RIZ AHMED - Sound of Metal $500,000; award given to the writer, director, *NOMADLAND and producer) CHADWICK BOSEMAN - Ma Rainey’s Black Bottom PRODUCERS: Mollye Asher, Dan Janvey, ADARSH GOURAV - The White Tiger Frances McDormand, Peter Spears, Chloé Zhao *RESIDUE WRITER/DIRECTOR: Merawi Gerima ROB MORGAN - Bull FIRST COW PRODUCERS: Neil Kopp, Vincent Savino, THE KILLING OF TWO LOVERS STEVEN YEUN - Minari Anish Savjani WRITER/DIRECTOR/PRODUCER: Robert Machoian PRODUCERS: Scott Christopherson, BEST SUPPORTING FEMALE MA RAINEY’S BLACK BOTTOM Clayne Crawford PRODUCERS: Todd Black, Denzel Washington, *YUH-JUNG YOUN - Minari Dany Wolf LA LEYENDA NEGRA ALEXIS CHIKAEZE - Miss Juneteenth WRITER/DIRECTOR: Patricia Vidal Delgado MINARI YERI HAN - Minari PRODUCERS: Alicia Herder, Marcel Perez PRODUCERS: Dede Gardner, Jeremy Kleiner, VALERIE MAHAFFEY - French Exit Christina Oh LINGUA FRANCA WRITER/DIRECTOR/PRODUCER: Isabel Sandoval TALIA RYDER - Never Rarely Sometimes Always NEVER RARELY SOMETIMES ALWAYS PRODUCERS: Darlene Catly Malimas, Jhett Tolentino, PRODUCERS: Sara Murphy, Adele Romanski Carlo Velayo BEST SUPPORTING MALE BEST FIRST FEATURE SAINT FRANCES *PAUL RACI - Sound of Metal (Award given to the director and producer) DIRECTOR/PRODUCER: Alex Thompson COLMAN DOMINGO - Ma Rainey’s Black Bottom WRITER: Kelly O’Sullivan *SOUND OF METAL ORION LEE - First -
MEATS Press Notes.Final Clean
MEATS Written & Directed by: Ashley Williams Starring: Ashley Williams Giancarlo Sbarbaro Produced by: Neal Dodson Ashley Williams Film Contact: Neal Dodson, producer 818.481.5473 [email protected] Press Contact: Prodigy Public Relations Erik Bright 310.857.2020 [email protected] For HIGHER-RES still photos & more information please visit: www.ashleywilliams.work MEATS SYNOPSIS Director-writer Ashley Williams also stars in MEATS -- a short film about a pregnant vegan who wrestles with her newfound craving for meat. The film is produced by Williams and her husband, Independent Spirit Award winner and Sundance alum Neal Dodson (Margin Call). MEATS is an exploration of the ethics of meat-eating and the fears inherent with becoming a parent. In the short film, Williams plays Lane, who has hired a whole-animal butcher named Chris (played by real-life master butcher Giancarlo Sbarbaro), to educate her on how to responsibly break down a lamb and use every part. Upon arrival, Lane is simultaneously disgusted and mesmerized by the carcass in front of her. As Lane liberates the meat from the bone, she also frees a whole new side of herself, revealing humor, pain, connection, and a newfound mother-to-be. CounterNarrative Films presents MEATS. The cinematographer is Roman Vasyanov (Triple Frontier, Fury, Sundance alum with The East and Charlie Countryman). The editor is Cecilia Delgado. Color is by Roman Hankewycz (Sundance alum with Sound of Silence and Equity, among others) from Harbor Picture Company. Sound design is by three- time Academy-Award nominee Steve Boeddeker (All Is Lost, Black Panther, Sundance alum with I Origins, among others) at Skywalker Sound. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
How to Make $100,000 a Year Selling Collectible Books Online
HOW TO MAKE $100,000 a year selling out-of-print, rare and collectible books on the internet by CashflowCenter.com Copyright 2005 Published by Cashflowcenter.com 777 N. Palm Canyon Drive, Suite 209 Palm Springs, CA 92262 USA Web Site: http://www.cashflowcenter.com Support: http://cashflowcenter.com/support Copyright 2005 Cashflowcenter.com. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission. Excerpts may be used with proper credit and contact information (address, telephone number or website URL of the publisher) No responsibility is assumed by the Publisher for any injury and/or damage and/or financial loss sustained to persons or property as a matter of the use of this report. While every effort has been made to ensure reliability of the information within, the liability, negligence or otherwise, or from any use, misuse or abuse of the operation of any methods, strategies, instructions or ideas contained in the material herein is the sole responsibility of the reader. The reader is encouraged to seek competent legal and accounting advice before engaging in any business activity. All or part of this ebook has been licensed from InfoProductLab.com M8877YT84 Secrets of Making $100,000 Year With Used Books HOW TO MAKE $100,000 A YEAR SELLING OUT-OF- PRINT, RARE AND COLLECTIBLE BOOKS ON THE INTERNET Introduction Not only am I going to show you step-by-step how to make $50,000 each year with your own business on the Internet I'm going to share with you exactly how I do it! Now, you can copy exactly what I'm doing- dealing in out-of- print and rare books- or you can use my system to start selling almost any 'collectible' item over the Internet.