Paddy Breathnach the Irish Film Institute
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DIRECTORS GUILD of AMERICA: FIFTIETH ANNIERSARY TRIBUTE ELAINE MAY, November 17 LOUIS MALLE, December 8
The Museum of Modern Art For Immediate Release November 1986 DIRECTORS GUILD OF AMERICA: FIFTIETH ANNIERSARY TRIBUTE ELAINE MAY, November 17 LOUIS MALLE, December 8 Elaine May and Louis Malle will be honored by The Museum of Modern Art as part of the ongoing DIRECTORS GUILD OF AMERICA: FIFTIETH ANNIVERSARY TRIBUTE. Ms. May, film director, playwright, actress, and comedienne, is the subject of a tribute on Monday, November 17, at 6:00 p.m., when her 1976 revisionist buddy-movie Mikey and Nicky will be screened. Mr. Malle, a provocative director of sensual images who has experimented with a variety of film forms, will present his 1980 film Atlantic City, starring Burt Lancaster and Susan Sarandon, on Monday, December 8, at 6:00 p.m. In Mikey and Nicky Ms. May tailors the framing and dialogue to the personalities of the actors John Cassavetes and Peter Falk. Convinced that a contract is out for him, Nicky (Cassavetes), a small-time hood, calls his childhood friend Mikey (Falk), a syndicate man. Their one night encounter is the focus of the film. A seemingly casual approach cleverly disguises a tight, carefully-planned structure. From a screenplay by John Guare, Mr. Malle's Atlantic City uses the transitory character of the boardwalk town as a backdrop for a tale of decay and corruption. Mr. Lancaster plays the aging friend and protector of an ambitious nightclub croupier, played by Ms. Sarandon. As a child Ms. May appeared on stage and radio with her father, Jack Berlin. After collaborating with Mike Nichols on stage, radio, and television through the mid-sixties, she made her film acting debut in Clive - more - 11 West 53 Street, New York, N.Y 10019 Teh 212-708-9400 Cable: MODERNARI Telex: 62370MODART - 2 - Donner's Luv (1967) and Carl Reiner's Enter Laughing (1967). -
The Chronicle Thursday
THE CHRONICLE THURSDAY. FEBRUARY 4, 1988 © DUKE UNIVERSITY DURHAM. NORTH CAROLINA CIRCULATION: 15,000 VOL. 83. NO. 93 Ticket Reagan to speak on campus Monday information By DAN BERGER all students who don't get tickets to the President Reagan will visit the Univer speech will come out to see the landing," Undergraduates: ASDU will distribute sity Monday to speak at a conference on he said. Several local high school bands 2,500 free tickets for President substance abuse, the White House an and community groups will also attend Reagan's speech to undergraduates nounced Wednesday. the ceremony at the landing site, Mizell presenting a student ID between 10 Reagan will address the conference said. He added that the men's basketball a.m. and 4 p.m. Thursday at the upper "Substance Abuse in the Workplace: team will likely participate in the fevet of the Bryan Center. Another dis Strategies for the 1990s," which is being program at the lacrosse field prior to the tribution table may be set up at the East sponsored by the University and the office president's landing and to a lesser extent Campus Union during the same hours, of North Carolina Gov. Jim Martin. The after he arrives. but a final decision will not be made un president's trip from Washington D.C. Before taking the dais, Reagan will hold til Thursday morning. Of the 2,500 tick will be made exclusively to attend the a closed meeting in Cameron with several ets, 750 will be allocated to East Cam event. community leaders affiliated with the pus. -
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. -
Series 28: 7) John Cassavetes, KILLING of a CHINESE BOOKIE (1976, 135 Minutes)
March 11, 2014 (Series 28: 7) John Cassavetes, KILLING OF A CHINESE BOOKIE (1976, 135 minutes) Directed by John Cassavetes Cinematography by Mitch Breit Ben Gazzara ... Cosmo Vittelli Timothy Carey ... Flo Al Ruban ... Marty Reitz JOHN CASSAVETES (director) (b. John Nicholas Cassavetes, December 9, 1929 in New York City, New York—d. February 3, 1989 (age 59) in Los Angeles, California) directed 16 films and TV shows, which are 1986 Big Trouble, 1984 Love Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of a Chinese Bookie, 1974 A Woman Under the Influence, 1972 “Columbo” (TV Series), 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob Hope Presents the Chrysler Theatre” (TV Series), 1962-1963 “The Lloyd Bridges Show” (TV Series), 1963 A Child Is Waiting, 1961 Too Late Blues, 1959-1960 “Johnny Staccato” (TV Series), and 1959 Shadows. He also wrote 14 films and TV shows—2010 Antes del estreno (original story), MITCH BREIT (cinematography) has been cinematographer for 1999 Gloria (1980 screenplay), 1997 She's So Lovely, 1984 Love 2 films: 1976 The Killing of a Chinese Bookie and 1974 A Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of Woman Under the Influence. a Chinese Bookie, 1974 A Woman Under the Influence, 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob BEN GAZZARA ... Cosmo Vittelli (b. Biagio Anthony Gazzara, Hope Presents the Chrysler Theatre” (TV Series), 1961 Too Late August 28, 1930 in New York City, New York—d. February 3, Blues, and 1959 Shadows—and edited 2—1968 Faces and 1959 2012 (age 81) in New York City, New York) appeared in 133 Shadows. -
Painfully Funny the Complete Directorial Works of Elaine May
THE BADLANDS COLLECTIVE presents PAINFULLY FUNNY THE COMPLETE DIRECTORIAL WORKS OF ELAINE MAY INSTITUTE OF CONTEMPORARY ARTS, LONDON SEPTEMBER 21-23, 2018 PAINFULLY FUNNY THE COMPLETE DIRECTORIAL WORKS OF ELAINE MAY Elaine May is a legend in the world of comedy – acknowledged as an influence by comics such as Steve Martin, Lily Tomlin, Woody Allen and countless others – but her work as a movie director has become curiously and unjustly obscure. While other filmmakers who emerged in the New Hollywood of the 1970s have become venerated icons, Elaine May’s films have fallen out of the conversation, and in some cases have fallen out of circulation entirely. With this retrospective, we’re pleased to bring her back into the limelight and hail her as one of the most brilliant artists from that exalted generation of American directors. May directed four theatrical feature films, three of which resulted in fierce behind-the- scenes battles before they finally reached cinemas, with May fighting to protect the integrity of her vision. Her background in improvisation – developed with the Compass Players, before she and Mike Nichols revolutionised American comedy in the late 1950s – led to her taking an exacting, exploratory approach to filmmaking. She would shoot dozens of takes for a single scene, exhausting every possible variation and often filming with multiple cameras in a constant attempt to capture spontaneous moments of inspiration, humour and truth. When editing she relished pauses, dead spots and extended moments of awkwardness, adding a tension underneath the films’ comic surface. May’s filmmaking style inevitably led to her amassing mountains of footage, missing deadlines, going over budget and falling out of favour with the studios, but it also produced films with an energy, rhythm and edge that distinguishes them from their contemporaries and elevates them beyond genre conventions. -
Universidade De São Paulo Escola De Comunicações E Artes
UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÕES E ARTES SÉRGIO EDUARDO ALPENDRE DE OLIVEIRA O mal-estar da sociedade americana e sua representação no cinema (1975-1978) São Paulo 2013 SÉRGIO EDUARDO ALPENDRE DE OLIVEIRA O mal-estar da sociedade americana e sua representação no cinema (1975-1978) Dissertação apresentada ao Programa de Pós- Graduação em Meios e Processos Audiovisuais, Linha de Pesquisa História, Teoria e Crítica, da Escola de Comunicações e Artes da Universidade de São Paulo, como requisito parcial para obtenção do título de Mestre em Meios e Processos Audiovisuais, sob orientação do Prof. Dr. Eduardo Victorio Morettin São Paulo 2013 Aos meus pais, Maria dos Anjos e Manoel Ao meu irmão Ricardo À Eide Sandra Azevedo Abreu Agradecimentos Agradeço especialmente ao Prof. Dr. Eduardo Victorio Morettin, que me ensinou a ser menos um crítico de cinema e mais um pesquisador acadêmico nestes dois anos e meio de trabalho. À CAPES, pela concessão da bolsa de mestrado, fundamental para a realização desta pesquisa. Aos meus pais, Maria dos Anjos e Manoel, por entenderem que a diminuição do número de visitas se devia ao término dos prazos de qualificação e entrega da dissertação. Ao meu irmão Ricardo, por me ajudar sempre com algumas dúvidas gramaticais. À Eide Sandra Azevedo Abreu, por ter me incentivado a trilhar novamente o caminho acadêmico e pela ajuda inestimável na redação do projeto. Aos amigos Cléber Eduardo, Luiz Carlos Oliveira Jr. e Pedro Faissol, pelas sugestões e questionamentos feitos durante a pesquisa. Resumo: Neste trabalho investigamos em que medida o mal-estar da sociedade americana, entre 1975 e 1978, causado por uma série de acontecimentos dos anos 1970 (fim da Guerra do Vietnã, reivindicações das chamadas minorias sociais, crise da OPEP e Watergate, entre outros), foi representado em filmes comerciais, feitos dentro de Hollywood e sem maiores ambições autorais. -
John Cassavetes
Cassavetes on Cassavetes Ray Carney is Professor of Film and American Studies and Director of the undergraduate and graduate Film Studies programs at Boston Uni- versity. He is the author or editor of more than ten books, including the critically acclaimed John Cassavetes: The Adventure of Insecurity; The Films of Mike Leigh: Embracing the World; The Films of John Cas- savetes: Pragmatism, Modernism, and the Movies; American Vision: The Films of Frank Capra; Speaking the Language of Desire: The Films of Carl Dreyer; American Dreaming; and the BFI monograph on Cas- savetes’ Shadows. He is an acknowledged expert on William James and pragmatic philosophy, having contributed major essays on pragmatist aesthetics to Morris Dickstein’s The Revival of Pragmatism: New Essays on Social Thought, Law, and Culture and Townsend Ludington’s A Modern Mosaic: Art and Modernism in the United States. He co- curated the Beat Culture and the New America show for the Whitney Museum of American Art in New York, is General Editor of the Cam- bridge Film Classics series, and is a frequent speaker at film festivals around the world. He is regarded as one of the world’s leading authori- ties on independent film and American art and culture, and has a web site with more information at www.Cassavetes.com. in the same series woody allen on woody allen edited by Stig Björkman almodóvar on almodóvar edited by Frédéric Strauss burton on burton edited by Mark Salisbury cronenberg on cronenberg edited by Chris Rodley de toth on de toth edited by Anthony Slide fellini on -
22 De Xaneiro De 2020
03 Follas do cineclube | 22/01/2020 recadou só 14 millóns sobre un presuposto que algúns Follas do Cineclube | 22/01/2020 estimaron tan alto como 55 millóns, e converteuse nunha Mikey e Nicky (Mikey and Nicky, Elaine May, 03 broma instantaneamente, viras a película ou non. Unha EUA, 1976, 106’, VOSG) tira cómica de Far Side co título “O videoclube do inferno” amosaba estantes e estantes cheos de copias de Ishtar en VHS. No cambio de milenio, Time incluíu o filme na súa lista “As cen peores ideas do século”, ao lado do telemarketing e o amianto. Emerxeron rumores sobre a caótica indecisión de May na rodaxe (unha reportaxe da revista New York pasaba unha anécdota repetida a miúdo sobre May pedíndolle ao seu equipo que aplanase as dunas rodando nunha localización de Marrocos), e os retrasos no calendario de produción fixeron desconfiar ao público. Aínda así, había unha sensación de que o O CEO PODE ESPERAR: O XENIO OCULTO DE filme estaba predestinado a fracasar. Converteuse no ELAINE MAY golpe que acabou de afundir a xa renqueante carreira de LINDSAY ZOLADZ May como directora, levando a anos de traballo anónimo como consultora de guion, sendo unha especie de exilia- [Tirado de The Ringer: https://www.theringer.com/pop- da de Hollywood á vista de todos. “Se toda a xente que culture/2019/3/14/18245240/elaine-may-life-career- odia Ishtar a tivese visto”, comentou May ao seu antigo mike-ishtar-nichols-mikey-and-nicky-heartbreak-kid- compañeiro comediante Mike Nichols nunha conversa a-new-leaf] de 2006, “sería unha muller rica hoxe”. -
PATTY YORK Make-Up Artist IATSE 706 Journeyman Member of the Academy of Motion Picture Arts and Sciences
PATTY YORK Make-Up Artist IATSE 706 Journeyman Member of the Academy of Motion Picture Arts and Sciences FILM MASTERMINDS Personal Make-Up Artist to Owen Wilson Relativity Media Director: Jared Hess POCKET LISTING Peronal Make-Up Artist to Rob Lowe Helios Productions Director: Conor Allyn THE BENEFACTOR Personal Make-Up Artist to Richard Gere Audax Films Director: Andrew Renzi THE INTERNSHIP Personal Make-Up Artist to Owen Wilson Twentieth Century Fox Director: Shawn Levy THE BIG YEAR Personal Make-Up Artist to Owen Wilson DreamWorks SKG Director: David Frankel HALL PASS Personal Make-Up Artist to Owen Wilson New Line Cinema Directors: The Farrelly Brothers LITTLE FOCKERS Personal Make-Up Artist to Owen Wilson DreamWorks SKG Director: Paul Weitz HOW DO YOU KNOW? Personal Make-Up Artist to Owen Wilson Columbia Pictures Director: James L. Brooks ALICE IN WONDERLAND Personal Make-Up Artist to Johnny Depp Disney Director: Tim Burton Winner: Critics’ Choice Award for Best Make-Up PUBLIC ENEMIES Personal Make-Up Artist to Johnny Depp Universal Pictures Director: Michael Mann THE IMAGINARIUM OF Personal Make-Up Artist to Johnny Depp DOCTOR PARNASSUS Director: Terry Gilliam Davis-Films and Infinity Features IMAGINE THAT Personal Make-Up Artist to Thomas Haden Church Paramount Pictures Director: Karey Kirkpatrick THE HOUSE BUNNY Department Head Columbia Pictures Make-Up Artist to Anna Faris Director: Fred Wolf Cast: Emma Stone, Kat Dennings, Katharine McPhee, Rumer Willis, Colin Hanks, Beverly D’Angelo THE MILTON AGENCY Patty York 6715 Hollywood Blvd #206, Los Angeles, CA 90028 Make-Up Telephone: 323.466.4441 Facsimile: 323.460.4442 IATSE 706 [email protected] www.miltonagency.com Page 1 of 5 NEXT Department Head Revolution Studios Director: Lee Tamahori Cast: Jessica Biel, Thomas Kretschmann, Peter Falk LUCKY YOU Department Head Warner Bros. -
Disparities for Women Filmmakers in the Film Industry Bobbie Lucas
Vassar College Digital Window @ Vassar Senior Capstone Projects 2015 Behind Every Great Man There Are More Men: Disparities for Women Filmmakers in the Film Industry Bobbie Lucas Follow this and additional works at: http://digitalwindow.vassar.edu/senior_capstone Recommended Citation Lucas, Bobbie, "Behind Every Great Man There Are More Men: Disparities for Women Filmmakers in the Film Industry" (2015). Senior Capstone Projects. Paper 387. This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Vassar College “Behind Every Great Man There Are More Men:” Disparities for Women Filmmakers in the Film Industry A research thesis submitted to The Department of Film Bobbie Lucas Fall 2014 ACKNOWLEDGMENTS “Someday hopefully it won’t be necessary to allocate a special evening [Women in Film] to celebrate where we are and how far we’ve come…someday women writers, producers, and crew members will be so commonplace, and roles and salaries for actresses will outstrip those for men, and pigs will fly.” --Sigourney Weaver For the women filmmakers who made films and established filmmaking careers in the face of adversity and misogyny, and for those who will continue to do so. I would like to express my appreciation to the people who helped me accomplish this endeavor: Dara Greenwood, Associate Professor of Psychology Paul Johnson, Professor of Economics Evsen Turkay Pillai, Associate Professor of Economics I am extremely grateful for the valuable input you provided on my ideas and your willing assistance in my research. -
A-Z Movies August
AUGUST 2021 A-Z MOVIES 1% Mickey Mantle compete against each Of SHARKBOY Sci-Fi/Fantasy (M lv) Based on a true story. An American John Cleese, Amy Irving. MOVIES PREMIERE 2017 other to break Babe Ruth’s single- AND LAVAGIRL August 7, 16 student spending a semester abroad Lured out to the Old West, Fievel the Drama (MA 15+ alsv) season home run record. MOVIES KIDS 2005 Family Sigourney Weaver, Charles S Dutton. in Perugia, Italy, garners international mouse joins forces with a famed dog After being put into an extended sleep attention after she is put on trial sheriff to thwart a sinister plot. August 22 August 6, 15, 25 Matt Nable, Ryan Corr. 100% WOLF Taylor Lautner, Taylor Dooley. state after her last fight with the aliens, for her part in the murder of British The heir to the throne of a notorious MOVIES FAMILY 2020 Family (PG) A boy’s imaginary superhero friends Ellen Ripley crash-lands onto a planet housemate, Meredith Kercher. AN AMISH MURDER outlaw motorcycle club must betray August 9, 18, 31 come to life and join him on a series which is inhabited by the former LIFETIME MOVIES 2013 his president to save his brother’s life. Jai Courtney, Samara Weaving. of adventures. inmates of a maximum-security prison. AMERIcaN DREAMZ Thriller/Suspense (M av) The heir to a family of werewolves MOVIES COMEDY 2006 Comedy (M ls) August 5, 10, 14, 20, 24, 29 12 STRONG experiences his first transformation ALIEN: RESURRECTION August 13, 19 Neve Campbell, Noam Jenkins. MOVIES ACTION 2018 on his 13th birthday, morphing into THE ADVENTURES OF TOM MOVIES GREATS 1997 Hugh Grant, Dennis Quaid. -
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities Matthew Robinson A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol June 2016 90,792 words Contents Abstract 2 Chapter One: Introduction 3 Chapter Two: Critical Review 24 Chapter Three: Producing the British Biopic 1900-2014 63 Chapter Four: The Reception of the British Biopic 121 Chapter Five: Conventions and Themes of the British 154 Biopic Chapter Six: This is His Story: ‘Wounded’ Men and 200 Homosocial Bonds Chapter Seven: The Contemporary British Biopic 1: 219 Wounded Men Chapter Eight: The Contemporary British Biopic 2: 263 Homosocial Recoveries Chapter Nine: Conclusion 310 Bibliography 323 General Filmography 355 Appendix One: Timeline of the British Biopic 1900-2014 360 Appendix Two: Distribution of Gender and Professional 390 Field in the British Biopic 1900-2014 Appendix Three: Column and Pie Charts of Gender and 391 Profession Distribution in British Biopics Appendix Four: Biopic Production as Proportion of Total 394 UK Film Production Previously Published Material 395 1 Abstract This thesis offers a revaluation of the British biopic, which has often been subsumed into the broader ‘historical film’ category, identifying a critical neglect despite its successful presence throughout the history of the British film industry. It argues that the biopic is a necessary category because producers, reviewers and cinemagoers have significant investments in biographical subjects, and because biopics construct a ‘public history’ for a broad audience.