DOCSLIB.ORG

Vol. 7 No. 1, Winter 2002

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vol. 7 No. 1, Winter 2002 Vol. 7 No. 1 Winter 2002 In short, what ac- ON DREAMS AND ART: PART VI tors need is some- one who, in a non- LAST A NALOGY: authoritarian way, can be helpful and DIRECTOR AND DREAM GROUP LEADER supportive. BY MONTAGUE ULLMAN, M.D. s long as there have been movies, there have been movie directors. In connection with movie-making, I have alluded to the director earlier, Abut never singled him out for special attention as the one responsible for creating and maintaining an atmosphere most favorable for a successful outcome. Although that role has task. That unique level of out of people. Turn them evolved over the years and collaborative pooling of loose. Give them their there are individual direc- creativity results in a head. You have cast the torial styles, the general bonding that has all the best people but they are consensus is that the es- elements of whatever we still vulnerable. They sence of the job is to tap mean by the word love. need someone they can into the talent of the ac- My earlier reference (Part trust." tors to the fullest extent IV) to Mike Nichols possible, enabling them to speaks to this in his reli- Willem DaFoe give depth and meaning to ance on and faith in his "The director has to the script they are collec- unconscious to come up have an overview, give you tively working on. That with novel solutions to the a setup and see what you collectivity involves a many novel predicaments can do. Scorcese gave me match between the creativ- that arise in so complex an such a beautiful setup. ity of the director oriented undertaking as making a He provided me with a to the overall task of movie. great place to pretend. He bringing the script to life I also referred to what made room for pretending." and the creativity of the actors openly and intu- actors making their indi- itively need from a direc- Sigourney Weaver vidual contribution to that tor. In short, what they "Work with the actor need is someone who, in a to find the essence of her Inside this issue . non-authoritarian way, self and help her stay out can be helpful and sup- of her head." Leadership Training Workshop in April.......................3 portive. Let's hear from DA Enters Its 7th Year—And Asks Your Input............8 the actors themselves Ellen Burstyn about this. "Actors want freedom Note: and the recognition of Monte’s website is: www.pp.htv.fi/msiivola/monte Ron Howard what they are up against. Monte’s e-mail is: [email protected] "Don't make a puppet They want respect for 2 Winter 2002 Dream Appreciation Vol. 7 No. 1 ON DREAMS AND ART: PART VI them as people as well as me. He should have guts Robert DeNiro James Wood professionals. They need and passion and know how "Scorcese had a great The director has to be help and support and to to work with actors. Act- respect for actors and passionate about doing the be dealt with honestly. ing is a lonely task. You knew how to get the best picture." They want a director to be need someone like Mike out of them." straight with them, take Nichols to be there for Lee Grant them seriously and be un- you, someone who comes Jack Lemmon "I like a director who derstanding of the actor's from the acting profession. "I want them to be re- trusts me, who can sur- craft. They want to be He knows everything sponsive to my suggestions prise me and who is open stimulated and pushed in to my suggestions." a direction they wouldn't go by themselves." There are two guiding principles that Holly Hunter structure the process of the dream group. "The ideal (seldom oc- Danny Glover Taken together they encompass what actors curs) is that of a perfect "The director should seek in the directors they work with: The marriage where the needs be helpful without being Safety Factor and the Discovery Factor. of both are met with ease intrusive. He should have and constancy." a way of saying the right thing at the right time. about everything. He is and let me try them out. Meg Ryan Actors are vulnerable and there waiting for me. He Oliver Stone is a deeply "I don't like to be should be kept in the gets inside the character. passionate man. Passion is heavily directed. Let me comfort zone. He should He has a tremendous involved in anything do it my way. Let me be make me a better actor. I amount of love for the worthwhile." bad. Let me be good. don't want to be humili- character. He has faith in ated. He should have my ability." Susan Sarandon Angelica Houston faith in you." "I want the director to "I would like the di- Jennifer Lee create an atmosphere rector to love and appreci- Harrison Ford "I want openness and where creative processes ate the actor. I would like (On Mike Nichols) trust. I don't like the feel- can go on." to be helped to move in "His approach is that of a ing of being straight-jack- the right direction." charming host. He is one eted. I want him to see Goldie Hawn of the most brilliant ma- things in me I didn't "The director writes the Kim Basinger nipulators of actors. He is know were there." music and I hit the notes." "The director should so clear and insightful. know what he wants and You never felt his hand on Gene Wilder Mary Stuart Masterson to know what you don't your shoulder. He helps "I want gentleness with "I want a director to know yet. At the same you do the right thing and actors because they under- be open and generous. I time he gives you freedom feel it's the only choice stand actors. They should want to feel trusted. and is comforting." you can make. He makes never shout at them." Don't tell me what to do. you want to be a member That makes me feel self- Tim Robbin of the team." Ellyn Barker conscious. There should "I want the director to "I want them to help be intimacy and trust that respect my opinion and Cathy Bates me become a better actor. we are on a journey and say, 'If you have a better "He should be smart I don't want to be humili- will encounter weird idea, do it.' It becomes a and have been there before ated." places on the way." community effort. The Winter 2002 Dream Appreciation Vol. 7 No. 1 3 DIRECTOR AND DREAM GROUP LEADER director's vision without the way questions are put to This is not unique to dream Several directors have the actor is nothing. Ac- the dreamer. They are meant work. It occurs wherever appeared on the program tors bring life, heart and to be helpful without every be- creative energies can flourish. (The Actors Studio). Here humanity to the film." ing intrusive. They are not The role of the leader in are a few of them speaking information-demanding ques- a dream group is unique in for themselves. Comment tions where ordinarily one only one sense. The leader I have already noted There are two guiding would expect an answer, but is responsible for seeing that what several of the actors principles that structure the are offered as instruments for the structure by means of said about Mike Nichols' group process of the dream the dreamer to use in explor- which safety and help are sensitivity and reliance group. Taken together they ing his or her own psyche. maintained remains intact. upon the unconscious do- encompass what actors seek The question may or may not He differs from the director main. Here are some of in the directors they work turn out to be useful. If it is who usually does not assume Nichols' own thoughts with. The first is designed useful, it still is the dreamer's an acting role in the movie. that highlighted the anal- to generate and maintain decision as to what to share. The dream group leader has ogy to leading a dream the feeling of trust in the The important point here is the same option as others do group. leader and in the process that the dreamer is never to share a dream or not. He that is to unfold. I refer to obliged to share more than he also participates in the same Mike Nichols it as the Safety Factor. It or she feels comfortable shar- manner as other group "The opening scene calls attention to the fact ing. members do to someone else's expresses the theme of the that if the dreamer is to pur- It is this respect for the dream. As the one who is movie. It has to do with sue and expose the feelings dreamer's authority over the more aware of the pitfalls style. Style is beginning that shaped the images of the unconscious domain that that can occur in dream something in a way that dream, he or she has to feel frees the dreamer to do the work, he has the major re- makes things that happen perfectly safe in doing so. necessary exploratory work. sponsibility for keeping the later all follow from the The task of getting to It is the dreamer's own in- process on track. beginning." the unconscious roots of the terest and curiosity that dream is difficult and often drives the process without involves the vulnerability as- any outside authority stand- EADERSHIP RAINING ROGRAM sociated with risk-taking.
Load more

Recommended publications
  • Exhibits Registrations
    July ‘09 EXHIBITS In the Main Gallery MONDAY TUESDAY SATURDAY ART ADVISORY COUNCIL MEMBERS’ 6 14 “STREET ANGEL” (1928-101 min.). In HYPERTENSION SCREENING: Free 18 SHOW, throughout the summer. AAC MANHASSET BAY BOAT TOURS: Have “laughter-loving, careless, sordid Naples,” screening by St. Francis Hospital. 11 a.m. a look at Manhasset Bay – from the water! In the Photography Gallery a fugitive named Angela (Oscar winner to 2 p.m. A free 90-minute boat tour will explore Janet Gaynor) joins a circus and falls in Legendary Long the history and ecology of our corner of love with a vagabond painter named Gino TOPICAL TUESDAY: Islanders. What do Billy Joel, Martha Stew- Long Island Sound. Tour dates are July (Charles Farrell). Philip Klein and Henry art, Kiri Te Kanawa and astronaut Dr. Mary 18; August 8 and 29. The tour is free, but Roberts Symonds scripted, from a novel Cleave have in common? They have all you must register at the Information Desk by Monckton Hoffe, for director Frank lived on Long Island and were interviewed for the 30 available seats. Registration for Borzage. Ernest Palmer and Paul Ivano by Helene Herzig when she was feature the July 18 tour begins July 2; Registration provided the glistening cinematography. editor of North Shore Magazine. Herzig has for the August tours begins July 21. Phone Silent with orchestral score. 7:30 p.m. collected more than 70 of her interviews, registration is acceptable. Tours at 1 and written over a 20-year period. The celebri- 3 p.m. Call 883-4400, Ext.
    [Show full text]
  • JONES-A.-RES-1.Pdf
    ANDREW L. JONES Production Designer As Production Designer: THE MANDALORIAN (seasons 1-3) – Disney+ – Jon Favreau, director Emmy Award Nominee, Outstanding Production Design for a Narrative Period or Fantasy Program (s2) Emmy Award Winner, Outstanding Production Design For A Narrative Program (s1) Art Directors Guild Award Winner, Excellence in Production Design (s2) Art Directors Guild Award Nomination, Excellence in Production Design (s1) THE BOOK BOBA FETT (season 1) – Disney+ – Jon Favreau, Dave Filoni, Robert Rodriguez, EPs CALL OF THE WILD (prep only, film postponed) – 20th Century Fox – Chris Sanders, director UNTITLED VR PROJECT – The VR Company – Robert Stromberg, director DAWN (pilot) – Hulu/MGM TV – Robert Stromberg, director As Art Director: THE JUNGLE BOOK (supervising art director) – Walt Disney Pictures – Jon Favreau, director HOT WHEELS (film postponed) – Legendary Pictures – Simon Crane, director THE ORDER OF THE SEVEN (film postponed) – Walt Disney Pictures – Michael Gracey, director OZ THE GREAT AND POWERFUL – Walt Disney Pictures – Sam Raimi, director THE ADVENTURES OF TINTIN (supervising art director) – Paramount Pictures – Steven Spielberg, director Art Directors Guild Award Nomination, Excellence in Production Design GREEN LANTERN – Warner Bros. – Martin Campbell, director ALICE IN WONDERLAND – Walt Disney Pictures – Tim Burton, director Art Directors Guild Award Nomination, Excellence in Production Design AVATAR – 20th Century Fox – James Cameron, director Art Directors Guild Award Winner, Excellence in Production Design As Assistant Art Director: BEOWULF – Paramount Pictures – Robert Zemeckis, director MONSTER HOUSE – Columbia Pictures – Gil Kenan, director THE POLAR EXPRESS – Warner Bros. – Robert Zemeckis, director As Set Designer/Model Maker/Sculptor (selected): TRANSFORMERS – DreamWorks – Michael Bay, director THE TERMINAL – DreamWorks – Steven Spielberg, director THE LAST SAMURAI – Warner Bros.
    [Show full text]
  • Audio Describing the Exposition Phase of Films
    TRANS · núm. 11 · 2007 La audiodescripción se está introduciendo progresivamente en los productos DOSSIER · 73-93 audiovisuales y esto tiene como resultado por una parte la necesidad de formar a los futuros audiodescriptores y, por otra parte, formar a los formadores con unas herramientas adecuadas para enseñar cómo audiodescribir. No cabe la menor que como documento de partida para la formación las guías y normas de audiodescripción existentes son de una gran utilidad, sin embargo, éstas no son perfectas ya que no ofrecen respuestas a algunas cuestiones esenciales como qué es lo que se debe describir cuando no se cuenta con el tiempo suficiente para describir todo lo que sucede. El presente artículo analiza una de las cuestiones que normalmente no responden las guías o normas: qué se debe priorizar. Se demostrará cómo una profundización en la narrativa de películas y una mejor percepción de las pistas visuales que ofrece el director puede ayudar a decidir la información que se recoge. Los fundamentos teóricos expuestos en la primera parte del artículo se aplicarán a la secuencia expositiva de la película Ransom. PALABRAS CALVE: audiodescripción, accesibilidad, traducción audiovisual. Audio describing the exposition phase of films. Teaching students what to choose Ever more countries are including audio description (AD) in their audiovisual products, which results on the one hand in a need for training future describers and on the other in a need to provide trainers with adequate tools for teaching. Existing AD guidelines are undoubtedly valuable instruments for beginning audio describers, but they are not perfect in that they do not provide answers to certain essential questions, such as what should be described in situations where it is impossible to describe everything that can be seen.
    [Show full text]
  • Set in Scotland a Film Fan's Odyssey
    Set in Scotland A Film Fan’s Odyssey visitscotland.com Cover Image: Daniel Craig as James Bond 007 in Skyfall, filmed in Glen Coe. Picture: United Archives/TopFoto This page: Eilean Donan Castle Contents 01 * >> Foreword 02-03 A Aberdeen & Aberdeenshire 04-07 B Argyll & The Isles 08-11 C Ayrshire & Arran 12-15 D Dumfries & Galloway 16-19 E Dundee & Angus 20-23 F Edinburgh & The Lothians 24-27 G Glasgow & The Clyde Valley 28-31 H The Highlands & Skye 32-35 I The Kingdom of Fife 36-39 J Orkney 40-43 K The Outer Hebrides 44-47 L Perthshire 48-51 M Scottish Borders 52-55 N Shetland 56-59 O Stirling, Loch Lomond, The Trossachs & Forth Valley 60-63 Hooray for Bollywood 64-65 Licensed to Thrill 66-67 Locations Guide 68-69 Set in Scotland Christopher Lambert in Highlander. Picture: Studiocanal 03 Foreword 03 >> In a 2015 online poll by USA Today, Scotland was voted the world’s Best Cinematic Destination. And it’s easy to see why. Films from all around the world have been shot in Scotland. Its rich array of film locations include ancient mountain ranges, mysterious stone circles, lush green glens, deep lochs, castles, stately homes, and vibrant cities complete with festivals, bustling streets and colourful night life. Little wonder the country has attracted filmmakers and cinemagoers since the movies began. This guide provides an introduction to just some of the many Scottish locations seen on the silver screen. The Inaccessible Pinnacle. Numerous Holy Grail to Stardust, The Dark Knight Scottish stars have twinkled in Hollywood’s Rises, Prometheus, Cloud Atlas, World firmament, from Sean Connery to War Z and Brave, various hidden gems Tilda Swinton and Ewan McGregor.
    [Show full text]
  • Howard's Comedy "Gung Ho” Isn't Funny
    iviovit; Keview Howard's comedy "Gung Ho” isn’t funny lue of the individual. It never Too many of the gags are easily actor behaves like an idiot most By Matt Diedrich really gets any more compli­ predictable, based on Japanese of the time doesn’t help matters Reporter cated than that, or any more in­ stereotypes, or just not funny. either. teresting. Gedde Watanabe, who ap­ The viewer does find himself peared in “Sixteen Candles” and becoming more involved in the To make matters worse, the “Volunteers,” achieves some With the back-to-back suc­ movie’s second half, mainly be­ writers insist upon giving Kea­ success as the leader of the cesses of “Splash” and “Co­ cause the filmmakers decide to ton an endless string of “rous­ management team. His charac­ coon” under his belt, director ter is certainly more believable Ron Howard is starting to look and more likable than Keaton’s, like the next Steven Spielberg. and he frequently steals scenes Like Spielberg, he has received Whenever Keaton tries to crack a joke, the from his co-star. high praise for his ability to Japanese respond with blank, unamused make hit movies that display a iWimi Rogers gives an unim­ lot of heart. stares. Unfortunately, the audience will Yet even Spielberg had his likely react the same way. pressive non-performance as “1941,” and now Howard con­ Keaton’s girlfriend, in a role tinues the tradition with his which requires her to dump new movie “Gung Ho,” a lame him when he’s a jerk and take comedy that simply isn’t funny.
    [Show full text]
  • Reading for Fictional Worlds in Literature and Film
    Reading for Fictional Worlds in Literature and Film Danielle Simard Doctor of Philosophy University of York English and Related Literature March, 2020 2 Abstract The aim of this thesis is to establish a critical methodology which reads for fictional worlds in literature and film. Close readings of literary and cinematic texts are presented in support of the proposition that the fictional world is, and arguably should be, central to the critical process. These readings demonstrate how fictional world-centric readings challenge the conclusions generated by approaches which prioritise the author, the reader and the viewer. I establish a definition of independent fictional worlds, and show how characters rather than narrative are the means by which readers access the fictional world in order to analyse it. This interdisciplinary project engages predominantly with theoretical and critical work on literature and film to consider four distinct groups of contemporary novels and films. These texts demand readings that pose potential problems for my approach, and therefore test the scope and viability of my thesis. I evaluate character and narrative through Fight Club (novel, Chuck Palahniuk [1996] film, David Fincher [1999]); genre, context, and intertextuality in Solaris (novel, Stanisław Lem [1961] film, Andrei Tarkovsky [1974] film, Steven Soderbergh [2002]); mythic thinking and character’s authority with American Gods (novel, Neil Gaiman [2001]) and Anansi Boys (novel, Neil Gaiman [2005]); and temporality and nationality in Cronos (film, Guillermo
    [Show full text]
  • Female Representation and Generic Constraints in the Da Vinci Code
    THE NOT SO SACRED FEMININE: FEMALE REPRESENTATION AND GENERIC CONSTRAINTS IN THE DA VINCI CODE Jenn Brandt A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2007 Committee: Jeffrey A. Brown, Advisor Montana Miller ii ABSTRACT Dr. Jeffrey A. Brown, Advisor Since its publication in 2003, Dan Brown’s The Da Vinci Code has dominated bestseller lists, becoming one of the most widely read, discussed, and analyzed books in recent history. Although The Da Vinci Code offers a radical view of history that argues for the equality and power of women, at the end of the novel nothing has actually changed. In light of this, my thesis is a feminist analysis of the female protagonist, Sophie Neveu, in both Dan Brown’s The Da Vinci Code and Ron Howard’s 2006 film adaptation. In analyzing these texts, I ultimately conclude that the lack of actual female empowerment is the result of the conventions of the classical mystery/detective genre. John Cawelti’s theories of genre and formula and Laura Mulvey’s psychoanalytical theories of gender and the gaze form the theoretical base for my observations. These theories, along with those relating to gender and the detective genre, are instrumental in my close readings of Dan Brown’s novel and Ron Howard’s film adaptation. In examining The Da Vinci Code in terms of its popular culture effects and popularity, I situate the text within the historical locations of postmodernism and a post- 9/11 United States.
    [Show full text]
  • The Academy of Science Fiction, Fantasy & Horror
    The Academy of Science Fiction, Fantasy & Horror Films 334 West 54th Street Los Angeles, California 90037-3806 Phone: (323) 752-5811 e-mail: [email protected] Robert Holguin (President) Dr. Donald A. Reed (Founder) Publicity Contact: Karl Williams [email protected] (310) 493-3991 “Gravity” and “The Hobbit: The Desolation of Smaug” soar with 8 Saturn Award nominations, “The Hunger Games: Catching Fire,” scores with 7, “Iron Man 3,” “Pacific Rim,” “Star Trek Into Darkness and Thor: The Dark World lead with 5 nominations apiece for the 40th Annual Saturn Awards, while “Breaking Bad,” “Falling Skies,” and “Game of Thrones” lead on TV in an Epic Year for Science Fiction, Fantasy and Horror LOS ANGELES – February 26, 2014 – Alfonso Cuaron’s Gravity and Peter Jackson’s The Hobbit: The Desolation of Smaug both received 8 nominations as the Academy of Science Fiction, Fantasy & Horror Films today announced nominations for the 40th Annual Saturn Awards, which will be presented in June. Other major contenders that received major nominations were The Hunger Games: Catching Fire, Guillermo del Toro’s Pacific Rim, Star Trek Into Darkness, The Book Thief, Her, Oz The Great anD Powerful and Ron Howard’s Rush. Also making a strong showing was the folk music fable InsiDe Llewyn Davis from Joel and Ethan Coen highlighting their magnificent and original work. And Scarlett Johansson was the first Best Supporting Actress to be nominated for her captivating vocal performance in Spike Jones’ fantasy romance Her. For the Saturn’s stellar 40th Anniversary celebration, two new categories have been added to reflect the changing times; Best Comic-to-Film Motion Picture will see Warner’s Man of Steel duking it out against Marvel’s Iron Man 3, Thor: The Dark WorlD and The Wolverine! The second new category is Best Performance by a Younger Actor in a Television Series – highlighting the most promising young talent working in TV today.
    [Show full text]
  • Celebrity Fiat 500E Into the Green Charity Auction
    Contact: Diane Morgan Celebrity Fiat 500e “Into the Green” Charity Auction Kicks Off During MPTF’s “One Night Only” Benefit, on Sat., Oct. 12, at the Dolby Theater Ten all-electric Fiat 500e vehicles personalized by some of Hollywood’s biggest stars, including Hugh Jackman, Anne Hathaway, Clint Eastwood, Ron Howard, Barbra Streisand and Hans Zimmer, among others, to be auctioned to support Motion Picture & Television Fund (MPTF) One Fiat 500e will be auctioned LIVE at event Nine Fiat 500e vehicles will be auctioned online on eBay Motors from Sat., Oct. 12 - Tues., Oct. 22, 2013 Each of the vehicles will have an etched signature on the FIAT glove box by the participating celebrity Funds raised as part of “Into the Green” auction to benefit MPTF Event to include performance with Hugh Jackman from his hit one-man Broadway show "One Night Only" October 11, 2013, Los Angeles - Hugh Jackman will host the upcoming Motion Picture & Television Fund (MPTF) “One Night Only” Special Benefit Concert on Sat., Oct. 12, at 8 p.m. at The Dolby Theater in Los Angeles. The special event, sponsored by the FIAT brand, will feature a green-carpet outside the theater and include a performance with Jackman from his hit one-man Broadway show “One Night Only.” During the evening’s festivities, the Celebrity Fiat 500e “Into the Green” Charity Auction will begin, featuring ten all-electric Fiat 500e vehicles personalized by some of Hollywood’s biggest celebrities. One Fiat 500e will be auctioned LIVE at the event, going to the highest bidder that evening.
    [Show full text]
  • Movie Time Descriptive Video Service
    DO NOT DISCARD THIS CATALOG. All titles may not be available at this time. Check the Illinois catalog under the subject “Descriptive Videos or DVD” for an updated list. This catalog is available in large print, e-mail and braille. If you need a different format, please let us know. Illinois State Library Talking Book & Braille Service 300 S. Second Street Springfield, IL 62701 217-782-9260 or 800-665-5576, ext. 1 (in Illinois) Illinois Talking Book Outreach Center 125 Tower Drive Burr Ridge, IL 60527 800-426-0709 A service of the Illinois State Library Talking Book & Braille Service and Illinois Talking Book Centers Jesse White • Secretary of State and State Librarian DESCRIPTIVE VIDEO SERVICE Borrow blockbuster movies from the Illinois Talking Book Centers! These movies are especially for the enjoyment of people who are blind or visually impaired. The movies carefully describe the visual elements of a movie — action, characters, locations, costumes and sets — without interfering with the movie’s dialogue or sound effects, so you can follow all the action! To enjoy these movies and hear the descriptions, all you need is a regular VCR or DVD player and a television! Listings beginning with the letters DV play on a VHS videocassette recorder (VCR). Listings beginning with the letters DVD play on a DVD Player. Mail in the order form in the back of this catalog or call your local Talking Book Center to request movies today. Guidelines 1. To borrow a video you must be a registered Talking Book patron. 2. You may borrow one or two videos at a time and put others on your request list.
    [Show full text]
  • Journalists in Film: Heroes and Villains Brian Mcnair
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queensland University of Technology ePrints Archive This is the author’s version of a work that was submitted/accepted for pub- lication in the following source: McNair, Brian (2011) Journalists in film : heroes and villains. Australian Journalism Review, 33(1), pp. 137-142. This file was downloaded from: http://eprints.qut.edu.au/43721/ c Copyright 2011 Journalism Education Association of Australia Inc Notice: Changes introduced as a result of publishing processes such as copy-editing and formatting may not be reflected in this document. For a definitive version of this work, please refer to the published source: Journalists in film: heroes and villains Brian McNair In November 2010, the world watched as 33 Chilean miners were rescued from the depths of the earth where they had been stranded since July. We were able to watch because the world’s news media were there, drawn by the human drama, the suspense, the spectacle. It was a great news story, ideally suited for the 24-hour news culture we live in today, and the globalised audi- ence that consumes it. Nothing much happened for 68 of those 69 days, until that final 24 hours when the miners emerged. But we were transfixed, engrossed, immersed in the story. The story had a happy ending, for which we should be thankful, but the sight of all those cameras and crews and correspondents covering every moment of the unfolding drama reminded this observer of one of the greatest films about journalism ever made – Billy Wilder’s Ace in the hole, starring Kirk Douglas and released in 1951.
    [Show full text]
  • First Friday Film Series at the Charles M. Schulz Museum
    Gina Huntsinger Marketing Director Charles M. Schulz Museum & Research Center (707) 579-4452 ext. 268 [email protected] FOR IMMEDIATE RELEASE: January 21, 2013 First Friday Film Series at the Charles M. Schulz Museum (Santa Rosa, CA) Celebrate Charles Schulz's adopted home with a series of classic films shot around Sonoma County. FEBRUARY 2013 Friday, February 1, 7:00 pm The Birds (1963), Alfred Hitchcock's award-winning thriller starring Tippi Hedren and filmed on location in Bodega Bay. MARCH 2013 Friday, March 1, 7:00 pm Enjoy the romantic comedy, Forever Young (1992) with Mel Gibson and Jamie Lee Curtis and look for scenes of Jenner and the Russian River. APRIL 2013 Friday, April 5, 7:00 pm Spencer Tracy, Milton Berle, and Ethel Merman star in the comedy It’s a Mad, Mad, Mad, Mad World (1963), with scenes filmed at the Sonoma County Airport. MAY 2013 Friday, May 3, 7:00 pm George Lucas, Francis Ford Coppola, Ron Howard, Richard Dreyfuss, and Wolfman Jack worked together on American Graffiti (1973), nominated for five Oscar awards and filmed on location in Petaluma. Cost: Free for members/$5 for public. Location: 2301 Hardies Lane, Santa Rosa, California, 95403 (707) 579-4452 IMAGES If you would like any of the images from this press release to print in a publication, contact Gina Huntsinger at [email protected] or (707) 284-1268. ABOUT THE CHARLES M. SCHULZ MUSEUM & RESEARCH CENTER The Charles M. Schulz Museum opened in August 2002 to fulfill its mission of preserving, displaying, and interpreting the art of Charles M.
    [Show full text]