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Filmliste Liste de filme DVD Münchhaldenstrasse 10, Postfach 919, 8034 Zürich Tel: 044/ 422 38 33, Fax: 044/ 422 37 93 www.praesens.com, [email protected] Filmnr Original Titel Regie 20001 A TIME TO KILL Joel Schumacher 20002 JUMANJI 20003 LEGENDS OF THE FALL Edward Zwick 20004 MARS ATTACKS! Tim Burton 20005 MAVERICK Richard Donner 20006 OUTBREAK Wolfgang Petersen 20007 BATMAN & ROBIN Joel Schumacher 20008 CONTACT Robert Zemeckis 20009 BODYGUARD Mick Jackson 20010 COP LAND James Mangold 20011 PELICAN BRIEF,THE Alan J.Pakula 20012 KLIENT, DER Joel Schumacher 20013 ADDICTED TO LOVE Griffin Dunne 20014 ARMAGEDDON Michael Bay 20015 SPACE JAM Joe Pytka 20016 CONAIR Simon West 20017 HORSE WHISPERER,THE Robert Redford 20018 LETHAL WEAPON 4 Richard Donner 20019 LION KING 2 20020 ROCKY HORROR PICTURE SHOW Jim Sharman 20021 X‐FILES 20022 GATTACA Andrew Niccol 20023 STARSHIP TROOPERS Paul Verhoeven 20024 YOU'VE GOT MAIL Nora Ephron 20025 NET,THE Irwin Winkler 20026 RED CORNER Jon Avnet 20027 WILD WILD WEST Barry Sonnenfeld 20028 EYES WIDE SHUT Stanley Kubrick 20029 ENEMY OF THE STATE Tony Scott 20030 LIAR,LIAR/Der Dummschwätzer Tom Shadyac 20031 MATRIX Wachowski Brothers 20032 AUF DER FLUCHT Andrew Davis 20033 TRUMAN SHOW, THE Peter Weir 20034 IRON GIANT,THE 20035 OUT OF SIGHT Steven Soderbergh 20036 SOMETHING ABOUT MARY Bobby &Peter Farrelly 20037 TITANIC James Cameron 20038 RUNAWAY BRIDE Garry Marshall 20039 NOTTING HILL Roger Michell 20040 TWISTER Jan DeBont 20041 PATCH ADAMS Tom Shadyac 20042 PLEASANTVILLE Gary Ross 20043 FIGHT CLUB, THE David -
Feature • the Worst Movie Ever!
------------------------------------------Feature • The Worst Movie Ever! ----------------------------------------- Glenn Berggoetz: A Man With a Plan By Greg Locke with the film showing in L.A., with the name of the film up line between being so bad that something’s humorous and so on a marquee, at least a few dozen people would stop in each bad it’s just stupid. [We shot] The Worst Movie Ever! over The idea of the midnight movie dates back to the 1930s night to see the film. As it turned out, the theater never put the course of two days – a weekend. I love trying to do com- when independent roadshows would screen exploitation the title of the film up on the marquee, so passers-by were pletely bizarre, inane things in my films but have the charac- films at midnight for the sauced, the horny and the lonely. not made aware of the film screening there. As it turned out, ters act as if those things are the most natural, normal things The word-of-mouth phenomenon really began to hit its only one man happened to wander into the theater looking to in the world.” stride in the 50s when local television stations would screen see a movie at midnight who decided that a film titled The Outside of describing the weird world of Glenn Berg- low-budget genre films long after all the “normal” people Worst Movie Ever! was worth his $11. goetz, the movie in question is hard to give an impression of were tucked neatly into bed. By the 1970s theaters around “When I received the box office number on Monday, I with mere words. -
3. Groundhog Day (1993) 4. Airplane! (1980) 5. Tootsie
1. ANNIE HALL (1977) 11. THIS IS SPINAL Tap (1984) Written by Woody Allen and Marshall Brickman Written by Christopher Guest & Michael McKean & Rob Reiner & Harry Shearer 2. SOME LIKE IT HOT (1959) Screenplay by Billy Wilder & I.A.L. Diamond, Based on the 12. THE PRODUCERS (1967) German film Fanfare of Love by Robert Thoeren and M. Logan Written by Mel Brooks 3. GROUNDHOG DaY (1993) 13. THE BIG LEBOWSKI (1998) Screenplay by Danny Rubin and Harold Ramis, Written by Ethan Coen & Joel Coen Story by Danny Rubin 14. GHOSTBUSTERS (1984) 4. AIRplaNE! (1980) Written by Dan Aykroyd and Harold Ramis Written by James Abrahams & David Zucker & Jerry Zucker 15. WHEN HARRY MET SALLY... (1989) 5. TOOTSIE (1982) Written by Nora Ephron Screenplay by Larry Gelbart and Murray Schisgal, Story by Don McGuire and Larry Gelbart 16. BRIDESMAIDS (2011) Written by Annie Mumolo & Kristen Wiig 6. YOUNG FRANKENSTEIN (1974) Screenplay by Gene Wilder and Mel Brooks, Screen Story by 17. DUCK SOUP (1933) Gene Wilder and Mel Brooks, Based on Characters in the Novel Story by Bert Kalmar and Harry Ruby, Additional Dialogue by Frankenstein by Mary Wollstonecraft Shelley Arthur Sheekman and Nat Perrin 7. DR. STRANGELOVE OR: HOW I LEARNED TO STOP 18. There’s SOMETHING ABOUT MARY (1998) WORRYING AND LOVE THE BOMB (1964) Screenplay by John J. Strauss & Ed Decter and Peter Farrelly & Screenplay by Stanley Kubrick and Peter George and Bobby Farrelly, Story by Ed Decter & John J. Strauss Terry Southern 19. THE JERK (1979) 8. BlaZING SADDLES (1974) Screenplay by Steve Martin, Carl Gottlieb, Michael Elias, Screenplay by Mel Brooks, Norman Steinberg Story by Steve Martin & Carl Gottlieb Andrew Bergman, Richard Pryor, Alan Uger, Story by Andrew Bergman 20. -
Celebrity and Authorial Integrity in the Films of Woody Men %Y
CELEBRITY AND AUTHORIAL INTEGRITY IN THE FILMS OF WOODY ALLEN BY FAYE MCINTYRE A Thesis Submitted to the Facul@ of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Department of English University of Manitoba Winnipeg, Manitoba (c) January, 200 1 National Library BibIiothèque nationale du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON Ki A ON4 Ottawa ON KI A ON4 Canada Canada rour rïk vom rbw~ Our fi& Notre rtifBrence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Lïbrary of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seU reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantid extracts fÏom it Ni la thèse ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. THE UNIVERSITY OF MANITOBA FACULTY OF GRADUATE STUDIES *f *f * COPYRIGHT PERMISSION PAGE Celebrity and Authorial Integrity in the Films of Woody Men %Y Faye McIntyre A Thesis/Practicum submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulNlment of the requirements of the degree of Doctor of Philosophy FAYE MCINTYRE O 2001 Permission has been granted to the Library of The University of Manitoba to Iend or seU copies of this thesis/practicum, to the National Library of Canada to microfilm this thesis/practicum and to lend or sell copies of the film, and to Dissertations Abstracts International to publish an abstract of this thesis/practicum. -
Ghostbusters Special
GHOSTBUSTERS SPECIAL After 27 years, the Ghostbusters are finally back... With a completely new line-up. Director Paul Feig and his cast explain why this all-new origin story is the ideal franchise resurrection WORDS NICK DE SEMLYEN 056 JUNE 2016 JUNE 2016 057 GHOSTBUSTERS SPECIAL from Bill in terms of doing another hit. Rarely has there been so much some landfill somewhere”) and is made one, because his brain was elsewhere. pressure on one movie — or one team. as giddy by the Ghostbusters’ tech, And when Harold (Ramis) died their ecto-insulated encapsulators (in February 2014) I was kinda Paul Feig strides across and P. K. E. valances, as their jokes. depressed, and decided I wasn’t the cavernous building where much of Still, he initially turned it down. “I going to direct the next film myself. Ghostbusters 2016 is being shot, a former was in Budapest making Spy,” he recalls, But everybody seemed to agree it’s Reebok warehouse not far from Boston. “when I was contacted by Ivan, who at not fair of us just to leave the thing The director clearly has no need of that point had another script.” Written fallow. So finally we made a deal with a walking stick, but he’s holding one by Gene Stupnitsky and Lee Eisenberg, Sony: they were free to expand what anyway: a remarkable thing with a skull veterans of the US version of The Office, he Ghostbusters are back in business. this is mission control for all things the series could be.” atop it. “It’s a medical student’s cane, it involved the original Ghostbusters Above: Spirited away: Right: Director Paul can testify to this, since we’re . -
American Independent Cinema 1St Edition Pdf, Epub, Ebook
AMERICAN INDEPENDENT CINEMA 1ST EDITION PDF, EPUB, EBOOK Geoff King | 9780253218261 | | | | | American Independent Cinema 1st edition PDF Book About this product. Hollywood was producing these three different classes of feature films by means of three different types of producers. The Suburbs. Skip to main content. Further information: Sundance Institute. In , the same year that United Artists, bought out by MGM, ceased to exist as a venue for independent filmmakers, Sterling Van Wagenen left the film festival to help found the Sundance Institute with Robert Redford. While the kinds of films produced by Poverty Row studios only grew in popularity, they would eventually become increasingly available both from major production companies and from independent producers who no longer needed to rely on a studio's ability to package and release their work. Yannis Tzioumakis. Seeing Lynch as a fellow studio convert, George Lucas , a fan of Eraserhead and now the darling of the studios, offered Lynch the opportunity to direct his next Star Wars sequel, Return of the Jedi Rick marked it as to-read Jan 05, This change would further widen the divide between commercial and non-commercial films. Thanks for telling us about the problem. Until his so-called "retirement" as a director in he continued to produce films even after this date he would produce up to seven movies a year, matching and often exceeding the five-per-year schedule that the executives at United Artists had once thought impossible. Very few of these filmmakers ever independently financed or independently released a film of their own, or ever worked on an independently financed production during the height of the generation's influence. -
University of Namibia (Unam)
, ... .... * TODAY: WALVIS ELECTIONS ON CARDS * READERS' LETTERS * RUGBY CLASH * "'" Bringing Africa South Vol.3 No.413 N$1.50 (GST Inc.) Friday May 20 1.994 Princess Diana to the rescue Improve your chess LONDON: The Princes of Wales (left) helped skills and ~ \Vin N$100 save the life of a drown ing tramp in a dramatic rescue in London's Re THIS week The Namibian already an 'expert' -check it out gent's Park, the Daily launches a new weekly Chess too. Mail reported yesterday. competition . in the popular It could win you N$I 00. The incident happened Weekender supplement. The Don-t miss out out on the new ~ late on Sunday after Prin City Savings and Investment The Namibian/CSIB competi cess Diana had been jog Bank - "the bank we can call tion. You can also still win N$I SO ging and was being our own--- has kindly agreed to in the Spot the Word competi driven home by her .s ponsor a prize of N$I 00 each tion. chauffeur, when a tour week. Today's W eekender is back ist leapt out and shouted: Chess is a fast-growing sport to its full fo rmat with all your "Quick, there's a man in in Namibia with many young regular favourites, plus articles the water." people and schools taking it onJackson Kaujeua's new book_ Diana jumped out of up. If you haven't caught on to alternative technology, music her car and told the the latest craze check page 10 reviews, an arts round-up and of The Weekender. -
Resume 2019.10
PAUL HSU selected credits: ____________________________________________________________________________________________ MOTHERLESS BROOKLYN edward norton ∞• TIMMY FAILURE tom mccarthy ∞• OCEAN’S EIGHT gary ross ∞• NUTCRACKER AND THE FOUR REALMS lasse hallstrom / joe Johnston ∞• LADYBIRD greta gerwig ∞• THE LAST THING HE WANTED dee rees ∞• CAPTIVE STATE rupert wyatt ∞• THE FREE STATE OF JONES gary ross ∞• FOXCATCHER bennett miller ∞• DISCONNECT henry alex rubin ∞• SPOTLIGHT tom mccarthy ∞• THE GIVER phillip noyce ∞• GIRL MOST LIKELY shari springer berman / robert pulcini ∞• BAD 25 spike lee • RED HOOK SUMMER spike lee • FRANCES HA noah baumbach ∞• MISTRESS AMERICA noah baumbach ∞• THE WE & THE I michel gondry ∞• ROBOT & FRANK jake schreier ∞• PREMIUM RUSH david koepp ∞• CHI-RAQ spike lee ∞• WHILE WE’RE YOUNG noah baumbach ∞• TOWER HEIST brett ratner § WIN WIN tom mccarthy ∞• THE SON OF NO ONE dito montiel ∞• TWELVE THIRTY jeff lipsky ∞• IT'S KIND OF A FUNNY STORY anna boden/ryan fleck ∞• SALT phillip noyce ∞ BILL CUNNINGHAM NEW YORK richard press ∞• GREENBERG noah baumbach ∞• CARRIERS alex/david pastor ∞• AWAY WE GO sam mendes ∞• FIGHTING dito montiel ∞ EXTERMINATORS john inwood ∞• LITTLE NEW YORK james demonaco ∞• ONCE MORE WITH FEELING jeff lipsky ∞•≈ TENDERNESS john polson • LIVING IN EMERGENCY mark hopkins ∞• TOKYO! michel gondry ∞• GUNNIN' FOR THAT #1 SPOT adam yauch • BE KIND REWIND michel gondry ∞• THE YELLOW HANDKERCHIEF udayan prasad ∞• AWAKE joby harold ∆ THE VISITOR tom mccarthy ∞• LIMÓN:A LIFE BEYOND WORDS malachi roth ≈ HOUNDDOG -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
Science Fiction/San Francisco Issue 46 Date: June 13, 2007 Editors: Jean Martin, Chris Garcia Email: [email protected] Copy Editor: David Moyce Layout Editor: Eva Kent
Science Fiction/San Francisco Issue 46 Date: June 13, 2007 Editors: Jean Martin, Chris Garcia email: [email protected] Copy Editor: David Moyce Layout Editor: Eva Kent TOC News and Notes .......................................................... Christopher J. Garcia ............................................................................................................... 2-4 Letters Of Comment .................................................. Jean Martin and Christopher J. Garcia ................................................................................... 5-9 Editorial ..................................................................... Christopher J. Garcia ............................................................................................................... 10 BayCon Survives, Thrives ........................................... Christopher J. Garcia ........................... Photos by Jim Bull and Jean Martin ........................... 11-16 BayCon Relocates, Rocks ........................................... España Sheriff ...................................... Photos by Jim Bull ...................................................... 17-20 Advice for the Convention Bound .............................. Dr. Noe ............................................... Photos by Jim Bull and Howeird ................................ 21-25 Space Cowboys Ball .................................................... Glenn D. “Mr. Persephone” Martin ..... Photos by Patrick White, Mike Smithwick, Jim Bull ... 26-28 BASFA Minutes: -
Whatever Works
WHATEVER WORKS Written and Directed by Woody Allen A Sony Pictures Classics Release Ed Begley, Jr. Patricia Clarkson Larry David Conleth Hill Michael McKean Evan Rachel Wood Official Selection – Opening Night Film – 2009 Tribeca Film Festival Release Date – June 19th Rating: PG-13 Runtime: 92 Minutes Press Contacts East Coast Publicity West Coast Publicity Distributor Donna Daniels PR. Block Korenbrot Sony Pictures Classics Donna Daniels Melody Korenbrot Carmelo Pirrone 20 West 22nd St., #1410 Ziggy Kozlowski Leila Guenancia New York, NY 10010 110 S. Fairfax Ave, #310 550 Madison Ave 347-254-7054, ext 101 Los Angeles, CA 90036 New York, NY 10022 323-634-7001 tel 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax 1 WHATEVER WORKS Starring (in alphabetical order) John ED BEGLEY, JR. Marietta PATRICIA CLARKSON Boris LARRY DAVID Leo Brockman CONLETH HILL Joe MICHAEL McKEAN Melody EVAN RACHEL WOOD Co-Starring (in alphabetical order) Randy James HENRY CAVILL Perry JOHN GALLAGHER, JR. Helena JESSICA HECHT Jessica CAROLYN McCORMICK Howard CHRISTOPHER EVAN WELCH Filmmakers Writer/Director WOODY ALLEN Producers LETTY ARONSON STEPHEN TENENBAUM Co-Producer HELEN ROBIN Executive Producers VINCENT MARAVAL BRAHIM CHIOUA Co-Executive Producers JACK ROLLINS CHARLES H. JOFFE Director of Photography HARRIS SAVIDES, A.S.C. Production Designer SANTO LOQUASTO Editor ALISA LEPSELTER Costume Designer SUZY BENZINGER Casting JULIET TAYLOR LAURA ROSENTHAL ALI FARRELL 2 WHATEVER WORKS Synopsis Woody Allen returns to New York with an offbeat comedy about a crotchety misanthrope (Larry David) and a naïve, impressionable young runaway from the south (Evan Rachel Wood). When her uptight parents, (Patricia Clarkson and Ed Begley, Jr.) arrive to rescue her, they are quickly drawn into wildly unexpected romantic entanglements. -
Works Cited – Films
Works cited – films Ali (Michael Mann, 2001) All the President’s Men (Alan J Pakula, 1976) American Beauty (Sam Mendes, 1998) American History X (Tony Kaye, 1998) American Psycho (Mary Harron, 2000) American Splendor (Shari Springer Berman and Robert Pulcini, 2003) Arlington Road (Mark Pellington, 1999) Being There (Hal Ashby, 1980) Billy Elliott (Stephen Daldry, 2000) Black Christmas (Bob Clark, 1975) Blow Out (Brian De Palma, 1981) Bob Roberts (Tim Robbins, 1992) Bowling for Columbine (Michael Moore, 2002) Brassed Off (Mark Herman, 1996) The Brood (David Cronenberg, 1979) Bulworth (Warren Beatty, 1998) Capturing the Friedmans (Andrew Jarecki, 2003) Control Room (Jehane Noujaim, 2004) The China Syndrome (James Bridges, 1979) Chinatown (Roman Polanski, 1974) Clerks (Kevin Smith, 1994) Conspiracy Theory (Richard Donner, 1997) The Conversation (Francis Ford Coppola, 1974) The Corporation (Jennifer Abbott and Mark Achbar, 2004) Crumb (Terry Zwigoff, 1994) Dave (Ivan Reitman, 1993) The Defector (Raoul Lévy, 1965) La Dolce Vita (Federico Fellini, 1960) Dr Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick, 1964) Evil Dead II (Sam Raimi, 1987) 201 Executive Action (David Miller, 1973) eXistenZ (David Cronenberg, 1999) The Exorcist (William Friedkin, 1973) Fahrenheit 9/11 (Michael Moore, 2004) Falling Down (Joel Schumacher, 1993) Far From Heaven (Todd Haynes, 2002) Fight Club (David Fincher, 1999) The Firm (Sydney Pollack, 1993) The Fly (David Cronenberg, 1986) The Forgotten (Joseph Ruben, 2004) Friday the 13th