Filthy Talk for Troubled Times Scenes of Intolerance by Neil Labute
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ROGIER STOFFERS, ASC, NSC Director of Photography
ROGIER STOFFERS, ASC, NSC Director of Photography FEATURES – Partial List BORDERLANDS Eli Roth Lionsgate REDEEMING LOVE DJ Caruso Pure Flix WORK IT Laura Terruso Alloy Entertainment A DOG’S JOURNEY Gail Mancuso Amblin Partners THE HOUSE WITH A CLOCK IN ITS WALLS Eli Roth DreamWorks / Universal EVERY DAY Michael Sucsy Likely Story / MGM DEATH WISH Eli Roth MGM / Paramount Pictures BRIMSTONE Martin Koolhoven N279 Entertainment / Central Park Films Nominated, Best Cinematography, Camerimage (2017) Official Selection, Toronto Film Festival (2016) THE DISAPPOINTMENTS ROOM D.J. Caruso Demarest Films CAREFUL WHAT YOU WISH FOR Elizabeth Allen Rosenbaum Troika Pictures DIRTY WEEKEND Neil LaBute Horsethief Pictures / E1 Entertainment THE SURPRISE Mike van Diem N279 Entertainment / Bristol Media Nominated, Golden Calf for Best Film, Nederlands Film Festival (2015) WHAT IF Michael Dowse CBS / No Trace Camping SOME VELVET MORNING Neil LaBute Tribeca Film / Untouchable Films BRANDED Jamie Bradshaw / Aleksandr Dulerayn Mirumir / Roadside Attractions THE VOW Michael Sucsy Screen Gems / Spyglass NO STRINGS ATTACHED Ivan Reitman Paramount Pictures DEATH AT A FUNERAL Neil LaBute Screen Gems BRANDED Jamie Bradshaw Mirumir THE SECRET LIFE OF BEES Gina Prince-Bythewood Fox Searchlight Pictures LAKEVIEW TERRACE Neil LaBute Screen Gems BALL’S OUT: GARY THE TENNIS COACH Danny Leiner GreeneStreet Films DISTURBIA D.J. Caruso DreamWorks SKG MONGOL: THE RISE OF Sergey Bodrov Picturehouse Entertainment GENGHIS KHAN (Shared Credit) Nominated, Best Cinematographer, European Film Awards (2008) Nominated, Best Foreign Language Film of the Year, Academy Awards (2008) THE BAD NEWS BEARS Richard Linklater Paramount Pictures SCHOOL OF ROCK Richard Linklater Paramount Pictures MASKED AND ANONYMOUS Larry Charles Destiny Productions / Hannibal Pictures ENOUGH Michael Apted Columbia Pictures JOHN Q. -
How to Fight Loneliness the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival How To Fight Loneliness The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Logo of How To Fight Loneliness, 2016. Contents Information on the Play Synopsis 4 HowCharacters To Fight Loneliness4 About the Playwright 5 Scholarly Articles on the Play How To Fight Loneliness 7 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: How To Fight Loneliness Brad and his wife Jodie are anxiously awaiting the arrival of a guest to their home. They are both are in their mid-thirties and have been married for a number of years. They have been through a lot together, especially recently. -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
The Shape of Things
The Shape of Things Neil LaBute first made a name for himself as a caustic commentator on male-female relationships in films like In the Company of Men and Your Friends and Neighbors, unsettling little dramas that depicted the little cruelties people visit on each other in living their lives, but dramas, too, that made you think about your actions. After taking a breather with productions like the antic Nurse Betty and the intelligent romance Possession, the director seems to have come back home to his native ground in his new film The Shape of Things (based on his own play). Here again the scale is small and the action limited: two college couples attracting and repelling, fencing and trying to find their way. On a California campus, budding artist Evelyn (Rachel Weisz) takes an interest in nerdish but nice Adam (Paul Rudd) when they meet cute in the local museum, where she is thinking of defacing a statue and he is supposedly guarding same. He is smitten with her, and she reciprocates, taking a special interest in making him over into a more stylish guy, urging him to lose weight and dress more modishly. Her hold on Adam discomfits his friends, fiances Jenny (Gretchen Mol) and Philip (Frederick Weller), whose own relationship hits a rough patch as they become more involved with the "new" Adam and his outspoken girl. Ultimately, Adam realizes that his make over is a sham and that succumbing to the mere "shape of things"--even if it brings him newfound confidence and vigor--can most cruelly disappoint. -
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. -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10. -
The Shape of Things / the Shape of Things, Etats-Unis, 2003, 97 Minutes]
Document generated on 09/28/2021 2:59 p.m. Séquences La revue de cinéma The Shape of Things The Shape of Things, Etats-Unis, 2003, 97 minutes Simon Beaulieu Number 226, July–August 2003 URI: https://id.erudit.org/iderudit/59153ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Beaulieu, S. (2003). Review of [The Shape of Things / The Shape of Things, Etats-Unis, 2003, 97 minutes]. Séquences, (226), 47–47. Tous droits réservés © La revue Séquences Inc., 2003 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ CRITIQUES LES FI THE SHAPE OF THINGS thèse artistique, permettant l'émergence d'une prise de conscience Vie de couple, art et vacuité d'un individu (Adam) envers lui-même et par extension d'un indi vidu envers sa société. D'une certaine façon, ce n'est pas tant l'exa- u cynisme et de l'esprit. De l'intelligence et du vitriol. Il n'y a cerbation de cette superficialité sociétaire et culturelle qui est ici Dpas de doute, Neil LaBute revient en force. On savait d'ores soulignée mais bien le pouvoir de séduction de la femme, véritable et déjà que son excursion dans le drame sentimental (Possession) catalyseur de tout le film. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
Casting Announced: Nick Gehlfuss, Shawn Hatosy
CASTING ANNOUNCED: NICK GEHLFUSS, SHAWN HATOSY, AMBER TAMBLYN AND ALICIA WITT IN TONY-NOMINATED BEST PLAY REASONS TO BE PRETTY BY NEIL LABUTE AT GEFFEN PLAYHOUSE DIRECTED BY RANDALL ARNEY JULY 29 TO AUGUST 31 IN THE GIL CATES THEATER LOS ANGELES (June 26, 2014) – Nick Gehlfuss (Shameless, The Newsroom), Shawn Hatosy (Southland, Reckless), Amber Tamblyn (Joan of Arcadia, Sisterhood of the Traveling Pants) and Alicia Witt (Justified, 88 Minutes) are cast in the Geffen Playhouse production of Reasons to Be Pretty, nominated for the Tony Award for Best Play (2009). Helmed by Geffen Playhouse Artistic Director Randall Arney, Reasons to Be Pretty will be performed in the Gil Cates Theater July 29 to August 31 with an opening night of August 6. In Reasons to Be Pretty, LaBute takes on our ongoing fixation with beauty and one man’s inability to say the right thing – ever. When Greg makes an innocuous, off-handed remark about his girlfriend Steph, it triggers a battle by which their relationship will forever be defined. Reasons to Be Pretty continues a series that includes The Shape of Things, Fat Pig (produced at the Geffen in 2006) and Reasons to Be Happy, a sequel in which the same four characters appear and which premiered in June 2013 at MCC Theater. Ben Brantley of The New York Times said of LaBute and Reasons to Be Pretty, “… some of the freshest and most illuminating American dialogue to be heard anywhere these days.” David Rooney in Variety wrote, “This is a thoughtful, mature play … with a warming dose of compassion. -
MVFF39 Aaron Eckhart Spotlight
FOR IMMEDIATE RELEASE 39th Mill Valley Film Festival, October 6 – 16, 2016 Celebrating the Best in Independent and World Cinema MILL VALLEY FILM FESTIVAL ANNOUNCES A SPOTLIGHT ON AARON ECKHART OCTOBER 15th, 2016 SAN RAFAEL, CA (September 23, 2016) – The Mill Valley Film Festival is proud to honor actor Aaron Eckhart with a Spotlight, featuring an on stage conversation, a screening of BLEED FOR THIS, and the presentation of the MVFF Award. Spotlight on Aaron Eckhart Aaron Eckhart’s blistering breakout role in Neil LaBute’s In the Company of Men ignited a promising career in which he continued his acclaimed independent work with LaBute (Your Friends & Neighbors, Nurse Betty, Possession) while developing a notable profile in Hollywood features (Erin Brockovich, Thank You for Smoking, The Black Dahlia, The Dark Knight). Eckhart’s supporting role in Ben Younger’s hotly anticipated Bleed for This assures another outstanding performance. About BLEED FOR THIS US 2016, 134 min Director Ben Younger When horrifying injuries from a car accident threaten to derail the future of boxing champion Vinnie Pazienza (Miles Teller), he refuses to accept that his career could be over. Instead, he stages one of the greatest real-life comeback stories in sports history, with the covert assistance of veteran trainer Kevin Rooney (Aaron Eckhart). A satisfying physical and emotional workout, Bleed for This is this generation’s Raging Bull. About SPOTLIGHT Program Spotlight Program will feature an onstage conversation with Aaron Eckhart, a screening of BLEED FOR THIS, and the presentation of the MVFF Award in recognition of his significant performance. -
How to Fight Loneliness the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival How To Fight Loneliness The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Brian Vaughn as Brad in How To Fight Loneliness, 2017. Contents Information on the Play Synopsis 4 HowCharacters To Fight Loneliness4 About the Playwright 5 Scholarly Articles on the Play How To Fight Loneliness 7 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: How To Fight Loneliness Brad and his wife Jodie are anxiously awaiting the arrival of a guest to their home. They are both are in their mid-thirties and have been married for a number of years. They have been through a lot together, especially recently. -
Lahr Labute Fact.L
ONWARD AND UPWARD WITH THE ARTS A TOUCH OF BAD Why is the director Neil LaBute so interested in jerks? 6 BY JOHN LAHR NCE upon a time in the early play “Lepers,” is a sexual merry-go-round nineties, in the irony-free zone among friends. Together, the two films O of Off Off Broadway, the are a kind of “Rake’s Progress,” and La- writer and director Neil LaBute sat on- Bute’s model for them is Restoration stage doing triple duty as an actor in his comedy, which, as he explained to me barroom play, “Filthy Talk for Troubled when we met in Hollywood this spring, Times: Scenes of Intolerance.” One of “gets down to the dirt of the way we live the barflies was in the middle of a riff with each other and treat each other.” He about AIDS and about her fear of infec- pays homage to his source in “Your Friends tion—“I say, put them all in a fucking and Neighbors” when, during a rehearsal pot and boil them . just as a precau- of Wycherley’s “The Country Wife,” the tion”—when a member of the audience drama professor and sleazy sexual preda- sitting right up front shouted, “Kill the tor, Jerry (Ben Stiller), sitting in the audi- playwright!” LaBute, who is thirty-eight torium in periwig and frock coat, explains and whose wiry black hair and pug to his cuckolded best friend, Barry (Aaron nose give him the look of a large, ami- Eckhart), why he bedded his wife: able hedgehog, says his first thought was “to get to the exit, to lead the crowd JERRY:...I just feel...Fuck,I don’t know how to put this, I just feel..