DOCSLIB.ORG

How Often Do We As Artists Get the Opportunity

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
How Often Do We As Artists Get the Opportunity “How often do we as artists get the opportunity to speak directly to our audience at the very moment that they are personally experiencing exactly what the author is writing about?” Orson Welles to John Houseman in the WAR OF THE WELL(e)S IF you were listening to the radio on October 30, 1938 anywhere in America you didn’t need to wait for Halloween to instill fear and uncertainty into your life. With Hitler’s early bloodthirst as a harbinger of World War II, many Americans were primed for the un- imaginable to become the new reality; the invisible to become the unforgettably visible. Add to this the understanding that aside from some standard tabloid hyperbole at this time, there was no reason to believe that news was overly manipulative or wholeheartedly fake, and you have the perfect storm for a bit of infamous national hysteria. Michael Weber’s play, originally written for the stage and now presented in the medium that further ignites our imaginations while paying homage to the creative process that generated a sensation, invites us to consider Welles as the ultimate provocateur. With German submarines spotted off the Mid-Atlantic coast, the idea of testing society’s potential reaction to the frightening possibility of sinister aliens crossing global borders from Mexico, I mean Mars, didn’t seem at all far-fetched to Welles. Or perhaps only as far-fetched as believing that a global pandemic could arrive at our doorsteps in 2020 accompanied by the same familiar human reactions Americans experienced in 1938. Whether driven by the 23 year old ego of a genius artist or the conscious act of a social scientist’s media experiment or both, Welles challenges his artistic partner John Houseman and us with the eternally relevant, infinitely applicable and always un-answered question: “When it’s over, win or loose, is it back to business as usual or for once in our lives do we actually, oh, I don’t know, learn from the past?”. Thanks for listening. Larry THE STAKEHOLDERS ORSON WELLES JOHN HOUSEMAN HOWARD KOCH JONATHAN WAGNER TOM HICKEY TRAVIS KNIGHT At age twenty one, before he was widely ac- The Romanian-born British-American actor was As the gifted new writer joining the Mercury The- knowledged as one of the greatest filmmakers of initially a producer of theatre, film, and television atre Radio Ensemble in 1938, Howard Koch was all time, Orson Welles co-founded the Mercury and best known early on for his rule breaking tasked by Houseman and Welles with the mammoth Theatre with Producer John Houseman in 1937. collaborations with Orson Welles as director on challenge of adapting H.G. Wells’ The War of the Following a string of successful ground-breaking such controversial and successful productions as Worlds. Originally set in 1897 England, he trans- Broadway productions, the Mercury produced Macbeth (also known as Voodoo Macbeth fea- formed the book into a contemporary late breaking one if its most infamous productions with an ad- turing an all black cast in Harlem) and The Cra- news bulletin format with a first person singular aptation of H.G. Wells’ The War of the Worlds, dle Will Rock (which was notoriously threatened perspective in less than a week. Three days in, with which Welles had envisioned in a format of by government censorship). Welles in absentia (he was doing all nighters working breaking news occurring in real time. Houseman, who is fondly remembered as an on Broadway’s Danton’s Death) Koch had confided The production would throw Welles into the cen- actor for his portrayal of Professor Charles W. in Houseman as producer that he could not execute ter of a great national controversy while catapult- Kingsfield inThe Paper Chase, played many the adaptation. Houseman insisted Koch continue ing him even further into his prowess as a rising roles in his life but as he shared in his 1972 collaborating with himself and Paul Stewart only star of media. Although he would later hint that memoir, Run-Through , one of his biggest com- to arrive with a draft that most in the ensemble felt the production’s manipulation was not complete- mitments was “on a partnership with a 20-year- would be a complete disaster. Following his work ly unintentional, at the time Welles sheepishly old boy in whose talent I had unquestioning with the Mercury, Koch became a successful screen- told the press: “If I’d planned to wreck my ca- faith but with whom I must increasingly play the writer (Casablanca) and wrote a play about his radio reer, I couldn’t have gone about it better.” combined and tricky roles of producer, censor, experience Invasion from Mars later adapted for the adviser, impresario, father, older brother and TV movie, The Night that Panicked America. bosom friend.” THE MERCURY THEATRE ENSEMBLE KENNY DELMAR PAUL STEWART ORA NICHOLS RAY COLLINS FRANK READICK LANCE BAKER JEFF STILL MIERKA GIRTEN LEVI HOLLOWAY WILL CLINGER Delmar was widely known Helping Orson Welles get Nichols was the first and With over 900 stage roles to Deeply inspired by WLS for his characterization of his first job in radio, Stew- only woman to run a sound his credit, Ray Collins was a radio’s Herb Morrison in Senator Beauragard Clag- art was the Associate Pro- effects department during the core member of the Mercury his live audio coverage of horn on the Fred Allen Show ducer for the Mercury and Golden Age of radio. Transi- Radio Theatre Ensemble. A the Hindenburg disaster in which would then go on to the co-writer and rehearsal tioning from the vaudeville long time friend and associ- 1937, Frank Readick was become the inspiration for director for The War of circuit as a drummer and ate actor with Orson Welles, determined to craft his own the Warner Brothers animat- The Worlds. Orson Welles dancer to silent films as a Collins notably appeared authentic performance as a ed character Foghorn Leg- credited Stewart for creating sound effects and musical ac- in Citizen Kane and played reporter in The War of the horn. much of the excellent qual- companist, Ora Nichols was Ltnt. Arthur Tragg in Perry Worlds who was witnessing His dead on impression of ity of the Mercury’s work. the head sound engineer of Mason. He played three roles the horrific tragedy of an FDR (masked as the Secre- Paul Stewart made his film CBS who was not only con- in The War of the Worlds, alien invasion before his very tary of the Interior) in The debut as Kane’s butler and sidered an absolute master in where he played the rooftop eyes. He appeared with Or- War Of The Worlds was valet in Citizen Kane utter- her craft but could humble newscaster describing the son Welles in Citizen Kane one hidden weapon of au- ing the first line of the film, and slay Orson Welles him- destruction of New York in and was well known for his thenticity credited for incit- “Rosebud...I’ll tell you about self with her metaphorical vivid detail. evil laughter in The Shadow ing the broadcast’s hysteria. Rosebud.” and imaginative audio and series. foley concepts. THE RADIO LISTENERS DOROTHY TISHMAN SAMUEL TISHMAN JOHN MORRISON HENRY BRYLAWSKI LOUIS WINKLER MIERKA GIRTEN MICHAEL WEBER GUY VAN SWEARINGEN KEVIN MATTHEW REYES DANNY MCCARTHY Dorothy Tishman, a domes- A hard working Eastern Eu- Prepared for a quiet night at On his way to pick up his The bachelor bricklayer from tic who worked part time in a ropean immigrant arriving in the police station before Hal- girlfriend in Washington D.C., Manhattan “almost had a heart cinema box office, is enam- Manhattan in 1920, Samuel loween, John Morrison was the 25 year old law student attack” when he listened to ored with movies, musicals Tishman was a newspaper the rookie Bronx cop who first was en route when he heard The War of the Worlds broad- and the likes of Nelson Eddy salesman married to Dorothy became aware of the alien in- that an alien ship had landed cast. Following that near crisis, and Henry Fonda. The Tish- Tishman. Samuel gets easily vasion by fielding many of the on a New Jersey farm. Al- he hit the streets in a panic mans discover the supposed caught up in the hysteria of 800 phone inquiries from New though at the age of 92 Bry- attempting to seek shelter and alien attack secondhand from the broadcast through his York and New Jersey citizens lawski would reflect back on refuge. After spending his last panicked friends and family own confusion and paranoia who expressed great concern that time claiming he “knew dollars on a train ticket out because they were, like many about Hitler’s ascent and an over what to do, where to go it was a hoax”, his girlfriend of the city only to find that it others, late listeners to the ensuing invasion by aliens and whether the alien invasion was completely terrified by was just a radio show induced already in progress broad- from Mars. itself was real. the broadcast. But not so scare, Winkler asked The Mer- cast. much so, that she couldn’t cury Theatre to reimburse him become his fiancé the night of for the money he had spent the broadcast. on his departure (he had been saving for a new pair of shoes); CBS was happy to oblige. THE CHARACTERS LTNT. MONTGOMERY SMITH NARRATOR ANNOUNCER CBS EXECUTIVE, OFFICER HENRY GODINEZ LAWRENCE GRIMM ANISH JETHMELANI JOHN LISTER MCDONALD, LTNT. PHILEAS FOGG MRS. WILMUTH GUNNER, POLICEMAN, REPORTER, OBSERVER, VOGHT, OPERATOR JON MOZES SADIEH RIFAI REPORTER ANNOUNCER PHILIP LORTIE CAMERON ROBERTS STEVE SCHINE THE STRANGER SECRETARY OF THE INTERIOR REPORTER, ANNOUNCER, PASSEPARTOUT, MICHAEL SHANNON MICHAEL PATRICK THORNTON CARL PHILIPS CAPTAIN LANSING DOUG VICKERS JONATHAN WEIR THE CREW Playwright………….………………………....Michael Weber Director/Producer…………….....…….…..Lawrence Grimm Graphic Design…………..…..……………….....Colin Grimm Sound Design/Foley……........…………..…..Matthew Grimm Program Design………………….…....……Sanja Manakoski SPECIAL THANKS Kirsten Fitzgerald, Abigail Madden, Jeannie Lukow, James Juliano, Austin Packard, SAG-AFTRA, The Koch Estate.
Load more

Recommended publications
  • Me and Orson Welles Press Kit Draft
    presents ME AND ORSON WELLES Directed by Richard Linklater Based on the novel by Robert Kaplow Starring: Claire Danes, Zac Efron and Christian McKay www.meandorsonwelles.com.au National release date: July 29, 2010 Running time: 114 minutes Rating: PG PUBLICITY: Philippa Harris NIX Co t: 02 9211 6650 m: 0409 901 809 e: philippa@niXco.com.au (See last page for state publicity and materials contacts) Synopsis Based in real theatrical history, ME AND ORSON WELLES is a romantic coming‐of‐age story about teenage student Richard Samuels (ZAC EFRON) who lucks into a role in “Julius Caesar” as it’s being re‐imagined by a brilliant, impetuous young director named Orson Welles (impressive newcomer CHRISTIAN MCKAY) at his newly founded Mercury Theatre in New York City, 1937. The rollercoaster week leading up to opening night has Richard make his Broadway debut, find romance with an ambitious older woman (CLAIRE DANES) and eXperience the dark side of genius after daring to cross the brilliant and charismatic‐but‐ sometimes‐cruel Welles, all‐the‐while miXing with everyone from starlets to stagehands in behind‐the‐scenes adventures bound to change his life. All’s fair in love and theatre. Directed by Richard Linklater, the Oscar Nominated director of BEFORE SUNRISE and THE SCHOOL OF ROCK. PRODUCTION I NFORMATION Zac Efron, Ben Chaplin, Claire Danes, Zoe Kazan, Eddie Marsan, Christian McKay, Kelly Reilly and James Tupper lead a talented ensemble cast of stage and screen actors in the coming‐of‐age romantic drama ME AND ORSON WELLES. Oscar®‐nominated director Richard Linklater (“School of Rock”, “Before Sunset”) is at the helm of the CinemaNX and Detour Filmproduction, filmed in the Isle of Man, at Pinewood Studios, on various London locations and in New York City.
    [Show full text]
  • The Only Defense Is Excess: Translating and Surpassing Hollywood’S Conventions to Establish a Relevant Mexican Cinema”*
    ANAGRAMAS - UNIVERSIDAD DE MEDELLIN “The Only Defense is Excess: Translating and Surpassing Hollywood’s Conventions to Establish a Relevant Mexican Cinema”* Paula Barreiro Posada** Recibido: 27 de enero de 2011 Aprobado: 4 de marzo de 2011 Abstract Mexico is one of the countries which has adapted American cinematographic genres with success and productivity. This country has seen in Hollywood an effective structure for approaching the audience. With the purpose of approaching national and international audiences, Meximo has not only adopted some of Hollywood cinematographic genres, but it has also combined them with Mexican genres such as “Cabaretera” in order to reflect its social context and national identity. The Melodrama and the Film Noir were two of the Hollywood genres which exercised a stronger influence on the Golden Age of Mexican Cinema. Influence of these genres is specifically evident in style and narrative of the film Aventurera (1949). This film shows the links between Hollywood and Mexican cinema, displaying how some Hollywood conventions were translated and reformed in order to create its own Mexican Cinema. Most countries intending to create their own cinema have to face Hollywood influence. This industry has always been seen as a leading industry in technology, innovation, and economic capacity, and as the Nemesis of local cinema. This case study on Aventurera shows that Mexican cinema reached progress until exceeding conventions of cinematographic genres taken from Hollywood, creating stories which went beyond the local interest. Key words: cinematographic genres, melodrama, film noir, Mexican cinema, cabaretera. * La presente investigación fue desarrollada como tesis de grado para la maestría en Media Arts que completé en el 2010 en la Universidad de Arizona, Estados Unidos.
    [Show full text]
  • Extreme Leadership Leaders, Teams and Situations Outside the Norm
    JOBNAME: Giannantonio PAGE: 3 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 Extreme Leadership Leaders, Teams and Situations Outside the Norm Edited by Cristina M. Giannantonio Amy E. Hurley-Hanson Associate Professors of Management, George L. Argyros School of Business and Economics, Chapman University, USA NEW HORIZONS IN LEADERSHIP STUDIES Edward Elgar Cheltenham, UK + Northampton, MA, USA Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 1 / Date: 30/10 JOBNAME: Giannantonio PAGE: 4 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 © Cristina M. Giannantonio andAmy E. Hurley-Hanson 2013 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical or photocopying, recording, or otherwise without the prior permission of the publisher. Published by Edward Elgar Publishing Limited The Lypiatts 15 Lansdown Road Cheltenham Glos GL50 2JA UK Edward Elgar Publishing, Inc. William Pratt House 9 Dewey Court Northampton Massachusetts 01060 USA A catalogue record for this book is available from the British Library Library of Congress Control Number: 2013946802 This book is available electronically in the ElgarOnline.com Business Subject Collection, E-ISBN 978 1 78100 212 4 ISBN 978 1 78100 211 7 (cased) Typeset by Columns Design XML Ltd, Reading Printed and bound in Great Britain by T.J. International Ltd, Padstow Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 2 / Date: 30/10 JOBNAME: Giannantonio PAGE: 1 SESS: 5 OUTPUT: Wed Oct 30 14:57:46 2013 14. Extreme leadership as creative leadership: reflections on Francis Ford Coppola in The Godfather Charalampos Mainemelis and Olga Epitropaki INTRODUCTION How do extreme leadership situations arise? According to one view, they are triggered by environmental factors that have nothing or little to do with the leader.
    [Show full text]
  • Orson Welles's Deconstruction of Traditional Historiographies In
    “How this World is Given to Lying!”: Orson Welles’s Deconstruction of Traditional Historiographies in Chimes at Midnight Jeffrey Yeager, West Virginia University ew Shakespearean films were so underappreciated at their release as Orson Welles’s Chimes at Midnight.1 Compared F to Laurence Olivier’s morale boosting 1944 version of Henry V, Orson Welles’s adaptation has never reached a wide audience, partly because of its long history of being in copyright limbo.2 Since the film’s debut, a critical tendency has been to read it as a lament for “Merrie England.” In an interview, Welles claimed: “It is more than Falstaff who is dying. It’s the old England, dying and betrayed” (qtd. in Hoffman 88). Keith Baxter, the actor who plays Prince Hal, expressed the sentiment that Hal was the principal character: Welles “always saw it as a triangle basically, a love story of a Prince lost between two father figures. Who is the boy going to choose?” (qtd. in Lyons 268). Samuel Crowl later modified these differing assessments by adding his own interpretation of Falstaff as the central character: “it is Falstaff’s winter which dominates the texture of the film, not Hal’s summer of self-realization” (“The Long Good-bye” 373). Michael Anderegg concurs with the assessment of Falstaff as the central figure when he historicizes the film by noting the film’s “conflict between rhetoric and history” on the one hand and “the immediacy of a prelinguistic, prelapsarian, timeless physical world, on the other” (126). By placing the focus on Falstaff and cutting a great deal of text, Welles, Anderegg argues, deconstructs Shakespeare’s world by moving “away from history and toward satire” (127).
    [Show full text]
  • Roger Ebert's
    The College of Media at Illinois presents Roger19thAnnual Ebert’s Film Festival2017 April 19-23, 2017 The Virginia Theatre Chaz Ebert: Co-Founder and Producer 203 W. Park, Champaign, IL Nate Kohn: Festival Director 2017 Roger Ebert’s Film Festival The University of Illinois at Urbana–Champaign The College of Media at Illinois Presents... Roger Ebert’s Film Festival 2017 April 19–23, 2017 Chaz Ebert, Co-Founder, Producer, and Host Nate Kohn, Festival Director Casey Ludwig, Assistant Director More information about the festival can be found at www.ebertfest.com Mission Founded by the late Roger Ebert, University of Illinois Journalism graduate and a Pulitzer Prize- winning film critic, Roger Ebert’s Film Festival takes place in Urbana-Champaign each April for a week, hosted by Chaz Ebert. The festival presents 12 films representing a cross-section of important cinematic works overlooked by audiences, critics and distributors. The films are screened in the 1,500-seat Virginia Theatre, a restored movie palace built in the 1920s. A portion of the festival’s income goes toward on-going renovations at the theatre. The festival brings together the films’ producers, writers, actors and directors to help showcase their work. A film- maker or scholar introduces each film, and each screening is followed by a substantive on-stage Q&A discussion among filmmakers, critics and the audience. In addition to the screenings, the festival hosts a number of academic panel discussions featuring filmmaker guests, scholars and students. The mission of Roger Ebert’s Film Festival is to praise films, genres and formats that have been overlooked.
    [Show full text]
  • A Reappraisal of Three Character Actors from Hollywood’S Golden Age
    University of the Incarnate Word The Athenaeum Theses & Dissertations 12-2015 Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age Candace M. Graham University of the Incarnate Word, cmgonza4@uiwtx.edu Follow this and additional works at: https://athenaeum.uiw.edu/uiw_etds Part of the Communication Commons, and the Film and Media Studies Commons Recommended Citation Graham, Candace M., "Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age" (2015). Theses & Dissertations. 70. https://athenaeum.uiw.edu/uiw_etds/70 This Thesis is brought to you for free and open access by The Athenaeum. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of The Athenaeum. For more information, please contact athenaeum@uiwtx.edu. SECOND-BILLED BUT NOT SECOND-RATE: A REAPPRAISAL OF THREE CHARACTER ACTORS FROM HOLLYWOOD’S GOLDEN AGE by Candace M. Graham A Thesis Presented to the Faculty of the University of the Incarnate Word in partial fulfillment of the requirements for the degree of MASTER OF ARTS University of the Incarnate Word December 2015 ii Copyright 2015 by Candace M. Graham iii ACKNOWLEDGEMENTS I wish to thank Dr. Hsin-I (Steve) Liu for challenging me to produce a quality thesis worthy of contribution to scholarly literature. In addition, thank you for the encouragement to enjoy writing. To Robert Darden, Baylor University communications professor, friend, and mentor whose example in humility, good spirit, and devotion to one’s passion continues to guide my pursuit as a classic film scholar.
    [Show full text]
  • Tommy Dorsey 1 9
    Glenn Miller Archives TOMMY DORSEY 1 9 3 7 Prepared by: DENNIS M. SPRAGG CHRONOLOGY Part 1 - Chapter 3 Updated February 10, 2021 TABLE OF CONTENTS January 1937 ................................................................................................................. 3 February 1937 .............................................................................................................. 22 March 1937 .................................................................................................................. 34 April 1937 ..................................................................................................................... 53 May 1937 ...................................................................................................................... 68 June 1937 ..................................................................................................................... 85 July 1937 ...................................................................................................................... 95 August 1937 ............................................................................................................... 111 September 1937 ......................................................................................................... 122 October 1937 ............................................................................................................. 138 November 1937 .........................................................................................................
    [Show full text]
  • The Media Assemblage: the Twentieth-Century Novel in Dialogue with Film, Television, and New Media
    THE MEDIA ASSEMBLAGE: THE TWENTIETH-CENTURY NOVEL IN DIALOGUE WITH FILM, TELEVISION, AND NEW MEDIA BY PAUL STEWART HACKMAN DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Robert Markley Associate Professor Jim Hansen Associate Professor Ramona Curry ABSTRACT At several moments during the twentieth-century, novelists have been made acutely aware of the novel as a medium due to declarations of the death of the novel. Novelists, at these moments, have found it necessary to define what differentiates the novel from other media and what makes the novel a viable form of art and communication in the age of images. At the same time, writers have expanded the novel form by borrowing conventions from these newer media. I describe this process of differentiation and interaction between the novel and other media as a “media assemblage” and argue that our understanding of the development of the novel in the twentieth century is incomplete if we isolate literature from the other media forms that compete with and influence it. The concept of an assemblage describes a historical situation in which two or more autonomous fields interact and influence one another. On the one hand, an assemblage is composed of physical objects such as TV sets, film cameras, personal computers, and publishing companies, while, on the other hand, it contains enunciations about those objects such as claims about the artistic merit of television, beliefs about the typical audience of a Hollywood blockbuster, or academic discussions about canonicity.
    [Show full text]
  • {Dоwnlоаd/Rеаd PDF Bооk} Citizen Kane Ebook, Epub
    CITIZEN KANE PDF, EPUB, EBOOK Harlan Lebo | 368 pages | 01 May 2016 | Thomas Dunne Books | 9781250077530 | English | United States Citizen Kane () - IMDb Mankiewicz , who had been writing Mercury radio scripts. One of the long-standing controversies about Citizen Kane has been the authorship of the screenplay. In February Welles supplied Mankiewicz with pages of notes and put him under contract to write the first draft screenplay under the supervision of John Houseman , Welles's former partner in the Mercury Theatre. Welles later explained, "I left him on his own finally, because we'd started to waste too much time haggling. So, after mutual agreements on storyline and character, Mank went off with Houseman and did his version, while I stayed in Hollywood and wrote mine. The industry accused Welles of underplaying Mankiewicz's contribution to the script, but Welles countered the attacks by saying, "At the end, naturally, I was the one making the picture, after all—who had to make the decisions. I used what I wanted of Mank's and, rightly or wrongly, kept what I liked of my own. The terms of the contract stated that Mankiewicz was to receive no credit for his work, as he was hired as a script doctor. Mankiewicz also threatened to go to the Screen Writers Guild and claim full credit for writing the entire script by himself. After lodging a protest with the Screen Writers Guild, Mankiewicz withdrew it, then vacillated. The guild credit form listed Welles first, Mankiewicz second. Welles's assistant Richard Wilson said that the person who circled Mankiewicz's name in pencil, then drew an arrow that put it in first place, was Welles.
    [Show full text]
  • John Cassavetes, Director De Cinc Capítols
    bobila.blogspot.com el fanzine del “Club de Lectura de Novel·la Negra” de la Biblioteca la Bòbila # 119 Biblioteca la bòbila. L’hospitalet / esplugues L'H Confidencial 1 Johnny Staccato és un pianista de jazz frustrat criat a Little Italy, bressol de la màfia italoamericana de Nova York. Es guanya la vida exercint de detectiu privat, però no té oficina. Rep els seus clients al Waldo’s, un club de jazz del Greenwich Village, habitual centre de reunió de la Beat Generation i de la bohemia novaiorquesa de finals dels cinquanta i començaments dels seixanta. Sèrie realitzada el 1959-60, Johnny Staccato està protagonitzada pel llegendari John Cassavetes, director de cinc capítols. Combina la bona música, violencia i intrigues policíaques en un còctel únic, tractat sense embuts temàtiques tant agosarades (per John Cassavetes a l’època) com el sexe, la religió, les drogues, el tràfic d’infants o l’anticomunisme. La sèrie va plegar després de 27 capítols, John Cassavetes nace el 9 de diciembre de 1929 en Nueva York, en una alguns judicats “massa controvertits” per la productora. familia de origen griego. A principio de los años cincuenta ingresa en la Ara, per primera vegada a Espanya es pot veure la única Academy of Dramatic Arts en Nueva York, fuertemente influida por el temporada completa d’aquesta sèrie d’alta qualitat técnica, estilo del Actor's Studio. En marzo de 1954 se casa con una joven artística i narrativa, amb actors de la talla de John Cassavetes, actriz, Gena Rowlands, que le acompañará toda su vida. Tras Elisha Cook Jr., Cloris Leachman, Gena Rowlands, Elizabeth numerosos pequeños papeles en telefilmes y películas de segunda fila Montgomery, Michael Landon i Dean Stockwell, i dirigida per rueda en 1956 sus dos primeras películas como protagonista, Crime in respectats directors com John Cassavetes, Boris Sagal, John the Streets, de Don Siegel y Edge of the City, de Martin Ritt.
    [Show full text]
  • Template for August 2010
    THE VOICE OF SOUTHWEST WRITERS Vol. 26, No. 8 August 2010 www.southwestwriters.com September Conference: Emerging Multi-Cultural Voices by Sandra Toro, Conference Chair In the recently published summer fiction issue of The New about this same issue in their novels set in the Balkans. Yorker, the editors chose “20 under 40” authors to publish in that and subsequent issues. Though all of these writers Kathleen McLaen, an American writer of Irish extraction, now live in North America, the geography of their origin is writes poignantly not only of the “Irish troubles,” but of the illuminating: Nigeria, Peru, Latvia, China, Ethiopia, Yugosla- atrocities in Albania and Yugoslavia from the point of view via and Russia, as well as those who claim their ancestry in of an Irish historian/professor conducting in-person re- North America for generations. search. Her novel, Midnight Wind, is notable for its ex- traordinary use of dialect and language to define character. Having been originally told of this phenomenon by several New York editors a year ago, when I began to plan the Sep- These three authors will present a most interesting and tember conference for SouthWest Writers I thought about relevant program immediately after lunch at the Confer- those students who have attended my classes at both SWW ence on September 11. and the University of New Mexico. It was a surprise to me For additional information about the conference speakers to see that among the most accomplished writers in my and registration information, please see the registration classes, and those who pitched to me at conferences, were page in this issue of Sage and consult the SWW Web site.
    [Show full text]
  • 1 Forever Alone in a Crowd, Arthur Fleck Seeks Connection. Yet, As He
    Forever alone in a crowd, Arthur Fleck seeks connection. Yet, as he trods the sooted Gotham City streets and rides the graffitied mass transit rails of a hostile town teeming with division and dissatisfaction, Arthur wears two masks. One, he paints on for his day job as a clown. The other he can never remove; it’s the guise he projects in a futile attempt to feel he’s a part of the world around him, and not the misunderstood man whom life is repeatedly beating down. Fatherless, Arthur has a fragile mother, arguably his best friend, who nicknamed him Happy, a moniker that’s fostered in Arthur a smile that hides the heartache beneath. But, when bullied by teens on the streets, taunted by suits on the subway, or simply teased by his fellow clowns at work, this social outlier only becomes even more out of sync with everyone around him. Directed, co-written and produced by Todd Phillips, “Joker” is the filmmaker’s original vision of the infamous DC villain, an origin story infused with, but distinctly outside, the character’s more traditional mythologies. Phillips’ exploration of Arthur Fleck, who is indelibly portrayed by Joaquin Phoenix, is of a man struggling to find his way in Gotham’s fractured society. Longing for any light to shine on him, he tries his hand as a stand-up comic, but finds the joke always seems to be on him. Caught in a cyclical existence between apathy and cruelty and, ultimately, betrayal, Arthur makes one bad decision after another that brings about a chain reaction of escalating events in this gritty, allegorical character study.
    [Show full text]