Kubrickian.Org and Scott Sheckman No Reprinting Without Permission

Total Page:16

File Type:pdf, Size:1020Kb

Kubrickian.Org and Scott Sheckman No Reprinting Without Permission All Content Copyright Kubrickian.org and Scott Sheckman No reprinting without permission. Thank you. All inquires, please contact [email protected] or USA-310-741-7617 In the Year 2014: “2001: A Space Odyssey” is a Hit with Males of All Ages By Scott Sheckman Founder/Webmaster – Kubrickian.org December 2014 On November 1, 2014, I had the very rare pleasure of seeing “2001: A Space Odyssey” via a new 70mm film print at the opening weekend of the Kubrick Exhibit at the world-famous TIFF building in Toronto. I attended the screening with my father from South Jersey, coincidentally named Stanley, who just turned 70 and traveled with me to Canada for the special events. While not as obsessed as myself with Kubrick’s full body of work, my dad is a card-carrying Kubrick fan dating back to “Dr. Strangelove”. Viewing 2001 with us was a packed theater, predominately males, most appearing under 55. The screening was significantly enhanced with the live appearance and candid confessions of 2001’s aging stars Keir Dullea and Gary Lockwood, who later provided autographs for those who braved the barriers to entry. The night before, we saw a big-screen digital projection of “The Shining” featuring a brief interview with Kubrick’s longtime Executive Producer and Brother-in-Law, Jan Harlan, who later co-introduced a 35mm screening of Kubrick’s last film,“Eyes Wide Shut”, with his sister and Kubrick’s widow, Christiane. I had a chance to briefly meet Jan Harlan and ask a couple of key questions which I hope to address in a future feature-length story at Kubrickian.org – stay tuned! TIFF’s Director with Dullea & Lockwoood before 2001 via 70mm Christiane Kubrick & Jan Harlan on stage before EWS via 35mm I’m detailing the projection format (70mm, 35mm, Digital Projection) because I feel it is important to note that most major cinemas have practically retired their classic 35mm/70mm film projectors, and are quickly becoming 100% digital projection thanks to wide-scale industry and audience adoption. It’s actually difficult to experience a film via 35mm projection these days unless it’s being shown at a small revival or art theater. Imax 70mm still has some legs, but 4k Digital is leading traditional film projection towards functional obsolesces. While digital projection seems superior in almost everyway compared to relatively fragile and bulky physical film, there’s a growing mound of evidence that seems to indicate that the human eyes and brain see digital and film projection distinctly differently, even to the point of affecting brain wave activity – i.e. according to some papers I’ve read, viewing a movie via 24fps flash-frame film, even an old/dirty print, is more mentally and emotional engaging than digital’s reception, which is more akin to watching interlaced moving images on a home video monitor, a facsimile of sorts, especially if the original content was recorded with analog/chemical physical film. More reading is available on the internet, and check out Quentin Taratino’s POV – hint, he’s not digging digital exhibition, like a number of purists and cinema lovers. But as with recorded music for over 30 years, Cinema is being forced to get with the digital distribution/exhibit paradigm. Fortunately, At TIFF: Huge model of 2001’s Discovery spaceship physical projection film can enjoy a long shelf-life, if stored correctly. Now that the technical stuff is out of the way, I’ll try to focus on the heart of the matter – how was a 70mm film projection of 2001 received by a pair of related men (47 and 70 years of age) in November 2014? In short – SPECTACULARLY! Jan Harlan and the 2001 stars mentioned that 2001 was literally saved in the late 1960’s by males under 30 year of age – it was rated “G”, then and now. In other words, late 1960’s boys and young men generated enough box-office to make most 2001 investors happy, including Kubrick, after a very rocky and unsure start including premiere walk-outs and mixed critical reviews. My dad, 24 years old in 1968, seemed like he was right back there, returning to the best theater in town to see 2001 before it left the visual landscape for a long while, which at that time, could be several years. I asked Dullea and Lockwood if they realized 2001 was going to be a cinema masterpiece upon release – they said with honest surety that they had no doubts – they knew Kubrick was a unique and gifted cinematic genius before they even met him in the mid 1960’s. I’ve seen 2001 probably 21 times on some kind of home monitor and DLP projector, but I have no memory of seeing it via physical film before this Nov. 2014 screening. So one of the things I could easily do while viewing was measure my engagement and enlightenment by seeing 2001 the way Kubrick originally intended - the way millions of people have seen the film in the “old days” when theatrical first runs lasted months and revivals were something to celebrate/attend - before home video characteristically changed the way we consume movies in the 21st Century. Experiencing 2001 via 70mm film (according to TIFF - a costly and new prime edition print) was like seeing a famous painting up-close-and-personal in a museum, when the best I could do prior was look at a picture in a book or the internet. With TIFF’s big screen, I could clearly see the brush strokes, study the paint and choices. I could hear the music in a large hall, practically a live orchestra. Beyond the authentic spectacle of experiencing 2001 similar to audiences in 1968, I don’t want to dive into the deep layers and meanings. All I can say is Kubrick was oh-so-good at including everything we need and should want to know about mankind and the great unknown, as a boy, 2001 was fascinating to view repeatedly on crappy low-resolution home video dating back to the 1970’s. As the years went by and home video improved to standardized 1080HD, privately viewing 2001 at home has becomes more enjoyable by default. Each HD viewing is an opportunity to see, hear or realize something new, something you didn’t catch before, maybe due to just getting older and wiser, or more observant. My longtime conclusion, with help of infinite professional references dating back to 1970, is that Kubrick was allowed to be liberally experimental with the making of 2001 – so much so, that the film is still one of the most sophisticated sci-fi dramas created, and it transcends that genre in almost every imaginable way. In short, it’s a lasting masterpiece example of film art, practically without peer – a must see for everyone who has enjoyed the fruits of Kubrick’s pioneering work, such as the Space and Sci-Fi epics of the late 20th Century (e.g. Star Wars). 2001’s vanguard narrative and subtext structure is still something most directors dream of achieving, but it seems Kubrick was always trying to top himself, even at the end of his life/career. Seeing 2001 on modern home video is perfectly fine, but seeing it on 70mm film is absolutely required reading for those who are serious about experiencing Kubrick’s art to the fullest extent. Considering that 2001 features only a handful of minor female characters and contains a significant amount of male-male interaction and violence, it’s not surprising to learn that young males “saved” 2001 in the late 1960’s, some who continue to carry the torch. Of course, females greatly appreciate 2001 – As Kubrick possibly intended, perhaps females see his film art distinctly differently? I feel compelled to note that late 2014 also saw the initial release of Christopher Nolan’s epic “Interstellar”. I’ve seen Interstellar twice since its release, both times via digital projection - IMAX and average screen. Coincidentally, 2001 was widely re-released in the UK in late 2014, and in some multi-plex theaters, British moviegoers had the choice between seeing Interstellar and/or 2001, like any modern competing release period. I enjoyed Interstellar for the most part, especially its many obvious visual and audio nods to the Space Race, Climate/Political Change, Popular Physics, and Kubrick’s influence on Cinema and perhaps mainstream culture…but I think two viewings will be all I’ll give Nolan’s film until it’s on cable. While both films are big-budget thought- provoking visual spectacles, unlike 2001, Interstellar is heavily dependent on audio 2001 & Interstellar Wheel Ships Compared – either dialogue and/or scored cue music, providing information for story and/or reason to be emotional. By comparison, Kubrick uses music in 2001 sparingly and strategically – mainly stand-alone orchestra pieces created before the film, and the scant dialogue is legendary. In short, the films share similarities and qualities, especially lessons to be learned from seemingly invisible higher beings hanging out near the edge of our solar system, but Interstellar did not grab me as an definitive art-film circa December 2014, despite it’s artistically abstract CGI. However, it is surely Nolan’s homage to 2001 and its heart, and only time will tell if Interstellar is an important film worth re-watching repeatedly over the years, a label that 2001 has hard-earned over the decades. Moreover, will Interstellar find new audiences in the years ahead, especially young Americans who will no doubt first see it on home video? We’ll just have to wait and see.
Recommended publications
  • 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.
    [Show full text]
  • Connecticut Daily Campus ! Sewing Storrs Since 1896
    Phone Your WHUS Marathon Requests Today'8 I Connecticut Daily Campus ! Sewing Storrs Since 1896 VOL. CXVI NO. 113 STORRS, CONNECTICUT TUESDAY. APRIL 23. 1963 Communist Leader To Lecture On Communist Viewpoint In colleges all over the country payments increased only 10%. l significant in the will to act for many students have come to hear During this [>eriod economic stag-: peace. tlie views expressed by Commun- nation sot in" Mr. Johnson dis- He attacks the war attitudes ists. (Jus Hall, Benjamin Davis. cusses a tax program for this of the sects and local churches be- James Jackson, Elizabeth Flynn. session of Congress, financing a longing to the John Birch Society, Arnold Johnson, Carl Winter and tax cut. closing loopholes for cor- the Christian Crusade again-.! other spokesmen for the Com- poration tax evasion, reducing Communism and other reaction- munist Parly have spoken to armament Spending, and the eco- ary organizations. He believes overt'lowing crowds at Yale, Har- nomics of a new tax cut. 'thai the majority of Americans vard, Virginia University, Colby, Thermonuclear Suicide? want peace. The problem lies in and other colleges. Tonight at Mr. Johnson also raises the lack of expression through the 7:45, in the HUB Ballroom, the question along with millions of present organized peace nv» e- • ISO will present Mr. Arnold Americans. "What does it take ! ment. Peace is a political affair Johnson, speaking on Uie "Com- to prevent thermonuclear sui- and leaving the demand for pe l ■ munist Viewpoint." cide?" "As part of tiie struggle in a minority protest movement, 'Second String' Leader for peaceful co-existence and in as the peace movement is today, At present Mr.
    [Show full text]
  • Watanabe Conducts Symphony Orchestra
    THE PRESS Sunday, August 4, ftof Page A-8 Steel Hour Stars Stock Market Analysis Today Based*upon the A. B. Gu- of a group of settlers heading An analysis of the stock therie, Jr's novel, KHJ-TV for the Blackfoot Indian coun­ market, entitled "Up and Up proudly presents the "Big try via keelboats. It Goes," will be presented Henny Youngman Sky," on its Theater Nine pre­ "The Big Sky" points up ivhen "Open End" screens to­ sentation of Sunday, August by the day, August 6, 0:30- p.m., 6th starting at 7:30 p.m. the hardships endured they strove to find Channel Eleven. The big outdoor western, settlers as Portrait of Joining host - moderator set during the 1830's. stars a new and better home in the David Susskinci at the round Kirk Douglas, Dewey Martin vast unsettled and unexplored table will be: Gerald Loeb, and Elizabeth Threa'tt. section of the a Skidding senior partner, E. F. Hutton northwest It tells 1hn rioitmant slorv Fnilod States. and Co. Robert Bleibert. editor, Comic Slated Barrons Weekly. E. B. Burr, "The Golden Thirty," a executive vice president, One caring portrait of a comedian William Street Fund. whose career is on the skids, Luttrell Maclin, partner, will star Henny Youngman, Paine, Webber, Jackson and on the U. S. Steel Hour, Wed­ Curtis. nesday, August 9, at 10 p.m., Marvin Carton, executive PDT, via channel 2. Also star­ associate, Alien and Co. Lu- ring Keir Dullea and Nancy cien Hooper, investments Kovack, the teleplay, to be analyst and director of re­ seen "live," was written by search, W.
    [Show full text]
  • An Interview with Fred Hellerman Part II May 26, 2016 in This Interview Fred Is Joined by His Wife, Susan Lardner. Ken Edgar
    An Interview with Fred Hellerman Part II May 26, 2016 In this interview Fred is joined by his wife, Susan Lardner. Ken Edgar: We are now back in Fred Hellerman's living room and we're continuing our conversation with Fred. We are joined today by Susan Lardner, Fred’s wife, who herself has a very interesting background and career. Together they are going to help us remember their lives in Weston, starting in around 1970. Susan, welcome to the show. When we last left our story we had talked about your arrival in Weston and how Harold Leventhal, the Weaver's manager, had purchased a home near Cobb's Mill and was influential in bringing you up here. As a result, you became interested in Weston and eventually bought the house in which we are sitting today. Susan: I checked with one of Harold's daughters and found out that he had bought his house in 1968 and Fred bought this house in 1969. Although Fred had been up here before visiting other people, he had not been in the house purchasing business. Fred Hellerman: Yeah, coming up there for a weekend. I just fell in love with that immediately. It was a very important place for me. Ken: In the summer of 1970, you two were married right here on this property. Fred: From here, yeah, at this house. Susan: Under the tree, by Euclid Shook. [A Weston artist a justice of the peace. –ed.] Ken: The New York Times did a very interesting description of your wedding.
    [Show full text]
  • Widescreen Weekend 2010 Brochure (PDF)
    52 widescreen weekend widescreen weekend 53 2001: A SPACE ODYSSEY (70MM) REMASTERING A WIDESCREEN CLASSIC: Saturday 27 March, Pictureville Cinema WINDJAMMER GETS A MAJOR FACELIFT Dir. Stanley Kubrick GB/USA 1968 149 mins plus intermission (U) Saturday 27 March, Pictureville Cinema WIDESCREEN Keir Dullea, Gary Lockwood, William Sylvester, Leonard Rossiter, Ed Presented by David Strohmaier and Randy Gitsch Bishop and Douglas Rain as Hal The producer and director team behind Cinerama Adventure offer WEEKEND During the stone age, a mysterious black monolith of alien origination a fascinating behind-the-scenes look at how the Cinemiracle epic, influences the birth of intelligence amongst mankind. Thousands Now in its 17th year, the Widescreen Weekend Windjammer, was restored for High Definition. Several new and of years later scientists discover the monolith hidden on the moon continues to welcome all those fans of large format and innovative software restoration techniques were employed and the re- which subsequently lures them on a dangerous mission to Mars... widescreen films – CinemaScope, VistaVision, 70mm, mastering and preservation process has been documented in HD video. Regarded as one of the milestones in science-fiction filmmaking, Cinerama and IMAX – and presents an array of past A brief question and answer session will follow this event. Stanley Kubrick’s 2001: A Space Odyssey not only fascinated audiences classics from the vaults of the National Media Museum. This event is enerously sponsored by Cinerama, Inc., all around the world but also left many puzzled during its initial A weekend to wallow in the nostalgic best of cinema. release. More than four decades later it has lost none of its impact.
    [Show full text]
  • Theodore Isaac Rubin Is Dead at 95; Popularized Psychotherapy
    SUBSCRIBE LOG IN Theodore Isaac Rubin Is Dead at 95; Popularized Psychotherapy Dr. Theodore Rubin in the late 1970s. A psychiatrist who spent most of his career in private practice in Manhattan, he also wrote some 30 books and often appeared on television to discuss mental health, therapy and people’s daily emotional struggles. via Rubin Family By Benedict Carey Feb. 20, 2019 Theodore Isaac Rubin, a psychoanalyst and writer whose short novel “Lisa and David,” about two teenagers finding love at a therapeutic school, was made into an Academy Award-nominated movie, and who became the public face of psychotherapy in postwar American popular culture, died on Saturday at a hospice in Manhattan. He was 95. His son Dr. Jeffrey Rubin confirmed the death. Dr. Rubin, a psychiatrist who spent most of his long career in private practice in Manhattan, was a young analyst in the late 1950s when he found his literary calling — writing a novella, “Jordi,” about a troubled boy. The character was based in part on a child who was being assisted by his wife, a special-education teacher. He followed that book with “Lisa and David,” which examined the inner lives of two young people with severe mental distress. “Lisa and David” was made into the popular 1962 movie “David and Lisa,” directed by Frank Perry and starring Keir Dullea and Janet Margolin, with Howard Da Silva as a psychiatrist. (The two names were switched to avoid confusion with another movie of the time called simply “Lisa.”) Mr. Perry was nominated for an Oscar as best director.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • Reminder List of Productions Eligible for the 88Th Academy Awards
    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 88TH ACADEMY AWARDS ADULT BEGINNERS Actors: Nick Kroll. Bobby Cannavale. Matthew Paddock. Caleb Paddock. Joel McHale. Jason Mantzoukas. Mike Birbiglia. Bobby Moynihan. Actresses: Rose Byrne. Jane Krakowski. AFTER WORDS Actors: Óscar Jaenada. Actresses: Marcia Gay Harden. Jenna Ortega. THE AGE OF ADALINE Actors: Michiel Huisman. Harrison Ford. Actresses: Blake Lively. Kathy Baker. Ellen Burstyn. ALLELUIA Actors: Laurent Lucas. Actresses: Lola Dueñas. ALOFT Actors: Cillian Murphy. Zen McGrath. Winta McGrath. Peter McRobbie. Ian Tracey. William Shimell. Andy Murray. Actresses: Jennifer Connelly. Mélanie Laurent. Oona Chaplin. ALOHA Actors: Bradley Cooper. Bill Murray. John Krasinski. Danny McBride. Alec Baldwin. Bill Camp. Actresses: Emma Stone. Rachel McAdams. ALTERED MINDS Actors: Judd Hirsch. Ryan O'Nan. C. S. Lee. Joseph Lyle Taylor. Actresses: Caroline Lagerfelt. Jaime Ray Newman. ALVIN AND THE CHIPMUNKS: THE ROAD CHIP Actors: Jason Lee. Tony Hale. Josh Green. Flula Borg. Eddie Steeples. Justin Long. Matthew Gray Gubler. Jesse McCartney. José D. Xuconoxtli, Jr.. Actresses: Kimberly Williams-Paisley. Bella Thorne. Uzo Aduba. Retta. Kaley Cuoco. Anna Faris. Christina Applegate. Jennifer Coolidge. Jesica Ahlberg. Denitra Isler. 88th Academy Awards Page 1 of 32 AMERICAN ULTRA Actors: Jesse Eisenberg. Topher Grace. Walton Goggins. John Leguizamo. Bill Pullman. Tony Hale. Actresses: Kristen Stewart. Connie Britton. AMY ANOMALISA Actors: Tom Noonan. David Thewlis. Actresses: Jennifer Jason Leigh. ANT-MAN Actors: Paul Rudd. Corey Stoll. Bobby Cannavale. Michael Peña. Tip "T.I." Harris. Anthony Mackie. Wood Harris. David Dastmalchian. Martin Donovan. Michael Douglas. Actresses: Evangeline Lilly. Judy Greer. Abby Ryder Fortson. Hayley Atwell. ARDOR Actors: Gael García Bernal. Claudio Tolcachir.
    [Show full text]
  • Stanley Kubrick at the Interface of Film and Television
    Essais Revue interdisciplinaire d’Humanités Hors-série 4 | 2018 Stanley Kubrick Stanley Kubrick at the Interface of film and television Matthew Melia Electronic version URL: http://journals.openedition.org/essais/646 DOI: 10.4000/essais.646 ISSN: 2276-0970 Publisher École doctorale Montaigne Humanités Printed version Date of publication: 1 July 2018 Number of pages: 195-219 ISBN: 979-10-97024-04-8 ISSN: 2417-4211 Electronic reference Matthew Melia, « Stanley Kubrick at the Interface of film and television », Essais [Online], Hors-série 4 | 2018, Online since 01 December 2019, connection on 16 December 2019. URL : http:// journals.openedition.org/essais/646 ; DOI : 10.4000/essais.646 Essais Stanley Kubrick at the Interface of film and television Matthew Melia During his keynote address at the 2016 conference Stanley Kubrick: A Retrospective1 Jan Harlan2 announced that Napoleon, Kubrick’s great unrea- lised project3 would finally be produced, as a HBO TV mini-series, directed by Cary Fukunaga (True Detective, HBO) and executively produced by Steven Spielberg. He also suggested that had Kubrick survived into the 21st century he would not only have chosen TV as a medium to work in, he would also have contributed to the contemporary post-millennium zeitgeist of cinematic TV drama. There has been little news on the development of the project since and we are left to speculate how this cinematic spectacle eventually may (or may not) turn out on the “small screen”. Alison Castle’s monolithic edited collection of research and production material surrounding Napoleon4 gives some idea of the scale, ambition and problematic nature of re-purposing such a momen- tous project for television.
    [Show full text]
  • Variety Club International Valenti Dinner, January 16, 1968
    I Tuesday Evening January 16, 196S DAIS A (in order of seating) REV. JOHN M. CULKIN SCHUYLER CHAPIN JAMES F. GOULD ARTHUR TOLCHIN JEAN GOLDWURM MYRNA LOY H.H, MARTIN STANLEY ADAMS RODDY MC.DOWALL LEONARD GRUENBERG ARLENE FRANCIS MARTIN GABEL EUGENE PICKER IRVING DOLLINGER SALAH M. HASSANEIN SAMUEL SCHULMAN BERNARD MYERSON GEORGE STEVENS, JR. HERMIONE GINGOLD SAMUEL H. CLARK FREDERICK O'NEAL RALPH HETZEL DAIS B (in order of seating) ROGER VI. HURLOCK BURTON ROBBINS WALTER D. SCOTT S. H. FABIAN JAMES H. NICHOLSON JOSEPH M. SUGAR ELIOT HYMAN SPYROS P. SKOURAS SHERRILL C. CORWIN LEW R. WASSERMAN CHARLES G. BLUHDORN ARTHUR B. KRIM ROBERT H. O'BRIEN JACK J. VALENTI LOUIS NIZER RALPH PRIES JULIAN RIFKIN LEONARD H. GOLDENSON ABE LASTFOGEL JOSEPH E. LEVINE ANNA ROSENBERG HOFFMAN ROBERTS. BZNJAMIN JACK L. WARNER BARNEY BALABAN EDWIN L. WEISL RICHARD F. WALSH EMANUEL L. WOLF DAIS C (in order of seating) MANUEL A. CASIANO, JR. NAT NATHANSON FIELDER COOK KEIR DULLEA SEYMOUR POE SIMON SIEGEL VIRGIL GLADIEUX LEONARD C. LANE WILLIAM FORMAN DAVID N. JUDELSON OTTO PREMINGER CHARLES C. TILLINGHAST MO ROTHMAN HENRY FONDA EUGENE V. KLEIN GENE SAKS MARTIN DAVIS DUSTIN HOFFMAN MATTHEW POLON BENJAMIN MELNIKER GODREY CAMBRIDGE RICHARD BERLIN THOMAS MOORE MARTIN ACKERMAN T:C:RRY SAUl\TDERS REV. PATRICK J. SULLIVAN • Name Name Table A Abbott, Roy 16 Casiano, Mrs. Manuel A. 57 ABC Consolidated Corp 18 Cassar, Anthony 64 Ackerman, Martin Dais Century Theatres 42 Ackerman, ~~s. Martin 41 Chaiken, Howard 64 Adams, Stanley Dais Chapin, Schuyler Dais AGFA-Gevaert, Inc. 65 Chiocco, Louis 51 Alicoate, Charles 20 Cinerama, Inc.
    [Show full text]
  • Pinewood Studios Freelancer
    Anthony Waye – Film credits Pinewood Studios Started in Mail room at Pinewood Studios 5th July 1954 - £38.3 per week Rank Organisation – 3rd assistant on Sink the Bismarc, Singer not the Song, North West Frontier. 1st assistant on Twice round the Daffodils, Dr at Sea, Carry on Jack, Wild and the Willing, Life for Ruth, On the Beat. Made redundant from Pinewood 27th March 1964 Freelancer Kings Story -9 July 1964 – Harry Booth – Oscar nominated I’ve Gotta Horse 26 Aug 64– Ken Hume – Billy Fury, Amanda Barry Be my Guest - 9 Nov 64 – Lance Comfort The Skull - 15 Dec 64– Freddie Francis – Peter Cushing, Jill Bennett. Dr Who & the Daleks - 8 Feb 1965 – Gordon Flemyng- Peter Cushing, Roy Castle. Early Bird - 26 Apr 65 – Bob Asher – Norman Wisdom *The Treasure of St Trinians - 29 Sept 65 The Deadly Bees - 17 Nov 65 – Freddie Francis Daleks Invade Earth – 24 Jan 1966 - Gordon Flemyng – Peter Cushing, Bernie Cribbens. Marat Sade - 22 Apr 1966 – Peter Brooks – Patrick Mcgee, Glenda Jackson The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade *Day of the Champion 26 May 66 Sumuru – Fu Man Chu - 2 Jul 66 – Jeremy Saunders – Christopher Lee, Douglas Wilmer Five Golden Dragons – 13 Jan 1967- J Saunders – Bob Cummings, Rupert Davies, Brian Donleavy, Dan Duryea, George Raft – A Peter Snell film Attack on the Iron Coast - 17 Mar 67 – Paul Wendkoss – Lloyd Bridges, Sue Lloyd Submarine X1 - William Graham – James Caan * Decline & Fall - 26 Oct Where Eagles Dare 8 Dec 67 – Yakima Canutt – Richard Burton, Clint Eastwood, Mary Ure Mosquito Squadron - 6 May 1968 – Boris Sagal – David Mc Callum Hell Boats -25 Jul 68 – Paul Wendkoss – James Franciscus The Wrong Mountain 28 Dec 68 The Last Grenade - 14 Mar1969 – Gordon Flemyng – Stanley Baker, Richard Attenborough, Honor Blackman.
    [Show full text]
  • Jasmine Guy Starring In
    JASMINE GUY STARRING IN FEATURING THE AVERY SHARPE TRIO Inspired by the classic 1923 novel "Cane" by Jean Toomer and works by other artists of the Harlem Renaissance WITH AVERY SHARPE, DIANE MONROE AND KEVIN SHARPE WRITTEN AND CONCEIVED BY HARRY CLARK ADAPTATION BY JASMINE GUY MUSIC COMPOSED AND ARRANGED BY AVERY SHARPE Friday, October 17, 2014 BAYLIN ARTISTS MANAGEMENT i Support for this program is provided by: Notional Endowment First Midwest Bank far Itw Aits BANK WITH MOMENTUM; /tMIDWESoT It was an exceptional time. It was our time. Raisin Cane Credits-Poems/Short Story Excerpts/Music 1920s. Harlem, New York, USA. POEMS/SHORT STORIES Gwendolyn Bennett To Usward (1924) In the American Black community, during the years leading up to the Harlem Renaissance, Gwendolyn Bennett Hatred (1926) there was a sense of building artistic expression. Outlets and avenues for its poets, mu- Countee Cullen Nothing Endures (1929) sicians, novelists, artists, and actors were few. But in 1918, as the first great World War Georgia Douglas I Want to Die While You Love Me (1928) concluded and thousands of African-American soldiers returned home victorious, this Langston Hughes Goodbye Christ (1932) Langston Hughes The Negro Speaks of Rivers, (1921) mountain of artistic expression was now ready to explode. Langston Hughes I, Too (1925) James Weldon Johnson 0 Southland (1922) The words and thoughts of Langston Hughes, Countee Cullen, Zora Neale Hurston, W.E.B. Claude McKay If We Must Die (1919) Dubois and many others, became the voice of a new generation of African-Americans Claude McKay The Tropics in New York (1920) Jean Toomer Kabnis, Cane, (1923) who were looking forward but still struggling with the past and present.
    [Show full text]