PRODUCTION GUIDE by Del Mehes and Michael Dorland
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L3702 LETHAL WEAPON 2 (USA, 1989) (Other Titles: Arma Lethale 2; Arme Fatale 2; Brennpunkt L.A.; Dodbringende Veben 2)
L3702 LETHAL WEAPON 2 (USA, 1989) (Other titles: Arma lethale 2; Arme fatale 2; Brennpunkt L.A.; Dodbringende veben 2) Credits: director, Richard Donner ; writer, Jeffrey Boam. Cast: Mel Gibson, Danny Glover, Joe Pesci, Joss Ackland. Summary: Police thriller set in contemporary Los Angeles. Detectives Riggs (Gibson) and Murtaugh (Glover) must guard a free-wheeling witness (Pesci) in a drug money laundering scheme run by South African diplomats. A comedy of car chases, gun battles, and under-water escapes. Ansen, David. “The arts: Movies: Gibson and Glover return: ‘Lethal weapon 2’ serves up sadism with a smile” 114 Newsweek (Jul 17, 1989), p. 53. [Reprinted in Film review annual 1990] Avins, Mimi. “Shot by shot” Premiere 2/12 (Aug 1989), p. 72-6. Baumann, Paul D. “Screen: Scorching the screen” Commonweal 116 (Oct 6, 1989), p. 529-30. Blair, Iain. “Movies: Mel’s lethal appeal: He’s got killer looks, but shucks, Gibson’s just one of the guys” Chicago tribune (Jul 9, 1989), Arts, p. 4. Blois, Marco de. “Lethal weapon II” 24 images 44-45 (autumn 1989), p. 109. Broeske, Pat H. “A high-caliber Danny Glover” Los Angeles times (Jul 11, 1989), Calendar, p. 1. “Business: Talk about placements” Newsweek 114 (Jul 31, 1989), p. 50. Carr, Jay. “Three stooges with guns” Boston globe (Jul 7, 1989), Arts and film, p. 41. Christensen, Johs H. “Dodbringende veben 2” Levende billeder 5 (Sep 1989), p. 47. Clark, Mike. “‘Lethal 2’ is loaded with bang and blanks” USA today (Jul 7, 1989), p. 1D. Cliff, Paul. “Movie trax” Film monthly 1 (Dec 1989), p. -
Rlm R€Yi€Iur Robin Spry's Suzanne
RLm R€yi€iur Robin Spry's Suzanne Suzanne had its premiere screening at the Festival of Festivals in Toronto, and Marc Gervais was there to review it Since that screening, the production has re-cut the film and a shorter version is being used in its commercial release. Cinema Canada will publish a separate review of this second version of the film. d Robin Spry p. Robert Lantos, Stephen J. Roth sc. Robin Spry, Ronald Sutherland based on "Snowlark" novel by Ronald Sutherland assoc. p. Wendy Grean p. man. Ted Holliday d.o.p. Miklos Lente art d Vianney Gauthier, Claude Par6 (asst) cost design. Louise Jobin mus. comp. Francois Cousineau ed. Fima Noveck a.d. Lise Abas- tado (1st), Yvon Arsenault (2nd), Blair Roth (3rd) assist, cam. David Douglas (1st), Ma- thieu Dreary (2nd) sd. mix. Richard Light- stone boom Jim Thompson unit, loc. man. Lyse Lafontaine prop, master Ronald Fau teux props buyer Patrice Bengle set props Emmanuel Lcpin, Nathalie Moliavko- Vlsotzky (asst) p. account Manon Bougie- Boyer p. sec. Franf oise McNeil asst book keeper Ruth Wener key grip Johnny Daoust 2nd grip Pierre Charpentier gaf. Donald Sarri best boy Charles Hugues elec. Gerald Proulx make-up Michelc Dion, Normande Campeau (asst) hair Pierre David, Tom Booth (asst) asst cost, designer, dresser Johanne Prcgcnt asst. dresser Andree Jobin script superv. Monique Champagne casting Daniel Hausmann pub. David Novek unit pub. Lana Iny stills Attila Dory exec. asst. to p. Leila Basen asst. editor Sidonie Kerr p.a. Michel Turcot Susan Schneir, Gerald Laniel, Michel English add. -
Film Reference Guide
REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld. -
Starlog Magazine Issue
'ne Interview Mel 1 THE SCIENCE FICTION UNIVERSE Brooks UGUST INNERSPACE #121 Joe Dante's fantastic voyage with Steven Spielberg 08 John Lithgow Peter Weller '71896H9112 1 ALIENS -v> The Motion Picture GROUP, ! CANNON INC.*sra ,GOLAN-GLOBUS..K?mEDWARO R. PRESSMAN FILM CORPORATION .GARY G0D0ARO™ DOLPH LUNOGREN • PRANK fANGELLA MASTERS OF THE UNIVERSE the MOTION ORE ™»COURTENEY COX • JAMES TOIKAN • CHRISTINA PICKLES,* MEG FOSTERS V "SBILL CONTIgS JULIE WEISS Z ANNE V. COATES, ACE. SK RICHARD EDLUND7K WILLIAM STOUT SMNIA BAER B EDWARD R PRESSMAN»™,„ ELLIOT SCHICK -S DAVID ODEll^MENAHEM GOUNJfOMM GLOBUS^TGARY GOODARD *B«xw*H<*-*mm i;-* poiBYsriniol CANNON HJ I COMING TO EARTH THIS AUGUST AUGUST 1987 NUMBER 121 THE SCIENCE FICTION UNIVERSE Christopher Reeve—Page 37 beJohn Uthgow—Page 16 Galaxy Rangers—Page 65 MEL BROOKS SPACEBALLS: THE DIRECTOR The master of genre spoofs cant even give the "Star wars" saga an even break Karen Allen—Page 23 Peter weller—Page 45 14 DAVID CERROLD'S GENERATIONS A view from the bridge at those 37 CHRISTOPHER REEVE who serve behind "Star Trek: The THE MAN INSIDE Next Generation" "SUPERMAN IV" 16 ACTING! GENIUS! in this fourth film flight, the Man JOHN LITHGOW! of Steel regains his humanity Planet 10's favorite loony is 45 PETER WELLER just wild about "Harry & the CODENAME: ROBOCOP Hendersons" The "Buckaroo Banzai" star strikes 20 OF SHARKS & "STAR TREK" back as a cyborg centurion in search of heart "Corbomite Maneuver" & a "Colossus" director Joseph 50 TRIBUTE Sargent puts the bite on Remembering Ray Bolger, "Jaws: -
Film Locations in San Francisco
Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros. -
The October Crisis, 1970
Oglethorpe Journal of Undergraduate Research Volume 2 | Issue 2 Article 3 August 2013 Lifting the Veil of Violence: The cO tober Crisis, 1970. Jef R. Palframan Oglethorpe University, [email protected] Follow this and additional works at: https://digitalcommons.kennesaw.edu/ojur Part of the Cultural History Commons, and the Political History Commons Recommended Citation Palframan, Jef R. (2013) "Lifting the Veil of Violence: The ctO ober Crisis, 1970.," Oglethorpe Journal of Undergraduate Research: Vol. 2 : Iss. 2 , Article 3. Available at: https://digitalcommons.kennesaw.edu/ojur/vol2/iss2/3 This Article is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Oglethorpe Journal of Undergraduate Research by an authorized editor of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. Lifting the Veil of Violence: The cO tober Crisis, 1970. Cover Page Footnote The uthora wishes to thank as participants of the Oglethorpe University Honors Program Dr. N. Maher, Dr. R. Bobroff, Dr. Wm. Smith, Dr. J. Lutz, Dr. C. Copeland, Dr. P. Kower, Dr. S. Shrikhande and Dr. M. Rulison for their professional and wholehearted support during this project. This work is dedicated to always faithful and dedicated Mrs. Krista Palframan. For further information and inquiries please contact the author at [email protected]. This article is available in Oglethorpe Journal of Undergraduate Research: https://digitalcommons.kennesaw.edu/ojur/vol2/iss2/3 Palframan: Lifting the Veil of Violence: The October Crisis, 1970. Introduction In October of 1970, Canada stood still as terror and civil unrest directly challenged the unity of the country. -
Reference Guide This List Is for Your Reference Only
REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA ACT OF THE HEART BLACKBIRD 1970 / Director-Writer: Paul Almond / 103 min / 2012 / Director-Writer: Jason Buxton / 103 min / English / PG English / 14A A deeply religious woman’s piety is tested when a Sean (Connor Jessup), a socially isolated and bullied teenage charismatic Augustinian monk becomes the guest conductor goth, is falsely accused of plotting a school shooting and in her church choir. Starring Geneviève Bujold and Donald struggles against a justice system that is stacked against him. Sutherland. BLACK COP ADORATION ADORATION 2017 / Director-Writer: Cory Bowles / 91 min / English / 14A 2008 / Director-Writer: Atom Egoyan / 100 min / English / 14A A black police officer is pushed to the edge, taking his For his French assignment, a high school student weaves frustrations out on the privileged community he’s sworn to his family history into a news story involving terrorism and protect. The film won 10 awards at film festivals around the invites an Internet audience in on the resulting controversy. world, and the John Dunning Discovery Award at the CSAs. With Scott Speedman, Arsinée Khanjian and Rachel Blanchard. CAST NO SHADOW 2014 / Director: Christian Sparkes / Writer: Joel Thomas ANGELIQUE’S ISLE Hynes / 85 min / English / PG 2018 / Directors: Michelle Derosier (Anishinaabe), Marie- In rural Newfoundland, 13-year-old Jude Traynor (Percy BEEBA BOYS Hélène Cousineau / Writer: James R. -
Family & Domesticity in the Films of Steven Spielberg
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Why Did I Marry A Sentimentalist?: Family & Domesticity in the Films of Steven Spielberg Emmet Dotan Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Other Film and Media Studies Commons, and the Theory and Criticism Commons This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation Dotan, Emmet, "Why Did I Marry A Sentimentalist?: Family & Domesticity in the Films of Steven Spielberg" (2017). Senior Projects Spring 2017. 232. https://digitalcommons.bard.edu/senproj_s2017/232 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Why Did I Marry A Sentimentalist?: Family & Domesticity in the Films of Steven Spielberg Senior Project Submitted to The Division of Arts of Bard College by Emmet Dotan Annandale-on-Hudson, New York May 2017 Acknowledgements I want to thank my advisor, Ed Halter, for pushing me to understand why I love the films that I love. I would also like to thank Natan Dotan for always reminding me why I do what I do. -
Matthew Weisman 14527 Dickens Street Sherman Oaks, CA 91 403
Y LIBRARY OF CONGRESS L MAR 15 ?993 Greg Lucc MOTION P.ICTURE, BROADCASTING RECORW) SOUW 91VlS!C)N Committee for Film Preservation and Public Access 2747 Shannesy Drive Medford, Oregon 97504 Dear Greg; I have been a staunch supporter of our committee's work toward film preservation through copyright reform and I thought I was fairly sophistlcated as to the issues involved. The motion picture has been validated as the art form of the century. The long neglected issue of film preservatfon has been finally giver1 some acceptance (though we all know more work is needed). However, your recent statement, 'Preservation Without Access is Pointless' was a true eye opener. As you know. I am a major film buff. It amazes me to think that so many of the works which I had assumed were 'lost' either by negligence or indifference were in fact sitting in vaults, properly preserved - at the expense of, well -- a of us. This should be good news. But. it is very bad news when we realize that the original owners, (many of whom are 'lost' themselves or could care less) still have the final say as to when or even if these films will ever be made available to the It seems clear enough. If the public has to bear the expense or preserving these films, many of whfch are in the public domain or will soon be. shouldn't the public be given an opportunity to have reasonable access to them? Since the original owners have in effect abandoned these works, then shouldn't entrepreneurial types, who are willrng to bear the expense, have these materials made available in order to release these tltles, especially to video7 The issue seems bogged down by laws which were created before the realities of the electronic revolution. -
5. David Hanley – Conceptualizing Quebec Cinema
Conceptualizing Quebec National Cinema: Denys Arcand’s Cycle of Post-Referendum Films as Case Study By David Hanley ver the past half century, Quebec cinema has grown from small beginnings into an industry that regularly produces feature films that win critical Orecognition and festival prizes around the globe. At the same time, it is one of the few places in the world where local products can occasionally outdraw Hollywood blockbusters at the box office. This essay analyzes the Quebec film industry, examines what types of films it produces and for what audiences, and explores the different ways domestic and international audiences understand its films. The pioneer figure in introducing Quebec cinema to mainstream audiences beyond the province is writer- director Denys Arcand. His cycle of films dealing with the failure of his generation to achieve independence for Quebec offers both a paradigm of a type of film newly important to the Quebec industry, and a case study in explaining how and why certain films cross borders into foreign markets. Of particular interest in this essay are Arcand’s Le déclin de l’empire américain (1986), Jésus de Montréal (1989) and Les invasions barbares (2003), all of which had successful commercial releases in international markets, including the United States, a rare occurrence for a Quebec film. One reason this international popularity is of interest is that the films’ politics, central to their narratives, were and are controversial in Quebec. However, this political aspect is largely invisible to non-Quebec audiences, who appreciate the films for their other qualities, a tendency that can be seen in a handful of recent Quebec films that have also received international commercial distribution. -
The Film-Work of Norman Mclaren in the Context of His Objectives
The Film-Work Norman McLaren Terence Dobson A thesis submitted in accordance with the requirements for the Degree of Doctor of Philosophy in the University of Canterbury University of Canterbury 1994 Contents page Abstract iii List of Illustrations iv Preface v Introduction vii Part One Chapter One An Informative Drawing 1 Chapter Two The Early Years 23 Chapter Three McLaren at the G PO Film Unit 57 Part Two Chapter Four New York Interlude 103 Chapter Five Canada 128 Part Three Chapter Six Technical Processes 170 Chapter Seven Confluence and Conflict in Synchromy 197 Chapter Eight Venus and Mars 218 Conclusion 237 Chronology 248 Bibliography 249 Interviews, Films and Recordings 281 ill Abstract This thesis examines the film-work of Norman Mclaren in the context of his objectives. The thesis is divided into three parts, based on chronological divisions in McLaren's life. The first part deals with McLaren's formative years in Scotland and England and examines his early exposure to the social, artistic and institutional influences that were to shape his filmic output. The second part deals with Mclaren's maturation in the USA and Canada. His reaction to the contrasting working environment he found in each of the two countries is examined. In order to show McLaren's development more clearly, both parts one and two are based on a chronological sequencing. The third part of the thesis examines specific issues in relation to Mclaren and his work and as such is concerned principally with his mature output. McLaren's films contain incongruities, conflicts and apparent inconsistencies. -
Robin Spry :A %
breaking by Joan Irving loose robin spry :A %_# A full five months after its critical success at the Cannes Film Festival, One Man has yet to move itself through the heavy bureau cracy at the National Film Boafw of Canada and into the waiting arms of a distributor. Meanwhile, Robin Spry, its director, has seen the film play in France and Australia, in Ottawa, Montreal and Toronto. And al ways in film festivals. He talks with Joan Irving. I don't imagine I have to introduce Robin Spry or his films them elsewhere. But I'd like to stay at the Board. My ideal to readers of Cinema Canada. Though it probably is true existence would be to stay there and continue to make low that his work is more highly critically esteemed outside of budget socially oriented feature films. I don't want to make the country than in, Spry's early feature films Prologue and massive commercial Hollywood glamour movies at all. Action reached large Canadian audiences through theatrical and television release. Early indications (to quote Spry, the There is a lot of activity in Canada now with big budget "embarassingly positive" reviews, largely from foreign productions but it seems to be difficult to get low budget critics, including the nod from Variety which called it "a features under way. Do you feel the low budget feature is winning tale that could easily make its way on TV and thea viable? trical play-off") augur well for a wider than ever audience At a commercial level, nine times out of ten, it may be for his new feature One Man.