Movies in Washington
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Kevin Costner, America's Teacher
H-Announce CFP Extended: Kevin Costner, America's Teacher Announcement published by Edward Janak on Monday, June 8, 2020 Type: Call for Papers Date: June 5, 2020 to August 30, 2020 Location: United States Subject Fields: Cultural History / Studies, Film and Film History, Humanities, Public History, Teaching and Learning Call for Proposals: Kevin Costner: America’s Teacher Deadline for Abstracts Extended We are looking for chapter proposals for an edited collection on Kevin Costner examining the role of/potential of/problematization of Costner in educational settings domestically and abroad. Costner’s career is a myriad of successes and failures. In the past 35 years, his movies grossed 2 billion dollars in ticket sales worldwide and he has he won/been nominated for several Academy Awards; he also experienced critical and box office failures with Waterworld and the Postman. However, in the past 20 years Costner has been able to reinvent himself as a versatile character actor appearing in leading roles in films as well as on cable (Hatfields & McCoys, Yellowstone) and streaming (The Highwaymen) television platforms. He has also become a quiet, but notable, philanthropist, giving both his time and money. Through the films in his oeuvre, Kevin Costner has been teaching audiences around the world about the United States--its history, people and culture. Some viewers and scholars recognize this as positive, others as problematic. This book will serve as a place for teachers and scholars to explore ways in which Costner may be tapped for research and teaching purposes at all levels of education, including problematizing his oeuvre. -
Film & Literature
Name_____________________ Date__________________ Film & Literature Mr. Corbo Film & Literature “Underneath their surfaces, all movies, even the most blatantly commercial ones, contain layers of complexity and meaning that can be studied, analyzed and appreciated.” --Richard Barsam, Looking at Movies Curriculum Outline Form and Function: To equip students, by raising their awareness of the development and complexities of the cinema, to read and write about films as trained and informed viewers. From this base, students can progress to a deeper understanding of film and the proper in-depth study of cinema. By the end of this course, you will have a deeper sense of the major components of film form and function and also an understanding of the “language” of film. You will write essays which will discuss and analyze several of the films we will study using accurate vocabulary and language relating to cinematic methods and techniques. Just as an author uses literary devices to convey ideas in a story or novel, filmmakers use specific techniques to present their ideas on screen in the world of the film. Tentative Film List: The Godfather (dir: Francis Ford Coppola); Rushmore (dir: Wes Anderson); Do the Right Thing (dir: Spike Lee); The Dark Knight (dir: Christopher Nolan); Psycho (dir: Alfred Hitchcock); The Graduate (dir: Mike Nichols); Office Space (dir: Mike Judge); Donnie Darko (dir: Richard Kelly); The Hurt Locker (dir: Kathryn Bigelow); The Ice Storm (dir: Ang Lee); Bicycle Thives (dir: Vittorio di Sica); On the Waterfront (dir: Elia Kazan); Traffic (dir: Steven Soderbergh); Batman (dir: Tim Burton); GoodFellas (dir: Martin Scorsese); Mean Girls (dir: Mark Waters); Pulp Fiction (dir: Quentin Tarantino); The Silence of the Lambs (dir: Jonathan Demme); The Third Man (dir: Carol Reed); The Lord of the Rings trilogy (dir: Peter Jackson); The Wizard of Oz (dir: Victor Fleming); Edward Scissorhands (dir: Tim Burton); Raiders of the Lost Ark (dir: Steven Spielberg); Star Wars trilogy (dirs: George Lucas, et. -
AM Mike Nichols Production Bios FINAL
Press Contact: Natasha Padilla, WNET, 212.560.8824, [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://pbs.org/americanmasters , http://facebook.com/americanmasters , @PBSAmerMasters , http://pbsamericanmasters.tumblr.com , http://youtube.com/AmericanMastersPBS , http://instagram.com/pbsamericanmasters , #AmericanMasters Mike Nichols: American Masters Premieres nationwide Friday, January 29 at 9 p.m. on PBS (check local listings) Production Biographies Elaine May Director Elaine May began in Second City where she formed a successful comedy team with Mike Nichols. She earned a Drama Desk Award for her play Adaptation ; wrote, directed and performed in A New Leaf ; directed The Heartbreak Kid (the original); wrote and directed Mikey & Nicky and Ishtar ; received an Oscar nomination for writing Heaven Can Wait ; reunited with Nichols to write The Birdcage and Primary Colors (a BAFTA-winner); and worked with producer Julian Schlossberg on six New York productions. She has done other things, but this is enough. Julian Schlossberg Producer Julian Schlossberg is an award-winning theater, film and television producer. For TV, he’s produced for HBO, AMC and PBS, including American Masters — Nichols & May: Take Two and American Masters: The Lives of Lillian Hellman . Plays produced by Schlossberg have earned many honors, including six Tony Awards, two Obie Awards, seven Drama Desk Awards and five Outer Critics Circle Awards, among them Bullets Over Broadway: The Musical , The Beauty Queen of Leenane and Fortune’s Fool . He also produced six of Elaine May’s plays: Relatively Speaking , Adult Entertainment , After the Night and the Music , Power Plays , Death Defying Acts and Taller Than a Dwarf . -
The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d. -
Buck Henry, Who Helped Create ʻget Smartʼ and Adapt ʻthe Graduate,ʼ Dies at 89 an Unassuming Screenwriter and Actor, Mr
1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times https://nyti.ms/2N7atsQ Buck Henry, Who Helped Create ʻGet Smartʼ and Adapt ʻThe Graduate,ʼ Dies at 89 An unassuming screenwriter and actor, Mr. Henry thought up quirky characters with Mel Brooks and inhabited many more on “Saturday Night Live.” By Bruce Weber Published Jan. 9, 2020 Updated Jan. 10, 2020 Buck Henry, a writer and actor who exerted an often overlooked but potent influence on television and movie comedy — creating the loopy prime-time spy spoof “Get Smart” with Mel Brooks, writing the script for Mike Nichols’s landmark social satire “The Graduate” and teaming up with John Belushi in the famous samurai sketches on “Saturday Night Live” — died on Wednesday in Los Angeles. He was 89. His wife, Irene Ramp, said his death, at Cedars-Sinai Medical Center, was caused by a heart attack. John Belushi, left, and Mr. Henry in the 1978 “Saturday Night Live” sketch “Samurai Optometrist.” Fred Hermansky/NBCUniversal via Getty Images As a personality and a performer, Mr. Henry had a mild and unassuming aspect that was usually in contrast with the pungently satirical or broadly slapstick material he appeared in — and often wrote. Others in the room always seemed to make more noise. https://www.nytimes.com/2020/01/09/movies/buck-henry-dead.html 1/6 1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times Indeed, for almost 50 years he was a Zelig-like figure in American comedy, a ubiquitous if underrecognized presence not only in grand successes but also in grand failures. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Laurence Olivier in Hamlet (1949)
1 Laurence Olivier in Hamlet (1949) In the late 1930s and early 1940s, when Samuel Goldwyn, MGM, and David Selznick were wooing him, Laurence Olivier chose not to become a movie star “like dear Cary.” After playing Heathcliff in Wuthering Heights (1939), Darcy in Pride and Prejudice (1940), and Maxim Dewinter in Rebecca (1940), he appeared in Hollywood pictures sparingly and tried to avoid a fixed persona. He nevertheless became the symbol of what midcentury America thought of as a distinguished actor, and was the most successful English theatrical type in the movies. He wasn’t romantically flamboyant (Orson Welles was closer to that), he wasn’t a naturalist like the students of the Method, he wasn’t a Brechtian, and he wasn’t the sort of movie actor who plays variations on a single character. He belonged instead to a school of disciplined, tastefully romantic verisimilitude, and within that school was a master. He was also the best-known Shakespearian in films. Olivier often said that his favorite movie role was the working-class comedian Archie Rice in The Entertainer (1960), but his performances in the Shakespeare films that he directed are more representative of his skills and more significant in film history. Based on canonical texts with a long performance history, they foreground his stylistic choices 2 and make his influences relatively easy to identify. His version of Hamlet (1949), for example, seems to derive pretty equally from the English romantics, Sigmund Freud, and William Wyler. These sources are not so eclectic as they might appear. Romantic-realist ideas of narrative shaped nearly all feature films of the period; Wyler had been the director of Wuthering Heights and at one point was scheduled to direct Olivier’s production of Henry V; and Olivier’s conceptions of character and performance are similar to the ones that shaped Hollywood in the 1940s, when Freud was in vogue. -
24)0 M « » R C T » 2 "7 T L I Johnny Jones" (1989
derer of his parents. per. A former country singer, his life pines following the Spanish- ® **% ‘Rafferty and the Gold and career ruined by alcoholism, American War. Dust Twins” (1975. Comedy) Alan falls in love with a Texas motel 114)0 Arkin, Sally Kelierman. Two young owner and decides to make a female drifters kidnap a depressed comeback. a ★ "It's Alive!" (1968, Science driving instructor and launcn a zany Fiction) Tommy Kirk, Shirley crime spree. EVENING Bonne. A lunatic's plot to trap three tors seem to vanish when they strangers in an Ozark cave with a threaten the privacy of a teen-age prehistoric m onster backfires when girt who lives with her unseen 74)0 the creature sets its sights on him. Father in a mysterious house. FRIDAY, a ** V i "The Adventures of 124)0 M « » r c T » 2 "7 t l i Johnny Jones" (1989. Drama) Ri 9:30 chard Love, Ida Gregory. In 1943 [41 QD ★★ "La Parfaite Forme” ® **W "Johnnie Mae Gibson: Wales, an imaginative boy’s work! (1985, Cornedie) John Travolta, Ja FBI" (1986, Drama) Lynn Whitfield. M O R N IN G Is changed by tne arrival of children mie Lee Curtis. Un journalists de Howard E. Rollins Jr. Fact-based evacuated from Liverpool and the I'hebdomadaire “Rolling Stone" story of a Southern woman who ov 84)0 introduction of American bobble prepare un reportage a sensation ercame a poverty-stricken child sur les centres de conditionnement (8 * * “Crooks in Cloisters" (1963. gum. hood and the strains of balancing a 7:30 physique, bars de rencontres nou marriage and a career to achieve Comedy) Ronald Fraser. -
ROBERT GREENHUT Producer
ROBERT GREENHUT Producer TRUST - Millennium - David Schwimmer, director PICASSO & BRAQUE GO TO THE MOVIES - Independent - Arne Glimcher, director BROOKLYN’S FINEST - Warner Bros. - Antoine Fuqua, director AUGUST RUSH - Warner Bros. - Kirsten Sheridan, director FIND ME GUILTY - Yari Film Group - Sidney Lumet, director STATESIDE - First Look Films - Reverge Anselmo, director THE BLACK KNIGHT - 20th Century Fox - Gil Junger, director WHITE RIVER KID - Independent - Arne Glimcher, director WITH FRIENDS LIKE THESE - Independent - Phillip Frank Messina, director THE PREACHER’S WIFE - Buena Vista - Penny Marshall, director EVERYONE SAYS I LOVE YOU - Miramax - Woody Allen, director MIGHTY APHRODITE - Miramax - Woody Allen, director BULLETS OVER BROADWAY - Miramax - Woody Allen, director RENAISSANCE MAN - Buena Vista - Penny Marshall, director WOLF (Executive) - Columbia - Mike Nichols, director MANHATTAN MURDER MYSTERY - TriStar - Woody Allen, director HUSBANDS AND WIVES - TriStar - Woody Allen, director SHADOWS AND FOG - Orion - Woody Allen, director A LEAGUE OF THEIR OWN - Columbia - Penny Marshall, director REGARDING HENRY (Executive) - Paramount - Mike Nichols, director ALICE - Orion - Woody Allen, director QUICK CHANGE - Warner Bros. - Howard Franklin, Bill Murray, directors POSTCARDS FROM THE EDGE (Executive) - Columbia - Mike Nichols, director CRIMES AND MISDEMEANORS - Orion - Woody Allen, director NEW YORK STORIES - Touchstone - Woody Allen, director WORKING GIRL - 20th Century Fox - Mike Nichols, director BIG - 20th Century Fox - Penny -
(XXXIII: 11) Brian De Palma: the UNTOUCHABLES (1987), 119 Min
November 8, 2016 (XXXIII: 11) Brian De Palma: THE UNTOUCHABLES (1987), 119 min. (The online version of this handout has color images and hot url links.) DIRECTED BY Brian De Palma WRITING CREDITS David Mamet (written by), Oscar Fraley & Eliot Ness (suggested by book) PRODUCED BY Art Linson MUSIC Ennio Morricone CINEMATOGRAPHY Stephen H. Burum FILM EDITING Gerald B. Greenberg and Bill Pankow Kevin Costner…Eliot Ness Sean Connery…Jimmy Malone Charles Martin Smith…Oscar Wallace Andy García…George Stone/Giuseppe Petri Robert De Niro…Al Capone Patricia Clarkson…Catherine Ness Billy Drago…Frank Nitti Richard Bradford…Chief Mike Dorsett earning Oscar nominations for the two lead females, Piper Jack Kehoe…Walter Payne Laurie and Sissy Spacek. His next major success was the Brad Sullivan…George controversial, ultra-violent film Scarface (1983). Written Clifton James…District Attorney by Oliver Stone and starring Al Pacino, the film concerned Cuban immigrant Tony Montana's rise to power in the BRIAN DE PALMA (b. September 11, 1940 in Newark, United States through the drug trade. The film, while New Jersey) initially planned to follow in his father’s being a critical failure, was a major success commercially. footsteps and study medicine. While working on his Tonight’s film is arguably the apex of De Palma’s career, studies he also made several short films. At first, his films both a critical and commercial success, and earning Sean comprised of such black-and-white films as Bridge That Connery an Oscar win for Best Supporting Actor (the only Gap (1965). He then discovered a young actor whose one of his long career), as well as nominations to fame would influence Hollywood forever. -
Clint Eastwood Still America's Favorite Film Star
The @arris Poll THE HARRIS POLL 1994 #70 For release: Monday, October 3 1, 1994 CLINT EASTWOOD STILL AMERICA'S FAVORITE FILM STAR Me1 Gibson number one among women and the younger set by Humphrey Taylor For the second year running, Clint Eastwood tops the list of America's favorite film stars, followed, as he was last year, by John Wayne. Underneath the top two there is some movement; Me1 Gibson moves up from number five to number three; Harrison Ford moves up from number seven to number four; Tom Hanks, who was not in the top ten last year, jumps up to number five. The losers are Tom Cruise, who drops from number four last year to number eight this year, Arnold Schwarzenegger who drops from number three to number six, and Burt Reynolds and Jack Nicholson, who both drop out of the top ten. Me1 Gibson is the number one choice of women and of people aged 18 to 29 -- who go to the movies much more often than older Americans. John Wayne is still number one among people aged 65 and over. Denzel Washington is preferred by African Americans, and Hispanics choose Arnold Schwarzenegger as their favorite. These are the results of a nationwide Harris Poll of 1,250 adults surveyed between September 17 and 2 1. Humphrey Taylor is the Chairman and CEO of Louis Harris and Associates, lnc. ( Louis Harris & Associates 111 Fifth Avenue NYC (212) 539-9697 TABLE 1 FAVORITE FILM STAR "Who is your favorite film star?" Clint Eastwood (1) John Wayne (2) Me1 Gibson (5) Harrison Ford (7) Tom Hanks Arnold Schwarzenegger (3) Kevin Costner (6) Tom Cruise (4) Robert Redford (8) Steven Segal Dropped out of top 10: Burt Reynolds (9), Jack Nicholson (10) NOTE: Position last year in parenthesis. -
Painfully Funny the Complete Directorial Works of Elaine May
THE BADLANDS COLLECTIVE presents PAINFULLY FUNNY THE COMPLETE DIRECTORIAL WORKS OF ELAINE MAY INSTITUTE OF CONTEMPORARY ARTS, LONDON SEPTEMBER 21-23, 2018 PAINFULLY FUNNY THE COMPLETE DIRECTORIAL WORKS OF ELAINE MAY Elaine May is a legend in the world of comedy – acknowledged as an influence by comics such as Steve Martin, Lily Tomlin, Woody Allen and countless others – but her work as a movie director has become curiously and unjustly obscure. While other filmmakers who emerged in the New Hollywood of the 1970s have become venerated icons, Elaine May’s films have fallen out of the conversation, and in some cases have fallen out of circulation entirely. With this retrospective, we’re pleased to bring her back into the limelight and hail her as one of the most brilliant artists from that exalted generation of American directors. May directed four theatrical feature films, three of which resulted in fierce behind-the- scenes battles before they finally reached cinemas, with May fighting to protect the integrity of her vision. Her background in improvisation – developed with the Compass Players, before she and Mike Nichols revolutionised American comedy in the late 1950s – led to her taking an exacting, exploratory approach to filmmaking. She would shoot dozens of takes for a single scene, exhausting every possible variation and often filming with multiple cameras in a constant attempt to capture spontaneous moments of inspiration, humour and truth. When editing she relished pauses, dead spots and extended moments of awkwardness, adding a tension underneath the films’ comic surface. May’s filmmaking style inevitably led to her amassing mountains of footage, missing deadlines, going over budget and falling out of favour with the studios, but it also produced films with an energy, rhythm and edge that distinguishes them from their contemporaries and elevates them beyond genre conventions.