Subject: [RIP] Gary Kurtz, Film Producer (Star Wars, the Dark

Total Page:16

File Type:pdf, Size:1020Kb

Subject: [RIP] Gary Kurtz, Film Producer (Star Wars, the Dark Subject: [RIP] Gary Kurtz, film producer (Star Wars, The Dark Crystal) Posted by Your Name on Mon, 24 Sep 2018 20:58:40 GMT View Forum Message <> Reply to Message From ComingSoon.net ... Star Wars Producer Gary Kurtz Dies at 78 ---------------------------------------- It is with great sadness that ComingSoon.net must report that film producer Gary Kurtz, one of the major forces in the creation of Star Wars, has passed away at age 78 from cancer. Kurtz was a hands-on producer for 1977's Star Wars, shepherding George Lucas' pet project from Flash Gordon-knockoff to problematic production to unprecedented sci-fi phenomenon. The film went on to become the highest-grossing movie of all-time, and set the pace for many of the studio blockbusters that followed. He was involved to a greater extent in the follow up, 1980's The Empire Strikes Back, serving as both producer and second unit director under director Irvin Kershner in the absence of Lucas, who was busy building up the Lucasfilm empire as well as Skywalker Ranch in Marin County, California. Kurtz and Lucas clashed over massive budget overruns (which Lucas had to cover out of his own pocket), forcing Lucas to secure more funding from distributor 20th Century Fox. Fallout from the rift between Kurtz and Lucas was far-reaching for the Star Wars saga, with Kurtz growing disenchanted with plans to make the third film Return of the Jedi more toyetic and triumphant. "We had an outline and George changed everything in it," Kurtz told Hero Complex in 2010. "Instead of bittersweet and poignant he wanted a euphoric ending with everybody happy." The original story involved Han Solo being recovered in the opening act, then getting killed in the middle of the story, which at the time did not involve a Death Star retread. The ending would have found the Rebel Alliance in tatters, Leia struggling with her new role as queen and Luke wandering off alone "like Clint Eastwood in the spaghetti westerns." Howard Kazanjian eventually took over as producer on Return of the Jedi, with Rick McCallum later taking on production duties for the prequel trilogy and Kathleen Kennedy overseeing the current run of Lucas-less Star Wars Saga movies for Disney. Kurtz and Lucas first partnered on 1973's seminal teen comedy Page 1 of 2 ---- Generated from Megalextoria American Graffiti, which revolutionized the use of music and cross-cutting of stories in film, and helped launch the acting careers of Richard Dreyfuss, Ron Howard and Harrison Ford. Kurtz also produced Monte Hellman's 1971 cult classic racing movie Two-Lane Blacktop, starring singer James Taylor. Kurtz's post-Star Wars career saw him continuing in the fantasy realm, producing Jim Henson and Frank Oz's ambitious all-puppet 1982 epic The Dark Crystal, which did middling business but is now considered a classic and is currently getting a Netflix series follow up. He also produced Return to Oz, a dark take on L. Frank Baum's creation that failed at the 1985 box office. His career hit a major snag with 1989's Slipstream, a post-apocalyptic sci-fi film from TRON director Steven Lisberger starring Star Wars lead Mark Hamill. Kurtz encountered major financial problems after a messy divorce that wrecked havoc with production, eventually leaving the film without U.S. distribution. Kurtz tried to get several other projects off the ground, including an animated version of Little Nemo in Slumberland which he abandoned. He ironically acted as producer on Patrick Read Johnson's wonderful (though sadly unavailable) coming of age movie 5-25-77, which follows Johnson (John Francis Daley) as a teenager becoming the first person to see Star Wars and the effect it had on his life. < http://www.comingsoon.net/movies/news/986553-star-wars-produ cer-gary-kurtz-dies-at-78> Page 2 of 2 ---- Generated from Megalextoria.
Recommended publications
  • Press Release
    PRESS RELEASE #10 - MIDAMERICON II BRINGS THE FORCE BACK TO KANSAS CITY MidAmeriCon II, the 74th World Science Fiction Convention Kansas City, MO August 17-21, 2016 [email protected] www.midamericon2.org/press FOR IMMEDIATE RELEASE Monday, June 27, 2016 Kansas City, Missouri, USA - MidAmeriCon II is pleased to announce that it will be celebrating Star Wars with special guests, programming and exhibits on Friday, August 19. MidAmeriCon II’s “Star Wars Day” will take place exactly forty years after the first MidAmeriCon hosted just the third public presentation to be made about a then little known upcoming movie. Nine months before the May 1977 release which changed the world of cinema forever, advertising publicity supervisor Charles Lippincott presented the Worldcon members with a slide show promoting Star Wars: Episode IV, A New Hope. This was followed by a Q&A session where Charles was joined by actor Mark Hamill and producer Gary Kurtz. MidAmeriCon II is delighted to announce that Charles Lippincott and Gary Kurtz will once more be attending a Kansas City Worldcon to talk about the Star Wars phenomenon, along with Alan Dean Foster who ghost wrote the original Star Wars novelization (and more recently, wrote the novelization of Star Wars: The Force Awakens). During the afternoon of August 19, Charles, Gary, and Alan will take part in a panel and Q&A session to discuss the marketing of Star Wars. In the evening, Charles will recreate the original MidAmeriCon slide presentation and participate in a further Q&A session. There will also be an opportunity to watch a contemporary video of the original 1976 Q&A session.
    [Show full text]
  • NEIL KREPELA ASC Visual Effects Supervisor
    NEIL KREPELA ASC Visual Effects Supervisor www.neilkrepela.net FILM DIRECTOR STUDIO & PRODUCERS “THE FIRST COUPLE ” NEIL KREPELA Berliner Film Companie (Development – Animated Feature) Mike Fraser, Rainer Soehnlein “CITY OF EMBER ” GIL KENAN FOX -WALDEN Visual Effects Consultant Gary Goetzman, Tom Hanks, Steven Shareshian “TORTOI SE AND THE HIPPO” JOHN DYKSTRA WALDEN MEDIA Visual Effects Consultant “MEET THE ROBINSONS” STEPHEN ANDERSON WALT DISNEY ANIMATION Lighting & Composition Dorothy McKim, Bill Borden “TERMINATOR 3: RISE OF THE JONATHAN MOSTOW WARNER BROTHERS MACHINES” VFX Aerial Unit Director Mario F. Kassar, Hal Lieberman, & Cameraman Joel B. Michaels, Andrew G. Vajna, Colin Wilson “SCOOBY DOO ” RAJA GOSNELL WA RNER BROTHERS Additional Visual Effects Supervision Charles Roven, Richard Suckle “DINOSAUR ” ERIC LEIGHTON WALT DISNEY PICTURES Pam Marsden “MULTIPLICITY” (Boss Film Studio) HAROLD RAMIS COLUMBIA PICTURES Visual Effects Consult - Pre-production Trevor Albert “HEAT ” MICHAEL MANN WARNER BROTHERS /FORWARD PASS Michael Mann, Art Linson “OUTBREAK” – (Boss Film Studio ) WOLFGANG PETERSEN WARNER BROTHERS Wolfgang Petersen, Gail Katz, Arnold Kopelson “THE FANTASTICKS ” MICHAEL RITCHIE UNITED ARTISTS Linne Radmin, Michael Ritchie “THE SPECIALIST ” LUIS LLOSA WARNER BROTHERS Jerry Weintraub “THE SCOUT” - (Boss Film Studio) MICHAEL RITCHIE TWENTIETH CENTURY FOX Andre E. Morgan, Albert S. Ruddy Neil Krepela -Continued- “TRUE LIES ” JAMES CAMERON TWENTIETH CENTURY FOX (Boss Film Studio) James Cameron, Stephanie Austin “LAST ACTION
    [Show full text]
  • |||GET||| Star Wars: the Visual Encyclopedia 1St Edition
    STAR WARS: THE VISUAL ENCYCLOPEDIA 1ST EDITION DOWNLOAD FREE Adam Bray | 9781465459626 | | | | | Star Wars: The Visual Encyclopedia - PDF free download eBook Under each of those headings is a long list of topics with their corresponding page number. Retrieved July 22, Star Wars: The Visual Encyclopedia 1st edition May 17, Producer Gary Kurtz Star Wars: The Visual Encyclopedia 1st edition to the film poster artist Tom Chantrellwho was already well known for his prolific work for Hammer horror filmsand commissioned a new version. Film Stories. Gary Kurtz traveled to the Philippines to scout locations; however, because of the idea of spending months filming in the jungle would make Lucas "itchy", the director refined his vision and made Tatooine a desert planet instead. Retrieved August 6, Retrieved October 3, Archived from the original on December 8, If you go to see a film, and it's been touted as this new science fiction film, and it says Episode III up there, you'd say, "What the hell? Retrieved March 27, Archived from the original on October 3, Instead, there's entertainment so direct and simple that all of the complications of the modern movie seem to vaporize. Retrieved July 27, Kodie rated it it was amazing Apr 16, News reports of the film's popularity in America caused long lines to form at the two London theaters that first offered the film; it became available in 12 large cities in Januaryand other London theaters in February. Archived from the original on May 27, It's always been what you might call a good idea in search of a story.
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • Star Wars: the Empire Strikes Back Feature Film with Orchestra
    Joshua Gersen, conductor Thursday, January 23, 2020, at 7:00PM Friday, January 24, 2020, at 7:00PM Saturday, January 25, 2020, at 7:00PM Sunday, January 26, 2020, at 2:00PM Star Wars: The Empire Strikes Back Feature Film with Orchestra JOHN WILLIAMS Star Wars: The Empire Strikes Back (b. 1932) There will be one 25-minute intermission. Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm Ltd., and Warner/Chappell Music. All rights reserved 28 Star Wars: The Empire Strikes Back Film Synopsis “You must feel the Force around you...” The battle for the galaxy intensifies in this thrilling fifth episode of the unfolding saga. As Imperial Forces launch an all-out attack on the Rebel Alliance, Han Solo (Harrison Ford) and Princess Leia (Carrie Fisher) flee to Cloud City where they are captured by Darth Vader. Luke Skywalker (Mark Hamill) journeys to the mysterious, marshy planet of Dagobah, where the wise Jedi Master Yoda teaches the young hero the ways of the Force. Little does Luke know that all his Jedi training will be called upon so soon. A stunning revelation—and a seeming life-or-death duel with Darth Vader—await. 29 Star Wars Film Concert Series Star Wars: The Empire Strikes Back Twentieth Century Fox Presents A Lucasfilm Ltd. production Starring Mark Hamill Harrison Ford Carrie Fisher Billy Dee Williams Anthony Daniels Co-Starring David Prowse as Darth Vader Kenny Baker as R2-D2 Peter Mayhew as Chewbacca Frank Oz as Yoda Directed by Irvin Kershner Produced by Gary Kurtz Screenplay by Leigh Brackett
    [Show full text]
  • Digital Cinema and the Legacy of George Lucas
    DOCTOR OF PHILOSOPHY Digital cinema and the legacy of George Lucas Willis, Daniel Award date: 2021 Awarding institution: Queen's University Belfast Link to publication Terms of use All those accessing thesis content in Queen’s University Belfast Research Portal are subject to the following terms and conditions of use • Copyright is subject to the Copyright, Designs and Patent Act 1988, or as modified by any successor legislation • Copyright and moral rights for thesis content are retained by the author and/or other copyright owners • A copy of a thesis may be downloaded for personal non-commercial research/study without the need for permission or charge • Distribution or reproduction of thesis content in any format is not permitted without the permission of the copyright holder • When citing this work, full bibliographic details should be supplied, including the author, title, awarding institution and date of thesis Take down policy A thesis can be removed from the Research Portal if there has been a breach of copyright, or a similarly robust reason. If you believe this document breaches copyright, or there is sufficient cause to take down, please contact us, citing details. Email: [email protected] Supplementary materials Where possible, we endeavour to provide supplementary materials to theses. This may include video, audio and other types of files. We endeavour to capture all content and upload as part of the Pure record for each thesis. Note, it may not be possible in all instances to convert analogue formats to usable digital formats for some supplementary materials. We exercise best efforts on our behalf and, in such instances, encourage the individual to consult the physical thesis for further information.
    [Show full text]
  • AFI PREVIEW Is Published by the Sat, Jul 9, 7:00; Wed, Jul 13, 7:00 to Pilfer the Family's Ersatz Van American Film Institute
    ISSUE 77 AFI.com/Silver AFI SILVER THEATRE AND CULTURAL CENTER JULY 8–SEPTEMBER 14, 2016 44T H AFI LIFE ACHIEVEMENT AWARD HONOREE A FILM RESTROSPECTIVE THE COMPOSER B EHIND THE GREAT EST A MERICAN M OVIES O F OUR TIME PLUS GLORIOUS TECHNICOLOR ★ ’90S C INEMA N OW ★ JOHN C ARPENT E R LOONEY TUNES ★ KEN ADAM REMEMBERED ★ OLIVIA DE HAVILLAND CENTENNIAL Contents AFI Life Achievement Award: John Williams AFI Life Achievement Award: July 8–September 11 John Williams ......................................2 John Williams' storied career as the composer behind many of the greatest American films and television Keepin' It Real: '90s Cinema Now ................6 series of all time boasts hundreds of credits across seven decades. His early work in Hollywood included working as an orchestrator and studio pianist under such movie composer maestros as Bernard Herrmann, Ken Adam Remembered ..........................9 Alfred Newman, Henry Mancini, Elmer Bernstein and Franz Waxman. He went on to write music for Wim Wenders: Portraits Along the Road ....9 more than 200 television programs, including the groundbreaking anthology series ALCOA THEATRE Glorious Technicolor .............................10 and KRAFT TELEVISION THEATRE. Perhaps best known for his enduring collaboration with director Steven Spielberg, his scores are among the most iconic and recognizable in film history, from the edge-of-your- Special Engagements .................. 14, 16 seat JAWS (1975) motif to the emotional swell of E.T. THE EXTRA-TERRESTRIAL (1982) and the haunting UCLA Festival of Preservation ...............14 elegies of SCHINDLER'S LIST (1993). Always epic in scale, his music has helped define over half a century of the motion picture medium.
    [Show full text]
  • ARTHUR ROCHESTER Production Sound Mixer A.M.P.A.S., I a T S E, Lac
    ARTHUR ROCHESTER Production Sound Mixer A.M.P.A.S., I A T S E, lac. 695, S.A.G. Tel: (818) 506-4637 Cell: (818) 402-9570 E-mail: arthulT(o)dhdtraxsound.com IMDb: http://wvvw.imdb..com/name/nm0734053! SOME FEATURE FILM CREDITS 2007: BROTi'lE1.tS . Dir., Adam McKay; Prods. Adam McKay, Judd Apatow, Jimmy Miller, Will Ferrell, David Householter for Columbia Pictures . 2007: . Dir., Kent Alterman; Prods. Jimmy Miller, David Householter for New Line Cinema. 2006: . Dir., Tony Scott; A Jerry Bruckheimer Production for Disney Motion Picture Group. 2004: "DO/flllNO": Dir., Tony Scott; Prods. Ridley Scott, Samuel Hidada, Barry Waldman for New Line Cinema. 2004: "SERENITY": Dir., Joss Whedan; Prod., Barry Mendel for NBC-Universal Pictures. 2003: "CELLULAR~J: Dir., David Ellis; Prods. Dean Devlin, Lauren Lloyd, Doug Curtis for New Line Cinema. 2003: "SOMETHING'S GOTTA GIVE": Dir. /Writer/Prod., Nancy Meyers; Prod., Bruce Block for Columbia Pictures. 2002: "?VI4STER AND CONlll;/ANlJER: THE FAR SWE OF THE ~VORW Dir., Peter Weir; Prod., Duncan Henderson, Alan Curtiss for 20th Century Fox. (BAFT A Winner, CAS Award Winner, Golden Satallite Award Winner and Oscar Nominee for Sound Mixing: 2004) 2001: ·'AnOUT SCHivilDT": Dir., Alexander Payne; Prod., Harry Gittes for New Line Cinema. 2000: "COLLATERAL 0 Dir., Andrew Davis; Prod., lIawk Koch for Warner Bros. 2000: "THE 1I!1POSTOR": Dir., Gary Fleder; Prod., Marty Katz, David Witz for Miramax. 1999: "l1fISSION: li'efPOSSlBLE 2": Dir., John Woo; Prods., Tom Cruise, Paula Wagner, Terence Chang, Paul Hitchcock for Paramount Pictures. (United States filming) 1999: "PLA YJT TO THE Bor,,'E'J: Dir., Ron Shelton; Prods., Stephen Chin, David Lester and David Siegel for Touchstone Pictures.
    [Show full text]
  • Pittsburgh Catholic, Friday, January 14, 1983
    Pennsylvania’s largest weekly circulation x i r - ! c e H C O M C C U) ! 13Bth Year, CXLII No. 44 15 Ce tablished in 1 844: America's Oldest Catholic N ews pa per in Continuous Publication F rid ay, Ja n u a ry 14, 1983 o - 1 Q C Z A 1 >“ 1 CD < It y W e e k CO H ~o H -< > CO eme for 1983 U1 s Irish origin rsj s Service services during the week includes ly be presiding responsorial prayers based on the o Week of Prayer ancient Irish prayer known as “St. for Christian unity Jan. 18 to 25. Patrick's Breastplate." The week's theme, "Jesus The Graymoor Ecumenical l^Dpe’s messages Christ, Life of the World," has an Institute, which promotes Irish origin and services observance of the Week of Prayer ' A p e reaffirms desire to visit suggested by the week's sponsors for Christian Unity in the United Lebanon and speaks on Lent include an ancient Irish prayer. States, is run by the Franciscan S e e At the Vatican on page 6 The theme was proposed by an Friars of the Atonement, whose Also, questions and answers ecumenical group in Northern founder, the late Father Paul about the new Code of Canon Ireland and approved in James Wattson, began the Law appear on the same page December 1981 by a special mixed observance in 1908 as the Church commission of the Catholic Unity Octave, beginning with the Church and the World Council of feast of St.
    [Show full text]
  • Review of Star Wars by Jim Sherry Outside: Traffic Jams Around The
    Review of Star Wars By Jim Sherry Outside: traffic jams around the theater, block-long lines of people at the ticket counters, and box office phones that won't stop ringing. Inside: cheers from the audience even before the film begins, and more cheers, applause and laughter as the story unfolds. These are just some of the effects of a movie that seems to have taken over southern California with a spirit-like force out of its own fantasy world. The movie is Star Wars, written and directed by thirty-three year old George Lucas and produced by Gary Kurtz. Hailed by both critics and movie-goers alike, Star Wars is fast on its way to rivaling that whale of a fish story Jaws as the greatest box office success of all time. Even now, during its first run, Star Wars has attracted the kind of camp devotion in its followers that most classic movies take years to create. And though new fans continue to pour through the doors and fill up the seats at every performance, a growing percentage of Star Wars current audience consists of second and third time viewers. One Orange County youth claims to have already seen the film seventeen times. Of course the most obvious and publicized attraction of Star Wars is its dazzling special effects—its brilliant and wholly convincing creation of a fantasy world where intergalactic grotesques hobnob in space-age nightclubs, and where rebel star- ships dog-fight against backdrops that are simply out of this world. The creations of Stuart Freeborn, John Barry, and Rick Baker (who also did the make-up for King Kong), the cast of space oddities includes google-eyed Sand People, an eight foot 2 "wookie" who looks like he just stepped off the set of Planet of the Apes, assorted robots and mobile computers, and a whole menagerie of reptile-like creatures who are perhaps only too appropriate to the amphibious world of a port city in any galaxy.
    [Show full text]
  • Afi European Union Film Showcase November 3–22
    ISSUE 54 AFI SILVER THEATRE AND CULTURAL CENTER NOVEMBER 3, 2011– FEBRUARY 2, 2012 AFI EUROPEAN UNION FILM SHOWCASE NOVEMBER 3–22 Festival of New Spanish Cinema More MuppetsTM, Music & Magic Alexander Payne Holiday Classics Washington Jewish Film Festival Pictured: Keira Knightley and Michael Fassbender in David Cronenberg's A DANGEROUS METHOD, one of the centerpiece screenings at the AFI European Union Film Showcase AFI.com/Silver Contents European Union Film Showcase 2011 AFI European Union Film Showcase ......... 2 November 3-22 Special Engagements ..................... 9,16 Now in its 24th year, the AFI European Union Film OPENING NIGHT Festival of New Spanish Cinema ...........10 Showcase features a first-class selection of films from EU member states. This year’s selection of more than The Films of Alexander Payne ...............11 oldwyn Films 40 films includes multiple award-winners, international G More Muppets™, Music & Magic: festival favorites, local box-office hits and debut works Jim Henson's Legacy ...........................12 by promising new talents, plus many countries’ official Oscar submissions for Best Foreign Language Film. Holiday Classics ..................................13 Courtesy of Samuel Highlights of the festival include Opening Night film AFI & Montgomery College/ THE WOMAN IN THE FIFTH, Pawel Pawlikowski’s Kids Euro Festival/ Talk Cinema/ moody thriller starring Ethan Hawke and Kristin Scott Washington Jewish Film Festival ...........14 Thomas; Aki Kaurismäki’s quirkily inspiring charmer Calendar ............................................15 LE HAVRE; the Dardenne brothers’ Cannes Grand Prix THE WOMAN IN THE FIFTH winner THE KID WITH THE BIKE; David Cronenberg’s LOOK FOR THE razor-sharp drama about Sigmund Freud, Carl Jung and THE WOMAN IN THE FIFTH the woman who came between them, A DANGEROUS Scheduled to appear: actress Joanna Kulig AFI Member passes accepted for METHOD, starring Michael Fassbender, Viggo Thu, Nov 3, 7:30, reception to follow designated screenings.
    [Show full text]
  • STAR WARS Roger Ebert (Chicago Sun Times, January 1, 1977)
    STAR WARS Roger Ebert (Chicago Sun Times, January 1, 1977) Cast Mark Hamill as Luke Skywalker , Carrie Fisher as Princess Leia , Harrison Ford as Han Solo, Alec Guinness as Obi-Wan Kenobi , David Prowse as Darth Vader , James Earl Jones as Vader's Voice , Kenny Baker as R2D2 , Anthony Daniels as C3PO Directed by George Lucas, Produced by Gary Kurtz, Screenplay by Lucas, Rated PG 121 minutes Every once in a while I have what I think of as an out-of-the-body experience at a movie. When the ESP people use a phrase like that, they're referring to the sensation of the mind actually leaving the body and spiriting itself off to China or Peoria or a galaxy far, far away. When I use the phrase, I simply mean that my imagination has forgotten it is actually present in a movie theater and thinks it's up there on the screen. In a curious sense, the events in the movie seem real, and I seem to be a part of them. "Star Wars" works like that. My list of other out-of-the-body films is a short and odd one, ranging from the artistry of "Bonnie and Clyde" or "Cries and Whispers" to the slick commercialism of "Jaws" and the brutal strength of "Taxi Driver." On whatever level (sometimes I'm not at all sure) they engage me so immediately and powerfully that I lose my detachment, my analytical reserve. The movie's happening, and it's happening to me. What makes the "Star Wars" experience unique, though, is that it happens on such an innocent and often funny level.
    [Show full text]