Hdnet Movies August 2012 Program Highlights
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An Actor's Life and Backstage Strife During WWII
Media Release For immediate release June 18, 2021 An actor’s life and backstage strife during WWII INSPIRED by memories of his years working as a dresser for actor-manager Sir Donald Wolfit, Ronald Harwood’s evocative, perceptive and hilarious portrait of backstage life comes to Melville Theatre this July. Directed by Jacob Turner, The Dresser is set in England against the backdrop of World War II as a group of Shakespearean actors tour a seaside town and perform in a shabby provincial theatre. The actor-manager, known as “Sir”, struggles to cast his popular Shakespearean productions while the able-bodied men are away fighting. With his troupe beset with problems, he has become exhausted – and it’s up to his devoted dresser Norman, struggling with his own mortality, and stage manager Madge to hold things together. The Dresser scored playwright Ronald Harwood, also responsible for the screenplays Australia, Being Julia and Quartet, best play nominations at the 1982 Tony and Laurence Olivier Awards. He adapted it into a 1983 film, featuring Albert Finney and Tom Courtenay, and received five Academy Award nominations. Another adaptation, featuring Ian McKellen and Anthony Hopkins, made its debut in 2015. “The Dresser follows a performance and the backstage conversations of Sir, the last of the dying breed of English actor-managers, as he struggles through King Lear with the aid of his dresser,” Jacob said. “The action takes place in the main dressing room, wings, stage and backstage corridors of a provincial English theatre during an air raid. “At its heart, the show is a love letter to theatre and the people who sacrifice so much to make it possible.” Jacob believes The Dresser has a multitude of challenges for it to be successful. -
Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
Film Essay for "Mccabe & Mrs. Miller"
McCabe & Mrs. Miller By Chelsea Wessels In a 1971 interview, Robert Altman describes the story of “McCabe & Mrs. Miller” as “the most ordinary common western that’s ever been told. It’s eve- ry event, every character, every west- ern you’ve ever seen.”1 And yet, the resulting film is no ordinary western: from its Pacific Northwest setting to characters like “Pudgy” McCabe (played by Warren Beatty), the gun- fighter and gambler turned business- man who isn’t particularly skilled at any of his occupations. In “McCabe & Mrs. Miller,” Altman’s impressionistic style revises western events and char- acters in such a way that the film re- flects on history, industry, and genre from an entirely new perspective. Mrs. Miller (Julie Christie) and saloon owner McCabe (Warren Beatty) swap ideas for striking it rich. Courtesy Library of Congress Collection. The opening of the film sets the tone for this revision: Leonard Cohen sings mournfully as the when a mining company offers to buy him out and camera tracks across a wooded landscape to a lone Mrs. Miller is ultimately a captive to his choices, una- rider, hunched against the misty rain. As the unidenti- ble (and perhaps unwilling) to save McCabe from his fied rider arrives at the settlement of Presbyterian own insecurities and herself from her opium addic- Church (not much more than a few shacks and an tion. The nuances of these characters, and the per- unfinished church), the trees practically suffocate the formances by Beatty and Julie Christie, build greater frame and close off the landscape. -
It's a Conspiracy
IT’S A CONSPIRACY! As a Cautionary Remembrance of the JFK Assassination—A Survey of Films With A Paranoid Edge Dan Akira Nishimura with Don Malcolm The only culture to enlist the imagination and change the charac- der. As it snows, he walks the streets of the town that will be forever ter of Americans was the one we had been given by the movies… changed. The banker Mr. Potter (Lionel Barrymore), a scrooge-like No movie star had the mind, courage or force to be national character, practically owns Bedford Falls. As he prepares to reshape leader… So the President nominated himself. He would fill the it in his own image, Potter doesn’t act alone. There’s also a board void. He would be the movie star come to life as President. of directors with identities shielded from the public (think MPAA). Who are these people? And what’s so wonderful about them? —Norman Mailer 3. Ace in the Hole (1951) resident John F. Kennedy was a movie fan. Ironically, one A former big city reporter of his favorites was The Manchurian Candidate (1962), lands a job for an Albu- directed by John Frankenheimer. With the president’s per- querque daily. Chuck Tatum mission, Frankenheimer was able to shoot scenes from (Kirk Douglas) is looking for Seven Days in May (1964) at the White House. Due to a ticket back to “the Apple.” Pthe events of November 1963, both films seem prescient. He thinks he’s found it when Was Lee Harvey Oswald a sleeper agent, a “Manchurian candidate?” Leo Mimosa (Richard Bene- Or was it a military coup as in the latter film? Or both? dict) is trapped in a cave Over the years, many films have dealt with political conspira- collapse. -
Easy Riders, Raging Bulls: How the Sex, Drugs and Rock and Roll Generation Saved Hollywood Pdf, Epub, Ebook
EASY RIDERS, RAGING BULLS: HOW THE SEX, DRUGS AND ROCK AND ROLL GENERATION SAVED HOLLYWOOD PDF, EPUB, EBOOK Peter Biskind | 512 pages | 26 Apr 1999 | SIMON & SCHUSTER | 9780684857084 | English | New York, United States Easy Riders, Raging Bulls: How the Sex, Drugs and Rock and Roll Generation Saved Hollywood PDF Book My impression of this documentary wasn't so great due to the fact of already seeing and knowing a similar themed work a few years ago called "A Decade Under the Influence" , directed by Ted Demme and Richard LaGravenese, which was a better project for numerous reasons. Why do people go see them? The book is hefty with gossip of all kinds, which is too bad because he's talking about the revolution in films in the 60's to early 80's. It is chock full of interviews and choice information about the time period 60's's in American cinema that changed everything, for a lot better and some for not. Beatty likes to fuck alot. Biskind's book disappointed me tremendously. Return to the Books Home Page. Assassinations, cultural domination, drugging, spying, provocation: Talk about taking the fight to your opponents—the American people—and crippling them for generations! But in the kind of popularized pseudohistory ''Easy Riders, Raging Bulls'' exemplifies, anecdotes are valued above all else, bitchy gossip is privileged, dysfunction is automatically more fascinating than artistic success, aggrieved former friends and former lovers are granted the license to settle scores sometimes anonymously , documentation is disdained and historical analysis must be squeezed into the narrative quickly, so as not to disrupt the dishing. -
Tom Hanks Halle Berry Martin Sheen Brad Pitt Robert Deniro Jodie Foster Will Smith Jay Leno Jared Leto Eli Roth Tom Cruise Steven Spielberg
TOM HANKS HALLE BERRY MARTIN SHEEN BRAD PITT ROBERT DENIRO JODIE FOSTER WILL SMITH JAY LENO JARED LETO ELI ROTH TOM CRUISE STEVEN SPIELBERG MICHAEL CAINE JENNIFER ANISTON MORGAN FREEMAN SAMUEL L. JACKSON KATE BECKINSALE JAMES FRANCO LARRY KING LEONARDO DICAPRIO JOHN HURT FLEA DEMI MOORE OLIVER STONE CARY GRANT JUDE LAW SANDRA BULLOCK KEANU REEVES OPRAH WINFREY MATTHEW MCCONAUGHEY CARRIE FISHER ADAM WEST MELISSA LEO JOHN WAYNE ROSE BYRNE BETTY WHITE WOODY ALLEN HARRISON FORD KIEFER SUTHERLAND MARION COTILLARD KIRSTEN DUNST STEVE BUSCEMI ELIJAH WOOD RESSE WITHERSPOON MICKEY ROURKE AUDREY HEPBURN STEVE CARELL AL PACINO JIM CARREY SHARON STONE MEL GIBSON 2017-18 CATALOG SAM NEILL CHRIS HEMSWORTH MICHAEL SHANNON KIRK DOUGLAS ICE-T RENEE ZELLWEGER ARNOLD SCHWARZENEGGER TOM HANKS HALLE BERRY MARTIN SHEEN BRAD PITT ROBERT DENIRO JODIE FOSTER WILL SMITH JAY LENO JARED LETO ELI ROTH TOM CRUISE STEVEN SPIELBERG CONTENTS 2 INDEPENDENT | FOREIGN | ARTHOUSE 23 HORROR | SLASHER | THRILLER 38 FACTUAL | HISTORICAL 44 NATURE | SUPERNATURAL MICHAEL CAINE JENNIFER ANISTON MORGAN FREEMAN 45 WESTERNS SAMUEL L. JACKSON KATE BECKINSALE JAMES FRANCO 48 20TH CENTURY TELEVISION LARRY KING LEONARDO DICAPRIO JOHN HURT FLEA 54 SCI-FI | FANTASY | SPACE DEMI MOORE OLIVER STONE CARY GRANT JUDE LAW 57 POLITICS | ESPIONAGE | WAR SANDRA BULLOCK KEANU REEVES OPRAH WINFREY MATTHEW MCCONAUGHEY CARRIE FISHER ADAM WEST 60 ART | CULTURE | CELEBRITY MELISSA LEO JOHN WAYNE ROSE BYRNE BETTY WHITE 64 ANIMATION | FAMILY WOODY ALLEN HARRISON FORD KIEFER SUTHERLAND 78 CRIME | DETECTIVE -
197 KB 14Th Feb 2019 Austin-Letter-2019-02-15
Volume 40, Number 44 February 15, 2019 Dear Client: It’s more than a coincidence. It’s a bigtime trend unfolding before your eyes. The companies of the future are betting on a future in Austin. When you look at the size of the deals, it’s not bet-hedging or dipping-a-corporate-toe in the water. You’re seeing full-blown commitments the likes of which are seldom seen in cities around the US. The big office towers downtown and in North Austin’s Domain are visual indicators of this trend. It’s usually risky business for a developer to put up a speculative office building. Not now in Austin. Before buildings are even completed, they are substantially leased by substantial companies. Those pre-leases have the financial backers patting themselves on the back about how “smart” they were to support such normally-risky ventures. Consider a few examples of what is happening in Austin in recent weeks. The biggest and most obvious example is a visually-strikingly 35-story office building on the north shore of Lady Bird Lake downtown. It soars to the sky, with setbacks that taper toward the top to resemble a sail on a giant sailboat. According to news reports, all 723,000 sf have been leased by Google. Let this sink in. Then consider another example. It was reported this week Amazon is leasing 145,000 sf (four floors) of a Tower under construction in The Domain that is set to be completed in the 2nd quarter of next year. Amazon already occupies about 250,000 sf in two other office towers in The Domain. -
67. Mostra Internazionale D'arte Cinematografica Venezia 1/11 Settembre 2010
67. Mostra Internazionale d'Arte Cinematografica Venezia 1/11 settembre 2010 FILM IN PROGRAMMA SELEZIONE UFFICIALE Venezia 67 Concorso internazionale di lungometraggi in prima mondiale Fuori concorso Opere firmate da autori di importanza riconosciuta Orizzonti Le nuove correnti del cinema mondiale Controcampo Italiano Le nuove linee di tendenza del cinema italiano La situazione comica Sezione retrospettiva sul cinema comico italiano SEZIONI AUTONOME SIC - Settimana Internazionale della Critica Rassegna di 7 film - opere prime - autonomamente organizzata da una commissione nominata dal SNCCI Giornate degli autori Rassegna autonomamente organizzata da una commissione nominata dall’ANAC e dall’API Venezia 67 Concorso internazionale di lungometraggi in prima mondiale DARREN ARONOFSKY - BLACK SWAN Usa, 103' Natalie Portman, Mila Kunis, Vincent Cassel, Barbara Hershey, Winona Ryder ASCANIO CELESTINI - LA PECORA NERA ITALIA, 93' Ascanio Celestini, Giorgio Tirabassi, Maya Sansa SOFIA COPPOLA - SOMEWHERE Usa, 98' Stephen Dorff, Elle Fanning, Benicio Del Toro, Michelle Monaghan, Laura Chiatti, Simona Ventura ANTONY CORDIER - HAPPY FEW Francia, 103' Marina Fois, Elodie Bouchez, Roschdy Zem, Nicolas Duvauchelle SAVERIO COSTANZO - LA SOLITUDINE DEI NUMERI PRIMI ITALIA, 118' Alba Rohrwacher, Luca Marinelli, Filippo Timi, Isabella Rossellini, Maurizio Donadoni ALEKSEI FEDORCHENKO - OVSYANKI (SILENT SOULS) Russia, 75' Igor Sergeyev, Yuriy Tsurilo, Yuliya Aug, Victor Sukhorukov VINCENT GALLO - PROMISES WRITTEN IN WATER Usa, 75' Vincent Gallo, Delfine Bafort, Sage Stallone, Lisa Love MONTE HELLMAN - ROAD TO NOWHERE Usa, 121' Shannyn Sossamon, Dominique Swain, John Diehl, Fabio Testi ÁLEX DE LA IGLESIA - BALADA TRISTE DE TROMPETA Spagna, Francia, 107' Carmen Maura, Carolina Bang, Santiago Segura, Antonio de la Torre, Fernando Guillen-Cuervo ABDELLATIF KECHICHE - VENUS NOIRE Francia, 166' Yahima Torres, Olivier Gourmet, André Jacobs PABLO LARRAÍN - POST MORTEM Cile, Messico, Germania, 98' Alfredo Castro, Antonia Zegers RICHARD J. -
Laurence Olivier in Hamlet (1949)
1 Laurence Olivier in Hamlet (1949) In the late 1930s and early 1940s, when Samuel Goldwyn, MGM, and David Selznick were wooing him, Laurence Olivier chose not to become a movie star “like dear Cary.” After playing Heathcliff in Wuthering Heights (1939), Darcy in Pride and Prejudice (1940), and Maxim Dewinter in Rebecca (1940), he appeared in Hollywood pictures sparingly and tried to avoid a fixed persona. He nevertheless became the symbol of what midcentury America thought of as a distinguished actor, and was the most successful English theatrical type in the movies. He wasn’t romantically flamboyant (Orson Welles was closer to that), he wasn’t a naturalist like the students of the Method, he wasn’t a Brechtian, and he wasn’t the sort of movie actor who plays variations on a single character. He belonged instead to a school of disciplined, tastefully romantic verisimilitude, and within that school was a master. He was also the best-known Shakespearian in films. Olivier often said that his favorite movie role was the working-class comedian Archie Rice in The Entertainer (1960), but his performances in the Shakespeare films that he directed are more representative of his skills and more significant in film history. Based on canonical texts with a long performance history, they foreground his stylistic choices 2 and make his influences relatively easy to identify. His version of Hamlet (1949), for example, seems to derive pretty equally from the English romantics, Sigmund Freud, and William Wyler. These sources are not so eclectic as they might appear. Romantic-realist ideas of narrative shaped nearly all feature films of the period; Wyler had been the director of Wuthering Heights and at one point was scheduled to direct Olivier’s production of Henry V; and Olivier’s conceptions of character and performance are similar to the ones that shaped Hollywood in the 1940s, when Freud was in vogue. -
(XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
October 22, 2019 (XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Mel Brooks WRITING Mel Brooks, Norman Steinberg, Richard Pryor, and Alan Uger contributed to writing the screenplay from a story by Andrew Bergman, who also contributed to the screenplay. PRODUCER Michael Hertzberg MUSIC John Morris CINEMATOGRAPHY Joseph F. Biroc EDITING Danford B. Greene and John C. Howard The film was nominated for three Oscars, including Best Actress in a Supporting Role for Madeline Kahn, Best Film Editing for John C. Howard and Danford B. Greene, and for Best Music, Original Song, for John Morris and Mel Brooks, for the song "Blazing Saddles." In 2006, the National Film Preservation Board, USA, selected it for the National Film Registry. CAST Cleavon Little...Bart Gene Wilder...Jim Slim Pickens...Taggart Harvey Korman...Hedley Lamarr Madeline Kahn...Lili Von Shtupp Mel Brooks...Governor Lepetomane / Indian Chief Burton Gilliam...Lyle Alex Karras...Mongo David Huddleston...Olson Johnson Liam Dunn...Rev. Johnson Shows. With Buck Henry, he wrote the hit television comedy John Hillerman...Howard Johnson series Get Smart, which ran from 1965 to 1970. Brooks became George Furth...Van Johnson one of the most successful film directors of the 1970s, with Jack Starrett...Gabby Johnson (as Claude Ennis Starrett Jr.) many of his films being among the top 10 moneymakers of the Carol Arthur...Harriett Johnson year they were released. -
Ammast 03 Lettrhd Press 3 Holed
offset usage 4-color process Output is set for 2500dpi 450 West 33rd Street New York NY 10001-2605 thirteen.org press information AMERICAN MASTERS BRINGS BIG SCREEN MAGIC TO THE SMALL SCREEN WITH YOU MUST REMEMBER THIS: THE WARNER BROS. STORY Series from Thirteen/WNET Premieres This Fall on PBS AMERICAN MASTERS is produced for PBS by Thirteen/WNET The colorful 85-year legacy of Warner Bros. is documented in an unprecedented film project, New York AMERICAN MASTERS You Must Remember This: The Warner Bros. Story, narrated by Clint Eastwood. The five-hour film, a Lorac production in partnership with AMERICAN MASTERS and Warner Bros. Entertainment, premieres nationally, September 23, 24 and 25 at 9 p.m. (ET) on PBS (check local listings). The film is directed, written and produced by award-winning filmmaker and film critic Richard Schickel. Eastwood is executive producer. “I think it’s wonderful and fitting that Richard Schickel, who produced his first big series The Men Who Made the Movies for public television in 1973, is returning to public television with this project – the epic and historic and thoroughly juicy Warner Bros. story,” says Susan Lacy, creator and Executive Producer of AMERICAN MASTERS, a five-time winner of the Emmy Award for Outstanding Primetime Non-Fiction Series. Through movie clips, rare archival interviews, newly photographed material, and insightful on-camera discussions with talent such as Martin Scorsese, Steven Spielberg, George Clooney, Warren Beatty, Sidney Lumet, Jack Nicholson, and many others, You Must Remember This gives us the history of 20th century America on the big screen. -
Mental Calisthenics
Mental Calisthenics (2) Patient’s Name: Date: Copyright © 2012 by Cognitive Solutions, P.A. All rights reserved. May not be reproduced in whole or in part in any form or 1 by any means without written permission of Cognitive Solutoons, P.A. Life Logic There are three switches downstairs. Each corresponds to one of the three light bulbs in the attic. You can turn the switches on and off and leave them in any position. How would you identify which switch corresponds to which light bulb, if you are only allowed one trip upstairs? Write your solution here: Your last good ping-pong ball fell down into a narrow metal pipe imbedded in concrete one foot deep. How can you get it out undamaged, if all the tools you have are your tennis paddle, your shoe-laces, and your plastic water bottle, which does not fit into the pipe? Write your solution here: Copyright © 2012 by Cognitive Solutions, P.A. All rights reserved. May not be reproduced in whole or in part in any form or 2 by any means without written permission of Cognitive Solutoons, P.A. Copy the Design Copyright © 2012 by Cognitive Solutions, P.A. All rights reserved. May not be reproduced in whole or in part in any form or 3 by any means without written permission of Cognitive Solutoons, P.A. Brain Basher During a recent police investigation, Chief Inspector Stone was interviewing five local villains to try and identify who stole Mrs. Archer’s cake from the mid-summers fair. Below is a summary of their statements: Arnold: it wasn’t Edward it was Brian Brian: it wasn’t Charlie it wasn’t Edward Charlie: it was Edward it wasn’t Arnold Derek: it was Charlie it was Brian Edward: it was Derek it wasn’t Arnold It was well known that each suspect told exactly one lie.