DOCSLIB.ORG

Vice of a Generation THRILLS Wonder About Forevermore

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vice of a Generation THRILLS Wonder About Forevermore HERALDSUN.COM.AU THURSDAY MARCH 12 2015 HIT 35 PHOENIX OZ BOX Local lass Margot Robbie draws ’em in RISES OFFICE as Focus opens No.2 with $2.6m. Vince Vaughn's Unfinished Business arrives FILM with little fanfare at No.6 ($634,337). If your definition of great INTERVIEW LOSE THE cinema is complete immersion in a world you could never have PLOT BUT possibly imagined, then Inherent Vice is everything NOT THE you could wish for. And just as importantly, leaves much to Vice of a generation THRILLS wonder about forevermore. The star of the show here is Phoenix in the lead role of Inherent Vice is set in 1970 Larry “Doc” Sportello, Joaquin Los Angeles where the hippy, INHERENT VICE a man who has never met a Phoenix in trippy peace and love of the marijuana bud or magic Inherent 1960s has given way to a more [ M A 1 5 + ] mushroom he did not like. Vice. menacing, Manson-esque hhhk Despite his perpetually hazy undertone. Phoenix, who spent Director: Paul Thomas state of consciousness, Doc can his formative years on Anderson (There Will sense when the vibes around communes with his family, says Be Blood) him are turning negative at an his early days in LA were Starring: Joaquin Phoenix, alarming rate. definitely not of the peace and Josh Brolin, Owen Wilson, At times, what is left of his love variety, either. Katherine Waterston, awareness will be all that keeps “I came to Los Angeles when Reese Witherspoon Doc alive as he digs deeper into I was five years old, and my Leaving no stoner a dark conspiracy involving a mum immediately was a unturned beautiful ex-girlfriend secretary at NBC,” he says. “So (Katherine Waterston) and her there’s nothing less hippy than new, married boyfriend, a being a secretary at NBC.” powerful real estate tycoon He started acting around the (Eric Roberts). same time, though, inspired by Then there’s Doc’s his late brother, River. problematic relationship with “I remember the first job that the toughest cop in LA, who I ever did, and it was on a show revels in his nickname of Big called Seven Brides For Seven Foot (Josh Brolin). Doc’s every Brothers, which River was a move is being watched regular on,” he says. perversely closely by Big Foot, After watching two actors who has that rare habit of “go at it” during a fake movie If the collective opinion of the showing up exactly when he fight, he was hooked. many loyal readers of is not needed. “I remember getting this legendarily enigmatic author There are a zillion rush of adrenaline, and it was Thomas Pynchon counts for recognisable names (Owen the most exciting feeling I’d anything, maverick US writer- Wilson, Benicio Del Toro, had. Maybe it’s like touching director Paul Thomas Martin Short) doing the danger, but knowing that you’re Anderson (Boogie Nights, There freakiest things they can find in safe — like a highwire, but Will Be Blood) is doomed to fail their repertoire for the director, knowing there’s a net.” in adapting one of their idol’s who revels in the chaos sure Phoenix admits he likes more unwieldy works. to follow. pushing the envelope Nevertheless, this trippy tale It doesn’t make much sense, artistically. In 2010, he made a of a drugged-up, bugged-out but as an exercise in mind- mockumentary, I’m Still Here, private eye (Joaquin Phoenix) altering time travel, it’s as with his best mate Casey investigating a case in a sun- immersive and involving as Affleck, in which he gave up dappled 1970 southern such fare can get. acting, grew a long beard, California is a truly escapist Just don’t go looking for any mumbled and grumbled and experience. explanations. Just look, man. declared he wanted to be a hip- hop artist. A particularly bizarre For a seeming really rather funny and warm. on a screwball comedy, the interview with David He also has perspective about story jumps all over the place Letterman made the world eccentric, actor his day job (this, people, is rare). and barely makes any sense. think he’d gone mad. that gripped the whole of “People should be asking But, according to Phoenix, He says that people just A LAGER Europe in the early 1980s. Joaquin Phoenix doctors and vets how tough that’s the whole point. “didn’t get the joke”. Mega-rich alcohol tycoon their jobs are, not actors. I “When I first read the book, Away from work, he says THAN LIFE Freddy Heineken (Anthony has a good grip on mean, it’s sooo hard for us.” I was like, ‘Where the f--- am I?’ his life verges on “boring”. Hopkins) has been abducted At 40, Phoenix has made a It’s so crazy and out there,” he “I interact with my friends. BAND OF from his Amsterdam home by a his professional career out of playing difficult says. “But then I realised, you There are very specific places quintet of amateur desperados men. There were Oscar- don’t need to work it out, you I go. There are a couple of NO-HOPERS (led by Jim Sturgess and life, writes nominated turns as a lily- just go with it. I don’t need to be restaurants I like to go to, and a Australian stars Ryan Kwanten livered emperor in Gladiator trying to figure this all out.” couple of parks I like to go to,” and Sam Worthington). Tiffany Bakker and a close-to-the-bone The movie is Phoenix’s he says. “I do the same things. The price tag for his return? performance as a troubled second with Anderson, the man I’m a creature of habit.” KIDNAPPING Almost 50 million dollars in Johnny Cash in Walk the Line. behind Boogie Nights, Magnolia He also reckons that his today’s money. He chalked up another and There Will Be Blood. career ambitions are pretty MR HEINEKEN Will the lads get away with “This is going to be the worst Oscar nod for his role as a war The first collaboration singular. And that despite [M] it? Best avoid any spoilers about interview ever,” yells Joaquin veteran enamoured with a cult between them, The Master helming a few music videos, hhk how it all will end, and you just Phoenix, animatedly, through leader in Anderson’s The (starring Philip Seymour he has no plans to direct films. Director: Daniel Alfredson might get a kick from what is a haze of cigarette smoke at a Master, which he followed with Hoffman and Amy Adams) was “I like the idea of it, I just (The Girl Who Played destined to go right and wrong downtown Los Angeles hotel. an acclaimed performance in loosely based on the story of don’t know if I have what it with Fire) with this dangerous scheme. “I guarantee it. And it’s not you, Spike Jonze’s Her, where he Scientology founder L. Ron takes,” he laughs. “You have to Starring: Jim Sturgess, Hopkins is all class as always, it’s me. I’m winning in the worst played a man in love with a Hubbard, and was much darker be a master of a number of Anthony Hopkins, Sam but not all of his younger co- interview stakes. I’m just s---.” computer operating system. than Inherent Vice. different things, and I can say Worthington, Ryan Kwanten stars are up to the job. It is not Indeed, Phoenix admits, In his latest outing, Inherent “I actually think that movie’s for sure that I’m not.” From small beer to as if director Daniel Alfredson sucking on another cigarette, Vice, he’s lightened up a bit, (The Master) really funny, but it When it comes to acting, one big, bad payday doesn’t give the bulk of his cast that he’d rather be at home with playing a constantly stoned was more stressful in some ways though, he says he’s totally in every opportunity to make a his dogs than “saying the same private detective embroiled in a than this one,” he says. his right wheelhouse. mark with their characters. s---” he feels he always says case involving a missing real “For one, I ate whatever “There’s something that Actually, the film is far too when he plugs a film. (He’s very estate mogul, drug smugglers, I wanted during Inherent Vice, feels so high stakes and exciting generous in the screen time polite about it, though.) his ex-girlfriend, and a cocaine- and that made the experience about it. It’s hard to put my given over to the very “He says stupid s---. Was he sniffing dentist (played by much better. You might think finger on it but, at its best, it’s predictable ructions in the being weird or was he being Martin Short). I’m joking, but when you’re the best experience I’ve ever ranks among the novice normal?” asks director Paul Based on the novel by starving yourself for a film, it’s had of anything that I’ve ever kidnappers. Thomas Anderson, with a sly Thomas Pynchon, and verging not enjoyable.” done,” he says. “There’s a Freddy Heineken is a far grin, later. “Sometimes he gets moment where you feel — and more interesting character, nervous and flustered.” it sounds so f---ing corny — but quickly sizing up he has a Despite his protestations, it’s like being connected to superior intellect to most of Phoenix, who has a reputation “There are a couple of restaurants I like to go something bigger than you, A middling thriller noticeably his captors, an assessment as being a bit erratic, sensitive to, and a couple of parks I like to go to.
Load more

Recommended publications
  • Scene and Heard: a Profile of Laura Colella
    Scene and Heard: A Profile of Laura Colella She sits quietly in a coffee shop, waiting. She is of small stature, and fine boned. She has striking eyes and a beautiful face, one that easily could be in front of the camera. Providence born and raised, no one she knew ever talked about becoming a filmmaker. She is definitely under the radar – but is soaring very high. This is Laura Colella. In her 44 years, she has managed to impress some very important people in the film world. One of those folks is Paul Thomas Anderson – the same Paul Thomas Anderson who wrote and directed The Master, There Will Be Blood, Boogie Nights and my personal favorite (and I believe his), Magnolia. Last February, he hosted a screening of her film Breakfast with Curtis in LA, and held a lengthy Q & A session afterward. In the same month, at the Independent Spirit Awards, the film was nominated for the John Cassavetes Award for Best Feature made for under $500,000, and won a $50,000 distribution grant from Jameson. Her love of film started early. She grew up heavily involved in theater, was in a few productions at Trinity Rep, and worked there as a production assistant. “My first year in college at Harvard, my boyfriend took me to the end-of-year film screenings at RISD, which opened up that world of possibility for me. I discovered the excellent film department at Harvard, which centered on 16MM production, became totally immersed in it, and never looked back.” Laura now has three features under her belt – Tax Day, her first, for which she received a special equipment grant through the Sundance Institute, portrays two women on their way to the post office on that dreaded day, April 15.
    [Show full text]
  • An Analysis of Boogie Nights and Magnolia Andrew C
    Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2009 "New" Hollywood Narratives: an Analysis of Boogie Nights and Magnolia Andrew C. Cate Rhode Island College, [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the American Film Studies Commons, and the Film and Media Studies Commons Recommended Citation Cate, Andrew C., ""New" Hollywood Narratives: an Analysis of Boogie Nights and Magnolia" (2009). Honors Projects Overview. 23. https://digitalcommons.ric.edu/honors_projects/23 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. “NEW” HOLLYWOOD NARRATIVES: AN ANALYSIS OF BOOGIE NIGHTS AND MAGNOLIA By Andrew C. Cate An Honors Project Submitted in Partial Fulfillment of the Requirements for Honors in The Department of Film Studies The School of Arts and Sciences Rhode Island College 2009 Cate 1 “New” Hollywood Narratives: An Analysis of Boogie Nights and Magnolia Introduction To discuss Paul Thomas Anderson the filmmaker is to consider the current age of Hollywood filmmaking and the idea of the “new” Hollywood narrative. As writer- director of such acclaimed films as Magnolia (1999) and There Will Be Blood (2007), Anderson was praised for appearing to have “arrived at his mastery virtually overnight” with his first major release, the 1997 ensemble film Boogie Nights (Gleiberman). Anderson has long been compared to veteran filmmaker Robert Altman, whose take on the typical Hollywood narrative format has clearly influenced Anderson’s films.
    [Show full text]
  • Phantom Thread (2017)
    PHANTOM THREAD (2017) ● Released on January 18th, 2018 ● Released on December 25th, 2017 (Limited) ● 2 Hours 10 minutes ● $35,000,000 (estimated) ● Directed by Paul Thomas Anderson ● Written by Paul Thomas Anderson ● Annapurna Pictures, Focus Features, Ghoulardi Film Company ● Rated R for language QUICK THOUGHTS ● Marisa Serafini ● Phil Svitek ● Demetri Panos DEVELOPMENT ● “I remember that I was very sick, just with the flu, and I looked up and my wife (Maya Rudolph) looked at me with tenderness that made me think, “I wonder if she wants to keep me this way, maybe for a week or two.” I was watching the wrong movies when I was in bed, during this illness. I was watching Rebecca, The Story of Adele H., and ​ ​ ​ ​ Beauty and the Beast, and I really started to think that maybe she was poisoning me. ​ So, that kernel of an idea, I had in my mind when I started working on writing something.” ● “Paul will talk about the project early on,” says Sellar. “He’ll show me rough drafts. He’ll show me scenes. I’ll comment. We’ll go back and forth on stuff. We’ll start doing research together. And when he’s got a draft we all feel is good enough to send out to financiers, usually between him and his agent we’ll come up with where we’re going to send it.” - JoAnne Sellar WRITING (Paul Thomas Anderson) ​ ● National Board of Review award for best original screenplay ● Anderson was especially intrigued by a photograph of Dior in a workroom of women dressed in white coats.
    [Show full text]
  • A Few Good Men? Don't Look in the Movies
    hup:Muchivetnytioses.coidarchiveshearch/fastweb?getdoc+allyears2441b36S+10114 Archives TO'YOTAdIradly employs nose duo 23,000 Americans la Pinion January 25, 19411, Sunday ARCHIVES Arts and Leisure Desk IOW MAIM MOUT MS MIMS NIONINT 111111WEIR Asaayss sew A Few Good Men? Don't Look in the Movies By RICHARD A. SHWIDER WHY ARE IMAGES OF MEN IN movies these days so desolate when it comes to real love, real sex, real families, real children and real work? Why has the art form become so detached from what is true and good? Why has our collective imagination concerning the male sex become so perverse and hallucinogenic? In short, why has the film industry declared an open hunting season on men? If you're like me, eager for a rush of inspiration that comes from seeing a manifestation of something heroic, excellent or at least a little dignified on the silver screen, 1997 was a disappointing year for representations of manhood. "Men first! Leave the women and children behind," an impulse embodied by one of the primary characters in "Titanic," is not an uplifting message. "Under those jeans is something wonderful waiting to get out," a concept at the heart of "Boogie Nights," produces no surge of pride. Certainly there was no character around like the honorable Clark Gable in "It Happened One Night," who doesn't take advantage of the affianced Claudette Colbert ("You better go back to your bed"). Some of the worst offenders in this regard were films declared by critics to be among the year's best. Here, for example, is a short list of acclaimed pictures over the last six months that sucked the soul out of my body, registering zero on my epiphany scale.
    [Show full text]
  • The Golden Age of Porn: Nostalgia and History in Cinema Susanna Paasonen and Laura Saarenmaa
    Pornification 19/7/07 10:56 am Page 23 –2– The Golden Age of Porn: Nostalgia and History in Cinema Susanna Paasonen and Laura Saarenmaa The mainstreaming of pornography is indebted to the success of feature-length hardcore films of the 1970s. Shot on 35 mm film, productions such as Deep Throat (1972), Behind the Green Door (1972), The Devil in Miss Jones (1973), The Opening of Misty Beethoven (1976) and Debbie Does Dallas (1978) were widely screened both in the USA and internationally. These films have since been estab- lished as classics (Buscombe 2004: 30) and milestones in both scholarly and popular porn historiographies. While some identify the so-called ‘golden age of porn’ through North American legislation and as ranging from 1957 from 1973 (Lane 2000: 22–3), it was in the 1970s and early 1980s that porn shifted towards the mainstream. In a trend titled by the New York Times as porno chic, pornography became fashionable, gained mainstream publicity and popularity (McNair 2002: 62–3; Schaefer 2004: 371; Wyatt 1999). During the past decade, this golden age has been reminisced in films such as People Vs. Larry Flynt (1996), Boogie Nights (1997) and Rated X (2000), numerous documentaries – including the critically acclaimed Inside Deep Throat (2005) – and books.1 This body of popular porn historiography depicts the decade as one of quality films with real stories, personal performers and talented directors, in contrast to the 1980s of video distribution, inflation of the porn industry, rise of AIDS and conservative backlash. With notable exceptions such as the French Le pornographe (2001) and the Spanish–Danish co-production Torremolinos 73 (2003), European histories have not been reminisced to the same degree.
    [Show full text]
  • P. T. Anderson‟S Dilemma: the Limits of Surrogate Paternity
    CORE Metadata, citation and similar papers at core.ac.uk Provided by The University of Sydney: Sydney eScholarship Journals online Sydney Studies P.T. Anderson's Dilemma P. T. Anderson‟s Dilemma: the Limits of Surrogate Paternity JULIAN MURPHET A while ago now, Fredric Jameson located the Utopian dimension of Coppola‟s first Godfather film (1972) in „the fantasy message projected by the title of this film, that is, in the family itself, seen as a figure of collectivity and as the object of a Utopian longing‟.1 In a late-capitalist America beset by an irreversible „deterioration of the family, the growth of permissiveness, and the loss of authority of the father‟, Coppola‟s Sicilians „project an image of social reintegration by way of the patriarchal and authoritarian family of the past‟. (33) To be sure, the ethnic group may preserve within its anachronistic familial webs a relatively untarnished „Name of the Father‟, that can be trotted out for nostalgic wish-fulfilment on celluloid; but it goes without saying that commercial American cinema has always turned on the institution of the family, to the extent that „in a typical Hollywood product, everything, from the fate of the Knights of the Round Table through the October Revolution up to asteroids hitting the earth, is transposed into an Oedipal narrative‟. 2 Jameson‟s Utopian account of the „ineradicable drive towards collectivity‟ (34) betokened by the family drama in American mass culture surely overlooks that most stubborn obstacle to its realization, both within any given plot, and more practically in everyday life: namely, the father himself.
    [Show full text]
  • 101 Films for Filmmakers
    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
    [Show full text]
  • Apparent Drug Overdose Claims the Life of Phillip Seymour Hoffman
    Apparent Drug Overdose Claims The Life of Phillip Seymour Hoffman Chris Ryan February 02, 2014 Reports in are stating that Phillip Seymour Hoffman was found dead in his Greenwich Village Apartment at 10:30 AM (EST) with a needle still in his arm. (Newswire.net -- February 2, 2014) -- New York, NY Oscar-winning American actor Philip Seymour Hoffman has been discovered dead in his Greenwich Village apartment, Phillip Seymour Hoffman with a needle still in his arm, in what authoriies believe was a drug overdose. Hoffmann created his title in the 90s in pictures along with the Boogie Nights and The Big Lebowski, before winning the Oscar for his portrayal of author Truman Capote in 2005. The Oscar-winning performer had apparently fought with substances previously and checked himself in to rehab for heroin use a year ago. A private assistant located Hoffman's body within an flat at 35 Bethune St. and telephoned 911 around 11:30 a.m, resources said. In 2006, Hoffman openly disclosed that he almost succumbed to drug abuse graduating from NYU's drama college, but got sober in rehabilitation."It was all that (medications and booze), yeah. It had been anything I really could get my fingers on... I enjoied it all," he advised "60 Minutes" as the time. TMZ stated he started using prescription tablets, subsequently snorted heroin for around a week before understanding he wanted help. Hoffman began his performing career in 1991, and also the subsequent year started to surface in movies. He slowly got recognition for his supporting function in some famous movies, including Scent of a Woman (1992), Twister (1996), Boogie Nights (1997), The Huge Lebowski (1998), Patch Adams (1998), Magnolia (1999), The Gifted Mr.
    [Show full text]
  • Disco Song List
    Disco Song List BOOGIE NIGHTS - HEATWAVE GROOVELINE - HEATWAVE ALWAYS & FOREVER - HEATWAVE SUPER FREAK - RICK JAMES GIVE IT TO ME BABY - RICK JAMES LE FREAK - CHICK FUNKY MUSIC MEDLEY - WILD CHERRY CELEBRATION - KOOL AND THE GANG LADIES NIGHT - KOOL AND THE GANG THAT'S THE WAY - K.C. & THE SUNSHINE BAND GET DOWN TONIGHT - K.C. & THE SUNSHINE BAND SHAKE YOUR BOOTY - K.C. & THE SUNSHINE BAND I'M YOUR BOOGIE MAN - K.C. & THE SUNSHINE BAND PLEASE DON'T GO - K.C. & THE SUNSHINE BAND BOOGIE SHOES - K.C. & THE SUNSHINE BAND YOU SHOULD BE DANCING - THE BEE GEES HOW DEEP IS YOUR LOVE - THE BEE GEES JIVE TALKIN - THE BEE GEES LADY MARIMALADE - LA BELLE EASY - THE COMMODORES THREE TIMES A LADY - THE COMMODORES BRICK HOUSE - THE COMMODORES HEART OF GLASS - BLONDIE Y.M.C.A. - THE VILLAGE PEOPLE MACHO MAN - VILLAGE PEOPLE WE ARE FAMILY - SISTER SLEDGE DISCO INFERNO - THE TRAMMPS DON'T LEAVE ME THIS WAY - THELMA HOUSTON GOT TO BE REAL - CHERYL LYNN NIGHT FEVER - THE BEE GEES BOOGIE OOGIE OOGIE - A TASTE OF HONEY I WILL SURVIVE - GLORIA GAYNOR FUNKYTOWN - LIPPS INC. CAR WASH - ROSE ROYCE BOOGIE WONDERLAND - EARTH WIND AND FIRE SEPTEMBER - EARTH WIND AND FIRE SHINING STAR - EARTH WIND AND FIRE LETS GROOVE - EARTH WIND AND FIRE DON'T STOP TILL YOU GET ENOUGH - MICHAEL JACKSON DANCIN MACHINE - THE JACKSON FIVE FIRE - OHIO PLAYERS LOVE ROLLER COASTER - THE OHIO PLAYERS BOOGIE FEVER - THE SYLVERS TAKE YOUR TIME - SOS BAND DO YA THINK IM SEXY - ROD STEWART THE HUSTLE - VAN MCCOY I WAS MADE FOR LOVIN YOU - KISS YOU MAKE ME FEEL LIKE DANCIN - LEO SAYER KUNG FU FIGHTING - CARL DOUGLAS HOT CHILD IN THE CITY - NICK GILDER RING MY BELL - ANITA WARD LAST DANCE - DONNA SUMMER BAD GIRLS - DONNA SUMMER DAZZ - BRICK COPACABANA - BARRY MANILOW BEST OF MY LOVE - THE EMOTIONS TURN THE BEAT AROUND - VICKI SUE ROBINSON SIR DUKE - STEVIE WONDER.
    [Show full text]
  • Organizer of the 54Th Karlovy Vary IFF 2019: Film Servis Festival Karlovy Vary, A.S
    Organizer of the 54th Karlovy Vary IFF 2019: Film Servis Festival Karlovy Vary, a.s. Organizers of the 54th Karlovy Vary IFF thank to all partners which help to organize the festival. 54th Karlovy Vary IFF is supported by: Ministry of Culture Czech Republic Main partners: Vodafone Czech Republic a.s. innogy MALL.CZ Accolade City of Karlovy Vary Karlovy Vary Region Partners: UniCredit Bank Czech Republic and Slovakia, a.s. UNIPETROL SAZKA Group the Europe’s largest lottery company DHL Express (Czech Republic), s.r.o. Philip Morris ČR, a.s. CZECH FUND – Czech investment funds Official car: BMW Official fashion partner: Pietro Filipi Official coffee: Nespresso Supported by: CZ - Česká zbrojovka a.s. Supported by: construction group EUROVIA CS Supported by: CZECHOSLOVAK GROUP Partner of the People Next Door section: Sirius Foundation Official non-profit partner: Patron dětí Film Servis Festival Karlovy Vary, Panská 1, 110 00 Praha 1, Czech Republic Tel. +420 221 411 011, 221 411 022 www.kviff.com In cooperation with: CzechTourism, Ministry of Regional Development Official beverage: Karlovarská Korunní Official beauty partner: Dermacol Official champagne: Moët & Chandon Official beer: Pilsner Urquell Official drink: Becherovka Main media partners: Czech Television Czech Radio Radiožurnál PRÁVO Novinky.cz REFLEX Media partners: BigBoard Praha PLC ELLE Magazine magazine TV Star Festival awards supplier: Moser Glassworks Software solutions: Microsoft Partner of the festival Instagram: PROFIMED Main hotel partners: SPA HOTEL THERMAL Grandhotel Pupp Four Seasons Hotel Prague Partner of the No Barriers Project: innogy Energie Wine supplier: Víno Marcinčák Mikulov - organic winery GPS technology supplier: ECS Invention spol.
    [Show full text]
  • The South According to Quentin Tarantino
    University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2015 The South According To Quentin Tarantino Michael Henley University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the American Studies Commons Recommended Citation Henley, Michael, "The South According To Quentin Tarantino" (2015). Electronic Theses and Dissertations. 887. https://egrove.olemiss.edu/etd/887 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. THE SOUTH ACCORDING TO QUENTIN TARANTINO A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of the Center for the Study of Southern Culture The University of Mississippi by MICHAEL LEE HENLEY August 2015 Copyright Michael Lee Henley 2015 ALL RIGHTS RESERVED ABSTRACT This thesis explores the filmmaker Quentin Tarantino’s portrayal of the South and southerners in his films Pulp Fiction (1994), Death Proof (2007), and Django Unchained (2012). In order to do so, it explores and explains Tarantino’s mixture of genres, influences, and filmmaking styles in which he places the South and its inhabitants into current trends in southern studies which aim to examine the South as a place that is defined by cultural reproductions, lacking authenticity, and cultural distinctiveness. Like Godard before him, Tarantino’s movies are commentaries on film history itself. In short, Tarantino’s films actively reimagine the South and southerners in a way that is not nostalgic for a “southern way of life,” nor meant to exploit lower class whites.
    [Show full text]
  • 90Th Annual Academy Awards® Oscar® Nominations Fact Sheet
    90TH ANNUAL ACADEMY AWARDS® OSCAR® NOMINATIONS FACT SHEET Best Motion Picture of the Year: Call Me by Your Name (Sony Pictures Classics) - Peter Spears, Luca Guadagnino, Emilie Georges and Marco Morabito, producers - This is the first nomination for all four. Darkest Hour (Focus Features) - Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten and Douglas Urbanski, producers - This is the fifth nomination for Tim Bevan. His previous Best Picture nominations were for Elizabeth (1998), Atonement (2007), Les Misérables (2012) and The Theory of Everything (2014). This is the sixth nomination for Eric Fellner. His previous Best Picture nominations were for Elizabeth (1998), Atonement (2007), Frost/Nixon (2008), Les Misérables (2012) and The Theory of Everything (2014). This is the second Best Picture nomination for both Lisa Bruce and Anthony McCarten, who were previously nominated for The Theory of Everything (2014). This is the first nomination for Douglas Urbanski. Dunkirk (Warner Bros.) - Emma Thomas and Christopher Nolan, producers - This is the second Best Picture nomination for both. They were previously nominated for Inception (2010). Get Out (Universal) - Sean McKittrick, Jason Blum, Edward H. Hamm Jr. and Jordan Peele, producers - This is the second Best Picture nomination for Jason Blum, who was previously nominated for Whiplash (2014). This is the first Best Picture nomination for Sean McKittrick, Edward H. Hamm Jr. and Jordan Peele. Lady Bird (A24) - Scott Rudin, Eli Bush and Evelyn O'Neill, producers - This is the ninth nomination for Scott Rudin, who won for No Country for Old Men (2007). His other Best Picture nominations were for The Hours (2002), The Social Network (2010), True Grit (2010), Extremely Loud & Incredibly Close (2011), Captain Phillips (2013), The Grand Budapest Hotel (2014) and Fences (2016).
    [Show full text]