DOCSLIB.ORG

<Article-Title>Mulholland Drive</Article-Title> <Contrib-Group><Contrib> <Name Name-Style="Weste

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
<Article-Title>Mulholland Drive</Article-Title> <Contrib-Group><Contrib> <Name Name-Style= Review: [untitled] Author(s): Martha P. Nochimson Reviewed work(s): Mulholland Drive by David Lynch ; Mary Sweeney ; Alain Sarde ; Neal Edelstein ; Michael Porlair ; Tony Krantz ; Pierre Edelman Source: Film Quarterly, Vol. 56, No. 1 (Autumn, 2002), pp. 37-45 Published by: University of California Press Stable URL: http://www.jstor.org/stable/1213908 Accessed: 05/04/2010 11:55 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Film Quarterly. http://www.jstor.org Mulholland Drive Dale Cooper (Kyle MacLachlan) in "Twin Peaks." If vision is always shadowed by the imbalances and ag- in the lower, toxic of the Director/Writer: David Lynch.Producers: Mary Sweeney, gressions depths imagination, Alain Sarde, Neal Edelstein, Michael Porlair,TonyKrantz, provoked by the despotism of manufactured culture, Pierre Edelman.Cinematographer: Peter Deming. Universal. each new film gives Lynch a new opportunity to spur his audiences toward the vision that arrives when we depart from standard procedures and cross beyond the n Mulholland Drive, David Lynch pushes forward narrow confines of what a too restricted world thinks his ongoing investigation of the human condition of as reality. Now, in Mulholland Drive, he woos us and the ways in which learned habits of mind not only again, with a Hollywood fable. fail to support our needs, but often loom as frightening Although, in his latest film, Lynch ostensibly sets adversaries in our struggle to cope. As a matter of his sights specifically on Hollywood, the contempt he course, Lynch centers himself in the expansive energy heaps on its ludicrous power structure conveys the of the dreaming subconscious and looks with sadness, heinous absurdity of the entire entertainment industry, horror, and confusion at the (often darkly comic) and with such vigor, that it is no wonder that ABC, grotesque results of the tyranny of a very reductive seeing its face in this dark mirror, pulled away from it form of reason fabricated by our culture. Nevertheless, in its earlier incarnation as a television series.' Mul- despair is not a feature of Lynch's cinematic universes. holland Drive, however, is much more than a literal Help always resides in the highest reaches of the expose of commercialism. It is a visionary epic about human imagination in the forms of dreams and visions, the cosmic degeneration that originates in the thwart- as in those of the sublime, albeit doomed detective, ing of the creative act by the mechanistic forces of FilmQuoarterly, Vol. no. 56, Issueno. I, pages 37-45. ISSN:0015-1386. ? 2002 by The Regentsof the Universityof California.All rightsreserved. Send requestsfor permissionto reprintto: Rightsand Permissions,University of CaliforniaPress, Joumals Division, 2000 Center Street, Suite 303, Berkeley,CA 94704-1223. 37 commercialism,and an affirmationof Lynch'sbelief in and the laconic CastiglianeBrothers (Dan Hedayaand the abundanceof robustcreative potential in mass cul- Angelo Badalamenti), two thugs replete with the ture. Hollywood often plausibly referred to as the wardrobeand props of movie Mafiosi, who dictate to "dreamfactory," makes a perfect setting for the drama the defiant directorthe terms under which he will be of the lethal implications of the loss of creative free- permitted to make his film: a stock ingenue named dom. The malignant oppression of "dream"by "fac- CamillaRhodes will be the star.At first,the film seems tory"is representedin the film by a criminalcartel that to have a comic trajectory.The "darklady," who may controls Hollywood productionand therebybrings on or may not be an actress, is renderedamnesiac by the the catastrophe that is Lynch's subject, as he, pre- crash,but seems to be on the roadto regainingher iden- dictably,weighs in on the side of dreams. tity when she accidentallymeets Betty; upbeatBetty is In Mulholland Drive, Lynch continues to pursue sweetly determinedto help her new friend, who com- dreams by making the logical temporal, spatial, and ically adopts the name Rita after seeing a poster for psychological mechanismsof ordinarynarrative defer Gilda, featuring a picture of Rita Hayworth.Adam's to dreamnon-logic, which reflects the malleability of adversaries, the Castiglianes and an equally bizarre time, space, and identity.Certainly, there is something Western figure called the Cowboy (Lafayette Mont- in the way of an ordinary through-line in the film's gomery), are so grotesquelyhilarious that it is hardto story of Betty Elms (Naomi Watts), who comes to believe that they will pose any real problemsfor him. Hollywood from a small town in Canadadreaming of But the comedy that comes of their impenetrable movie stardom and does not succeed. However, this monomaniaabout the leadinglady for Adam's film has is not the usual indictment of tinseltown. Yes, Betty a desperately serious subtext. Adam, like Betty, also begins with everythingthat it takes-including the req- undergoes a morbid sea change, though his name re- uisite perky blonde charm,the talent, and the connec- mains stable. Beginning the film as a levelheaded tions-to "make it," and, yes, even all these assets Hollywood director struggling to keep control of his cannot win her the brassring in a corruptindustry. But movie, he ends as a hollow shell of a man. Moreover, Betty does not undergoreversals in a cause-and-effect the adorablybefuddled dark, sultry "Rita" ends the film plot. The initial events of the film simply evaporate as Camilla Rhodes, now a dark,sultry, vampiric diva, two-thirdsof the way through,and the charactersturn althoughCamilla Rhodes has previouslyappeared in a inside out. A spatialblack hole opens in the film in the completely differentform, thatof a cute blonde. These form of a dark passage into a mysterious blue box, discontinuitiesconfound our rationalexpectations for which pops up in various scenes, an ineffable portal a narrativeexperience. Surely,logic insists, one of the availablesuddenly and every so often.At a crucialmo- characters,probably Betty, is dreaminga brightHolly- ment in the film, Betty and the audience sink into the wood wish-fulfillment fantasy that is dispersed by a darkness within the blue object and emerge into a terribleHollywood reality of failure. But such a read- nightmareof catastrophicdisappointment so total that ing would make the film a facile critiqueof the Byzan- the initiallyfortunate Betty is transformedinto a cursed tine problems of success and self in Hollywood, and soul. But not only does she re-emerge from the blue Mulholland is anything but facile. Rather it presents box with a newly darkeneddestiny and depressedpsy- the unique Lynchianrendition of the dream'sperspec- chology; she also has a differentname, Diane Selwyn, tive on mechanism,here a mass-marketmachine that although in an earlier scene Betty has already con- feeds on genuine,not imaginary,creative impulses and frontedthe corpse of a woman of that name quite dis- turnsthem into waste products. tinct from herself (creditedas Lyssie Powell). The film MulhollandDrive propels the audiencethrough a is awash in the instabilityof the ordinarypoints of ra- set of disorientingtransformations in order to follow tional reality for Betty.2What has this to do with not the life of creative integrityto its demise, an issue of making it in Hollywood? life and deathimportance to David Lynch.Such an ex- Centralto our graspof Betty's problemsis thatshe tinction is not, according to this film, a single event, is not alone in the experience of uncanny shifts. Her but the devastationof the web of interconnectionthat tale unfolds as three almost simultaneousevents begin supportsa securereality; an onslaughtagainst the very the film:Betty's arrivalin Los Angeles; a car crashthat stability on which time and space depends. There are saves a mysterious,dark woman (LauraElena Harring) cosmic implications when Adam is coerced by the from the being victim of a hit in a limousine on criminalpower structurelurking behind the visible ap- Mulholland Drive; and a preproductionmeeting be- paratus of Hollywood in a sterile inner sanctum ac- tween movie directorAdam Kesher (JustinTheroux) cessible to very few. The absurdCastiglianes and the 38 MichaelJ. Anderson as Mr.Roque. Cowboy are the mere emissaries of a totally isolated, also a strongintimation of a force for good thatoccurs almost completely silent figure,a Mr.Roque (Michael when the humanwill is relaxedor even abdicated,and J. Anderson). Roque, the organizationkingpin, exists for most of his careerLynch has celebratedthe power only in a glass-enclosedoffice, immaculatelydetached of this force. From Eraserhead to Fire Walk with Me, from Adam's film, a lord of a static-void cut off from Lynch'sprotagonists have in some involuntarymanner the ebb and flow of creative energy. He and his emis- had their chance for a modicum of victory over op- sariesare exercises in puredominating will thatstymies pressive social structures.Mulholland Drive represents any form of organicdevelopment.
Load more

Recommended publications
  • Berkeley Art Museum·Pacific Film Archive W in Ter 20 19
    WINTER 2019–20 WINTER BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE ROSIE LEE TOMPKINS RON NAGLE EDIE FAKE TAISO YOSHITOSHI GEOGRAPHIES OF CALIFORNIA AGNÈS VARDA FEDERICO FELLINI DAVID LYNCH ABBAS KIAROSTAMI J. HOBERMAN ROMANIAN CINEMA DOCUMENTARY VOICES OUT OF THE VAULT 1 / 2 / 3 / 4 / 5 / 6 CALENDAR DEC 11/WED 22/SUN 10/FRI 7:00 Full: Strange Connections P. 4 1:00 Christ Stopped at Eboli P. 21 6:30 Blue Velvet LYNCH P. 26 1/SUN 7:00 The King of Comedy 7:00 Full: Howl & Beat P. 4 Introduction & book signing by 25/WED 2:00 Guided Tour: Strange P. 5 J. Hoberman AFTERIMAGE P. 17 BAMPFA Closed 11/SAT 4:30 Five Dedicated to Ozu Lands of Promise and Peril: 11:30, 1:00 Great Cosmic Eyes Introduction by Donna Geographies of California opens P. 11 26/THU GALLERY + STUDIO P. 7 Honarpisheh KIAROSTAMI P. 16 12:00 Fanny and Alexander P. 21 1:30 The Tiger of Eschnapur P. 25 7:00 Amazing Grace P. 14 12/THU 7:00 Varda by Agnès VARDA P. 22 3:00 Guts ROUNDTABLE READING P. 7 7:00 River’s Edge 2/MON Introduction by J. Hoberman 3:45 The Indian Tomb P. 25 27/FRI 6:30 Art, Health, and Equity in the City AFTERIMAGE P. 17 6:00 Cléo from 5 to 7 VARDA P. 23 2:00 Tokyo Twilight P. 15 of Richmond ARTS + DESIGN P. 5 8:00 Eraserhead LYNCH P. 26 13/FRI 5:00 Amazing Grace P.
    [Show full text]
  • THEWESTFIELD LEADER O O F/Re Leading and Mdst Widely Circulated Weekly Newspaper in Union County > H - Cc 1/1 Al O Z USPS 680020 Jo: J OND YEAR, NO
    o o> THEWESTFIELD LEADER o o f/re Leading and Mdst Widely Circulated Weekly Newspaper In Union County > H - cc 1/1 aL O Z USPS 680020 jo: J OND YEAR, NO. 45 Second Clatf Pwloge Paid WESTFIELD, NEW JERSEY, THURSDAY, JUNE 10, 1982 Published al Wcilficld. N. J. Every Thursday 20 Pages—25 Cents o >-• •-i UJ U. iSs n Council Modifies Aerial Spraying of Sevin KueterWins Place Group Home Provisions Completed Yesterday A "model ordinance" violence when the numbers lines and $14,000 for "Gypsy moth spraying has On Nov. Ballot establishing criteria for placed in strategic areas in an- housed exceed six; no renovations, such as pain- been completed." ticipation of the Sevin spray. Democrat Carolyn Charney, with 194 votes; Levin, 931; for Surrogate, community homes for special zoning restrictions ting and redecorating the This is the message received Kueter tallied 307 write-in third ward, Joseph developmental^ disabled Preparations were well under- Ann P. Conti, 784; and for may be placed upon homes Mayor's office, in the as of 9:30 a.m. yesterday when way Monday afternoon for the votes — more than enough DiProspero, with 197 Freeholder, Thomas Long, groups of seven to 15 for six or less. Municipal Building. An or- concerned residents called Leaf to place her name on the votes; and fourth ward, residents was approved by program. School officials, 758; Charlotte DeFilippo, While no applications dinance also expected to be Line, the over-worked number notified of the date and time, ballot to oppose Brian Fahey, with 247 741; and Walter Boright, a 7-1 vote of Town Council have been made for the discussed and acted upon used to determine the status of Republican Ronald votes.
    [Show full text]
  • The Art of David Lynch
    The Art of David Lynch weil das Kino heute wieder anders funktioniert; für ei- nen wie ihn ist da kein Platz. Aber deswegen hat Lynch ja nicht seine Kunst aufgegeben, und nicht einmal das Filmen. Es ist nur so, dass das Mainstream-Kino den Kaperversuch durch die Kunst ziemlich fundamental abgeschlagen hat. Jetzt den Filmen von David Lynch noch einmal wieder zu begegnen, ist ein Glücksfall. Danach muss man sich zum Fernsehapparat oder ins Museum bemühen. (Und grimmig die Propaganda des Künstlers für den Unfug transzendentaler Meditation herunterschlucken; »nobody is perfect.«) Was also ist das Besondere an David Lynch? Seine Arbeit geschah und geschieht nach den »Spielregeln der Kunst«, die bekanntlich in ihrer eigenen Schöpfung und zugleich in ihrem eigenen Bruch bestehen. Man er- kennt einen David-Lynch-Film auf Anhieb, aber niemals David Lynch hat David Lynch einen »David-Lynch-Film« gedreht. Be- 21 stimmte Motive (sagen wir: Stehlampen, Hotelflure, die Farbe Rot, Hauchgesänge von Frauen, das industrielle Rauschen, visuelle Americana), bestimmte Figuren (die Frau im Mehrfachleben, der Kobold, Kyle MacLachlan als Stellvertreter in einer magischen Biographie - weni- ger, was ein Leben als vielmehr, was das Suchen und Was ist das Besondere an David Lynch? Abgesehen Erkennen anbelangt, Väter und Polizisten), bestimmte davon, dass er ein paar veritable Kultfilme geschaffen Plot-Fragmente (die nie auflösbare Intrige, die Suche hat, Filme, wie ERASERHEAD, BLUE VELVET oder die als Sturz in den Abgrund, die Verbindung von Gewalt TV-Serie TWIN PEAKS, die aus merkwürdigen Gründen und Design) kehren in wechselnden Kompositionen (denn im klassischen Sinn zu »verstehen« hat sie ja nie wieder, ganz zu schweigen von Techniken wie dem jemand gewagt) die genau richtigen Bilder zur genau nicht-linearen Erzählen, dem Eindringen in die ver- richtigen Zeit zu den genau richtigen Menschen brach- borgenen Innenwelten von Milieus und Menschen, der ten, und abgesehen davon, dass er in einer bestimmten Grenzüberschreitung von Traum und Realität.
    [Show full text]
  • Radical Closure
    Closure adical Closur R e adical R R adical 1 Radical Closure Closure Radical Closure Radical Closure Jalal Toufic Jalal Toufic,Radical-Closure Artist with Bandaged Sense Organ (a Tribute to Van Gogh), no. 1, 2020 Jalal Toufic 2 3 Radical Closure The book includes four of my conceptual artworks. They are based This book is composed of the following previously published texts on Van Gogh’s two paintings Wheatfield with Crows (1889) and Self- on radical closure: “Radical Closure,” in Over-Sensitivity, 2nd edition Portrait with Bandaged Ear (1889). The one on the front cover is (Forthcoming Books, 2009); “First Aid, Second Growth, Third Radical-Closure Artist with Bandaged Sense Organ (After Van Gogh’s Degree, Fourth World, Fifth Amendment, Sixth Sense,” “Radical- “Wheatfield with Crows” and “Self-Portrait with Bandaged Ear”), 2020; Closure Artist with Bandaged Sense Organ,” “Copyright Free Farm the one that serves as the frontispiece is Radical-Closure Artist with Road,” and pp. 104–105 and 211–214 in Forthcoming, 2nd edition Bandaged Sense Organ (a Tribute to Van Gogh), no. 1, 2020; the one (Berlin: e-flux journal-Sternberg Press, 2014); pp. 82–92 in Distracted, on the last page is Radical-Closure Artist with Bandaged Sense Organ 2nd edition (Berkeley, CA: Tuumba Press, 2003); “Verbatim,” in What (a Tribute to Van Gogh), no. 2, 2020; and the one on the back cover Was I Thinking? (Berlin: e-flux journal-Sternberg Press, 2017); and is Radical-Closure Artist with Bandaged Sense Organ (After Van Gogh’s pp. 88–96 in Postscripts (Stockholm: Moderna Museet; Amsterdam: “Wheatfield with Crows” and “Self-Portrait with Bandaged Ear”), 2018.
    [Show full text]
  • 46-23-HR Haldeman
    Richard Nixon Presidential Library Contested Materials Collection Folder List Box Number Folder Number Document Date No Date Subject Document Type Document Description 46 23 8/4/1972Campaign Memo From William Carruthers to Chapin RE: planning for the use of television during the campaign. Handwritten notes added by unknown. 4 pgs. 46 23 7/28/1972Campaign Memo From Raymond Caldiero to Magruder RE: celebrity RN supporters who cannot publicly back him. 1 pg. 46 23 7/12/1971Campaign Memo From Kehrli to Chapin RE: attached information. 1 pg. 46 23 7/9/1971Campaign Memo From Henry C. Cashen II to Kehrli RE: progress with regard to planning for celebrity use in the campaign. 3 pgs. 46 23 6/20/1972Campaign Memo From Dailey to Chapin RE: celebrities to introduce the First Family and narrate a documentary at the Republican National Convention. Handwritten note added by unknown. List of celebrity RN supporters attached. 7 pgs. Monday, March 26, 2012 Page 1 of 1 THE WHITE HOUSE WASHINGTON August 4, 1972 TO: DWIGHT L. CHAPIN FROM: WILLIAM CARRUTHE~ RE: RESULTS AND RECOMMENDATIONS OF THE !IT. V. SPECIAL" MEETING HELD ON AUGUST 3rd It was agreed that the most advantageous time to air the T. V. Special would have been Sunday, August 20th. That date would have provided us with.maximum impact regarding the objectives of the program, i. e. recruit volunteers, stimulate contributions, and promote the Convention. We recommend against the September 8th air date for the same reason we objected to August 20th, not enough time to !!get it together. II The stakes are too high and in this short time frame and the risk factor too great.
    [Show full text]
  • 1 April 2012 DEAD by DAWN 29 March - 1 April 2012 All Screenings in Cinema One
    29 March - 1 April 2012 DEAD BY DAWN 29 March - 1 April 2012 All screenings in Cinema One Thursday THE FIELDS 2330 – 0115 Friday RED TEARS 1200 – 1335 What You Make It short film programme 1415 – 1515 THE OMEN 1600 – 1800 Long Shorts short film programme 1900 – 2035 BELOW ZERO + Q&A with Signe Olynyk and Bob Schultz 2115 – 2315 THE PUPPET MONSTER MASSACRE 0015 – 0130 Saturday DELIVERANCE 1245 – 1445 Cutting Edge short film programme 1530 – 1715 NIGHTMARE FACTORY 1815 – 1950 LOBOS DE ARGA + Q&A with Juan Martinez Moreno 2045 – 2250 Late Night Triple Bill Bear + JUAN DE LOS MUERTOS 0000 – 0155 Infernal Nuns + DEMONS 0230 – 0405 MACABRE 0425 – 0600 Sunday CREEPSHOW 1345 – 1550 2D & Deranged short animation programme 1630 – 1740 RED NIGHTS 1830 – 2015 HAUNTERS 2100 – 2245 Freebies, Blethering, Shit Film Amnesty 2330 – 2350 THE CABIN IN THE WOODS 2350 – 0140 Some times may be subject to slight change. Welcome to Dead by Dawn! It’s sound advice to be more afraid of the living than the dead. Sure, the dead can kill you, but at least they’re easy to spot. In this year’s programme too many of the monsters will smile when they meet you, and will still be smiling when they lock you in a meat freezer. Or encourage you onto a ledge. Or offer to share their martini. You could try politely declining their kind offer, see how that works out... Dead by Dawn is a discovery festival which exists to showcase potential and vibrant emerging talent, but also aims to screen the widest possible range of what can be described as horror both in feature and short form.
    [Show full text]
  • HBO: Brand Management and Subscriber Aggregation: 1972-2007
    1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007.
    [Show full text]
  • Whpr19751002-015
    Digitized from Box 16 of the White House Press Releases at the Gerald R. Ford Presidential Library GUEST LIST FOR THE DINNER TO BE GIVEN BY THE PRESIDENT AND MRS. FORD IN HONOR OF THEIR MAJESTIES THE EMPEROR AND EMPRESS OF JAPAN ON THURSDAY, OCTOBER 2, 1975, AT EIGHT O'CLOCK, THE WHITE HOUSE Their Majesties The Emperor and Empress of Japan His Excellency Takeo Fukuda Deputy Prime Minister His Excellency The Ambassador of Japan and Mrs. Yasukawa His Excellency Takeshi U sami Grand Stewart, Imperial Household Agency His Excellency Sukemasa Irie Grand Chamberlain to His Majesty the Emperor His Excellency Morio Yukawa Grand Master of Ceremonies to His Majesty the Emperor His Excellency Naraichi Fujiyama Ambassador, Press Secretary to His Majesty the Emperor The Honorable Yoshihiro Tokugawa Vice-Grand Chamberlain to His Majesty the Emperor Mrs. Sachiko Kitashiltakawa Chief Lady-in-Waiting to Her Majesty the Empress His Excellency Hiroshi Uchida Ambassador, Chief of Protocol, Ministry of Foreign Affairs The Honorable Seiya Nishida and Mrs. Nishida Minister, Embassy of Japan The Secretary of State and Mrs. Kissinger Mr. Justice Blackmun and Mrs. Blackmun The Honorable Robert T. Hartmann, Counsellor to the President, and Mrs. Hartmann The Honorable Hugh Scott, United States Senate, and Mrs. Scott (Pennsylvania) The Honorable Daniel K. Inouye, United States Senate, and Mrs. Inouye (Hawaii) The Honorable William E. Brock, III, United States Senate, and Mrs. Brock (Tennessee) The Honorable Robert B. Morgan, United States Senate, and Mrs. Morgan (North Carolina) The Honorable Bob Wilson, House of Representatives, and Mrs. Wilson (California) The Honorable Spark M.
    [Show full text]
  • 2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
    2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter
    [Show full text]
  • Danger, Danger
    FINAL-1 Sat, Apr 27, 2019 6:22:37 PM tvupdateYour Weekly Guide to TV Entertainment For the week of May 5 - 11, 2019 Emily Watson stars in “Chernobyl” INSIDE Danger, •Sports highlights Page 2 •TV Word Search Page 2 •Family Favorites Page 4 Hollywood Q&A Page14 danger • On Monday, May 6, join Soviet scientist Valery Legasov (Jared Harris, “The Terror”), nuclear physicist Ulana Khomyuk (Emily Watson, “Genius”) and head of the Bureau for Fuel and Energy of the Soviet Union Boris Shcherbina (Stellan Skarsgård, “River”), as they seek to uncover the truth behind one of the world’s worst man-made catastrophes in the premiere of “Chernobyl,” on HBO. WANTED WANTED MOTORCYCLES, SNOWMOBILES, OR ATVS To advertise here GOLD/DIAMONDS BUY SELL please call ✦ 40 years in business; A+ rating with the BBB. TRADE ✦ For the record, there is only one authentic CASH FOR GOLD, PARTS & ACCESSORIESBay 4 (978) 946-2375 Group Page Shell We Need: SALES & SERVICE Motorsports 5 x 3” Gold • Silver • Coins • Diamonds MASS. MOTORCYCLE1 x 3” We are the ORIGINAL and only AUTHENTIC INSPECTIONS CASH FOR GOLD on the Methuen line, above Enterprise Rent-A-Car 1615 SHAWSHEEN ST., TEWKSBURY, MA at 527 So. Broadway, Rte. 28, Salem, NH • 603-898-2580 978-851-3777 Open 7 Days A Week ~ www.cashforgoldinc.com WWW.BAY4MS.COM FINAL-1 Sat, Apr 27, 2019 6:22:38 PM COMCAST ADELPHIA 2 CHANNEL Kingston Sports Highlights Atkinson Londonderry 10:30 p.m. NESN Red Sox Final Live ESPN Softball NCAA ACC Tournament NESN Baseball MLB Seattle Mariners Salem Sunday Sandown Windham (60) TNT Basketball NBA Playoffs Live Women’s Championship Live at Boston Red Sox Live GUIDE Pelham, 10:55 a.m.
    [Show full text]
  • Cinematography for a Single-Camera Series (Half-Hour)
    2018 Primetime Emmy® Awards Ballot Outstanding Cinematography For A Multi-Camera Series Alexa & Katie Ungroundable March 23, 2018 Alexa goes out of her way to prove she can't be punished. Jennifer surprises Jack with a backyard campout, but has a hard time getting him to unplug. Christian La Fountaine, ASC, Director of Photography The Big Bang Theory The Explosion Implosion October 16, 2017 Howard and Sheldon bond when they drive to the desert to shoot off a model rocket; When Leonard’s Mom finds a new best friend in Penny, it rubs Leonard the wrong way. Steven V. Silver, ASC, Director of Photography The Carmichael Show Support The Troops June 01, 2017 Jerrod gets into a fight with a soldier in front of Joe and Bobby. Joe tries to make it up to the soldier, but complications result. George Mooradian, ASC, Director of Photography Disjointed 4/20 Fantasy January 12, 2018 While the gang celebrates 4/20, Ruth helps Olivia with a contract, Pete loses confidence in his growing abilities, and Jenny and Carter share a secret. Peter Smokler, Director of Photography Fuller House My Best Friend's Japanese Wedding December 22, 2017 In Japan, Steve and CJ's wedding dishes up one disaster after another - from a maid of honor who's MIA to a talking toilet with an alarming appetite. Gregg Heschong, Director of Photography K.C. Undercover Coopers On The Run, Parts 1 & 2 July 15, 2017 - July 15, 2017 K.C. and the Cooper family of spies, along with K.C.'s Best Friend for Life, Marisa, are on the run from their arch enemy Zane in Rio de Janeiro, when they must take on - the fierce and slightly bizarre enemy agent Sheena, after capturing Passaro Grande, an exotic bird smuggler.
    [Show full text]
  • AFI PREVIEW Is Published by the Age 46
    ISSUE 72 AFI SILVER THEATRE AND CULTURAL CENTER AFI.com/Silver JULY 2–SEPTEMBER 16, 2015 ‘90s Cinema Now Best of the ‘80s Ingrid Bergman Centennial Tell It Like It Is: Black Independents in New York Tell It Like It Is: Contents Black Independents in New York, 1968–1986 Tell It Like It Is: Black Independents in New York, 1968–1986 ........................2 July 4–September 5 Keepin’ It Real: ‘90s Cinema Now ............4 In early 1968, William Greaves began shooting in Central Park, and the resulting film, SYMBIOPSYCHOTAXIPLASM: TAKE ONE, came to be considered one of the major works of American independent cinema. Later that year, following Ingrid Bergman Centennial .......................9 a staff strike, WNET’s newly created program BLACK JOURNAL (with Greaves as executive producer) was established “under black editorial control,” becoming the first nationally syndicated newsmagazine of its kind, and home base for a Best of Totally Awesome: new generation of filmmakers redefining documentary. 1968 also marked the production of the first Hollywood studio film Great Films of the 1980s .....................13 directed by an African American, Gordon Park’s THE LEARNING TREE. Shortly thereafter, actor/playwright/screenwriter/ novelist Bill Gunn directed the studio-backed STOP, which remains unreleased by Warner Bros. to this day. Gunn, rejected Bugs Bunny 75th Anniversary ...............14 by the industry that had courted him, then directed the independent classic GANJA AND HESS, ushering in a new type of horror film — which Ishmael Reed called “what might be the country’s most intellectual and sophisticated horror films.” Calendar ............................................15 This survey is comprised of key films produced between 1968 and 1986, when Spike Lee’s first feature, the independently Special Engagements ............12-14, 16 produced SHE’S GOTTA HAVE IT, was released theatrically — and followed by a new era of studio filmmaking by black directors.
    [Show full text]