DOCSLIB.ORG

Horton Foote

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Horton Foote CIli J 9 . F i l l 1447 19 A CONVERSATION WITH HORTON FOOTE uiortuti Foote left Texas in ll> l.i at age 17 think about it. You have interesting mate- didn't. Then one day after these early Cite: Was there anybody else in television to beaurn'an actor. He would return liter- rial, an instinct, and a sense of place." plays had been on television, I got a letter at the time w r i t i n g regional things the eBy and tbemattcally to his hometown At the time, I didn't k n o w w h a t she from a lady w h o said, " I ' m very con- way you were? H o w did those regional of Wharton, .55 miles southwest of was talking about. At the time I thought, fused. I live in I larrison, Texas, but we themes play on national television? Houston, many limes during his distin- "Well, doesn't everyone write about have no G u l l breezes." I didn't k n o w Foote: Well, what happened was budgets guished career. From his early plays, lexas?" I just couldn't imagine that until then that there was a real Harrison were very small for television. And there which were performed live in the begin seemed peculiar. So, I thought about it on the other tide ol Dallas. Hut I didn't was a m a n , w h o was really a genius, nini; yean of television, to his nine-play and wrote a one-act play called Wharton change it; 1 decided to stick w i t h it. called h'red Coe. He was a producer from Orph.ins' Home Cycle, to his screenplays Dance. I knew so little that I used real Alligator, Mississippi, w h o decided, since for film, Foote has maintained an undeni- names of kids I grew up w i t h . We put it Cite: The 1950s were a unique time in he liked writers a lot and couldn't afford able connection to Texas. His screenplays o n in our o w n little studio theater, and television wit h shows like the "Philco- stars, he w o u l d make the writer the star. forTo Kill A Mockingbird (1962), 11 ir some reason Robert Coleman, w h o Goodyear Playhouse" and "Playhouse So he featured the writers, really starred Tender Mercies (IfSt) and The Trip to was a critic then for the Daily Mirror, 90." There was a group of distinguished us. It was always k n o w n as a I Eorton Bountiful (1985) were honored with saw it and liked it a lot, and, of course, actors and directors. Foote play or a Paddy Chayefsky play or Academy Award nominations, with the 1 was thrilled. Foote: It was an exciting time. We were a Core Vidal play So I came along, ami it first two winning the award. His play I was only 22 or 2 1 , and I senr the pioneers in a way because television was never occurred to me to write about any- Young Man From Atlanta won the notice and the play back to my mother. live. There was no tape, and it was really thing else but Texas, Fortunately he was a fuliUer Prize for Drama in / ' W . She was so excited about it that she put quite close to theater, w h i c h is w h y I Southerner, so he was very sympathetic. Horton Foote lives and works in something in the Wharton Spectator. liked it a lot. There was a group from the I had enormous success. Vlhiirtoii, where he met with Terrence So all of my friends read the play, but Actors' Studio — Lee Strasberg was quite The most important play for me, the Doody and Honya Crenader on August they were not t o o happy because it wasn't active then, and all of these young actors one that really upset the apple cart when 5,1997, for this Cite interview. all complimentary. I mean, there were were coming along: Ceraldine Page, K i m television came of age, was The Trip to girls d r i n k i n g beer in the play, and they Stanley, Julie Harris. They were just start- Bountiful, That was also because Lillian didn't do that in those days — weren't ing out, and they were burgeoning, obvi- Cish played the role of Carrie Watts. She Cite: We've read that you came to w r i t i ng supposed to. I learned the lesson very ously great talents. Same way w i t h the hadn't been seen in a while, but she had in an interesting way. Early in your career, quickly that, however you did it, you directors: A r t h ur I'enn, Vincent Donehue, this tremendous f o l l o w i n g in America when you were an actor, Agnes l)e Mille didn't use real names. and Del ben M a n n . because of her film w o r k . isked if you ever thought about writing . Everybody was defining TV — mak- I hadn't realized the impact of televi- Foote: That's right. I was quite young (ate: The setting for your early plays was ing it up for themselves. Paddy Chayefsky sion. The studio was fairly small at N B C , mid was invited by M a r y Hunter to join a t o w n called Harrison — a fictional and I were close friends, but we had a 1 saw the dress rehearsal in the booth the American Actors' Company. Members place, but isn't it very similar to Wharton? diflerent vision. I le wanted to do much with the technicians, and then I went to of the company came from all parts of Also, in many ol these plays there is more w i t h the cinema — which finally see it on the set. When we came out after- America, and we tried to get each other something about the C u l t , the breeze won out because of the economics, not ward for the reception with the actors, it familiar with our certain regions. We or smell of the Gulf, and other particulars the aesthetics. When the television indus- was an enormous success. William Paley, wuuld do improvisations, and I was al- of the Texas landscape. try moved out to the coast, it was good- who was at CBS, said, "Television has ways doing something about Texas. Agnes Foote: It's interesting — I took the name bye; then, the minute they discovered come of age tonight. " A n d it was mainly kadcume to do a show w i t h us, and she Harrison because my grandfather's name tape, if was another good-bye. W i t h tape because of Lillian Cish. took me aside and asked, " H a v e you was Albert Harrison Foote. There is a they could stop and cut, but you couldn't Then K i m Stanley had great success thought about w r i t i n g ? " When I said, well-known family lure named I larrison. do that w i t h teleplays — once you started in a play of mine called Young Lady of "No, I never have," she said, " Y o u should They all think I used their name, but I you couldn't stop. Property. I went on and o n , but finally I lid H W I M Foote. Ftnlo by EH H. tntonmi 2 0 I .il I I <>9 7 • Cite 39 jusr quit because 1 didn't feel these things when the highway was paved, and they I .isi t olumbia in Bra/oria * iunity. has probably changed even more than were coming very spontaneously out of took the highway to the coast, there was And from there my grandfather came to Wharton, k\ .nisi- t [ i i \ weren't able tu me and my experiences and what J a big debate about whether to bypass the Wharton. The plantation was torn d o w n shoot the film there. They had to shoot thought about this plact . I ft Ir ] would town, I he merchants were against it, said in the 1950s or 1960s. My branch ot the it on the back lot at Universal. begin to repeat. ll w o u ld kill W h a r t o n , that people w o u ld family didn't inherit it. W h a r t o n itself is never trade in W h a r t o n again, and they still an old t o w n , and most of the original Cite: Certain scenes in the f i l m were Cite: It must have been interesting for won out. A n d I remember the advent of lamilies Mill have land here Sinn, ol tht ir not in the novel — I remember one on you to take Trip ttt Bountiful from that the car and when the first filling station children have si.iveil; some are farmers, a porch. teleplay to a stage play. was built on this street, I suppose they but it's all changed. Foote: Yes, that was one I invented. Foote: A n d then to f i l m. thought it was progress. The other thing that defined the t o w n CHe: Orphans' Hume Cycle, written Cite: There were conversations overrun T Cite: You're k n o w n for a certain kind back then was the invention of the cotton in the l 9 lls, is a series ot plays based from the inside of the house to the pord ol independence, machine.
Load more

Recommended publications
  • Horton Foote
    38th Season • 373rd Production MAINSTAGE / MARCH 29 THROUGH MAY 5, 2002 David Emmes Martin Benson Producing Artistic Director Artistic Director presents the World Premiere of by HORTON FOOTE Scenic Design Costume Design Lighting Design Composer MICHAEL DEVINE MAGGIE MORGAN TOM RUZIKA DENNIS MCCARTHY Dramaturgs Production Manager Stage Manager JENNIFER KIGER/LINDA S. BAITY TOM ABERGER *RANDALL K. LUM Directed by MARTIN BENSON Honorary Producers JEAN AND TIM WEISS, AT&T: ONSTAGE ADMINISTERED BY THEATRE COMMUNICATIONS GROUP PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Constance ................................................................................................... *Annie LaRussa Laverne .................................................................................................... *Jennifer Parsons Mae ............................................................................................................ *Barbara Roberts Frankie ...................................................................................................... *Juliana Donald Fred ............................................................................................................... *Joel Anderson Georgia Dale ............................................................................................ *Linda Gehringer S.P. ............................................................................................................... *Hal Landon Jr. Mrs. Willis .......................................................................................................
    [Show full text]
  • Sam Shepard One Acts: War in Heaven (Angel’S Monologue), the Curse of the Raven’S Black Feather, Hail from Nowhere, Just Space Rhythm
    Sam Shepard One Acts: War in Heaven (Angel’s Monologue), The Curse of the Raven’s Black Feather, Hail from Nowhere, Just Space Rhythm Resource Guide for Teachers Created by: Lauren Bloom Hanover, Director of Education 1 Table of Contents About Profile Theatre 3 How to Use This Resource Guide 4 The Artists 5 Lesson 1: Who is Sam Shepard? Classroom Activities: 1) Biography and Context 6 2) Shepard in His Own Words 6 3) Shepard Adjectives 7 Lesson 2: Influences on Shepard Classroom Activities 1) Exploring Similar Themes in O’Neill and Shepard 16 2) Exploring Similar Styles in Beckett and Shepard 17 3) Exploring the Influence of Music on Shepard 18 Lesson 3: Inspired by Shepard Classroom Activities 1) Reading Samples of Shepard 28 2) Creative Writing Inspired by Shepard 29 3) Directing One’s Own Work 29 Lesson 4: What Are You Seeing Classroom Activities 1) Pieces Being Performed 33 2) Statues 34 3) Staging a Monologue 36 Lesson 5: Reflection Classroom Activities 1) Written Reflection 44 2) Putting It All Together 45 2 About Profile Theatre Profile Theatre was founded in 1997 with the mission of celebrating the playwright’s contribution to live theater. To that end, Profile programs a full season of the work of a single playwright. This provides our community with the opportunity to deeply engage with the work of our featured playwright through performances, readings, lectures and talkbacks, a unique experience in Portland. Our Mission realized... Profile invites our audiences to enter a writer’s world for a full season of plays and events.
    [Show full text]
  • Understanding Screenwriting'
    Course Materials for 'Understanding Screenwriting' FA/FILM 4501 12.0 Fall and Winter Terms 2002-2003 Evan Wm. Cameron Professor Emeritus Senior Scholar in Screenwriting Graduate Programmes, Film & Video and Philosophy York University [Overview, Outline, Readings and Guidelines (for students) with the Schedule of Lectures and Screenings (for private use of EWC) for an extraordinary double-weighted full- year course for advanced students of screenwriting, meeting for six hours weekly with each term of work constituting a full six-credit course, that the author was permitted to teach with the Graduate Programme of the Department of Film and Video, York University during the academic years 2001-2002 and 2002-2003 – the most enlightening experience with respect to designing movies that he was ever permitted to share with students.] Overview for Graduate Students [Preliminary Announcement of Course] Understanding Screenwriting FA/FILM 4501 12.0 Fall and Winter Terms 2002-2003 FA/FILM 4501 A 6.0 & FA/FILM 4501 B 6.0 Understanding Screenwriting: the Studio and Post-Studio Eras Fall/Winter, 2002-2003 Tuesdays & Thursdays, Room 108 9:30 a.m. – 1:30 p.m. Evan William Cameron We shall retrace within these courses the historical 'devolution' of screenwriting, as Robert Towne described it, providing advanced students of writing with the uncommon opportunity to deepen their understanding of the prior achievement of other writers, and to ponder without illusion the nature of the extraordinary task that lies before them should they decide to devote a part of their life to pursuing it. During the fall term we shall examine how a dozen or so writers wrote within the studio system before it collapsed in the late 1950s, including a sustained look at the work of Preston Sturges.
    [Show full text]
  • Theatre & Performance
    CONTEMPORARY Theatre & Performance MULTICULTURALISM/ DIVERSITY • African-American Theatre • Global Theatre • LGBTQ • Performance • Asian-American • Performance Art Theatre • Experimental Theatre • Latino Theatre (LATC) AFRICAN-AMERICAN THEATRE • August Wilson (1945-2005) - Fences (1987) • Joe Turner’s Come and Gone (1988) • The Piano Lesson (1990) ASIAN-AMERICAN THEATRE • East/West Players (downtown LA) • David Henry Huang - M. Butterfly, Bondage, Yellow Face LGBTQ • Charles Ludlam (19431987) died of AIDS— founded The Ridiculous Theatre Company- The Mystery of Irma Vep (1984) with Everett Quinton • Tony Kushner- Angels in America (1993) • Larry Kramer -The Normal Heart (1985) • Terence McNally - Mothers and Sons (2014) • Split Britches (WOW Cafe)- Beauty and The Beast (1982), Belle Reprieve (1990), Lesbians Who Kill (1992) • The Tectonic Theatre Company (The Laramie Project) • Rent, Hedwig and The Angry Inch, Kinky Boots, Fun Home LATINO THEATRE • LATC (Latino Theatre Company- LA Theatre Center)- founded 1985 by Artistic Director, Jose Luis Valenzuela • Zoot Suit (1979) by Luis Valdez- made into a film (1981) • based on the Sleepy Lagoon Murder Trial (1942) and the Zoot Suit Riots in Los Angeles https://www.youtube.com/watch?v=M51xwySGNYc https://www.youtube.com/watch?v=dwINn5DEL1c GLOBAL THEATRE • Takarazuka Revue (Drag performance in Japan) https://www.youtube.com/watch?v=JLy2iOnBnsA https://www.youtube.com/watch?v=3Wccu0JjcLw • Handspring Puppet Company (South Africa) https://www.youtube.com/watch?v=SqAkQCbuvqg • Chinese Performance (spectacle)
    [Show full text]
  • 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.
    [Show full text]
  • Sam Shepard's Dramaturgical Strategies Susan
    Fall 1988 71 Estrangement and Engagement: Sam Shepard's Dramaturgical Strategies Susan Harris Smith Current scholarship reveals an understandable preoccupation with and confusion over Sam Shepard's most prominent characteristics, his language and imagery, both of which are seminal features of his technical innovation. In their attempts to describe or define Shepard's idiosyncratic dramaturgy, critics variously have called it absurdist, surrealistic, mythic, Brechtian, and even Artaudian. Most critics, too, are concerned primarily with his themes: physical violence, erotic dynamism, and psychological dissolution set against the cultural wasteland of modern America (Marranca, ed.). But in focusing on Shepard's imagery, language, and themes, some critics ignore theatrical performance. Beyond observing that many of Shepard's role-playing characters engage in power struggles with each other, few critics have concerned themselves with Shepard's structural strategies or with the ways in which he manipulates his audience. One who has addressed the issue, Bonnie Marranca, writes: Characters often engage in, "performance": they create roles for themselves and dialogue, structuring new realities. ... It might be called an aesthetics of actualism. In other words, the characters act themselves out, even make them• selves up, through the transforming power of their imagina• tion. An Assistant Professor of English at the University of Pittsburgh and the author of Masks in Modern Drama, Susan Harris Smith is currently working on a book on American drama. A shorter version of this article was presented at the South• eastern Modern Languages Association in 1985. 72 Journal of Dramatic Theory and Criticism Because the characters are so free of fixed reality, their imagination plays a key role in the narratives.
    [Show full text]
  • Selected Correspondence from the Horton Foote
    SELECTED CORRESPONDENCE FROM THE HORTON FOOTE COLLECTION, 1912-1991 by SUSAN CHRISTENSEN Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT ARLINGTON August 2008 ACKNOWLEDGEMENTS I would like to thank Horton Foote for his generosity in granting me permission to include transcriptions of his family members’ correspondence in my dissertation. I would also like to thank his daughter Hallie for her kind assistance. I have been fortunate to have the opportunity to work with Dr. Laurin Porter, my supervising professor, an extraordinary teacher, a remarkable scholar, and a generous and thoughtful person. During my graduate studies, her wisdom has inspired me and her encouragement has sustained me. I would like to extend my heartfelt appreciation to the members of my graduate committee, Dr. Desirée Henderson and Dr. Neill Matheson, and also to Dr. Wendy Faris and Dr. Thomas Porter, for their kindness and their work on my behalf. I am grateful to Dr. Russell Martin III, the director of the DeGolyer Library at Southern Methodist University, and his staff, who assisted me during the many months I spent conducting archival research. Finally, and most importantly, I would like to thank my husband Robert for his unwavering support and love. July 16, 2008 ii ABSTRACT SELECTED CORRESPONDENCE FROM THE HORTON FOOTE COLLECTION, 1912-1991 Susan Christensen, Ph.D. The University of Texas at Arlington, 2008 Supervising Professor: Laurin Porter This dissertation includes a discussion of archival research and editorial procedures employed in the study, introductory essays on the private correspondence of the family of Horton Foote, and transcriptions of one hundred letters selected from the personal correspondence in the Horton Foote Collection reposited in the DeGolyer Library at Southern Methodist University in Dallas, Texas, with extensive annotations and ancillary materials.
    [Show full text]
  • Curriculum Vitae: Bruce F. Kawin
    October 30, 2020 Curriculum Vitae: Bruce F. Kawin Professor Emeritus of English University of Colorado at Boulder Boulder, CO 80309 Home: 4393 13th St. Boulder, CO 80304 Phone: (303) 449-4845 (land line) — (303) 514-6707 (cell; use this or e-mail until further notice) Fax: (303) 449-2503 E-mail: [email protected] Born: Los Angeles, CA Education: Ph.D.: Cornell University, September 1970 Major: 20th Century British and American Literature Minor: Film History and Aesthetics Thesis: Telling It Again and Again: The Aesthetics of Repetition M.F.A.: Cornell University, June 1969 Major: Creative Writing Minor: Filmmaking Thesis: Slides Summer program in Documentary Film Production, UCLA, August 1968 B.A. cum laude: Columbia College, Columbia University, June 1967 Major: English and Comparative Literature Teaching Experience: Professor of English: English Department, University of Colorado at Boulder, 1975-2015. (Professor Emeritus, 2015-present; Full Professor since 1980; tenure awarded, 1979; Associate Professor, 1977- 80; Assistant Professor, 1975-77.) Taught half-time in Film Studies Program 1975-2006 (two Film Studies courses/year), then one Film Studies course/year through 2014; other film courses after 2006 taught in English Dept. Fields: Modern Literature, Film History and Theory, Creative Writing. Visiting Fellow: Theater Arts Board, College 5, University of California at Santa Cruz, 1980-81. Fields: Film History and Theory. Specialist in Film Analysis: Center for Advanced Film Studies, American Film Institute, 1974. Lecturer in English and Film: English Department, University of California at Riverside, 1973-75. Fields: Modern Literature, Film History, Composition, Women Studies. Assistant Professor of English: English Department, Wells College, 1970-73.
    [Show full text]
  • Arthur Penn's Bonnie and Clyde
    Arthur Penn’s Bonnie and Clyde Edited by LESTER D. FRIEDMAN Syracuse University PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011-4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Ruiz de Alarco´n 13, 28014 Madrid, Spain ᭧ Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Printed in the United States of America Typeface Stone Serif 10/14 pt. System DeskTopPro/UX [BV] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication data Arthur Penn’s Bonnie and Clyde / edited by Lester D. Friedman. p. cm. – (Cambridge film handbooks series) Filmography: p. Includes bibliographical references and index. ISBN 0-521-59295-X – ISBN 0-521-59697-1 (pbk.) 1. Bonnie and Clyde (Motion picture) I. Friedman, Lester D. II. Series. PN1997.B6797 1999 791.43'72 – dc21 98-32173 CIP ISBN 0 521 59295 X hardback ISBN 0 521 59697 1 paperback LESTER D. FRIEDMAN Introduction ARTHUR PENN’S ENDURING GANGSTERS HISTORICAL PERSPECTIVES: COUNTERCULTURAL CINEMA Boy meets girl in small-town Texas. Their crime spree begins as girl goads boy into robbing a grocery store; they speed out of town in a stolen car, spirits high.
    [Show full text]
  • Buried Child by Sam Shepard
    MEDIA CONTACT: Bernie Fabig, Marketing & Publicity Manager 310-756-2428 • [email protected] The third production of A Noise Within’s 2019-2020 Season: THEY PLAYED WITH FIRE Buried Child By Sam Shepard Directed by Julia Rodriguez-Elliott Oct. 19 – Nov. 23, 2019 Pasadena, Calif. (Oct. 19, 2019) – A Noise Within (ANW), California’s acclaimed classic repertory theatre company, is proud to present Sam Shepard’s Pulitzer Prize-winning Buried Child, directed by ANW Producing Artistic Director Julia Rodriguez-Elliott. Shepard’s remarkable masterpiece Buried Child will run Oct. 13 through Nov. 23, 2019 with press performances on Saturday, Oct. 19 at 8 p.m. and Sunday, Oct. 20 at 2 p.m. Set in America’s heartland, Sam Shepard’s powerful Pulitzer Prize-winning play details, with wry humor, the disintegration of the American Dream. When 22-year-old Vince unexpectedly shows up at the family farm with his girlfriend Shelly, no one recognizes him. So begins the unraveling of dark secrets. A surprisingly funny look at disillusionment and morality, Shepard’s masterpiece is the family reunion no one anticipated. “Buried Child is wickedly funny,” said Producing Artistic Director Julia Rodriguez-Elliott. “Sam Shepard has an uncanny way of bringing out the humor in dysfunction. There’s something familiar, yet not familiar about this family. It’s at once disconcertingly recognizable and inexplicably strange.” - more - MEDIA CONTACT: Bernie Fabig, Marketing & Publicity Manager 310-756-2428 • [email protected] In Buried Child, comedy meets the absurd in a bizarre twist on the family drama that scorches with a powerful commentary on the “American Dream” and what happens when a community simmers in neglect, resentment, and disowned memory.
    [Show full text]
  • 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
    [Show full text]
  • 20 Films on Politics and the Media | Thecommentary.Ca Page 1 of 5
    20 films on politics and the media | thecommentary.ca Page 1 of 5 thecommentary.ca » • Home • About • Biography • Links Search... Home » The Commentary 20 films on politics and the media 29 December 2009 | Email This Post | Print This Post BY JOSEPH PLANTA VANCOUVER – A few weeks ago, Sean Holman, the talented and prodigious editor of Public Eye Online was on the program to discuss the year that was and the year to come in provincial politics. We got to talking movies, when I’d asked him if he’d seen State of Play, the fine American film based on the British miniseries of the same name. He suggested two other films: The Candidate and Shattered Glass. This got me thinking about what films had the best depictions of politics, media, journalism and the writing process. I came up with a few, and limited myself to twenty which seemed a workable number. Twenty favourites, as it were. Of course the list is subjective, and is in no particular order. I suspect if I ever get to watching Dr. Strangelove, or The Front Page, or Bob Roberts, or Silver City, they might be added to the list, perhaps even bumping off something already here. There’s nothing on this list that was made for television, otherwise the House of Cards trilogy would be here, as well as the original British miniseries State of Play, The Thick of It, The West Wing, and of course, the Yes, Minister/Yes, Prime Minister tandem. Perhaps Mr. Holman or others would like to add to or debate my choices.
    [Show full text]