Save the David Lean Cinema Campaign

Total Page：16

File Type：pdf, Size：1020Kb

The David Lean Cinema Croydon Clocktower January 2019 films Thu 3 Jan at 2.30* and 7.30pm & Wed 23 Jan at 7.30pm ♦ *Subtitled for those with hearing loss WIDOWS (15) 2018 UK/USA 129 mins Director: Steve McQueen ♦ Stars: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo Tuesday 8 January at 11.00am ♦ Babes in Arms screening JULIET, NAKED (15) 2018 USA 98 mins Director: Jesse Peretz ♦ Stars: Rose Byrne, Ethan Hawke, Chris O’Dowd Tuesday 8 January at 7.30pm ANNA AND THE APOCALYPSE (15) 2017 UK/USA 97 mins Director: John McPhail ♦ Stars: Ella Hunt, Malcolm Cumming, Sarah Swire Wednesday 9 January at 7pm & Wednesday 30 January at 2.30pm PETERLOO (12A) 2018 UK 154 mins Director: Mike Leigh ♦ Stars: Rory Kinnear, Maxine Peake, Pearce Quigley Thursday 10 January at 2.30* and 7.30pm SHOPLIFTERS (15) 2018 Japan 121 mins – Japanese with subtitles Director: Koreeda Hirokazu ♦ Stars: Lily Franky, Ando Sakura, Kiki Kirin Tuesday 15 January at 7.30pm ♦ Stand-Up Film Club with Q&A SUPERBOB (15) 2015 UK 82 mins Director: Jon Drever ♦ Stars: Brett Goldstein, Catherine Tate, Natalia Tena Wednesday 16 January at 7.30pm THE PRICE OF EVERYTHING (12A) 2018 USA 99 mins Director: Nathaniel Kahn ♦ Features: Jeff Koons, Larry Poons, Njideka Akunyili Crosby Thursday 17 January at 2.30 and 7.30pm DISOBEDIENCE (15) 2017 UK/Ireland/USA 114 mins Director: Sebastián Lelio ♦ Stars: Rachel Weisz, Rachel McAdams, Alessandro Nivola Tuesday 22 January at 7.30pm SORRY TO BOTHER YOU (15) 2018 USA 111 mins Director: Boots Riley ♦ Stars: Lakeith Stanfield, Tessa Thompson, Jermaine Fowler Thursday 24 January at 2.30 and 7.30pm WON’T YOU BE MY NEIGHBOR? (12A) 2018 USA 94 mins Director: Morgan Neville ♦ Features: Fred Rogers, Joanne Rogers, John Rogers Tuesday 29 January at 7.30pm ♦ For Holocaust Memorial Day (27 Jan) 1945 (12A) 2017 Hungary 91 mins – Hungary with subtitles Director: Ferenc Török ♦ Stars: Péter Rudolf, Bence Tasnádi, Tamas Szabo Kimmel Thursday 31 January at 2.30* and 7.30pm ♦ *Subtitled for those with hearing loss THE OLD MAN & THE GUN (12A) 2018 USA 93 mins Director: David Lowery ♦ Stars: Robert Redford, Casey Affleck, Sissy Spacek February tickets go on sale at 9.00am on Thursday 10 January At the David Lean Cinema Croydon Clocktower, Katharine Street, Croydon CR9 1ET Tickets £7.50; concessions £6; age 25 & under £5 from Wallace Arnold, 3rd Floor, 43 George St David Lean Cinema website and online bookings www.davidleancinema.org.uk .

Copy Link

Recommended publications

Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
[Show full text]
Understanding Steven Spielberg
Understanding Steven Spielberg Understanding Steven Spielberg By Beatriz Peña-Acuña Understanding Steven Spielberg Series: New Horizon By Beatriz Peña-Acuña This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Beatriz Peña-Acuña Cover image: Nerea Hernandez Martinez All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0818-8 ISBN (13): 978-1-5275-0818-7 This text is dedicated to Steven Spielberg, who has given me so much enjoyment and made me experience so many emotions, and because he makes me believe in human beings. I also dedicate this book to my ancestors from my mother’s side, who for centuries were able to move from Spain to Mexico and loved both countries in their hearts. This lesson remains for future generations. My father, of Spanish Sephardic origin, helped me so much, encouraging me in every intellectual pursuit. I hope that contemporary researchers share their knowledge and open their minds and hearts, valuing what other researchers do whatever their language or nation, as some academics have done for me. Love and wisdom have no language, nationality, or gender. CONTENTS Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Spielberg’s Personal Context and Executive Production Chapter Two .............................................................................................. 19 Spielberg’s Behaviour in the Process of Film Production 2.1.
[Show full text]
Woody Allen: David Lean Lecture Transcript
British Academy of Film and Television Arts The 2005 David Lean Lecture given by Woody Allen TranscriptT Introduction Transcript Princess Anne Theatre Mark Kermode: Good evening ladies and gentlemen. of minutes just lavishing praise on the British film I’m going to talk to Mr Allen for about 40 minutes, and industry and how good it is. 195 Piccadilly, London then he has very kindly agreed to take 20 minutes of questions from the audience. Let’s start by talking about Woody Allen: Well, I can. I was trepidatious 17 December 2005 Match Point. It’s your first film in the UK, in London. when I first came here because I made all my What brought you here? How much was London an movies in New York. The sudden thought of influence on the story? living in a different environment for an extended period of time and not being in my own bed and Woody Allen: I shot it in England because that’s having all my little habits within arm’s reach was who gave me the money, that’s really the story. frightening to me. I had no idea what it would In the United States they are perfectly willing be like working with English crews but I found to bankroll my films but they want to participate. it to be a delightful experience. Everyone was The studios like to participate. They don’t like wonderful; there is a great pool of enormously to be thought of as “just bankers,” that’s their gifted actors and actresses. In Match Point, every phrase.
[Show full text]
Thought, Feeling, and the Cinema of Francis Ford Coppola: the Rain People As Exemplum
CHAPTER 12 THOUGHT, FEELING, AND THE CINEMA OF FRANCIS FORD COPPOLA: THE RAIN PEOPLE AS EXEMPLUM The Coppolas, Francis Ford and his daughter, Sophia, both have the same artistic problem: neither is a thinker. The father has always been short on thought; indeed, he stumbles when he thinks, when he thinks he’s thinking. The Godfather (1972, 1974, 1990) was strongest in its execution—also its executions—not in its adolescent implications of analogy between the Mafia and corporate capitalism (an analogy that ignores, among other things, the origins of the Mafia and its blood bonds of loyalty, which have nothing to do with capitalism). The Conversation (1974) faltered in its Orwellian idea-structure. And in Apocalypse Now (1979), the attempts to dramatize private moral agony and general moral abyss during the Vietnam War were disjointed, assumptive, weak, for all of Vittorio Storaro’s aptly hallucinogenic color cinematography. Even Coppola’s scripts for others have suffered from woolly thinking: his screenplay for Jack Clayton’s The Great Gatsby (1974), for example, turned Fitzgerald’s supple suggestiveness into mindless blatancy; and his scenario for Franklin Schaffner’s Patton (1970) presented the glaringly contradictory nature of this famous general as praiseworthy, even fathomless, complexity. That’s the top of the heap. From there, we head down to Coppola’s blotchy script for René Clément’s Is Paris Burning? (1966), a rambling, pseudo-documentary recreation of the liberation of Paris from Nazi occupation. Then we get to the adaptations of Tennessee Williams’ This Property Is Condemned and Carson McCullers’ Reflections in a Golden Eye, for Sydney Pollack (1966) and John Huston (1967) respectively, in which Coppola—who began his career in the early 1960s as a director of short sex films—manages to denude the world of Southern Gothicism of all but its trash, its kinkiness, and its pretense.
[Show full text]
Cinematic Contextual History of High Noon (1952, Dire Fred Zinnemann) J. M. CAPARROS-LERA SERGIO ALEGRE
Cinematic Contextual History of High Noon (1952, dire Fred Zinnemann) J. M. CAPARROS-LERA SERGIO ALEGRE Cinema must be seen as one of the ways of ideologies of our Century because it shows very well the mentality of men and women who make films. As well as painting, literature and arts, it helps us to understand our time. (Martin A. JACKSON) 0. T.: High Noon. Production: Stanley Kramer Productions, Inc./United Artists (USA,1952). Producers: Stanley Kramer & Carl Foreman. Director: Fred Zinnemann. Screenplay: Carl Foreman, from the story The Tin Star, by John W. Cunningham. Photography: Floyd Crosby. Music: Dimitri Tiomkin. Song: Do Not Forsake Me Oh My Darlin', by Dimitri Tiomkin and Ned Washington; singer: Tex Ritter. Art Director: Rudolph Sternad. Editor: Elmo Williams. Cast: Gary Cooper: (Will Kane), Thomas Mitchell (Jonas Henderson), Lloyd Bridges (Harvey Pell), Katy Jurado (Helen Ramirez), Grace Kelly (Amy Kane), Otto Kruge: (Percy Metrick), Lon Chaney, Jr. (Martin Howe), Henry Morgan (Sam Fuller), Ian MacDonald (Frank Miller), Eve McVeagh (Milfred Fuller) Harry Shannon (Cooper), Lee Van Cleef (Jack Colby), Bob Wilke (James Pierce), Sheb Wooley (Ben Miller), Tom London (Sam), Larry Blake (Gillis), Jeanne Blackford (Mrs: Henderson), Guy Beach (Fred), Virginia Christine (Mrs. Simpson), Jack Elam (Charlie), Virginia Farmer (Mrs. Fletcher), Morgan Farley (Priest),Paul Dubov (Scott), Harry Harvey (Coy), Tin Graham (Sawyer), Nolan Leary (Lewis), Tom Greenway (Ezra), Dick Elliot (Kibbee), John Doucete (Trumbull). B/W -85 min. Video distributor: Universal. The post-war American atmosphere and the never well-seen social problem cinema -especially thriller film noir- are the major reasons to understand why during the Forties Hollywood was purged by the self- called the most liberal and democratic government of the world.* Truman's executive order was published in May 12, 1947.
[Show full text]
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
[Show full text]
Paradores De Turismo
Culture & History - Discovering Spain Clint Eastwood - Doctor Zhivago - film location - iconic Westerns - Las Tabernas Desert - Lawrence of Arabia - luxury hotels - Parador Cádiz - Parador Carmona - Parador Mojácar - Parador Soria - Paradores - Seville Plaza de España - Star Wars - The Bad and The Ugly - The Good Spain in the Movies: Film Locations Near Paradores Thursday, 28 November, 2013 Paradores Parador de Cádiz Parador de Carmona Parador de Mojácar Parador de Soria Many people already know that Woody Allen’s 2008 hit Vicky Cristina Barcelona was filmed in Spain, or that many of well- known Spanish director Pedro Almodóvar’s movies were shot in Madrid. But did you know that several of the great Clint Eastwood Westerns were shot in Las Tabernas Desert, or that Seville doubled for an alien planet in one of the Star Wars movies? Spain’s natural lighting and diverse landscape have made it a favourite of directors since the dawn of cinema, and more than a few locations near Paradores Luxury Hotels in Spain served as the backdrop for famous films throughout the years. Doctor Zhivago in Soria In 1965, David Lean’s now iconic Doctor Zhivago transported viewers to tsarist Moscow and Soviet Siberia, but little did they know that the incredible shots of snow-covered woodlands were actually filmed near Soria, Spain. Lean was unable to film the movie in Russia because the book upon which it is based by Boris Pasternak was banned throughout the Soviet Union at the time. The director ultimately settled on Soria because of its breathtaking countryside. The train station in Villar del Campo is featured in the long sequence covering the title character’s escape from Moscow, while the charming village of Candilichera was a stand-in for Varynkino, the Gromeko estate in the Ural Mountains.
[Show full text]
101 Films for Filmmakers
101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
[Show full text]
David Mamet at the Aero Theatre in Santa Monica As Part of NOIR CITY: HOLLYWOOD 2020
DAVID MODERN NOIR MASTER MAMETIN CONVERSATION WITH EDDIE MULLER n one of the last Film Noir Foundation public events before the Coronavirus curtain dropped, Eddie Muller hosted an evening with multifaceted writer-director David Mamet at the Aero Theatre in Santa Monica as part of NOIR CITY: HOLLYWOOD 2020. The festival was put on ice just days later. Muller surprised Mamet by presenting him with the FNF’s Modern Noir Master award (previous recipients: Stephen Frears and James IEllroy). House of Games (1987), Mamet’s debut feature as writer-director, was screened for a capacity crowd that included its star, Joe Mantegna, and the post-film talk was lively, fiery, and fun. As a coda, Mamet selected a personal noir favorite to be screened (not one of his own). The audience that night was fortunate to witness this unique event, especially as it happened only days before California put stay-at-home orders into effect. Here are highlights from a spirited conversa- tion between Muller and the filmmaker he introduced as “America’s greatest living storyteller.” Muller and Mamet meet pre-show outside the Aero Theatre Photo by Sasha Lebedeva 12 NOIR CITY I NUMBER 29 I filmnoirfoundation.org filmnoirfoundation.org I NUMBER 29 I NOIR CITY 13 Joe Mantegna, a colleague of Mamet’s from their Chicago theater days, costarred with Mamet’s then-wife Lindsay Crouse in House of Games, Mamet’s directorial debut and the first of several cinema tales he’d spin revolving around “confidence” Eddie Muller: The Film Noir Foundation not only aims to restore trying to get ahead in the world, you know? But the story of Cali- films, but we try and keep the noir flame alive by showing that fornia seems to be the story of people who are lost and who have no there is a continuum at work between the films we love and what’s identity, and they find out what they thought they were wasn’t really going on today.
[Show full text]
IB FILM SL & HL Year 1 Mr. London SUMMER READING
IB FILM SL & HL year 1 Mr. London SUMMER READING & VIEWING WHAT YOU WILL NEED: ● Either a public library card (FREE)/a Netflix, Hulu, or FilmStruck account ($7.99 - $11 month - but usually these services offer a free trial!) ● Internet access ● A journal/notebook for jotting down observations ● Mr. London’s email: o [email protected] REQUIREMENTS (to be completed by the first day of class in August): 1) Select 10 films from the list provided (though watch as many as you can!). You MUST watch 1 film from each of the categories, and the rest is your choice. 2) Write a response (1-2 pages each) for each film. a. If you have access to a computer/laptop, you may type up your responses in a continuing Google document, 12 point Open Sans, and double-spaced (to be shared with me by the first day of class). b. Each film’s response should be in paragraph form and should be about your observations, insights, comments, and connections that you are making between the readings and the films you watch. c. Also, your responses will be much richer if you research information about the films you watch before you write – simply stating your opinion will not give you much material to write about, and you will not be able to go beyond your own opinion – for example, read online articles/reviews about each film by scholars/critics (New York Times, The Guardian, rogerebert.com, IMDB.com, filmsite.org, etc). You can also watch awesome video essays on YouTube. Click HERE for a great list of YouTube Channels.
[Show full text]
Ib Film Ii Summer Films and Reading
IB FILM II SUMMER FILMS AND READING WHAT YOU WILL NEED • A “Netflix” or an “I Love Video” or “Vulcan Video” account to view movies. • A journal/notebook (prefer a notebook that you can bring to class). You will be writing journal entry responses to the films you watch. • Access to internet and MyBack • Mr. Regan’s email: o [email protected] REQUIREMENTS (to be completed by the first day of classes in August): This is worth three exam grades, a total of 300 points, literally the weight of your first three exams. 1) Select 15 films from the list provided (watch as many as you can!). You should watch 1 film from each of the categories, and the rest is your choice. 2) Write journal responses (1-2 pages each) for each of the films. Each response should be in paragraph form and should be about your observations, insight, comments, and connections that you are making between the reading and the movies you watch. Your writing will be much richer if you research information about the film you watch before you write – simply stating your opinion will not give you much material to write about and you will not be able to go beyond your own opinion – for example, read articles written on the film by critics (news paper articles from the New York Times, rogerebert.com, IMDB.com, filmsite.org, etc). You can also read the screenplay for the film at scriptcity.com or script-o-rama.com to get further insight. ----------------------------------------------------------------------------------------------------------- BOOKS TO BUY AND READ: • Understanding Movies (12th Edition) [Paperback ] • Film Directing: Shot by Shot – by Steven D.
[Show full text]
The Physician at the Movies Peter E
The physician at the movies Peter E. Dans, MD Owen Wilson in Midnight in Paris. © Sony Pictures Classics. Midnight in Paris angst-ridden Hannah and Her Sisters; Dianne Weist again, Starring Owen Wilson, Rachel McAdams, Marion Cotillard, thistimeasagangster’stalentlessmollinthewitlessBullets Kathy Bates, and Adrien Brody. over Broadway; Mira Sorvino as that hardy Oscar-winning Written and directed by Woody Allen. Rated PG-13. Running perennial,theheartofgoldprostituteinanothersillycontriv- time 94 minutes. ance,Mighty Aphrodite;andPenelopeCruzasthetempestu- ousex-wifeinVicky Cristina Barcelona.Thathelpsexplain idnight in Paris,whichmaybecharacterizedasPurple why,despitehissordidpersonallife,actorsareexcitedtowork Rose of CairomeetsManhattan,representsareturnto withhim.Startingasacomedywriter(especiallyforthein- theMformWoodyAllendisplayedinsomeofmyfavoriteAllen imitableSidCaesar),astandupcomic,andanessayistforthe films: Play it Again Sam, Broadway Danny Rose, Love and New Yorker,muchofAllen’sworkhasbeenautobiographical Death,Manhattan,andAnnie Hall.It’shardtobelievethat andpsychoanalyticinnature,nodoubtdrawingheavilyonhis hehaswrittenanddirectedoverfortyfilmssincewritingthe estimatedthirtyyearsinanalysis. screenplayforWhat’s New Pussycat?in1965andthentaking Midnight in Paris has a lightness and good humor that overasdirectoraswellasscreenwriterforWhat’s Up, Tiger hasbeenmissinginmanyofhislaterfilmsand,asaresult,in Lily?thefollowingyear. fiveweeks,itbecamethehighestgrossingofanyofhisfilms Despite his shunning of the Oscar ceremonies except
[Show full text]