DOCSLIB.ORG

Gena Rowlands………………………

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gena Rowlands……………………… FILMCRAFT Interviews from the 80’s By Michael Ventura Copyright by Michael Ventura, all rights reserved. 2 for James “Big Boy” Medlin who knows the answer to “Why not?” 3 These interviews, originally published in LA Weekly, were conducted between 1980 and 1985. They document a fruitful period when filmmakers of vastly varying styles worked in the mainstream or just at its edge – as such, this volume is part instruction manual, part time capsule. We hear Francis Ford Coppola say, in 1982, “I don’t feel I’ve really begun” – but his greatest work was behind him. Richard Rush, Peter Bogdanovich, Nicolas Roeg and Jeanne Moreau were essentially finished as major directors and didn’t know it. John Cassavetes would direct his last significant film the year after our interview. Candy Clark, that unique actress, would never again get the opportunities afforded her in American Graffiti and The Man Who Fell to Earth. On the other hand, for Stephen Spielberg and Martin Sheen, among others, much of their best work lay ahead of them. The technologies of filmmaking have changed since the 80s (as Coppola predicted they would), but the essentials of filmcraft have not. These artists have much to teach anyone interested in cinema. I’ve arranged the sequence to create an interplay between these conversations. Sometimes I’ve cut or revised my original introductions, and/or trimmed the interviews, sometimes not. They are dated as originally published. Ginger Varney and I spoke with Richard Rush; our interview is used with her permission. Michael Ventura April, 2008 4 Table of Contents John Huston……………………………. 5 Jack Nicholson…………………………. 9 Stephen Spielberg……………………… 15 Peter Bogdanovich…………………….. 24 John Cassavetes……………………….. 29 Gena Rowlands……………………….... 38 Peter Falk………………………………. 42 Vanessa Redgrave……………………… 46 Dennis Hopper………………………….. 50 Jeanne Moreau…………………………. 54 Richard Rush…………………………... 58 Bertrand Tavernier & Philippe Noiret.. 66 Nicolas Roeg……………………………. 72 Peter Weir……………………………… 77 Louis Malle…………………………….. 83 Martin Sheen…………………………... 89 Francis Ford Coppola………………… 95 Robert Altman……………………….. 105 Candy Clark…………………………. 113 5 John Huston 24 July 1981 “He was very tall, with the immense lean frame of an old giant who has for long stooped to hear men talk.” The words are Ford Madox Ford’s, describing W.H. Hudson, but they serve very nicely for a description of John Huston, stepping with his slow, stooped walk into the living room of his suite at the Beverly Hills Hotel, graciously greeting a stranger – the practiced graciousness of a gentleman used to coming upon a fool or a devil in his suites. The Maltese Falcon, The Treasure of the Sierra Madre, The Asphalt Jungle, The African Queen, The Roots of Heaven, The Misfits, The Man Who Would Be King, Wise Blood… tales of fools and devils. It is hard to come across anyone in the John Huston gallery who lives a normal life or would want to. The stories he likes best to tell begin long after his people have left the average run behind. Danger is a given in his films, not so much the danger of flying bullets as the danger of wanting more than you’re expected to want, whether it’s looking for a treasure in the Sierra Madre or looking for something like love somewhere like Reno. Houston, at 75, speaks slowly and deliberately, with the care of a stylist. In the last two years this old gentleman has made Wise Blood, Victory, and is now at work on the Hollywood extravaganza Annie. At home with big budgets or small, at ease in or out of fashion, and working in his age as hard as he when he began, Huston has the air of someone who could not be made afraid. Which doesn’t mean that that he would not be frightened in a falling elevator, but that he has seen it all and is still eager for the game. VENTURA: There’s a big nostalgia among many filmmakers for the Old Hollywood – for crews that have been together a long time, for producers that would say to a director, “That’s the script I bought, that’s the one I want to see on the screen!” It’s easy for us to be nostalgic but I want to ask you, do you miss it? HUSTON: The Old Hollywood? Yes. And I was as big a bellyacher as anyone at that time. The things that are deplorable today had their equivalents then, I suppose, but… let’s say the lines were a bit better drawn. The process of putting a picture together today is especially painful and one that I have as little to do with as possible. I see people trying to put [and here his voice was distaste itself] ”packages” together. It’s a kind of shameful proposition. Humph! Depending on so many factors. They get a script – whether they write it or not write it, whether they buy it or not buy it – but they get hold of a script and then want to interest some actors. So they go through the roster of actors. This is usually the producer I’m talking about. And he may pretend to be looking for exactly the right actor for the script – but he’s not. I mean the truth is, the bald, unvarnished truth is the poor bastard is looking for a name that will enable him to get financing for the picture. Well, now he’s got the actor. Sometimes he adds a director to it. They’re not quite so particular about who directs a picture as they are about who acts in a picture. And presently, when he thinks he has a combination that is viable, commercial, he submits it to a studio. And for the most part, the people who are in sway are ex-accountants or 6 bookkeepers or gamblers of one sort or another in stocks and bonds, or they may even have a background in the Mafia. VENTURA: I’m glad you said that. HUSTON: Or some connection remote or otherwise. [At which he gave a chuckle, quite a knowing chuckle.] Well, certainly this is… to have to go through all that is a painful, embarrassing proposition. That isn’t the way to make pictures. Eventually we’ll decide for ourselves this afternoon what is the way to make pictures [that chuckle again], or it may taken even another day. But that sure as hell isn’t. And the old formula was, I think, infinitely superior. VENTURA: How? HUSTON: Well, a property was decided upon, their [the studio’s] actors were available – they were under contract; they could take the property and give it to writers, under contract as well, and the writers would turn out a script. In turning out a script they were perfectly willing to take all the time in the world for the simple reason that they were being paid by the week. Nowadays I’ve noticed that writers will write a script – the best writers will write a script – and will turn it over and want to get on to the next one, because that’s where their profit lies. So a degree of perfectionism existed before that doesn’t obtain today. VENTURA: It’s often in the writer’s contract that you write it in six or ten weeks. HUSTON: And that’s all that’s required of you. That’s hardly the way to get a fine script. I spent, one time I remember, and working very hard, most industriously, almost a year on a script. And this was not just me, but two other men. This was the script for Juarez [co-scripted with Wolfgang Reinhardt and Aeneas Mackenzie, produced in 1939 at Warner’s]. And we were defended during this period by Henry Blanke. That producer was our champion, and he kept the studio from riding us or getting on our backs, and kept reassuring them that something good would come out. And I think it was probably the best script that I ever had anything to do with. It took the better part of a year, and I remember our high moment – I got a note from Hal Wallis [Warner studio head] saying that he had just finished reading the script and it was perhaps the best script he had ever read. Well, you can’t imagine what this meant to us as writers. But things, however, could happen to a script even then, and did to this one. Stars, especially certain stars, were beginning to exert some degree of power, and Paul Muni wanted more lines and a bigger part in the script, and the thing was thrown off balance. One of the reasons I decided to become a director is that it wouldn’t have happened that way if I had been directing the picture. 7 VENTURA: You hear a lot of stars now saying they want to be actors, they don’t want to be stars. Looking hard at old pictures to try to learn what the hell the craft is about, I see a lot of stars doing amazing acting. More technique than today. Did stars like Bogart, like Hepburn, consider themselves stars before actors, or actors before stars? Is that a distinction they were in the habit of making? HUSTON: I think that the stars liked to think of themselves as actors. For instance, Gable. He wanted to be a fine actor. And he was – a very, very good actor. But Gable didn’t have many aspects. Gable played Gable, but did it superbly. Now Bogart was an excellent actor, an extraordinary actor. There were so many aspects of Bogart, so many departments, and you call up one, evoke one, almost press a button, and he would appear.
Load more

Recommended publications
  • Jeder Tag Ist Ein Geschenk«
    »Jeder Tag ist ein Geschenk« Menschen | Zum Tod der großen Schauspielerin Jeanne Moreau 2003 hatte Jeanne Moreau (halb im Scherz) einen künstlerischen Wunsch geäußert, der sich allerdings nie erfüllt hat: »Shakespeares Lear. Den spiele ich, wenn ich achtzig bin!« Von PETER MOHR Mit dem ›Lear‹ ist es zwar nichts geworden, doch die Blitzlichter der Fotografen zog sie bis ins hohe Alter immer noch beinahe magisch an, wie etwa bei ihrem Kurzauftritt als Ehrengast bei der Europäischen Filmpreisgala im Jahr 2007 in Berlin. Sie war nicht nur eine der wirklich großen Schauspielerinnen, sondern war auch der Schwarm einer ganzen Männergeneration, ihr Name wird in einem Atemzug mit Marlene Dietrich und Greta Garbo genannt, vom liebeshungrigen Luder bis zur rachsüchtigen Ehefrau hat sie alles verkörpert, und ihre eigene Vita würde genug Stoff für einen abendfüllenden Kinofilm hergeben. Jeanne Moreau, die am 23. Januar 1928 in Paris als Tochter eines Hoteliers geboren und als 20-jährige bereits in die ehrwürdige Comédie-Française aufgenommen wurde, hat als Schauspielerin nicht nur die großen Regisseure, sondern auch als Privatperson viele Prominente fasziniert: Louis Malle, Orson Welles, John Frankenheimer, Jean-Louis Richard (aus der Ehe stammt Sohn Jérome, der heute ein erfolgreicher Maler ist), Modeschöpfer Pierre Cardin, der 14 Jahre jüngere Schriftsteller Peter Handke, und der Regisseur Tony Richardson (die Affäre führte zu seiner Scheidung von Vanessa Redgrave) waren ihre Lebensgefährten. Zwar hatte Jeanne Moreau Anfang der 1950er Jahre auf der Theaterbühne unter der Regie von Peter Brook in Tennessee Willliams‘ ›Die Katze auf dem heißen Blechdach‹ und an der Seite von Lino Ventura und Jean Gabin als Luder Josy in ›Wenn es Nacht wird in Paris‹ (1953) für Furore gesorgt, doch der große Durchbruch gelang ihr ausgerechnet unter der Regie eines Debütanten – in Louis Malles ›Fahrstuhl zum Schafott‹ (1957).
    [Show full text]
  • Free Indirect Affect in Cassavetes' Opening Night and Faces Homay King Bryn Mawr College, [email protected]
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2004 Free Indirect Affect in Cassavetes' Opening Night and Faces Homay King Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the Film and Media Studies Commons Custom Citation King, Homay. "Free Indirect Affect in Cassavetes' Opening Night and Faces." Camera Obscura 19, no. 2/56 (2004): 105-139, doi: 10.1215/02705346-19-2_56-105. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/40 For more information, please contact [email protected]. 1 Homay King, “Free Indirect Affect in Cassavetes’ Opening Night and Faces,” Camera Obscura 56, v. 19, n. 2 (Summer 2004): 104-135. Free Indirect Affect in Cassavetes’ Opening Night and Faces Homay King How to make the affect echo? — Roland Barthes, Roland Barthes by Roland Barthes1 1. In the Middle of Things: Opening Night John Cassavetes’ Opening Night (1977) begins not with the curtain going up, but backstage. In the first image we see, Myrtle Gordon (Gena Rowlands) has just exited stage left into the wings during a performance of the play The Second Woman. In this play, Myrtle acts the starring role of Virginia, a woman in her early sixties who is trapped in a stagnant second marriage to a photographer. Both Myrtle and Virginia are grappling with age and attempting to come to terms with the choices they have made throughout their lives.
    [Show full text]
  • JEANNE MOREAU: NOUVELLE VAGUE and BEYOND February 25 - March 18, 1994
    The Museum of Modern Art For Immediate Release February 1994 JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND February 25 - March 18, 1994 A film retrospective of the legendary French actress Jeanne Moreau, spanning her remarkable forty-five year career, opens at The Museum of Modern Art on February 25, 1994. JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND traces the actress's steady rise from the French cinema of the 1950s and international renown as muse and icon of the New Wave movement to the present. On view through March 18, the exhibition shows Moreau to be one of the few performing artists who both epitomize and transcend their eras by the originality of their work. The retrospective comprises thirty films, including three that Moreau directed. Two films in the series are United States premieres: The Old Woman Mho Wades in the Sea (1991, Laurent Heynemann), and her most recent film, A Foreign Field (1993, Charles Sturridge), in which Moreau stars with Lauren Bacall and Alec Guinness. Other highlights include The Queen Margot (1953, Jean Dreville), which has not been shown in the United States since its original release; the uncut version of Eva (1962, Joseph Losey); the rarely seen Mata Hari, Agent H 21 (1964, Jean-Louis Richard), and Joanna Francesa (1973, Carlos Diegues). Alternately playful, seductive, or somber, Moreau brought something truly modern to the screen -- a compelling but ultimately elusive persona. After perfecting her craft as a principal member of the Comedie Frangaise and the Theatre National Populaire, she appeared in such films as Louis Malle's Elevator to the Gallows (1957) and The Lovers (1958), the latter of which she created a scandal with her portrayal of an adultress.
    [Show full text]
  • James Ivory in France
    James Ivory in France James Ivory is seated next to the large desk of the late Ismail Merchant in their Manhattan office overlooking 57th Street and the Hearst building. On the wall hangs a large poster of Merchant’s book Paris: Filming and Feasting in France. It is a reminder of the seven films Merchant-Ivory Productions made in France, a source of inspiration for over 50 years. ....................................................Greta Scacchi and Nick Nolte in Jefferson in Paris © Seth Rubin When did you go to Paris for the first time? Jhabvala was reading. I had always been interested in Paris in James Ivory: It was in 1950, and I was 22. I the 1920’s, and I liked the story very much. Not only was it my had taken the boat train from Victoria Station first French film, but it was also my first feature in which I in London, and then we went to Cherbourg, thought there was a true overall harmony and an artistic then on the train again. We arrived at Gare du balance within the film itself of the acting, writing, Nord. There were very tall, late 19th-century photography, décor, and music. apartment buildings which I remember to this day, lining the track, which say to every And it brought you an award? traveler: Here is Paris! JI: It was Isabelle Adjani’s first English role, and she received for this film –and the movie Possession– the Best Actress You were following some college classmates Award at the Cannes Film Festival the following year. traveling to France? JI: I did not want to be left behind.
    [Show full text]
  • The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
    Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author
    [Show full text]
  • ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
    Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology.
    [Show full text]
  • In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante
    In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity.
    [Show full text]
  • Series 28: 7) John Cassavetes, KILLING of a CHINESE BOOKIE (1976, 135 Minutes)
    March 11, 2014 (Series 28: 7) John Cassavetes, KILLING OF A CHINESE BOOKIE (1976, 135 minutes) Directed by John Cassavetes Cinematography by Mitch Breit Ben Gazzara ... Cosmo Vittelli Timothy Carey ... Flo Al Ruban ... Marty Reitz JOHN CASSAVETES (director) (b. John Nicholas Cassavetes, December 9, 1929 in New York City, New York—d. February 3, 1989 (age 59) in Los Angeles, California) directed 16 films and TV shows, which are 1986 Big Trouble, 1984 Love Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of a Chinese Bookie, 1974 A Woman Under the Influence, 1972 “Columbo” (TV Series), 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob Hope Presents the Chrysler Theatre” (TV Series), 1962-1963 “The Lloyd Bridges Show” (TV Series), 1963 A Child Is Waiting, 1961 Too Late Blues, 1959-1960 “Johnny Staccato” (TV Series), and 1959 Shadows. He also wrote 14 films and TV shows—2010 Antes del estreno (original story), MITCH BREIT (cinematography) has been cinematographer for 1999 Gloria (1980 screenplay), 1997 She's So Lovely, 1984 Love 2 films: 1976 The Killing of a Chinese Bookie and 1974 A Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of Woman Under the Influence. a Chinese Bookie, 1974 A Woman Under the Influence, 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob BEN GAZZARA ... Cosmo Vittelli (b. Biagio Anthony Gazzara, Hope Presents the Chrysler Theatre” (TV Series), 1961 Too Late August 28, 1930 in New York City, New York—d. February 3, Blues, and 1959 Shadows—and edited 2—1968 Faces and 1959 2012 (age 81) in New York City, New York) appeared in 133 Shadows.
    [Show full text]
  • October 9, 2012 (XXV:6) David Miller, LONELY ARE the BRAVE (1962, 107 Min)
    October 9, 2012 (XXV:6) David Miller, LONELY ARE THE BRAVE (1962, 107 min) Directed by David Miller Screenplay by Dalton Trumbo Based on the novel, The Brave Cowboy, by Edward Abbey Produced by Edward Lewis Original Music by Jerry Goldsmith Cinematography by Philip H. Lathrop Film Editing by Leon Barsha Art Direction by Alexander Golitzen and Robert Emmet Smith Set Decoration by George Milo Makeup by Larry Germain, Dave Grayson, and Bud Westmore Kirk Douglas…John W. "Jack" Burns Gena Rowlands…Jerry Bondi Walter Matthau…Sheriff Morey Johnson Michael Kane…Paul Bondi Carroll O'Connor…Hinton William Schallert…Harry George Kennedy…Deputy Sheriff Gutierrez Karl Swenson…Rev. Hoskins William Mims…First Deputy Arraigning Burns Martin Garralaga…Old Man Lalo Rios…Prisoner Bill Bixby…Airman in Helicopter Bill Raisch…One Arm Table Tennis, 1936 Let's Dance, 1935 A Sports Parade Subject: Crew DAVID MILLER (November 28, 1909, Paterson, New Jersey – April Racing, and 1935 Trained Hoofs. 14, 1992, Los Angeles, California) has 52 directing credits, among them 1981 “Goldie and the Boxer Go to Hollywood”, 1979 “Goldie DALTON TRUMBO (James Dalton Trumbo, December 9, 1905, and the Boxer”, 1979 “Love for Rent”, 1979 “The Best Place to Be”, Montrose, Colorado – September 10, 1976, Los Angeles, California) 1976 Bittersweet Love, 1973 Executive Action, 1969 Hail, Hero!, won best writing Oscars for The Brave One (1956) and Roman 1968 Hammerhead, 1963 Captain Newman, M.D., 1962 Lonely Are Holiday (1953). He was blacklisted for many years and, until Kirk the Brave, 1961 Back Street, 1960 Midnight Lace, 1959 Happy Douglas insisted he be given screen credit for Spartacus was often to Anniversary, 1957 The Story of Esther Costello, 1956 Diane, 1951 write under a pseudonym.
    [Show full text]
  • Proposed 13-Weeksemesternow Underinvestigation Committeef;Onnedto Analyzeprosandcons
    .'-:;),)1 \'.~ 0.:'· ... '...... '..t:» '~... ~ ~, ....: -_.- - ' . .. 1932 * The Students' Voice for 50 Years ·1982 .. Volume 83 No.4 Baruch College, CUNY October 25, 1982 Proposed 13-WeekSemesterNow UnderInvestigation CommitteeF;onnedto AnalyzeProsandCons. Committee members are con­ 198~. .By S~ven Appenzeller of Bragen pointed out that, tacting their colleagues at the in­ to compensate for the shorter se­ stitutions operating under the new A committee of faculty mem­ mester, class length and!or class schedule, and will present their bers and administration officials meeting frequency may be in­ findings at a committee meeting at is considering a proposal that creased. Classes presently meet­ the end of this month. A vote will would shorten the academic se­ ing twice a week may meet three be taken to decide the matter on mester at Baruch from 14 to 13 or four times a week.: January 6th. The committee is weeks. The 13-week semester is Dr. Ronald Aaron, Associate presently in use at four responsible for deciding whether Dean of Students, is concerned CUNY schools-Hostos Com­ to proceed with the plan, but not that, "presently some students munity, Kingsborough Communi­ for the actual implementation. have all their classes scheduled < 'Student input is important in ty, Manhattan Community, and for two days. As an educator. I deciding this issue," Dr. Henry Hunter Colleges. The impetus for don't think that is ideal." Wilson, Dean of Students, said at the change came from the CUNY At Hunter College where the Council of Faculty Senate a meeting of student representa­ program has already been in ef­ tives, where faculty and adminis­ Presidents, which recommended fect for a year, the students are ProfessorTracy Bragen will chair committee which will decide whetber to im­ tration representatives were also plement a 13-week semester.
    [Show full text]
  • MARY MCDONNELL to RECEIVE 2018 PELL AWARD for LIFETIME ACHIEVEMENT in the ARTS Pell Awards Gala to Be Held May 21, 2018
    Curt Columbus, The Arthur P. Solomon and Sally E. Lapides Artistic Director, Tom Parrish, Executive Director 201 Washington Street ⬣ Providence ⬣ Rhode Island 02903 ⬣ www.trinityrep.com FOR IMMEDIATE RELEASE: April 9, 2018 CONTACT: Caitlin Howle, Digital Marketing Coordinator; (401) 521-1100 ext. 226; [email protected] MARY MCDONNELL TO RECEIVE 2018 PELL AWARD FOR LIFETIME ACHIEVEMENT IN THE ARTS Pell Awards Gala to be held May 21, 2018 PROVIDENCE, RI – Trinity Repertory Company announced today that actress Mary McDonnell will be honored with the 2018 Pell Award for Lifetime Achievement in the Arts at the theater’s 22nd annual Pell Awards Gala on Monday, May 21, 2018. A two-time Oscar nominee for Dances with Wolves and Passion Fish, McDonnell’s theater, film and television career has spanned more than four decades with dynamic character portrayals in period and present-day roles, including TNT’s The Closer and Major Crimes, Syfy’s Battlestar Galactica, Donnie Darko, and Sneakers. Artistic Director Curt Columbus said, “Mary McDonnell’s extraordinary work exemplifies the artist as a socially responsible citizen. Her portrayals of strong women, from Stands with a Fist to President Roslin to Sharon Raydor, have inspired and captivated millions. Trinity Rep is thrilled to honor Ms. McDonnell’s talent and impact with this year’s Pell Award for Lifetime Achievement in the Arts.” McDonnell will join previously announced local honorees: Pawtucket-based designer and artist Morris Nathanson (receiving the Rhode Island Pell Award for Excellence in the Arts); longtime Providence philanthropist and arts advocate Jane S. Nelson (receiving the Charles Sullivan Award for Distinguished Service in the Arts); and Jeannine Chartier (receiving the Pell Award for Outstanding Leadership in the Arts).
    [Show full text]
  • GAUMONT PRESENTS: a CENTURY of FRENCH CINEMA, on View Through April 14, Includes Fifty Programs of Films Made from 1900 to the Present
    The Museum of Modern Art For Immediate Release January 1994 GAUNONT PRESENTS: A CENTURY OF FRENCH CINEMA January 28 - April 14, 1994 A retrospective tracing the history of French cinema through films produced by Gaumont, the world's oldest movie studio, opens at The Museum of Modern Art on January 28, 1994. GAUMONT PRESENTS: A CENTURY OF FRENCH CINEMA, on view through April 14, includes fifty programs of films made from 1900 to the present. All of the films are recently restored, and new 35mm prints were struck especially for the exhibition. Virtually all of the sound films feature new English subtitles as well. A selection of Gaumont newsreels [actualites) accompany the films made prior to 1942. The exhibition opens with the American premiere of Bertrand Blier's Un deux trois soleil (1993), starring Marcello Mastroianni and Anouk Grinberg, on Friday, January 28, at 7:30 p.m. A major discovery of the series is the work of Alice Guy-Blache, the film industry's first woman producer and director. She began making films as early as 1896, and in 1906 experimented with sound, using popular singers of the day. Her film Sur la Barricade (1906), about the Paris Commune, is featured in the series. Other important directors whose works are included in the exhibition are among Gaumont's earliest filmmakers: the pioneer animator and master of trick photography Emile Cohl; the surreal comic director Jean Durand; the inventive Louis Feuillade, who went on to make such classic serials as Les Vampires (1915) and Judex (1917), both of which are shown in their entirety; and Leonce Perret, an outstanding early realistic narrative filmmaker.
    [Show full text]