Datasets:

BAAI

/

IndustryCorpus_film

like 2

Follow

Beijing Academy of Artificial Intelligence 955

2014-49/2828/en_head.json.gz/13432

Posted on January 18, 2010 | Daniel Metz What happens when David Lynch meets Werner Herzog? David Lynch, the genius behind MULLHOLLAND DRIVE, BLUE VELVET, ERASERHEAD, and many other head-scratching masterpieces, rarely collaborates in his film art. In fact, the last two things he produced but did not direct were Terry Zwigoff's brilliant documentary CRUMB, and "Twin Peaks," which many people consider to be the greatest television show ever.Needless to say, when Lynch commits to a project, it's got to be real good. And now David Lynch has produced the new film by Werner Herzog, a film titled MY SON, MY SON, WHAT HAVE YE DONE, that we are opening at the Ritz next Friday. Herzog, as many of you know, is one of the greatest living filmmakers still working today, directing films like AGUIRRE: THE WRATH OF GOD, FITZCARRALDO, GRIZZLY MAN, and, most recently, THE BAD LIEUTENANT: PORT OF CALL - NEW ORLEANS.We were pretty excited about BAD LIEUTENANT. Nearly all of us on the programming team named it one of the five best films of the year, and for good reason: it was artsy but also crazy, the perfect combination for the Alamo Drafthouse. MY SON, MY SON, WHAT HAVE YE DONE is Herzog's follow-up film, another crime story but this time with a notably Lynchian dynamic. This is a true meeting of the minds between Herzog and Lynch, and the result is one of the most provocative and tormented films of the decade.On a Lynch scale of weirdness, it falls somewhere between "Twin Peaks" and BLUE VELVET. It has many of the same qualities and themes from both of those works, but it also has the beautiful humanity and interest in nature and madness that Herzog has mastered over the past few decades of filmmaking.This film only opened in New York and Los Angeles, and we had to really fight to get it to come to Austin. But for good reason: it is going to blow you away. It is a challenging film, but it is also haunting, rewarding, and unforgettable. And that, after all, is what the cinema should be about: seeing daring new work that will make you think.But you don't have to take our word for it. While some critics clearly don't get the film, here are some that are hip to what's coming from the minds of David Lynch and Werner Herzog:"A surreal descent into a twilight zone created by the twisted sensibilities of two cinematic geniuses...an antidote to the Oscar-bait blockbusters clogging theaters." V.A. Musetto, New York Post "Herzog has gone beyond Good and Evil to reinvent himself as a candidate for the wiggiest director of comedy in America today." J. Hoberman, The Village Voice"Viewers will have to decide for themselves whether My Son is a terrible, terrible movie or an uncompromising Herzog experiment in reality-bending. Here’s a suggestion: consider the track record." Noel Murray, A/V Club"A perfect storm of cinematic weirdness...the film's very oddness achieves a "Twin Peaks" level of artful ingenuity." Jeannette Catsoulis, NPRBe sure to come out for our limited run of one of the most anticipated and talked about films of the year. Tickets will be available here. News Categories: General News, Austin, Coming Soon

影视

2014-49/2828/en_head.json.gz/13495

Bruce Willis to Channel Joseph Gordon-Levitt in ‘Looper’ Movie News By Neil Miller on May 17, 2010 | 1 Comment Share Pin Reddit There’s a title I never thought I’d write. But it’s true. In from Cannes is the news that Bruce Willis is joining the cast of Rian Johnson‘s science fiction time travel story Looper. Being billed as a Terminator-esque thriller, Looper will star Joseph Gordon-Levitt as a hit man who works for a crime syndicate sending targets back through time to be assassinated in the past. The assassins, known as ‘Loopers’, bump them off in the past, creating a world where there is no trace of a crime. It’s a simple, clean system of offing one’s enemies. That is, until complications arise. Willis will play the future version Gordon-Levitt’s character, whom we can only assume is the hero of this story. Based on Johnson’s work with Gordon-Levitt in Brick and the immensely clever premise of this film, there’s no reason to be anything but excited about Looper. According to Deadline, it isn’t just fans who are excited. Buyers are all over this one as well. That leads us to believe that more details are coming soon. Movie News, Bruce Willis, Joseph Gordon-Levitt, Looper, Rian Johnson

影视

2014-49/2828/en_head.json.gz/13722

by Jim Gilbert n. 1. Main character of an action/adventure TV show by the same name; full name Angus MacGyver; part secret agent, part handyman, part environmentalist; hated guns (only time he ever used a gun was to remove the revolving part of a revolver to use the rest of the gun as an improvised wrench to stop the meltdown of a nuclear reactor). 2. Action/adventure TV show of the 1980's; also a short series of made-for-TV movies after the show was cancelled. 3. a person who uses improvisation and available materials to handle a difficult/impossible situation. v. 1. to handle a difficult situation through improvisation using only available materials. 2. to do an impossible activity. 3. to get the impossible girl (MacGyver had a different girl in every episode). Note: the latter two verb definitions almost made it into the Webster Dictionary as slang because of their wide use by street gangs in LA in the 1980's (this was revealed by Richard Dean Anderson, the actor who portrayed MacGyver, on a Good Morning America episode). It was also mentioned that (supposedly) for one hour every week, gang activity decreased dramatically in LA because all of the gangs were indoors watching the TV show. Note: It should also be noted that materials used to make explosions on the TV show always had an ingredient or two left out so that they could not be repeated by viewers. The show supposedly used help from CalTech students with some of its tricks. In the first episode, MacGyver used the lactose and sugars in chocolate bars to stop a dangerous acid leak. Other episodes included, but were DEFINITELY NOT limited to... ...breaking out of a freezer using heat from the lights to melt ice, the run-off running down a metal slat to the freezer's latch, which then refroze, expanding and breaking the latch, openning the door. ...using a CO2 fire extinguisher, a wedge, and water to freeze the water in a crack in a boulder, expanding it so that the boulder broke apart and fell from a cliff to smash/disable a Russian APC. ...hiding a rebar inside a rolled up map so that it could later be used as a disguised weapon. ... placing a metal bowl on a food processor so that it would spin slowly, catching all of the electronic "hash" (white noise) generated by the rest of the kitchen equipment turned on to jam a micro-camera's transmission, giving MacGyver and friends a place to talk and plan without being eavesdropped on; in the same episode, using the motor of a small kitchen appliance, batteries, a belt, a small cart (like those used by typical hotel room service), and a helm from a suit of armor to provide a moving target to distract motion sensor-targetted machine guns so that Mac could escape from the booby-trapped mansion. For more recent "MacGyverisms," interested parties should see the movie "Chain Reaction," in which Keneau Reeves plays a MacGyver-like hero who is thrust into a thrilling, domestic CIA, conspiracy theory adventure. He uses the same MacGyver style to defeat his opponents: jury-rigging a flat-bottomed boat with a fan-drive so that he and Rachel Weisz can make a getaway, attaching a chain to a moving belt to pull down a scaffold on the muscle chasing them, etc. Those interested should also note that the entire series is on DVD, either by season or collected into one huge set covering every episode.

影视

2014-49/2828/en_head.json.gz/13751

HOME > MEMBERSHIP > MEMBER PROFILESFeatured Member Profiles MOVIEGUIDE For more than two decades, the Christian Film & Television Commission® ministry (CFTVC), which also does business as MOVIEGUIDE®: The Biblical Guide to Movies, Entertainment and Culture, has inspired and encouraged entertainment leaders to increase the number and quality of movies with explicit Christian, redemptive, faith-based themes and content. NEXT LEVEL INSIGHTS Next Level Insights serves the Christian broadcast community as a media production and consulting agency. Their team includes voice talent, writing, and engineering capabilities. Unlocking the Bible with Colin Smith from the Chicago area is a featured client. Established in 2003, Next Level Insights is dedicated to helping organizations and ministries get to the next level by providing assistance in strategic planning, fund raising, marketing, and communications. The agency’s focus is on the small to medium sized client. Through their team of networked professionals we can deliver quality radio program production (long form and short form), website development, and print resources. NORTHERN LIGHT NETWORK Northern Light Network is a Christian radio ministry proclaiming the Gospel in southcentral and southeast Alaska. KCAM in Glennallen broadcasts to communities at the border of Wrangell-St. Elias National Park, the largest national park in the country. KRSA in Petersburg reaches the Southeast Alaskan communities nestled in the northern-most temperate rainforest, the Tongass National Forest. NORTHWESTERN MEDIA Like many other media ministries, Northwestern, which just celebrated its 60th anniversary, is scrambling to keep up with rapid changes. As they prepare for the future, the Northwestern team is focused on one major concept: Engagement. NRB NETWORK NRB Network began broadcasting in 2005 with a simple vision: Christian television that significantly impacts the culture. Founded by members of the National Religious Broadcasters Association, NRB Network is available to a nationwide audience of over 18.5 million households on DIRECTV satellite channel 378 and SkyAngel IPTV channel 126. OPEN DOORS USA Over 100 million Christians worldwide suffer interrogation, arrest and even death for their faith in Jesus Christ. Meanwhile, millions more are facing discrimination and alienation. ORANGE LEAP Orange Leap energizes nonprofit organizations, making it easier for them to achieve mission success. Orange Leap offers innovative yet easy to use software solutions that strengthen relationships with donors, constituents, and product purchasers through radio, tv, direct mail, email, and online. Pacific Garden Mission Pacific Garden Mission, located in Chicago, IL, is the oldest continuously operating Gospel rescue mission in the U.S. Pan American Broadcasting In 1936 the founders of Pan American Broadcasting began pioneering work in providing easy and affordable radio broadcasting opportunities, both in the United States and abroad, to the Christian community. PARAGON ADVERTISING & COMMUNICATIONS Paragon Advertising & Communications, Inc. has been in the broadcast industry for 35 years. They were founded through creativity, hard work, innovative thinking and an individual caring for each client that they represent. They have made it their business to know media, to know advertising and to know what sells and what produces response. PILLAR OF FIRE The ministry of Pillar of Fire is one of the legendary broadcast ministries in the country. The first station, KPOF, started broadcasting on March 9, 1928 in Denver Colorado. Early broadcasts were mostly live, faithfully proclaiming the Gospel through the years. The network, KPOF Denver CO, WAWZ Zarephath NJ and WAKW Cincinnati OH, is now leading in technical excellence and up to date formatics. PRAISE COMMUNICATIONS Praise Communications, Inc. is a non-profit ministry committed to “glorifying God and growing believers” through radio over WPRZ 88.1 FM and the internet at www.wprz.org. PRECEPT MINISTRIES INTERNATIONAL One couple—Jack and Kay Arthur—with one passion—to establish people in God’s Word—has stayed true to their mission and God has used them in extraordinary ways! Over the past four decades, Precept Ministries International has grown from a few young people meeting in the Arthurs’ kitchen to an international organization, ministering to millions around the world. PROVERBS 31 MINISTRIES Like sharing a cup of coffee with a friend, Proverbs 31 Ministries’ radio co-hosts Renee Swope and Lysa TerKeurst invite listeners to join them for one minute of encouragement and inspiration that lingers for a lifetime. Lysa and Renee offer real-life solutions to having a godly perspective in today's hectic world. Down-to-earth and relevant, they break down biblical principals for women into bite-size pieces in the midst of their busy day. RADIO KAHUZI Radio Kahuzi began broadcasting on Christmas Eve of 1991 with "Adventures in Odyssey" and beautiful Christmas music. Today, they are broadcasting in fourteen dialects / languages on FM and Shortwave to a population of 71 million in the Democratic Republic of Congo along with reports received from Rwanda, Burundi, Uganda, Tanzania, and Kenya. RADIO SHINE Radio Shine KGCB-FM reaches Arizona families, from Phoenix to Flagstaff, with contemporary Christian music and dynamic Bible teaching, providing a voice that connects the community in Christ. « Previous1234567Next »

影视

2014-49/2828/en_head.json.gz/13775

SHARES: Taylor Armstrong's New Boyfriend Has Troubled Past Recently widowed Taylor Armstrong is back on the dating scene and one report has revealed that her new beau, reality star Matt Nordgren, has anger management issues. Taylor had suffered from abuse and even death threats from her late husband, Russell, and now it appears The Real Housewives of Beverly Hills star has fallen into a similar pattern. According to Star Magazine, the Most Eligible Dallas star was arrested in 2003 and also charged with causing almost $1,000 worth of damage to a car after flying into a rage. At the time, the star quarterback pulled his Lexus SUV behind another car in a parking lot at the University of Texas at Austin. Apparently, after Matt flashed his lights at the driver who was waiting to pick up a friend, the reality star literally jumped out of the SUV and started yelling and violently kicking the parked car. OK! NEWS: TAYLOR ARMSTRONG REVEALS SHE DIDN’T SEE RUSSELL ARMSTRONG’S DEAD BODY — “I WANTED TO HUG HIM” Trying to provoke the driver, Matt asked, “You want to get out of the car? You want to take this outside?” Well, the driver immediately called 911 out of concern for his safety and “in fear of imminent assault.” Matt was charged with criminal mischief, but the charges were later dropped when the driver withdrew his complaint. OK! NEWS: TAYLOR ARMSTRONG SAYS SHE BLAMED BLACK EYE FROM RUSSELL ARMSTRONG ON HER DAUGHTER In addition to this incident, a source told Star, ”Matt is incredibly two-faced.” And as a warning to Taylor, the source added, “Don’t be fooled!” The woman met Matt when he was at a party with his girlfriend; he asked for her number when his date was in the ladies room! She added, “Taylor should definitely be careful, because Matt is not who he says he is. In more ways than one.” Tags: Get Scoop, Taylor Armstrong

影视

2014-49/2828/en_head.json.gz/13838

News Opinion Sections Sports Lifestyles Arts/Entertainment Ads Classifieds Jobs Extras CU Contact Us Arts/Entertainment / Arts/Entertainment « Trinity Guitars To Host Fend... Water Street Trio To Perfor...» SUNY Fredonia Mainstage Series Offers ‘Razzle-Dazzle’ Take Of ‘Chicago’ Save | Post a comment | The SUNY Fredonia Department of Theatre and Dance invites audiences to step into the world of showgirls, vaudeville and celebrity crime when it opens the 2012-13 Walter Gloor Mainstage Series with the razzle-dazzle musical "Chicago." Six performances are planned from Friday through Oct. 27 in Marvel Theatre at Rockefeller Arts Center on the SUNY Fredonia campus. Dates and show times are Friday, Saturday, and Oct. 25, 26 and 27 at 7:30 p.m. with a matinee at 2 p.m. on Oct. 21. "Chicago" is sponsored by Midtown Realty as part of the Lake Shore Savings Season. Directing the show is Paul W. Mockovak, professor of theatre and dance, whose recent productions at SUNY Fredonia include "Charley's Aunt" and "Kiss Me, Kate." Article Photos The SUNY Fredonia production of “Chicago” stars, from left, Madison Osgood as Roxie Hart, Clayton Howe as Billy Flynn and Deanna Jelardi as Velma Kelly. It opens Friday and runs for six performances in Marvel Theatre at Rockefeller Arts Center.Submitted photo "'Chicago' is one of those iconic shows that generates a great deal of interest," Mockovak said. "We are excited to present the musical to open our season. It's been a title the department has wanted to do for several years, but rights have not been available until this year for us." Set in the Windy City during the Prohibition-era, the story follows two would-be starlets accused of murder who become cell-block rivals as they try to turn their "celebrity status" into a ticket to stardom. The music and lyrics are by John Kander and Fred Ebb with a book by Fred Ebb and Bob Fosse. "Identified as a 'Bob Fosse show,' the Department of Theatre and Dance will be making the production one with our own stamp, but also with homage to Mr. Fosse," Mockovak said. "As director/choreographer, I will be utilizing my own style and aesthetic but also give the staging and dance a definite nod to Fosse." From the start, Mockovak noted there has been an "outstanding buzz" about this production, which is presented in association with the School of Music. "We have an incredibly talented production team of students and faculty including Dr. Paula Holcomb (of the School of Music), who is working hand-in-hand with me as we shape the theatrical and musical arc of the story," Mockovak said. "Student set designer Theresa Pierce, who did the beautiful set for last season's production of 'Stage Door,' has created an amazing set reflecting the vaudeville theatricality of the media circus surrounding our two heroines, Roxie and Velma (played by Madison Osgood and Deanna Jelardi), and their lawyer Billy Flynn (played by Clay Howe). Sculpting the actors and set with the lighting design is the team of associate professor Todd Proffitt and student designer Samantha Sayers. Rounding out the design team will be the beautiful costume work of faculty member Dixon Reynolds." More than 170 students will be involved in the production. "It is always amazing to have a great concept and design, but it also takes the craftsmen and artisans to build and create, the musicians to bring the musical score to life and the actors to bring the characters story to the stage," Mockovak said. "We had approximately 104 audition for the 21 spaces in the cast." The director said the pit will hold 19 musicians, the design production team and backstage personnel will number approximately 49, and there will be 44 people working to create costumes, with an equal number building the set and hanging the lights. "All totaled, about 177 will be involved in bringing 'Chicago' to life in a short amount of time," Mockovak said. "Holding the reins for all of this during the rehearsal and performance process is my stage manager Liz Ellis." "Chicago" contains adult themes and language and may not be suitable for younger viewers. Tickets are available through the SUNY Fredonia Ticket Office in the Williams Center at 673-3501 or fredonia.edu/tickets. The curtain time for all mainstage evening productions will be 7:30 p.m. this season. The Sunday matinees will be at 2 p.m. Save | Post a comment | Subscribe to Post-Journal I am looking for:

影视

2014-49/2828/en_head.json.gz/13988

Home Entertainment Terry McMillan returns with ‘Who Asked You?’ Terry McMillan returns with ‘Who Asked You?’ November 7, 2013 Written by Alicia W. Stewart/CNN Terry McMillan writes best-selling fiction, but it was real-life drama – a very public divorce – that garnered her some of her biggest headlines. The nasty split with ex-husband Jonathan Plummer, the inspiration for the popular novel and movie "How Stella Got Her Groove Back," was dissected everywhere, from book blogs to "The Oprah Winfrey Show." A lawsuit, fraud allegations and public accusations all played out like plot points in one of her novels. A lot has changed since then. "I just ended up realizing I had become this other person that I didn't like," McMillan said. She is now friends with her ex ("I just spoke to Jonathan on the phone yesterday") and has set out to explore other family dramas in her trademark candid and funny style. Her new book, "Who Asked You?," explores grandparents raising grandchildren – a topic that has long fascinated her. "One of the reasons that I write is because I'm more interested in looking, as opposed to looking away," McMillan said. In the book, Betty Jean, or BJ, is the matriarch of a family that includes an ailing husband, two sisters, a son in jail, a daughter on drugs and a son who is trying to forget where he came from. It delves into a serious topics from 15 viewpoints, an ambitious exploration of the inner lives of characters that are not normally given a voice. Though it touches on drug abuse, coming out of the closet and prison sentences, "Who Asked You?" still features the typical McMillan humor and smart dialogue, connecting the themes through family and friendship. And while she insists her personal life has been an inspiration for her fiction, it is not the template. "A lot of the characters I write about aren't like me, with the exception there might be snippets or little particles of their personality that I might identify with," she said. "The fact that they think this might be real – that means I did my job." McMillan spoke to CNN about learning to trust her instincts, what she learned from a highly publicized divorce and where her life ends and art begins. An edited transcript of the conversation follows: CNN: What inspired you to write "Who Asked You?"Terry McMillan: What inspired me to write this book was my ongoing or longstanding concern and curiosity about grandparents, and grandmothers in particular, who raise their grandchildren. I knew it would be a hardship story, and I didn't want it just to be that, based on the grandmother. So I also figured that there was another element that would probably lend itself to the story, one I was familiar with, and that is when you open your mouth to offer unsolicited advice, and people either resent it or don't use it or don't take it. And, when people do this, not just me, but when people offer advice, they don't look at their own behavior. CNN: You have spoken about drawing from real-life observations and experiences for previous novels. How do you balance that public persona that people really relate to, with the fictional stories that some might assume to be the story of your life?McMillan: Well, I'll put it this way, I separate my personal life from what I write about regardless. This book is not necessarily a reflection of my own personal experiences. But there are certain things that are universal: disappointment, love, forgiveness, just a sense of responsibility, danger, etc. You just personalize that, you bring it down to ground level. CNN: One of the stories you drew from personal experience was "How Stella Got Her Groove Back," about an older woman who falls in love with a much younger man while on vacation. Your subsequent divorce from Jonathan, your ex-husband who inspired the book, became a topic of discussion. What was the lesson you took away from that public divorce?McMillan: You have to go through what you go through, regardless of what other people say. And you shouldn't have to apologize for grieving. I was grieving, and I was angry – two bad combinations. And so I had to go through it. It took awhile for me to realize that, to this day, I still love the Jonathan that I loved, that I was with eight of those 10 years. And I stopped holding myself emotionally hostage, and I stopped holding him responsible for it. I think that's the lesson. But there's no time limit on grief or anger until you start realizing it's like a termite and it's eating you up. That's when you need to pay attention. And I realized also that I had given this man too much power over my life. And not only was he not worth it, but I was worth more. CNN: Part of your appeal is having been such an authentic voice and being honest in sharing your personal life. Do you ever regret sharing some parts because of reactions or reviews like The New York Times that comment on your life as well as your books?McMillan: No. The bottom line is this -- this book had nothing to do with my personal life. It wasn't even a reflection of it. The review was a short review, anyway; it was only two paragraphs. The entire first paragraph, she spent reviewing me. Which I thought was grossly unprofessional as well as just tacky. And plus it was tinged with anger. It was anger in that first paragraph. I mean, I can handle a bad review, especially if there's something I can get out of it. I've been out here too long.A lot of people make their own deductions about what's real and what's not real. Personally I don't really care, but when I go around and I do book tours, I often have cleared things up. And sometimes it shows up in print, and now with social media. There are people that know what I stand for and who I am. CNN: What do you want people to know about you that they may not already know about you?McMillan: That I'm a die-hard romantic. They might know that.You get energized by (love). I don't care what kind of love it is – it could be a baby, a puppy. Romantic love probably tops all of them. Maybe – I haven't had a grandchild yet. Tweet

影视

2014-49/2828/en_head.json.gz/14020

HomeBizMarkets & Festivals Q&A: Lee Yong-kwan October 3, 2011 | 05:00AM PT Fest Traveler: Busan Intl. Film Festival How did you spend the year after the former festival director Kim Dong-ho retired?Hectic. I visited a lot of international film festivals with Mr. Kim for 6 months and completed the change-over. First of all, I was quite nervous for fear of causing Mr. Kim any trouble. Secondly, realized afresh that Mr. Kim achieved greatly in elevating the festival to international level. I haven’t been to film festivals around the world that much before. But I’ve got to understand that his personal efforts and results were huge. I began the festival with him 16 years ago and then worked as co-directors since 2007, but now I’m a bit afraid how I could continue it. Does Busan city expect a lot from you as a new director?They’re worrying about me rather than expecting me. The city officials were shocked when Mr. Kim suddenly announced his will to retirement earlier than planned. As co-directors, we shared roles in a sense that Mr. Kim represented the festival abroad, while I was in charge of building relationships with domestic officials, sponsors and film industry insiders. But during that time, it was true that I could play my role smoothly on the condition that Mr. Kim still served the festival. After his retirement, many people have been anxious about me whether I can manage all the things alone. What was the most challenging thing for you preparing the festival?One thing I really disliked was any doubts that the festival can’t secure enough budget after Kim’s retirement. I wanted to show the festival could be stable financially even without him. Luckily, sponsorships are the best compared with previous years. Almost 3 million dollars is sponsored out of the total 9.2 million budget. What would you like to do with the new Busan Cinema Center?The Center is tremendous both in its aesthetic aspect and practical function. There are lots of empty spaces, but the spaces can be creatively transformed and used in accordance with the festival events. I thought the spaces are useless at first, but got to realized that they are something throwing questions to us about how we could utilize them. This year, we open two exhibits on disappearing theaters in Southeast Asia and in Busan. Isn’t it an interesting idea that those exhibits are held in the state-of-the-art theater? It is an important task for us to use the spaces properly. It could be fun, but there are problems of money and creativity. In terms of the Asian Film Market, what is your plan on the industry side?We expect remarkable synergy effects by moving the Market venue into the BEXCO. It’s true that there have been worries about the necessity of the market as it was a bit slow in the past. However, we want it to be more successful alongside the representative film festival in Asia and decided to put more budget to build it up more steadily by expanding its size. The critical point is to lure Japanese and Chinese companies. Notably, there have been increase in the number of participating companies from Japan. With the changes in Japan after the disaster, it is a new phenomenon that they go to Korea and China more actively. You also exchanged an MOU with China’s Zonbo Media earlier this year. Is there anything you currently prepare along with China?
I’ve put great efforts for a few years to build up good relationship with Chinese film industry, national organization and academia. China will keep initiatives in the Asian film industry, and co-productions between Korea and China will grow as well. What Chinese people want us is quite clear. They are eager for our talents and production skills, and want to make new films by combining Korea’s human assets with their money. I want to make the festival to be a gateway for Korean talents and companies to advance into the Chinese market, in collaboration with the Korean Film Council. There will be some big events announcing new Korea-China coproduction projects during the festival, including helmer Hur Jin-ho’s Asian Project Market entry “Dangerous Liaison”, which is entirely funded by Zonbo Media. The festival also launches a big international conference on cinema studies this year, the Busan Cinema Forum. Is that because you’ve also been working as a film professor at the Chung-Ang University in Seoul?BIFF was initiated by three film critics, including me. And even Mr.Kim was also a researcher on administration policy. But it’s been a while that I wrote film criticism. I feel as if I lose my identity. I’ve always thought what we lack in the Korean film culture and industry is academic studies on cinema. However, with the completion of the new Busan Cinema Center, we decided to open a conference and to make the building an agora for serious talks on film and its industry. For the purpose, we invite a lot of film scholars and experts on Asian films. Based on the forum, I also want to publish film books in order to provide rich sources to young students. It is necessary to lay the foundation for education to cultivate new talents and let them use the Busan Cinema Center throughout a year. It’s one of my dream to form a trinity of festival, market and academia. Fest Traveler: BusanKim Dong-hoSpackman Follow @Variety on Twitter for breaking news, reviews and more

影视

2014-49/2828/en_head.json.gz/14023

HomeFilmNews China’s Xing Xing takes on Rainmaker Canuck shingle worked on TWC toon Katherine Brodsky VANCOUVER Canada’s Rainmaker Entertainment has sold its animation studio to Beijing-based animation company, Xing Xing Digital, which will take over Rainmaker’s $7 million debt and real estate leases. The news come on the heels of the previously announced departure of Vancouver-based Rainmaker’s president and executive producer, Catherine Winder. The studio will be purchased by a subsidiary set up by Xing Xing, Rainmaker Studios Inc. Rainmaker recently produced its first animated pic, the 3D sci-fi comedy, “Escape From Planet Earth” with The Weinstein Company, which is due for release in February. According to chairman Tim McElvaine, Rainmaker Entertainment will retain “the potential to participate in any adjusted gross revenues payable to the producer of ‘Escape from Planet Earth.’ ” With over 300 CG artists, Xing Xing has worked on numerous international productions, including animated TV series “Fireman Sam,” “Wild Animal Baby Explorers” and “Secret Millionaire’s Club,” in addition to post-production and vfx work for the “Twilight” franchise, “Changeling,” “Angels and Demons” and “Tropic Thunder.” The move signals an increasing co-operation between China and Vancouver, which has seen a spike in co-productions. The newly launched China Canada Gateway for Script Competition offers Canadians an opportunity to pitch for up to $15 million in co-production financing with Chinese studios. The initiative is overseen by Whistler Film Festival, Telefilm Canada and the state-run China Film Group. Rainmaker Studios Follow @Variety on Twitter for breaking news, reviews and more

影视

2014-49/2828/en_head.json.gz/14037

Ebertfest 2011 Retrospective Doc from Shatterglass Studios Plus 3 years ago Not Yet Rated Every year, Roger and Chaz Ebert, in association with the University of Illinois College of Media, puts on a 5-day film festival in Champaign-Urbana, Illinois, Roger's home town. The festival takes place in one location: The historic Virginia Theater in the heart of downtown Champaign and major filmmakers, stars, historians, critics and film-lovers from all over the world come to experience this annual celebration of film that includes films both old and new, hand-picked by Roger himself with the help of Chaz and festival director, Nate Kohn. This documentary is a 12-minute retrospective of the 13th annual festival which took place from April 27th to May 1st, 2011. Some of the guests included world-wide star Tilda Swinton (I Am Love). Directors like Richard Linklater (Me and Orson Welles) and Norman Jewison (Only You) and the multi-talented writer/director/actor, Tim Blake Nelson (Leaves of Grass). Directed and Edited by: Luke Boyce Produced by: Brett Hays and the College of Media at Illinois Camera Operators: Myles Beeson, Luke Boyce, Chris Lukeman and Ross Topol Link: shatterglassstudios.com/portfolio-item/ebertfest-2011/ Roger's Blog: blogs.suntimes.com/ebert/film-festivals/ebertfest-the-documentary.html About the Film and Video Production Company: Shatterglass Studios is a full service video production company and film production studio dedicated to producing high-quality, high-impact new media. Based in Champaign-Urbana, Illinois, Shatterglass Studios is a creative agency of young filmmakers who pride themselves on understanding the intricacies of influential and meaningful new media, video production and film. We create television commercials, corporate branding videos, industrial videos, promotional videos and films. You can see this video and find others we have done on: shatterglassstudios.com Follow The Legend of the Turtleneck: Watch our Learning Vimeo video series for tips and weird advice from our Community Team. If you can’t find that awesome HD time-lapse underwater cat video from a few months back, search your likes and relive the glory.

影视

2014-49/2828/en_head.json.gz/14337

More on Mark Henn Henn is one of the most famous Disney animators for title and leading characters Henn's credits include some of Disney's most famous fairytale princesses: Ariel, Belle, Jasmine, Pocahontas, Mulan, Tiana Henn animates Olaf, the snowman in Frozen Henn is a professing Christian Henn is also an accomplished sculptor Find out more about Mark Henn's career on IMDb.com CBN.com's review of Disney's Frozen More Christian movie reviews MOVIES: INTERVIEW Mark Henn: Disney Animator on Frozen, Christian Faith and Fairy Tales CBN.com - Disney animator Mark Henn is a 30-year veteran of Mickey Mouse-backed animated movies since his first contribution to the famed studio's Mickey's Christmas Carol. Having animated almost all of Disney's beloved princesses, Henn is continuing his longstanding tradition at Disney by lending his artistry to their new fairy tale film, Frozen. Based on stories by Hans Christian Andersen, Frozen follows the story of young princess Anna as she searches for her sister, Elsa, after their kingdom is blanketed in an icy winter. Moviegoers will see Henn's handiwork in the animation of Olaf, a lovable and funny little snowman who befriends Anna. Recently, Henn spoke with CBN.com about working on Frozen, what he loves about Olaf, why he got into animation, his faith in Jesus and what he thinks Christians can get out of this new fairy tale movie. Here are excerpts from that conversation: Hannah Goodwyn: One of the first Disney animated movies you saw was Cinderella. What about that movie captured you as far as wanting to become a Disney animator? Mark Henn: Ooh, that's a good question. I always liked to draw. I was probably six, seven, eight years old when I saw that... I drew all the time, and I was just fascinated by… I knew animated films were drawn. I didn't quite understand how it all worked, but I knew they were created by drawings. I was just captivated by the characters. I fell in love with Cinderella. I was fascinated by her evil stepmother and Lucifer was so funny. And of course Gus Gus and Jaq, the mice, were fabulous. So, to a young boy, it was just magic to know that behind that somebody had made some drawings that brought these characters to life. Goodwyn: Olaf, the character you animated for Frozen, is a little like Cinderella's Gus. What's he like? Henn: Olaf is very loveable and our comic relief. He definitely fits that bill in the film. But I think what's unique about him is if really think back and you look at the film… he's kind of an interesting connection between Anna and Elsa, because Elsa created Olaf…. He has this kind of a unique bit of a bridge to their relationship. As Elsa has grown in dealing with her fears and things, she's forgotten all this…. So she's surprised to see Anna and Olaf show up at the ice palace. She's very surprised to see that. But he reminds her, ‘You made me, remember'. It's a crack in her armor at this point. She starts to remember back until those memories become painful. So he's a unique little bit of a bridge between the two characters. And he's innocent; he's a child. He represents that childlike trust and love that children have. Goodwyn: What first interested you in this story of Frozen, and Anna and Elsa's relationship? Henn: Well, I came on board a couple years ago in some of the first versions of the story. I love the idea of doing a fairytale, for one thing, or it may not be an exact fairytale, but that genre is certainly very appealing to me. Eventually when they came up with the idea to tell the story through two sisters, it still held my interest. I thought, well, that's a really interesting approach to a story like this that we haven't done. I mean, we've done the prince and the princess story. Now, you've got essentially two leading ladies, and that's certainly a very unique opportunity. I think telling a sisters story, it was very fun and fresh. Goodwyn: Without giving too much away, what does the movie say about love? Henn: Well, it says a lot of things about love. It's hard to boil it down to one particular sentence, because you see different types and different levels of love that are culturally prevalent throughout. You've got the very shallow instant gratification kind of love that Anna feels. You've got the element of sacrifice. You've got the innocent childlike love that Olaf brings to the film. So it really paints a very broad picture of different aspects of love and maybe what's true love versus what's really kind of a pretend or a false love. It appeals on a lot of different levels. Goodwyn: There are just certain aspects of a Disney fairytale movie that you can just tell it's Disney. From your perspective, what might be new or fresh in this story that people who grew up watching these fairytale movies should expect to see? Henn: Well, to start with, of course, you're telling this sister tale. Certainly, you had sisters in Cinderella, which is arguably a sister story. But, really, the movie revolves around Cinderella and her plight, and her stepsisters are just mumbling comic relief. Whereas the relationship isn't "is the guy going to get the girl," as much as it is, "how are these two sisters who start off very close and due to various enduring circumstances, their relationship is broken and is strained to its maximum, how are they going to get back together? How are these two going to reconcile?" It's a broken family. That's certainly a very unique type of story for us to tell against the backdrop of a classic, Disney fairytale. We've got the great music that supports it, and the story. Great musicals can tell the story through the music, and Bobby Lopez and Kristen Anderson-Lopez have definitely done that. They understand that, and they really fashioned these songs that tell you about the character, tell you about the story, tell you how they feel. That's classic with a lot of our films. Certainly, just telling a sister story is very unique in what we're doing. And there are a few twists and turns along the way. We take people on a fun ride with this adventure. Again, I don't want to give too much away, but there may be a few surprises along the way. Goodwyn: The evolution of female characters in Disney animated features from Cinderella up until now is clear. What does Frozen say to young girls? Henn: Part of the big evolution in terms of the role of our leading ladies and our princesses, for lack of a better term, have "undergone" is that early on a lot of times the girls tended to be more reactionary to things that would happen to them. They needed somebody to come alongside and save the day, so to speak. And that may have been true years ago, but nowadays, the stories are a little more complicated. The characters are more proactive. It's not things necessarily happening to them alone, but it's their decisions, their wants and dreams and desires that propel them forward, that propel the story. They make decisions and there are consequences good and bad that move the story along. That's been a big jump in the way we've told our stories and the types of stories that we've told, starting with The Little Mermaid, which was kind of the prototype of that new type of story, or new type or heroine where she's making decisions. The world isn't just happening to her and she's just like, "Oh, help! Somebody help me!" She's saying, "I'm not happy with this and I'm going to do something about it." Then she's going to deal with the consequences good and bad of those decisions. That's probably been the biggest swing that I've seen over the course of our films. Mulan is another great example of that. Her story is she's making a decision because she loves her family. She loves her father so much, but she makes this decision to essentially defy him to protect him. So, those are very deep dilemmas, and very real for some people. We all, boys and girls, men and women, we all have to face those kind of decisions. So I think that kind of storytelling, it's just enriching the films that we're doing these days. For young girls today, I hope that they look at them as the same way little girls and little boys looked at the characters from the past, as good, positive role models with decisions. There may be consequences good and bad, but that there's a strength there. There's a desire to follow your dreams and follow your heart. Again, you may have to suffer consequences good and bad depending on what those decisions are, but those are very applicable types of role models for kids today, and particularly young girls. Goodwyn: What in Frozen do you think will appeal to Christians? Henn: Oh, well, there are a lot of things. It's not always very obvious in the stories, but I think whether it's obvious or not, I think one of the aspects is the whole notion of the different types of love that are demonstrated, are portrayed in the film. You have a variety of types of love shown from Olaf, very naïve, childlike love and affection, to Anna's very reactionary, very seemingly true love, but it's a bit shallow when she meets Hans. Christian families can use [Frozen] to talk to their kids ultimately [about] honest, sacrificial love. We all understand that. The love of Christ is sacrificing His life because He loved us so much. God so loved the world through Christ. That's sacrificial love. Those are elements that, while not so blatantly, "here's a Christian message", but they're there. For Christian families in particular, they can just peel back the layers a little bit and then be willing to, as parents, talk to their kids and just have conversations about that. Those things are always prevalent in our films, more in some and less in others. But certainly love is a big part of that, and trust, and the risks involved with love, and within a family structure, and all those things can be talked about.

影视

2014-49/2828/en_head.json.gz/14376

Filmmakers Could Face Jail Time Over Midnight Rider On-Set Death By Kristy Puchko 2014-07-03 10:32:14 comments Just days after Slates For Sarah unveiled their latest plea for awareness of on-set safety hazards, we've gotten new word in the case of Sarah Jones. Rather than being ruled an unavoidable tragedy, someone could be held responsible for the camera operator's death on the set of Midnight Rider. And it could mean serious jail time. Deadline reports the Wayne Superior Court of Georgia has charged Midnight Rider's filmmakers Randall Miller, Jody Savin and Jay Sedrish with Involuntary Manslaughter and Criminal Trespassing in connection with the death of 27-year-old Sarah Jones on February 20, 2014. The penalty for Criminal Trespass can carry a 12-month prison sentence, while a Manslaughter conviction could mean a 10-year incarceration. Regarding their ties to this production, Randall Miller is the co-writer, producer and director of Midnight Rider. Miller's wife Jody Savin is the film's co-writer and producer. Jay Sedrish is Midnight Rider's unit production manager, as well as its executive producer. A brief refresher on the tragedy of Sarah Jones: she was a well-liked and respected member of the Georgia production community, working as an assistant camera on projects like The Vampire Diaries, My Future Boyfriend and Midnight Rider. It was on a location shoot for the last of these, an Allman Brothers biopic, that Jones was killed by an oncoming train. Last February, the production had set up to shoot on a trestle bridge, complete with apparently active train tracks. What happened next is currently under dispute, but today's report suggests what many feared. The production company, which initially blamed the train company, had not secured the proper permits to shoot on those tracks. Basically, without these permits, it is possible that no one from the train company knew those tracks would be littered with a small army of crew members. The results were atrocious. Several were injured; Sarah Jones was killed. And the crew community of which she was a part instantly arose with outcry, demanding her death not be in vain. Activism for on-set safety has been the silver lining to this horrible tragedy. But today Jones' family and friends might find some solace in that those who allegedly created the unsafe working conditions that cost the young woman her life will be held accountable. It is expected a wrongful death lawsuit could follow, filed by Jones' surviving family members. Her father, Richard Jones, told Deadline: Elizabeth and I are comfortable that the authorities were both careful and meticulous in investigating and bringing charges related to the incident that took our daughter�s life. We must allow the criminal justice process to proceed unhindered. Our mission remains the same: to ensure safety on all film sets. Safety for Sarah." It's easy to get incensed by the death of Sarah Jones, but we must remember that Randall Miller, Jody Savin and Jay Sedrish are innocent until proven guilty. It seems safe to assume the other crew members from that night will be called to testify when this case goes to court. We'll give you more on this story as it develops. The future of Midnight Rider is currently unknown. Tweet Slates For Sarah PSA Demands We Never Forget Gregg Allman Sues To Shut Down Midnight Rider Biopic William Hurt Exits The Gregg Allman Biopic 'Midnight Rider' Bradley Whitford, Eliza Dushku Join The Gregg Allman Biopic Midnight Rider

影视

2014-49/2828/en_head.json.gz/14377

Famed Composer Ennio Morricone Will Never Work With Quentin Tarantino Again By Kristy Puchko 2013-03-15 15:17:12 comments Even if you aren't well versed in the arena of movie composers, you probably recognize the name Ennio Morricone. The five-time Academy Award-nominated composer has created music for more than 500 film and television productions of the course of his career, including The Good, The Bad, and the Ugly, The Thing, and The Untouchables. He's worked with a long list of celebrated filmmakers, from Brian De Palma, Sergio Leone, and Terrence Malick, to John Carpenter, and Quentin Tarantino. And at 84-years-old, the Italian musician with a long legacy in film has no problem telling you exactly how he feels about the last director on this list. THR reports Morricone has declared he will never work with Tarantino again because the oft-controversial director "places music in his films without coherence" and "you can't do anything with someone like that." The pair collaborated on Kill Bill 1 & 2 as well as Inglourious Basterds. However, while Morricone�s song "Ancora Qui" can be heard on the soundtrack of Django Unchained, the composer had rejected the chance to work with Tarantino again on that film. He told students of a music, film and television class at Rome�s LUISS University: �I wouldn�t like to work with him again, on anything. He said last year he wanted to work with me again ever since Inglourious Basterds, but I told him I couldn't, because he didn�t give me enough time. So he just used a song I had written previously.� You could call this a case of artistic differences, but Morricone couldn't seem to stop himself from further insulting Tarantino, confessing he "didn't care for" Django Unchained, declaring it had "too much blood" for his tastes. Considering that Morricone has scored a bunch of very violent films, I find it strange that this is his criticism of Django Unchained. Morricone is a rightly celebrated composer, who has created countless memorable themes. However, it's jarring to hear him be so dismissive of a filmmaker who is generally praised for his eclectic and inventive use of music in movies. To each his own, I guess. Check out Morricone's "Ancora Qui" below: Tweet First Hateful Eight Picture Shows Us A Murderer's Row Of Talent Quentin Tarantino Is Planning To Quit Making Movies Way Sooner Than We Thought Here's How Much Quentin Tarantino Hates The Major Studios The Extreme Way Quentin Tarantino Is Preventing Another Hateful Eight Script Leak

影视

2014-49/2828/en_head.json.gz/14387

THEATRE HISTORY - LINDO The Lindo Theatre, designed by world famous Chicago architects and brothers, C.W. Rapp and George L. Rapp, opened on April 17, 1922. John Dittman, owner of several other Freeport theatres, constructed it. The theatre had a single screen with a seating capacity of 1200 all on one floor, a stage for vaudeville acts with dressing rooms below and a Bennet pipe organ to accompany the films. For the Lindo's opening an orchestra with the top musicians in Freeport performed, as well as an organist, who was particularly skilled at playing for silent films. A contest was conducted to name the new theatre, and the prize-winning name, Lindo, was taken from the names Lincoln and Douglas to commemorate their second debate, which had been held in Freeport. Silents gave way to sound and theatres entered a new era. During the 1930's several additional theatres opened in Freeport: The Patio (which is now occupied by the Stephenson County Farm Bureau), the State and the new State. In 1939 Steve Bennis of Lincoln, Illinois, leased the Lindo, renamed it the Freeport and started a three-generation Bennis family operation in Freeport. Due to a decline in attendance the theatre was closed in 1983. In September, 1984 Willis and Shirley Johnson purchased the theatre from Anthony and David Bennis, and it became part of Classic Cinemas. About this time multi-screen theatres were becoming more popular. Instead of having one movie in a 1,200 seat house, it was more practical to have a variety of movies to offer patrons. To accomplish this, the theatre was divided into three auditoriums seating 266 in the main house, and 220 in each of the other two. The dividing walls were specially constructed so that no sound can be heard from one theatre to another. The wall treatment also absorbs some of the sound instead of the hard wall surfaces and adds a decorative touch. Each theatre has a different color scheme but shades of red and cream were used throughout. As a result of the many advances in film presentation, new equipment was installed which allowed the manager to put the film together on a large platter system and start the movie from a remote location. Also xenon bulbs replaced the old carbon arc system and provided a better and more consistent light source. Additional heating and air conditioning systems were installed in the theatres and projection booths. In the lobbies, the modernizing which had been done during the 1940s was removed, revealing the remnants of beautiful plasterwork. The areas that had become damaged due to water or partial removal were recast and restored. In the main lobby, the glued down carpet was pealed away revealing the original terrazzo which was in very good shape and only needed a few patches. In 1997 three all-new auditoriums were added which feature decor and color schemes that reflect the heritage of the theatre while providing new comfortable seats and large screens. The theatre upgraded its sound systems, adding digital sound to the powerful HPS-4000 sound systems in all six of the auditoriums. A 42-inch video monitor was added in the lobby so patrons can see film previews while getting their popcorn and other concession items. In 2003 a new concession stand was built to enhance customer service. A new box office also was built in the outer lobby. In 2006, more comfortable and spacious seating was added to auditoriums one, two and three. On November 28, 2007, the Lindo was proud to light their new vertical sign. The original sign had disappeared, but thanks to some old photographs, a reproduction was created and affixed to the original 1922 building facade. The new vertical sign is 14 feet tall with dark blue and yellow lettering and is lit with neon and 670 chasing lights. The new sign now welcomes guests as they enter the Lindo Theatre, just as it did over 85 year's ago. On December 7, 2007, the first phase of another Lindo expansion was completed with 4 new auditoriums. The new auditoriums have stadium seating (two aisles) with new luxurious leather seats and big screens. The decor follows the color schemes and heritage of the theatre. A party room was added that can hold up to 18 guests for a special occasion at the movies. The second phase of the expansion began in January of 2008. The old 1, 2, & 3 auditoriums were converted to two new stadium seating auditoriums with big screens. On May 22nd, 2008, the Lindo Theatre’s renovations were completed. The Lindo Theatre is now 9 screens (6 with stadium seating). The old 1, 2, & 3 auditoriums have been converted into two new auditoriums with big screens and stadium seating. In March of 2009 Digital 3D was installed on three screens! On March 12, 2012 all auditoriums were updated with Enhanced 4K Digital Projection and Datasat Sound Processor. Take a "Virtual Tour” of the Lindo Theatre (link will open a new browser window). ©2014 - CLASSIC CINEMAS

影视

2014-49/2828/en_head.json.gz/14416

Mac Miller Set to Star in MTV2 Reality Mini-Series Erich Donaldson Mac Miller's star power is going to MTV2 in a new untitled reality series that will follow the Rostrum artist around. It'll last for six episodes with the potential to grow into a longer series should it do well. I n the episodes, cameras will follow Mac around for his adventures in moving from Pittsburgh to L.A. and the recording of his sophomore album, Watching Movies With The Sound Off. It'll be premiering sometime in the first quarter of 2013. Read what he said to say about the opportunity below. Yes, I have a show on MTV2. It's very cool. Being an independent artist, I think it's important to find different ways to bring attention to what you are doing. With Watching Movies coming out, I just want to do whatever I can to make sure everybody hears that. "The show is going to be cool, it's a little look into my life … well, all the stuff you can show on TV," he continued. "I have been living in my studio for months working on my album, so the show kind of forced me to get out of that room and go do something entertaining." Follow @ComplexMusic

影视

2014-49/2828/en_head.json.gz/14473

Interview: Matthew McConaughey for "U-571" By Paul Fischer Friday April 21st 2000 12:22AM Matthew McConaughey was once poised to be the Hollywood's next best thing, following an auspicious performance in A Time to Kill, but somehow he managed to take on films that were not necessarily skewed towards a mainstream audience. But that could change, as he gives an arresting performance, his best yet some would argue, as the flawed second-in-command naval officer aboard a submarine, the powerful World war 2 thriller U-571. Paul Fischer sat down one-on-one with the laid back Texan. Matthew McConaughey doesn't look like a movie star. Very casually attired, his legs sprawled on a chair in front of him; he's clearly tired by the day of media interviews. His Texan accent is still prevalent, and his relaxed demeanour is punctuated by constant use of the word 'man'. "Hey man, glad you liked the movie. It rocks, doesn't it? He questions nonchalantly. Rocks it does, this action-packed World war 2 thriller that fictionalises events set in the early days of World War 2, during which time Nazi subs were destroying a multitude of ships across the Atlantic. This film tells of an American sub crew whose mission it is to capture a German sub that contains a decoding device. McConaughey plays a young naval officer, passed over to captain his own submarine, forced, through dire circumstances, to make some hard choices and learn about leadership. It was a role he seemed born to play. "Subjectively speaking, I wanted to do this film because of the character whom I liked a lot. I wanted to play a leader of men, that heroic character. I wanted to go be 'the man', take care of business and get physical." McConaughey liked the fact that it was "a physical role, set in the reality of World War 2, which is much more legitimate to me than doing something that is science fiction; it's a basis that I can understand." The actor revelled in the fact that this was a specific kind of film, one set in World War 2, "which meant going out, putting on the uniform and fighting for your country. That's a great feeling and something I wanted to do." Donning that uniform and fighting on a sub with the likes of Bon Jovi and Harvey Keitel, is a far cry from his more humble beginnings. It was less than 10 years ago that a young Mr McConaughey gave up all chance of becoming a lawyer, to do this acting thing instead, and drove to Hollywood in search of a better life -or at least a different one. For the Texan, it was a time for some serious adjusting to the Hollywood life. "It was a huge adjustment period. Firstly there was the drive out with my U-Haul, going to my friend's house and showing up at 11 at night. He shows up to the door naked, he's in there with a lady friend, and that's my introduction to Hollywood." Those were the days, he recounts laughingly, "driving down Sunset Boulevard, listening to Madonna on the radio and thinking: Wow man, I wonder where she is now? Then you look over on the road and go: God, I'm in Hollywood, she's probably right here." Now it's McConaughey who graces the covers of the likes of Vanity Fair, and he's having his brushes with fame. It began with his breakthrough role in A Time to Kill, and McConaughey had suddenly arrived, then as fast it happened, his star dimmed a little after that. Too much too soon perhaps? "I don't think it was the wrong thing at that time. That was as big an immediate splash and intense kind of boom with: 'Here's the new guy!' as there has been. I haven't felt any unfairness about it. When I look back, there's nothing I would really change as far as me, as Matthew McConaughey the product. The product value, as far as the market's concern, dropped somewhat after that, yeah. Then you could say, 'Did it have anywhere else to go?' Well, I don't know. But, yeah, sure it did. I went and did some films that I was real happy about doing and they were pretty successful. I was part of some stories that I was really happy to be a part of." He cites the likes of Contact, Armistad, The Newton Boys and the satiric Edtv. McConaughey realises that fame was illusory, "and I feel more grounded now as a result of the fact that my success, my marketability, has levelled out." Before he came to Hollywood, McConaughey was set to become a lawyer. Studying for over five years was too much to bear, he recalls, but asked what kind of a lawyer he would have been, and he smiles and pauses before responding. "Man, it's harder to say now than it probably would have been then, because there are a lot of things with the law that I'm confused about. In terms of justice, it's not near as clear-cut as I always idealised it being. I would have gone in the criminal law direction, because I wanted to deal with people, and the life and death stakes that exist within criminal law." McConaughey also adds that he would have made a good lawyer, "especially as a defense attorney." Now he gets to play lawyers and sea captains, admitting that he's finally "in a good place right now; things are really burning." Having spent more than 6 months on an all-male film set, it was a time for a change of pace, with the actor having completed The Wedding Singer with Jennifer Lopez. "She was great to work with, and I think that film has all the elements of the quintessential romantic comedy. It's light and upbeat, a real change of pace for me." It seems that McConaughey may be back on top where he belongs.

影视

2014-49/2828/en_head.json.gz/14486

USA, 2012, 99 Minute Running Time Genre/Subjects: Drama, Music MUST END, Thursday May 16th at the Sie FilmCenter Digital presentation - In 1991, a young musician named Jeff Buckley (Penn Badgley, "Gossip Girl") rehearses for his public singing debut at a Brooklyn tribute show for his father, the late folk singer Tim Buckley. Struggling with the legacy of a man he barely knew, Jeff finds solace in a relationship with an enigmatic young woman (Imogen Poots, 28 Weeks Later) working at the show. As they explore New York City, their adventures recall glimpses of Tim’s (Ben Rosenfield) 1960s heyday, as he drives cross-country with a girlfriend and finds himself on the verge of stardom. Leading up to the now-legendary show that launched Jeff’s own brilliant career, Greetings from Tim Buckley is a poignant portrait of a father and son who were each among the most beloved singer/songwriters of their respective generations. DIRECTOR: Daniel Algrant Screenwriter: Daniel Algrant, David Brendel, Emma SheanshangPrincipal Cast: Imogen Poots, Penn Badgley, William SadlerUS Distributor: Tribeca Film Official Film Website

影视

2014-49/2828/en_head.json.gz/14614

Now Playing » SILENT NIGHT - JOSH GROBAN Bruce Springsteen Debuts High Hopes Documentary Trailer Bruce Springsteen has released this first trailer for his forthcoming HBO documentary High Hopes. In the clip, the rock legend is seen alongside his collaborator and sometime E Street Band mate Tom Morello of Rage Against the Machine. The doc is set to air on April 4, and The Boss opened up about the songwriting process in the clip saying: "I find I'm trying to resolve something internally. That's really the thrust. It's where all the fuel for what you're going to do is." Springsteen also made recent headlines for his show in Auckland, New Zealand. He opened with a cover of hometown hero Lorde's breakout smash single "Royals," which the teen pop star later said made her "teary." Copyright(c) 2014 RTTNews.com. All Rights Reserved

影视

2014-49/2828/en_head.json.gz/14671

“A Deeper Shade of Blue” Brings Greatest Surfing Story Ever Told to U.S. Cinemas This March Mar 05, 2013 | 1364 views | 0 | 8 | | “A Deeper Shade of Blue” Brings Greatest Surfing Story Ever Told to U.S. Cinemas This March NCM® Fathom Events, New World Distribution & Hawaiian Airlines Present Dazzling One-Night Event Featuring Musical Performance from Jack Johnson and Discussion with Icons of Surfing Culture in Select Theaters on March 28 Tickets for the “A Deeper Shade of Blue” series are available now at participating theater box offices and online at www.FathomEvents.com. “A Deeper Shade of Blue” will be presented in select movie theaters in your area on Thursday, March 28 at 7:30pm (local time). HOLLYWOOD STADIUM 14 THEATRES 3070 N EASTMAN RD LONGVIEW TX 75605 Click here for a full list of participating theaters (theaters and participants subject to change). Centennial, Colo. – March 4, 2013 – Riding a wave of praise as the “greatest surfing story ever told,” filmmaker/director Jack McCoy's “A Deeper Shade of Blue” will barrel into movie theaters nationwide this spring in a special one-night event presented by NCM® Fathom Events, New World Distribution and Hawaiian Airlines. Broadcast to select U.S. cinemas on Thursday, March 28 at 7:30 p.m. local time, the groundbreaking film will be preceded with a special welcome from the red carpet premiere in Hawaii with music by Kaukahi featuring Jack Johnson. Following the film, McCoy will be joined by world-renowned surfing legends as they discuss the evolution, the culture and the impact of surfing from its beginnings to today’s billion-dollar-a-year global industry. Panelists include Kathy Kohner, the inspiration for movie and TV’s “Gidget,” and legendary surfing sensations Jamie O’Brien, The Marshall Brothers, Derek Hynd, Marti Paradisis, Terry Chung, Jordy Smith, Tom Wegener and Teachupoo big wave rider Manoa Drollet. Audiences will also be treated to a screening of the McCoy-produced music video for Sir Paul McCartney’s exclusive soundtrack contribution, “Blue Sway.” Tickets for “A Deeper Shade of Blue” are available at participating theater box offices and online at www.FathomEvents.com. For a complete list of theater locations and prices, visit the NCM Fathom Events website (theaters and participants are subject to change). The event will be broadcast to nearly 350 select movie theaters across the country through NCM’s exclusive Digital Broadcast Network. McCoy, producer of epic surfing films for the last 40 years, has created his most iconic picture yet with “A Deeper Shade of Blue,” which explores the epic nature of the sport; its roots; the history of surfing culture; and the technology of the surfboard. It also describes how two female surfers played a largely significant role in surfing’s rise to worldwide fame — Hawaiian Princess Kaiulani, who resurrected surfing in the late 1800s and Malibu surfing legend Kathy Kohner aka “Gidget,” who brought surfing to the masses in the late 1950s. The film also features the Queen of Makaha, Rell Sunn, who was the first female lifeguard in Hawaii and started the Women’s Professional Surfing Association. “It’s an incredible honor to bring my latest love letter to the sport and culture of surfing to the big screen,” said McCoy. “With so many fellow surfers, musicians and fans contributing their passion to this unique story, it’s going to be an unforgettable night.” Surf enthusiasts will dive in as they experience McCoy’s innovative videography that captures stunning underwater imagery using an underwater jet ski. The film brings together surfers and surfboard builders across the history of surfing from the beginnings in Hawaii to the wave pools and tow-assisted big wave riding of today. Featured surfers share their stories, waves and magical connection to a common culture that’s rooted in the Hawaiian tradition of Aloha and is now a global phenomenon. Set to inspire surf fanatics and non-surfers alike, “A Deeper Shade of Blue” is driven by an exhilarating soundtrack that includes Foo Fighters, Coldplay, Paul McCartney and Youth, Kaukahi featuring Jack Johnson, Iggy Pop, Sheila Chandra, Powderfinger, Coryell Auger Sample Trio, Children Collide, BigB, Angus and Julia Stone, Gabrella Roth and many others. "I first saw Jack’s work when it was sent to me by a friend of mine, the Producer Chris Thomas, and I was blown away with the stunning spectacle of Jack’s work,” said Sir Paul McCartney. “Now that I’ve gotten to know him, I enjoy what he does even more and value greatly his contribution to the world of surfing." “’A Deeper Shade of Blue’ will give audiences a front-row seat to the world’s oceans in all their glory, with some of the biggest waves, fearless surfers and eye-opening stories from the entire history of surfing,” said Dan Diamond, senior vice president of NCM Fathom Events. Director Jack McCoy’s 25 film credits, including “Storm Riders,” “Occy,” and “Blue Horizons,” have made him a star in the surf world. For more information about “A Deeper Shade of Blue,” visit www.adeepershadeofblue.com. About National CineMedia (NCM) National CineMedia (NCM) operates NCM Media Networks, a leading integrated media company reaching U.S. consumers in movie theaters, online and through mobile technology. The NCM Cinema Network and NCM Fathom Events present cinema advertising and events across the nation’s largest digital in-theater network, comprised of theaters owned by AMC Entertainment Inc., Cinemark Holdings, Inc. (NYSE: CNK), Regal Entertainment Group (NYSE: RGC) and other leading regional theater circuits. NCM’s theater advertising network covers 183 Designated Market Areas® (49 of the top 50) and includes over 19,300 screens (approximately 18,500 digital). During 2012, approximately 710 million patrons attended movies shown in theaters in which NCM currently has exclusive, cinema advertising agreements in place. The NCM Fathom Events live digital broadcast network (“DBN”) is comprised of over 740 locations in 172 Designated Market Areas® (including all of the top 50). The NCM Interactive Network offers 360-degree integrated marketing opportunities in combination with cinema, encompassing 41 entertainment-related websites, online widgets and mobile applications. National CineMedia, Inc. (NASDAQ: NCMI) owns a 48.6% interest in and is the managing member of National CineMedia LLC. For more information, visit www.ncm.com or www.FathomEvents.com. (NCMI-E) About New World Distribution New World Distribution is a team of film executives, producers, directors, screenwriters, media and marketing professionals with one goal—to provide independent producers of film and television the opportunity to be seen and heard. New World is a full‐service development‐through‐distribution entertainment company designed to exploit new avenues of financing, uncompromised creative project development, and existing & emerging global distribution platforms to bring high‐quality media content to the widest possible audience. New World is distinguished by its ability to interweave seasoned business fundamentals with the newest evolutions in how content is received and purchased. International markets (particularly the lucrative and fast‐growing Asian & Pacific Rim markets) are not an afterthought, but an important new frontier. The latest innovations in distribution technology (VOD, internet streaming, mobile devices, etc.) are built into the foundation of New World, maximizing existing financial streams and providing a competitive edge against slower, more orthodox entertainment companies. New World Distribution not only distributes film, we are also a creative, independent film and television production company. Located in Los Angeles California, we have produced and developed numerous independent films and television sh Offending Others STEVE ELLISON Godless Millennials Could End the Power of the Religious Right ADAM LEE, The Guardian The End of Thanksgiving Dinner Greg Abbott Crushes Wendy Davis in GOP Sweep Meet WWII Women Airforce Service Pilots at the Bullock Museum

影视

2014-49/2828/en_head.json.gz/14756

Sam Rockwell: 'Colin Farrell is a modern-day Sean Connery' Dec 03, 2012 | 4:00am EST The Moon star felt the need to study Farrell's work in detail before working with him in new movie Seven Psychopaths, and Rockwell has no doubt about just how far the actor could go in Hollywood. He tells Details magazine, "I got an idea of what his gift is as an actor. It's his vulnerability. He's got a powerful emotional instrument. I think he's really coming into his own. He's going to be a serious leading man. He could become like a Sean Connery for us." Rockwell also admits the sober and focused Farrell he knows now is far different from the wild man he used to party with years ago at Los Angeles' fabled Chateau Marmont hotel. The actor says, "He had a shaved head then. He's a different guy now. Older and wiser. More focused and accessible. One of the most generous - I'm kind of in love with him. I have a man crush on Colin for sure." news>>brief news More General News King of Spain discharged from hospital after hip surgery Katt Williams arrested again

影视

2014-49/2828/en_head.json.gz/15025

Posts Tagged ‘T.D. Jakes’ FishbowlLA, Studio Film Sparkle Producer T.D. Jakes: Whitney Houston Was ‘Swinging Upward’ By Guest on July 12, 2012 11:18 AM As a producer of the upcoming Sparkle, T.D. Jakes was one of the last to work with Whitney Houston before her untimely death. In his Mediabistro So What Do You Do? interview, the pastor and bestselling author said the star was nothing but professional on set and delivered “a very believable performance” as the mother to the main character. “I can say that the impression she left with me is that she was swinging upward, regaining her sense of who she was, that she was trying to really get her life back together and I, like many Americans, was rooting for her, that she would be able to do that,” Jakes said. “My personal thought was that Sparkle would be the beginning of many more films and opportunities for her to come, because I thought she was really rebounding, and I was shocked and hurt and disappointed that her life was cut away so soon.” Jakes also discussed what role race plays in Hollywood, the controversy over Tyler Perry films, and how aspiring screenwriters can sell their first script. Read the full interview in So What Do You Do, Bishop T.D. Jakes? – Andrea Hackett

影视

2014-49/2828/en_head.json.gz/15066

Articles(21)Photos(35)Videos(215)Movies(10) Bio Birth Name: Logan Wade Lerman Birth Date: January 19, 1992 Birth Place: Beverly Hills, California, USA Like us in Facebook Child of God The Hateful Eight Beyond a Reasonable Doubt Hide About Logan Lerman(Click Here To Hide)Logan Lerman is a young actor who, over the last few years, has made a name for himself in Hollywood. He has starred in several big films, including the 2011 version of The Three Musketeers in which he plays the role of d'Artagnan. He's also appeared in 3:10 to Yuma and The Number 23 (2007). Logan is next up in the 2012 film adaptation of The Perks of Being a Wallflower in which he plays the main character of Charlie alongside fellow young stars Emma Watson and Ezra Miller. Logan Lerman News Shia LaBeouf cut his own face Shia LaBeouf repeatedly slashed his own face with a knife while filming 'Fury'. The 28-year-old actor completely immersed himself in a role as a tank's gunner in the wartime drama... David Ayer looks forward to "Fury" screening at BFI London Film Festival David Ayer has revealed his pride at the news 'Fury' will close this year's BFI London Film Festival. The screenwriter is set to attend the premiere in London on October 19, when... Brad Pitt attached to "The Operators" Brad Pitt is attached to star in 'The Operators'. The 'World War Z' actor will work alongside 'Animal Kingdom' helmer David Michod, who will write and direct the project which is... Brad Pitt in talks for "World War 2" film Brad Pitt is in talks to star in an untitled World War II film. The 50-year-old actor is negotiating a role in a romantic thriller penned by Steven Knight, which will be produced... See more articles » Logan Lerman Photos See more photos » Logan Lerman Videos FURY - Logan Lerman Researching for "FURY" FURY - Why Director David Ayer Identifies with Logan Lerman FURY - 'I Love Me Some Logan Lerman' FURY - Logan Lerman and Jon Bernthal on Working with David Ayer

影视

2014-49/2828/en_head.json.gz/15243

Hail to the Chief: Richard Thomas, Stacy Keach and More Discuss Their Presidential Portrayals On the Stage By Stuart Miller Playbill.com chats with seven actors who have played the President of the United States in different plays. * A president's life is replete with drama, from hard-fought elections to legislative battles to life and death decisions as commander in chief. Yet only a handful have made an impression in the world of drama, on Broadway or off. This spring, however, presents two worthy challengers: Bryan Cranston as Lyndon Johnson on Broadway in All the Way and Richard Thomas as Jimmy Carter in Camp David at the Arena Stage in Washington, D.C. In days of yore, Abraham Lincoln attracted the lion's share of attention with shows like Abraham Lincoln and Abe Lincoln in Illinois. America's Founding Fathers and other presidents found their way to the stage far less frequently, often in sprawling productions like The White House, from 1964, which had nearly every president through Woodrow Wilson, and the notorious bicentennial flop 1600 Pennsylvania Avenue, in which Ken Howard played a century's worth of presidents. (The Patriots in 1943 and 1776 featured presidents in their Revolutionary mode.) Most productions, like Sunrise at Campobello, about a pre-White House Franklin Roosevelt struggling to cope with his polio, portrayed these men sympathetically. But starting in the 1960s America —and its playwrights — became more distrustful, even cynical. While Johnson was still in office he was portrayed as the depraved murderer of John Kennedy in MacBird. Gore Vidal wrote An Evening With Richard Nixon while Nixon was still in office, featuring Washington, Kennedy and Eisenhower as ghostly characters. The play bombed, but Nixon, whose flaws and downfall were downright Shakespearean, holds particular appeal for playwrights. He has returned in American Iliad, Top Secret, Secret Honor, Nixon's Nixon, Checkers and Frost/Nixon, which has been the biggest presidential hit along with Bloody Bloody Andrew Jackson. Advertisement George W. Bush also was brought to life on stage while he was still in office, in Stuff Happens, while the inept and corrupt Warren G. Harding popped up several times during the Bush years — The Teapot Scandals, Poker Night at the White House and President Harding is a Rock Star — which may have been a way of drawing comparisons. Whether it's in a serious one-man show — Lincoln, Teddy Roosevelt and Lyndon Johnson have all had their star turns — or a supporting part in a family musical (FDR is the second-act hero of Annie), playing the president is a unique challenge. When Richard Thomas was just seven, he made his Broadway debut as FDR's son John in Sunrise at Campobello. For that role he simply made sure he knew his lines. Playing a living president is a more daunting task, especially in Washington where the audience may frequently contain people with first-hand knowledge Jimmy Carter's presidency, "including, very possibly, the man himself," said Thomas, who added that he's trying not to get distracted by the idea of Carter watching him play Carter. "That's not a helpful thing," he said. Camp David is written by Pulitzer Prize-winning journalist Lawrence Wright, so Thomas doesn't need to do too much extra reading about those events. Yet he is still immersing himself in research, including Carter's White House diaries "which is enormously helpful in getting inside his head," and listening to an audiobook of Carter's memoir about his childhood. "So much of who he is comes from where and how he was raised," said Thomas, adding that "I feel an affinity for Carter." The audiobook is doubly helpful because it's read by Carter himself. 1 | 2 | 3 | 4 | 5

影视

2014-49/2828/en_head.json.gz/15244

Jennifer Bowles and Rob McClure Star in Encores! Irma La Douce Jennifer Bowles and Rob McClure Photo by Joan Marcus Irma La Douce, the rarely-revived musical about a French streetwalker and the law student who falls in love with her, opened at City Center Encores! May 8. Playbill.com was there. * City Center Encores! winds up its 21st season — which was highlighted by a droll Little Me and a superb Most Happy Fella — with the little-seen Irma La Douce. This was one of those rare French musicals that made it overseas. The small-scale 1956 Paris production led to an anglicized London version in 1958, which then traveled to Broadway in 1960, augmented by exciting American choreography. Irma La Douce was a major hit in all three countries, quickly spreading to five continents. (A big-screen adaptation came in 1963 from Billy Wilder, although the score was relegated to background music.) Fifty-odd years later, the charms of Irma — the first non-American musical to be staged by Encores! — are not so readily apparent. The show calls, first and foremost, for a powerhouse dancer-singer-comedienne in the title role. Elizabeth Seal, who played it in London and New York, was key to the show's success; something like a combination of Audrey Hepburn and Gwen Verdon, Seal instantly captivated audiences and helped make the story — about a Montmartre streetwalker with a heart of gold — palatable. (Seal's performance was so stunning that she easily took that year's Tony Award over Julie Andrews in Camelot; she was the first non-"star" to win a Tony in a starring role and the first foreign-born actress to win the musical award.) At Encores, the hard-to-fill role is played by Jennifer Bowles, currently a replacement in Matilda the Musical (as The Acrobat and the understudy for Miss Honey). She is joined by Rob McClure — who charmed audiences in Chaplin, the Encores! Where's Charley? and is the leading man of the forthcoming Honeymoon in Vegas — as the naive young lawyer who becomes Irma's protector. Malcolm Gets (Amour) plays the third starring role, as the friendly barkeep. John Doyle (Sweeney Todd), who provided the adaptation, also directs, while Chase Brock (Spider-Man Turn Off the Dark) choreographs. Encores! music director Rob Berman leads the orchestra in the delightful ten-piece bal musette orchestrations featuring accordion, two trombones and a tinny upright piano. The orchestra best captures the flavor of the show, with McClure going all out as the hapless hero. Advertisement Irma started as a cabaret musical from Marguerite Monnot, who had conquered the French music world with her songs written for Edith Piaf. ("The Poor People of Paris" and "Milord" are still instantly recognizable.) With Irma, she became one of the first woman composers to reach Broadway with a hit; the show was also the first French musical to reach New York since the days of Offenbach. Monnot died of a burst appendix in 1961, during the Broadway run of the show. The French book and lyrics by Alexandre Breffort were translated into English by the team who had just written the satirical 1958 West End musical Expresso Bongo: Julian More, David Heneker (who later wrote Half a Sixpence) and Monty Norman. Theatregoers who remember David Merrick's 1960 Irma still talk about the show's breezy insouciance; the inventive direction from Peter Brook in his pre-Royal Shakespeare Company days; the knockout dances by Onna White; the winning performance of Clive Revill as the friendly raconteur who narrates the story; and most especially Elizabeth Seal. Encores! offers a rare chance to see Irma and to hear its bubbly score, but little of the original magic translates. From Montmartre to Midtown: Encores! Presents Irma La Douce, the Original Hipster Musical Irma La Douce (Off-Broadway 2014) 09 May 2014 -- From Montmartre to Midtown: Encores! Presents Irma La Douce, the Original Hipster Musical 08 May 2014 -- Jennifer Bowles and Rob McClure Star in Encores! Irma La Douce 07 May 2014 -- Irma La Douce, With Malcolm Gets, Jennifer Bowles and Rob McClure, Begins Encores! Run May 7 21 Apr 2014 -- Malcolm Gets Joins Jennifer Bowles and Rob McClure in Encores! Irma La Douce RELATED MEDIA: VIDEO Highlights From the Encores! Production of Irma La Douce Starring Rob McClure and Jennifer Bowles

影视

2014-49/2828/en_head.json.gz/15338

The Other Son (2012) Emmanuelle Devos as Orith Pascal Elbe as Alon Jules Sitruk as Joseph Mehdi Dehbi as Yacine Khalifa Natour as Said Mahmood Shalabi as Bilal Lorraine Levy Nathalie Saugeon for a scene of violence, brief language and drug use Two babies are born at about the same time in an Israeli hospital. One is Israeli. The other is Palestinian. They're evacuated during a missile attack, accidentally switched and raised by each other's families for the next 18 years. That's the plot line. When the mistake is discovered, how do the families react? What disturbs them more: that their son has been raised as an enemy or that he has been raised in another religion? That's where "The Other Son" gets complicated. The two fathers and the Palestinian's brother are primarily concerned that their birth son has been raised by the "other side." The mothers are more concerned about the return of the son they gave birth to. The way this difference plays out is all the more fascinating because the families on both sides are decent people. Joseph (Jules Sitruk), the Palestinian by birth, has been raised by Orith and Alon Silberg (Emmanuelle Devos and Pascal Elbe). After he enlists in the Israeli Air Force, he takes a blood test that reveals the startling news that he cannot be the son of his parents. The way this information is carefully disclosed by a hospital spokesman speaks volumes: This is a rare nation in which your DNA determines your eligibility to serve in the military, and it's clear the hospital has a lot of explaining to do. Yacine (Medhi Dehbi), the Israeli by birth, has been raised on the West Bank by Leila and Said Al Bezaaz (Areen Omari and Khalifa Natour). His family is far from wealthy, but he had the good fortune to be educated in Paris. The film's co-writer and director, Lorraine Levy, is French, which helps explain this detail and several others: that Orith Silberg was born in France, and she and all the other characters, except for Said and Yacine's brother Bilal (Mahmood Shalabi), speak French. In a sense that helps bridge the gap. A key to Joseph's character is that, although his father is in the Israeli military, and he himself intends to enlist, his actual dream is to become a singer-songwriter. It's also important that Yacine, after some years in France, sees his plans for the future are in Europe. Neither boy is obsessed by his racial and religious identity. This is definitively not the case with Bilal, and one of the shocking early moments occurs when he turns on his brother of 18 years and rejects him as an enemy. This emotional jolt may have as much to do with long-smoldering jealousy about Yacine's Paris years than with his new identity; you see how tangled such things can become. Orith invites Yacine to pay a visit. Then one day Joseph crosses to the West Bank and pays a call to Yacine. (The ease with which he can pass the Israeli border guards is ironic, since he is a born Palestinian.) Yacine's family is caught off-guard; Yacine not as much. They do what any Arab or Israeli family would do, which is to offer their visitor food and drink, and the resulting meal is a study in social awkwardness and buried emotions, particularly on the part of the father and brother. In a moment of inspiration, Joseph begins to sing a song, and it's a wonder how that melts through the frigid atmosphere. The new reality starts to sink in. It probably helps that the two young men are now well-launched along their adult paths; I wonder how this story would play out if they were both still quite young. What difference did the switch make, really? In superficial ways, the two boys aren't so different: they both "look" Jewish or Arab, take your choice. How do they now feel about themselves? Joseph quizzes his rabbi: "Am I still Jewish?" The rabbi tells him he was one of his best students, but his mother was not Jewish, and so, no, he isn't, but he can convert. What about Yacine? Is he now Jewish? Technically, yes. In an altered situation, it is easy to imagine Joseph and Yacine fighting and even killing each other, each one mistaken by the other for the enemy. The significance of this parable is there to be seen. Exploring Israel-Palestine Through Movies, Part 2: Friends and Foes by Omer M. Mozaffar Did you choose your religion?

影视

2014-49/2828/en_head.json.gz/15412

Warner Bros. Movies To Show Up On Netflix 56 Days Late Posted on Wednesday, January 11th, 2012 by Germain Lussier Netflix is becoming the new kid in school everyone bullies. As the video rental company keeps expanding and developing into a potential entertainment juggernaut, other companies seem to treat them worse and worse. For example, a few months ago Netflix beat out a bunch of other suitors to acquire original content like Kevin Spacey and David Fincher’s House of Cards as well as a fourth season of Arrested Development. So what does a bully do? Refuse to sell them DVD’s, that’s what. It happened last week with HBO and now HBO’s sister company, Warner Bros., has doubled the window before Netflix can rent their new releases. Netflix users will now have to wait 56 days, almost two months, to rent a “new release” from Warner Bros. Read the press release and more after the jump. Engadget reported this news and made the following astute observation: It heavily implies that the studio was threatening to withdraw access to its library unless the rental service complied. We’re keeping our ear to the ground to hear if similar announcements are forthcoming from Redbox and Blockbuster. Sounds like bullying to me. However, Engadget also reports that Redbox is not changing their agreement with Warner Bros. So why just Netflix? It probably has everything to do with the way Time Warner seems to now view Netflix not only as a competetor on the distribution side, but also the creative side. And guess what? They should. Do you think this huge window will be a blow to Netflix? Will people just go out and buy the movies instead? Here’s the full press release if you are into that kind of thing. It gives Warner Bros. reasons as to why they did this: Warner Bros. Home Entertainment Group and Netflix, Inc. (Nasdaq: NFLX) today announced a new agreement that will extend the current 28-day sales-only window to 56 days for Theatrical New Release and made-for-video titles on DVD and Blu-ray Disc. “Since we implemented a 28-day window for subscription and kiosk, we have seen very positive results with regard to our sell-through business,” said Mark Horak, president, Warner Home Video North America. “One of the key initiatives for Warner Bros. is to improve the value of ownership for the consumer and the extension of the rental window – along with our support of UltraViolet – is an important piece of that strategy.” Warner Bros. is balancing its home entertainment revenue streams by creating different times at which a product is available at different prices. A staggered schedule allows the Studio to maximize the sales potential of its theatrical new release titles and VOD offerings. “Netflix wants to ensure members have continued secure access to Warner Bros. DVDs and Blu-ray discs and, as such, is accepting the 56 day holdback,” said Netflix Vice President of Content Anna Lee. The new agreement was announced at the annual Consumer Electronics Show in Las Vegas, Nev. in conjunction with an annual event held by the Digital Entertainment Group. Batman v Superman Teaser Trailer Description [Comic Con 2014]Kevin Smith Denies ‘Batman V Superman’ Fake Script Rumor; Reveals ‘Tusk’ Poster‘Game of Thrones’ Star Pedro Pascal Boards Netflix’s ‘Narcos’Ted Sarandos Says Marvel Netflix Shows Aren’t Afraid to be Darker Than the Films‘Fantastic Beasts and Where to Find Them’ Will Be “At Least a Trilogy”Extended ‘X-Men: Days of Future Past’ “Rogue Cut” Arrives Summer 2015 /Tweeted, Business and Industry News, DVD/Blu-Ray, Netflix/Streaming Video, Warner Brothers, netflix

影视

2014-49/2828/en_head.json.gz/15421

Home News Your Letters Days Fan Thrilled Hogan Sheffer's On Board Days Fan Thrilled Hogan Sheffer's On Board Wednesday, 13 September 2006 07:40 Your Letters User Rating: / 0 PoorBest "The man truly gets it..." Dear Soapdom,As a veteran DAYS viewer, I couldn’t be more thrilled that Mr. Hogan Sheffer has been hired as their new head writer. After viewing the messages he has sent viewers, via the media, it is clear to me that Mr. Sheffer not only recognizes what DAYS has lacked, in recent years, but plans to make the changes needed to once again make it the outstanding daytime drama it used to be. He understands how “unique” the show is and the importance of writing for couples. How overjoyed I was to hear this man speak of Marlena and the plans he has for her. Hearing him speak of her as the show “matriarch,” an “icon,” the central character, and his plans to return her into being the “heroine” she’s always been to me, left me absolutely ecstatic! I become gitty just thinking about it. LOL! I also enjoyed hearing of his plans for Bo/Hope, Shawn/Belle and Lucas/Sami. When Sheffer mentioned his plan to reestablish the roots of the show, look back into history and actually use it, while delivering storylines the veteran fans will appreciate, I was nearly moved to tears. The man TRULY gets it and I couldn’t be more delighted that he is here. Everything he said in his interviews seemed almost too dreamy, but he has my attention. Sounds like he is ready to take us on exciting adventures that will lead to fabulous rewards. It’s been a very long time since I have said this, but I am sincerely looking forward to seeing what’s waiting for us. I’m scared, nervous, excited and filled with much anticipation for what’s next. It’s something I haven’t felt about DAYS in so many years and it feels GREAT! I can’t wait!! Sincerely,Ms. Becky Cohn(DAYS FAN, 13+ Years) OLTL's Kamar de los Reyes On Tito Puente, Jr., Tessica, and whether Reyes is staying in Llanview

影视

2014-49/2828/en_head.json.gz/15502

OotP Film Breaks IMAX 3D Box Office Records Sep 06, 2007Posted by EdwardTLCUncategorizedIn a press release from the IMAX Corporation and Warner Bros. released today, the companies announced that “Harry Potter and the Order of the Phoenix” has become the highest grossing IMAX 3D live-action film release ever. Past its seventh week of release and with worldwide box office receipts totaling over $35 million, “Order of the Phoenix” has broken records both domestically and internationally. Shown on 91 IMAX screens in the States and 52 IMAX screens internationally, the press release notes an ‘impressive per screen average of $243,000′ which has made it the highest grossing live-action IMAX release. Greg Foster, a Chairman and President for IMAX Filmed Entertainment was quoted in the press release as saying: “This film has become a huge summer hit for the IMAX® theatre network and Harry Potter fans have demonstrated that they love to experience their favorite wizard in IMAX 3D. Many of our locations throughout the worldwide IMAX network have reported box office records, thanks to a terrific film from talented filmmakers, exceptional marketing from Warner Bros. Pictures and the strong appeal of Hollywood movies presented in a truly unique and powerful way.” To date, the worldwide theatrical gross of “Harry Potter and the Order of the Phoenix” is nearing the billion dollar mark with more than $906 million in ticket sales. 17 Responses to OotP Film Breaks IMAX 3D Box Office Records says: OMG,I knew it!Order of the Phoenix is pretty good! says: The IMAX presentation of OotP was excellent,but the building, in Birmingham, England, was an architectural nighmare! Not at all user-friendly. says: Yep, this doesn’t suprise me. It was an awsome movie. I’ve seen it three times! says: We went to see it (the second time for me) in IMAX and I thought it was pretty good. I had heard that Fred & George’s fireworks were in 3-D. They weren’t and it was a shame. Only the battle in the MoM is in 3-D. No problem with the location here in Las Vegas, it was in the Palms Casino. One interesting thing to me is that both times I saw the movie, the audience was 95 percent adults (18 and up). says: It is interesting that the majority of viewers to see the IMAX (which is a Canadian invention) presentation are adults. Of the three times that I have seen it in IMAX format, the majority of people in the theatre have been adults. I love this version of the film in IMAX and was disappointed that the Fireworks scene wasn’t also done in 3-D (there were a couple others that could have been done in 3-D and would have been really effective). says: Woah. That is just amazing. I mean, I loved the movie, but it astounds me how well it’s doing…and continuing to do well! It’s still playing in theaters months later. Just amazing. says: Question for those of you who have seen it in 3D – I tend to get motion-sickness pretty easily and have been relunctant to go see the IMAX version for fear of getting sick. Do you know of anyone who is prone to motion sickness that has seen it in 3D and done ok? says: I saw it while in London on vacation… It was totally awesome! The building there was really nice. I don’t get motion sickness at all, but I don’t think it would bother someone who has it. Not a lot of fast movements, just movements that look like they’re coming right at your head! says: WOW!!!!! Very impressive!! I always knew it would do well!! Can’t wait till it comes out on dvd!!! :) says: It is mostly in the backgrounds where the 3-D is apparent (like the shelves and shelves of prophecies in the MoM). I don’t imagine most people would have problems with motion sickness. says: Just noticed at Box office mojo that OotP is 3 million short of beating GoF domestic wise and apparently has already done so worldwide wise. It’s still 64 million behind Sorcerer’s Stone though (worldwide and Sorcerer was 50 million cheaper to make). Wish I could’ve seen it in 3D, but we don’t have IMAX theaters in my country and since I wear glasses already, putting 3D ones on top doesn’t make the experience that enjoyable. says: I saw it both in regular and Imax and I have to sat the Imax is very cool. You have to see it if you can. They say if you get motion sickness to sit in the top row in the center. These are the best seats for imax even if you don’t get motion sickness. says: I saw it in the I-max theatre. Like being an alien inide of a UFO. A totally different experience than a regular theatre. says: i went to see it for the second time it 3D… I agree GVC I also heard the fireworks were gunna be 3D and they weren’t. Oh well the fight scene was AMAZING!! It gave me goose bumps… well actually the entire movie did but we. I thought the thestrals in 3D were AWESOME! That was cool says: I reall want to see it in 3-D!!!!!!!!!!!!! :( says: I would never eat cookies again to see OOTP in 3D I’ve seen the movie normally almost 10times now XD ugh but my parents wont let me go out of state to see it! :( No matter how much I beg.. says: I saw it on regular and imax and I have to say 3-d didn’t work for me. I just saw a cardboard cut-out effect. I expected a bit more of stuff coming towards me but didn’t get it. Apparently 3-d works differently for different people. jensenly, I definitely recommend sitting far back and centre. I sat closer to the front and my head started to feel funny. Write a Reply or Comment Cancel reply

影视

2014-49/2828/en_head.json.gz/15518

[12/01/10 - 08:16 AM]Video: A Few Minutes With... Ray Wise at the Paley Center's "Psych/Twin Peaks" EventBy Jim Halterman (TFC) Actor James Roday is known for his comedic chops playing psychic detective Shawn Spencer on the USA hit show "Psych" but to those close to Roday, it's no big surprise to find out how much he loves the iconic - yet short-lived - series "Twin Peaks," which premiered 20 years ago to much fanfare on ABC. It seems that Roday has been wanting to somehow bring the two series together since the early days of "Psych" and with tonight's episode (which he co-wrote with Bill Callahan) he has finally done it. Seven cast members from "Twin Peaks" appear in tonight's "Dual Spires" episode where Shawn and Gus (Dule Hill) venture to the small town to solve (what else?) a murder. Many of the actors from both shows turned up at the Paley Center for Media in Beverly Hills Monday night to see the episode for the first time and reflect back on the phenomena that was "Twin Peaks." Our Jim Halterman was there to chat with them on the red carpet before the panel began. And here's the complete index of all the interviews from said event: Catherine E. Coulson Lenny von Dohlen & Robin Lively Chris Henze & Kelly Kulchak Dule Hill Timothy Omundson James Roday For more "A Few Minutes With..." videos, visit our archive page.

影视

2014-49/2828/en_head.json.gz/15592

Hold Me Thrill Me Kiss Me Kill Me 1995 Themes From Batman Forever (Composed By Elliot Goldenthal) Tell Me Now (Mazzy Star) 'You don't know how you got here You just know you want out Believing in yourself almost as much as you doubt You're a big smash You wear it like a rash Star....' This 1995 single, from the soundtrack to the Batman Forever movie, was a track the band started writing during the Zooropa sessions in 1993. Bono described the song, which went to No. 2 in the UK and No.1 in Ireland and Australia, as about 'being in a rock band'. It was nominated for a Golden Globe Award for 'Best Original Song.' The track became an ever-present during the encore of the PopMart Tour in 1997 and a live version from the show in Mexico in 1997 was released on the limited-edition CD, Hasta La Vista Baby, produced for Propaganda subscribers. The video for the single, directed by Kevin Godley and Maurice Linnane, featured the band as cartoon characters performing in Gotham City, with Bono battling between two of his onstage personas - The Fly and MacPhisto. "Hold Me, Thrill Me, Kiss Me, Kill Me" was the lead track off the Original Soundtrack 'Batman Forever' which also included Seal's "Kiss From A Rose" and contributions from PJ Harvey, The Offspring, Mazzy Star, Massive Attack and Eddi Reader. In 1996, "Hold Me, Thrill Me..." was nominated for two Grammy Award's, 'Best Rock Performance by a Duo or Group and Best Rock Song. Produced By: Nelle Hooper, Bono & The Edge Engineer: Robbie Adams and Flood Release Date: 1995-06-05 Label: Island Records Recorded At: Hold Me Thrill Me Kiss Me Kill Me VIDEOS "The post-ZOO TV U2 seem like the perfect musical amabassadors for Hollywood's third installment of the Batman saga, BATMAN FOREVER. Just like Bruce Wayne, they are so constantly play-acting (is he Bono or is he The Fly?) that "reality" seems to veer with perspective; and just like original director Tim Burton's Gotham City, U2 now exists in a vacuum driven by old vices and new technologies. So, "Hold me, Thrill Me, Kiss Me, Kill Me," the band's T-Rex meets SoulIISoul contribution to the album, holds up equally well as a U2 track and as the film's theme, exploring the dualities of superficial contentment and inner turmoil." COMMENTS vertigo40 08 September, 2012 Rock N’ Roll Star “Hold Me, Thrill Me, Kiss Me, Kill Me” is one of U2’s (particularly Bono’s) most self reflecting songs. I feel the song is about becoming a rock star and the pitfalls that are associated with it if one is not careful. The song has a very hypnotic quality to it and is the song that first introduced me to U2. I have always been a Batman fan and the song was featured on the soundtrack to “Batman Forever.” The accompany video for the song sees U2 traveling to Gotham City where “Thy Fly” and “MacPhisto” from Zoo TV cross paths. The video also gives us a glimpse at the inspiration for Zoo TV’s colorful characters as “The Screwtape Letters” by C.S. Lewis is read by Bono. Looking back, I really did not understand what the song was about when it came out as I was very young but I just knew I was seeing and hearing a great band in a Batman movie. This song will always be special since it was the song that started my discovery of U2. I was ecstatic when U2 brought the song back for the 360 tour. The song has such power behind it with Adam and Larry driving the grove. Newer comments 1 - 1 of 1 Older comments

影视

2014-49/2828/en_head.json.gz/15880

Keira Knightley on working death and comedy opposite Steve CarellBob Thompson, Postmedia News | June 24, 2012 8:00 AM ETMore from Postmedia News Keira Knightley on working death and comedy opposite Steve Carell in Seeking a Friend for the End of the WorldKeira Knightley reunites with director Joe Wright for the third time with her lead role in the remake of Anna Karenina. Thanks to their previous successful collaborations on Pride & Prejudice and Atonement, film fans will be looking forward to the dramatic result when the film opens in November. But Knightley remembers when things weren’t so positive just before Pride & Prejudice hit movie theatres in 2005, and after her part in 2003’s Pirates of the Caribbean: The Curse of the Black Pearl. RelatedReview: Seeking a Friend for the End of the World is doomsday lite1 + 1: High school highs “The first time we worked together everyone was like, ‘He’s just a TV director and she’s awful,’ ” Knightley says at a hotel suite in Manhattan. Considered opinions have been adjusted for the better, especially for the London-based actress. Since the sniping, the 27-year-old has earned a best actress Oscar nomination for her Pride & Prejudice portrayal, and a great deal of respect for her acclaimed performance in the recent West End staging of the tragic play The Children’s Hour. But right now, for a change of pace, Knightley is playing opposite Steve Carell in the comedy Seeking a Friend for the End of the World, which opened June 23. In the movie, written and directed by Lorene Scafaria, the world will end in a month thanks to the approach of a massive asteroid. Amid the ensuing anarchy in the streets, strait-laced Dodge (Carell) decides to hit the road to reunite with his former high school sweetheart, and takes his wacky neighbour Penny (Knightley) with him. On the trip, the unlikely couple fall for each other as they come across some weird characters, and find themselves in odd situations as doomed citizens prepare for the end in different ways. Knightley and Carell are the main players, but an ensemble of actors show up for comic relief. They include Adam Brody, Rob Corddry, Gillian Jacobs, Melanie Lynskey, T.J. Miller, Patton Oswalt, William Petersen and the esteemed Martin Sheen. “I love the idea of taking this subject matter that is as death-and-doom as you can get, and putting a comic twist on it that is incredibly personal,” Knightley says. When she had insecurities about her comedic timing, or the tone of a scene, she would always get help from her leading man. “Steve is just so wonderful,” Knightley says. “You meet other comedians and they’re very in your face, and it’s one joke after another, and it’s almost like a defence mechanism. He’s just the complete opposite. He makes everyone around him feel like they’re funny, which is a gift.” An added attraction to playing Penny was her strange approach to almost everything, the actress explains. She wears a peculiar lavender dress and black running shoes, and she has an obsessive need to bring some favourite vinyl records with her on the road trip. “But she wasn’t dragging around anything she can play them on,” the actress notes. “I’d personally find that really annoying.” Knightley admits that she’s not particularly into music, even though she’s engaged to James Righton, keyboard player for the pop group The Klaxons. Despite her lack of musical appreciation, she will soon start filming a movie with music at its core. “I’m going off to do something nice and positive called Can a Song Save Your Life? with Mark Ruffalo,” she says. “It is something very different for me again, but is quite joyous.” Knightley plays a songwriter opposite Ruffalo’s washed up musician trying to make a comeback album. “When I was asked to do it, I was like, ‘Yes, please.’ Let’s put something positive out there.” It would seem she’s as busy as ever, working 12 months a year, but that’s not so, she insists. “When I first became successful, I obviously wanted to take on every situation, and do as much as I could,” Knightley explains. “Then all of a sudden you realize you need that whole life-work balance. “For me, there was very little life and a hell of a lot of work. There’s a point where you go, ‘I want to redress that and spend time with the people I love.’ ” Topics: Arts, Movies, Keira Knightley

影视

2014-49/2828/en_head.json.gz/15897

Courteney Cox: Friends reunion is impossible Courteney Cox has been trying to arrange a Friends reunion dinner for ten years. The actress is famed for her portrayal of clean freak Monica Geller in the US sitcom, which also starred Jennifer Aniston, Lisa Kudrow, David Schwimmer, Matt LeBlanc and Matthew Perry. The group are continually asked about whether they will get together for a film version of the show, which ended in 2004, with Courteney concerned about the logistics. “Let me tell you something: there’s six friends and I’ve been trying to put together a cast dinner for ten years. It doesn’t happen!” she laughed to David Letterman. “I can get the girls to come, maybe Matthew Perry. Matt LeBlanc cancelled last time right at the last minute, Schwimmer lives here [in New York City], so it’s just not gonna happen.” The 49-year-old made the admission after David raised the topic of a reunion. He asked whether Courteney was bored of continued questions about the series, with the brunette star attempting to deflect the question. “Only because once you say, ‘Well, I’d like it,’ then they have to contact every other cast member and be like, ‘Courteney’s into it!’ And then I get in trouble,” she replied, when asked if she was sick of the topic. “It’s not going to happen.” There has been intense speculation that the six stars could be teaming up for another round of Friends over recent months. That grew legs when it was claimed Jennifer was starting to come round to the idea in December, but earlier this month the show’s creator seemingly put the rumors to bed once and for all. “I’m going to clear this up; it’s not happening!” Marta Kauffman said. “Friends was about that time in your life when your friends are your family, and once you have a family, there’s no need anymore.” Courteney Cox David Schwimmer Friends Jennifer Aniston Lisa Kudrow Matt LeBlanc Matthew Perry 2014-04-22

影视

2014-49/2828/en_head.json.gz/15932

3 from the 30s Posted by jared case on Dec 13 2011 | Motion Pictures, Other There are 15 films being presented by Turner Classic Movies on Wednesday, December 14. All of them come from the archives of the George Eastman House— a result of decades of acquisition, conservation and preservation. For this blog entry, I am highlighting the ‘30s films being shown that day. PAYMENT DEFERRED (1932) PAYMENT DEFERRED (1932) is one of my personal favorites in the TCM lineup. I consider it a proto-noir, in that the protagonist (the fabulous Charles Laughton) experiences the same type of dilemma, decision and destruction that characters such as Walter Neff of DOUBLE INDEMNITY (1944) and Christopher Cross of SCARLET STREET (1945) endured in the golden age of noir. The plot follows Laughton, a bank clerk, as he struggles to keep his family financially afloat. He has news about an impending shift in the money markets but has no capital to take advantage of it. A long-lost nephew (an early appearance by Ray Milland) shows up on his doorstep but has no interest in Laughton’s proposal. Before Milland leaves, Laughton plans and executes a cold-blooded murder, stealing Milland’s money and burying him in the back yard. Laughton makes a killing on his investment, but is haunted by the body in the garden. It has little of the stylistic effects that are the hallmarks of the noir look, but the themes are the same and Laughton’s performance is grand. Like many of the MGM films we have here, the originals came to us early in our professional life. A nitrate picture negative and a nitrate track negative were received in 1967 and our print was taken directly from these in the 1970s, as was a new Fine Grain Master. Airs at 6:15 pm. In 2007 Fox produced the mammoth and impressive “Ford at Fox” DVD Box Set, boasting 24 of the director’s films in one beautiful package. One of the films in the set, THE WORLD MOVES ON (1934), came directly from our material. We received a nitrate positive from Fox in 1972 and performed our own preservation in 1989, creating new pic and track negs and a new print. For the new preservation, Fox decided to use the old track neg, but went back to the nitrate to create a new pic neg and, with those elements, a new print. The story starts in 1825 New Orleans and follows the lives and loves of the Girard family over several generations, through the first World War and the stock market collapse to the present day. The cast is led by Madeleine Carroll, Franchot Tone and Reginald Denny. Airs at 2:45 am. The shortest film featured is a 1937 documentary entitled THE SPANISH EARTH and directed by Joris Ivens, a well-known Dutch director that was deeply influenced by Russian greats Eisenstein and Pudovkin. The company that sponsored this film, Contemporary Historians, was formed by group of American writers and intellectuals, including Ernest Hemingway, Lillian Hellman, John Dos Passos, Dorothy Parker and Archibald MacLeish. The film follows loyalist forces and the land-working people of Spain as they struggle to survive the onslaught of Franco’s army, and as released was narrated by Ernest Hemingway. Our print was a pre-release positive that still retained the narration by a 21-year-old Orson Welles. We got our original material, a nitrate positive print, back in 1958, and performed a standard preservation, creating new pic and track negs and a new print in 1985. Airs at 9:00 am We’ve covered nearly 20 years of film history, from an early feature released in 1918 to a documentary released solidly within the sound era. The last four films will take us all the way into the mid-‘60s, rounding out a fascinating slate of preserved wonders. Be Sociable, Share! Jared Case is the Head of Collection Information and Access for the Motion Picture Department and one of the most popular instructors at the L. Jeffrey Selznick School of Film Preservation. He graduated from the school himself in 2002 and has been with George Eastman House ever since. He is a film noir aficionado and can be found at film festivals, mystery conventions and noir conferences around the country. no comments for now Comments are closed at this time. More From Eastman House Watch: Who We Are Dryden Theatre The Commons on Flickr Exploring the Archive (13) George Eastman (2) Guest Blog (3) House & Gardens (26) Motion Pictures (115) Student Work (17) REBECCA TriviaKodak Camera at 125: Eastman’s First Film PatentGeorge Eastman and BicyclesWalking the Camino at the DrydenThe Dawn of TechnicolorWhat Does Identity Mean?Daguerre Introduced Photography 175 Years AgoThe Douglas Fairbanks Nitrate Still Negatives CollectionThe FreshmanMusic Cue Sheet Digitization Project Copyright © 2014 George Eastman House Blog.

影视

2014-49/2828/en_head.json.gz/15951

'The Dark Knight Rises' To Shoot May-November 2011 Cast Will Get Script In JanuaryAsk a simple question, get a simple answer. Cast Will Get Script In JanuaryAsk a simple question, get a simple answer.Empire has managed to wrangle some info out of Michael Caine about the upcoming and hugely anticipated "The Dark Knight Rises," and while his info was limited -- "Christopher is the most secretive guy in the world," Caine said, "he won't tell you anything" -- he did lay out what the basic plan for the production of the film will be saying, “Emma [Thomas], the producer, said we'd get the script in January. Christopher said: 'Script in January, shoot in May, finish in November.'"The outline basically pushes the start date one month from the previously speculated April to what is looking like a solid May kickoff. If the shooting schedule seems absurdly long, bear in mind that "Inception" filming was spread out over five months between location and studio work, and we would imagine "The Dark Knight Rises" will employ a similar mix of both. So far, the only confirmed location is New Orleans, which despite what some fanboys will have you believe, is probably being chosen for tax break purposes, not because the villain will be some kind of swamp monster.Casting rumors continue to fly with the latest one surrounding Tom Hardy, indicating that he is set to play Dr. Hugo Strange. Meanwhile, Nolan is looking for a couple of female leads -- apparently for a villain and a love interest -- with Rachel Weisz, Naomi Watts, Blake Lively, Natalie Portman, Anne Hathaway and Keira Knightley all being listed as potential contenders. In addition, rumors are once again surfacing that Christopher Nolan might shoot the entire picture in IMAX.We figure more casting news should arrive by the end of the year, if the plan is make sure scripts are in the hands of the actors by the new year. "The Dark Knight Rises" will emerge on July 20, 2012. Films, Actors, Christopher Nolan, Super Hero Films, Tom Hardy, Michael Caine, The Dark Knight Rises

影视

2014-49/2828/en_head.json.gz/16013

RKO Keith's Theatre Showing 251 - 275 of 1,224 comments SWCphotography Thanks Matt! Exactly as I saw it in February. Much of the missing auditorium artifacts were hacked off, crated and stored in the theater. I’ve stated the facts that the RKO is a cultural asset in a community that has few. The census, traffic flow, vacancy rate and tax assessment are also public record, it is acknowledged even by proponents for Flushing Commons that Flushing is over crowded. Projects like these would take over 3 years to complete, during that time traffic flow will go from extremely bad to impossible. The rhetoric has Flushing as “booming” and somehow has defied gravity. As congestion increases it will become even more difficult to sell. The facts are on the ground lots of empty buildings and people struggling to get on the subway, the golden goose has laid its last golden egg. LuisV Thanks for the link Matt. To be honest, the interior doesn’t look much worse than the Kings and is certainly much better than the New Amsterdam before its restoration. That said, we all know that the restorations on both took/will take tens of millions and we simply don’t have those resources for this theater. Ed, I don’t disagree with look on lending standards in the next year but in due time they will get back to more liberal standards. I have been in real estate for almost 21 years! :–) Of course, people will always need paces to live and if they don’t build for sale condos they will simply build rentals as is happenning throughout Manhattan, Downtown Brooklyn and Long Island City. Flushing is a good prospect as well. Matt Lambros That’s odd. This link should work Ed Solero Hey Matt… That link doesn’t seem to work for me. Brings me to the After the Final Curtain website, but the specific page is not found. LuisV, not to continue the debate or get between you and SWC – because I think I’m done with the topic – but I wouldn’t be so sure that lending will get any easier within the next year. As one who is in the mortgage industry, I can tell you it has gotten much tougher to obtain a loan over the last 3 years and there are proposals being batted about on Capitol Hill that may make lending practices tighter still – calling for larger down payments and more conservative estimates of borrower capacity. How that impacts the overall economic recovery and how long it will take these policies to be enacted (and in what form – likely watered down), I leave for others to theorize. Here’s a recent image of the remains of the auditorium of the Keiths http://afterthefinalcurtain.net/?attachment_id=142 Once again, SWC, you are wrong. The census is being challenged and tightly so. There are certainly more people in NYC now than there have ever been and the the economy in NY is absolutely improving. If you choose not to see it that is your choice but it doesn’t change reality. Housing is in tight supply. Once lending becomes easier (and it will within a year) you will see how quickly the housing market recovers in the boroughs. I understand your frustration with the Keiths, I really do. I get sick thinking about the loss of theaters like the Roxy, The Center, Proctors 59th St, Capitol, Rivoli, the original Ziegfeld, the Academy of Music, the Brooklyn Fox, Triboro, Loews Commodore, the Forum, and on and on. But again, the sheer number of them meant that they could not all bre saved so I take solace in the ones that we have been able to preserve. There is still work to do but I’m afraid that the Keiths never got the right break or the right saviour. It was a beautiful theater. I was there only once but was awed by its beauty. The sad reality is that the economic rebound is not around the corner a fact underscored by the census. The RKO was not designed as a theater but to accommodate live performances. That a plan does not exist for adaptive reuse is thanks to the ownership of 3 consecutive developers. When Thompson’s plan falls through because he will not get final approval or funding it will fall back on the bank and ultimately the city. If anyone can advocate something as preposterous as a pedestrian bridge to Willets Point before Flushing Bay even has funding or a plan for clean up then funding can be found for public works other than pursuing the pipe dream of increasing the population density but improving the quality of life. SWC, you are being very short sighted. We are just coming out of the greatest economic crisis since the depression and NYC has held it together amazingly well. When the economy rebounds you will see those apartments rented and sold very quickly. Willets Point is a DUMP. That is why Eminent Domain exists; to pay property owners Fair Market Value to put the land to a use that better benefits the community at large. Same as Atlantic Yards and at Columbia’s new Campus in the Wasteland that was once Far West Harlem. The sad reality is that Theater Palaces have outlived their functional usefulness as Movie Theaters. That’s a fact. In these economic times it is tough to get government funding for a restoration of a theater and even if you could, there must be a plan for the theater to support itself. The Kings has pulled off an amazing feat in scoring a $70MM restoration with a lot of city help. They plan on having over 200 events a week to keep it running without further subsidy. We simply can’t do that for every old movie palace in the city. What private company is going to pay to restore a theater and then subsidize its operation on its own? Short of that, each theater has to have its own plan. How will they raise the funds? How will they generate income? In the case of the New Amsterdam and the Kings it involved city tax breaks and the involvement of private companies like Disney and ACE theatricals. For the Valenica, the Gates, The Hollywood, The Elmwood, the 175th Street, the Stanley, etc, it involved a church that dedicated itself to preserving the architectural integrity of the space and having parishioners pay for the continued upkeep. For the Jersey, it was a local volunteer group that raised funds and have restored the theater over time after the city transferred ownership to them. For the St. George, it was one local woman who bought the theater and them “made it work” and now it is a big success as Staten Island’s premier entertainment venue. For many other theaters in Manhattan it meant returning to live theater. Alas, no one ever presented a viable proposition for the RKO Keiths Flushing. Was Manes crooked? absolutely! It’s disgusting but here we are all these years later and there is still no credible plan to save this theater other than its lobby. We should make sure that they at least do a wonderful restoration of that. In the meantime, there is still time to save the Brooklyn Paramount, the RKO Keiths Richmond Hill, Loews Canal, The Jackson, etc… BobbyS SWC,you paint a pretty grim picture of the area. I guess it all comes to money and who will invest theirs or someone elses. I sense you know what you are talking about from your writings and photos. I don’t think subsidized housing is the way to go for the Keith’s, but it might unless things in this country change in real estate. I find it hard to believe tennants walking by the glass enclosed lobby will be fascinated time after time of the beauty of Thomas Lamb’s design! Straying off topic toward the pros and cons of urban renewal across NYC does nothing to examine the RKO and its place in Flushing’s history. The entire interior was landmarked in 1984 and reduced to just the lobby the same year, by the now defunct board of estimate, at the behest of Manes to facilitate the sale to Huang 2 years later. The fact is Flushing is saturated: there is already an 8% vacancy rate, they can’t find buyers or renters for what is already built. The 357 market rental scheme can become low income housing subsidized by the government through the voucher program if tenants default. Who is going to pay for restore: never a developer (as long as they own the property) Thankfully property ownership means nothing as shown in Willets Point. I understand your concerns too Ed. It is a double edged sword. I was born and raised in the city and still proudly live here, but I all too clearly remember the days when the Bronx and Bushwick were burning and neighborhood after neighborhood was in deep decline putting the entire city at great risk. I am thrilled that virtually all NYC neighborhoods have rebounded sharply since those bad old days and while I sometimes recall Times Square’s past in a romanticized way, the reality was that it was a pit and a cancer that was killing Broadway and our city. Today Times Square is an economic powerhouse providing tens of thousands of jobs to people that cater to these new tourists, office workers and yes residents! I don’t like seeing the poor pushed out, but I also didn’t like seeing the middle class pushed out of so many areas back in the 70’s and 80’s as neighborhoods slid into despair. It’s great to see Hell’s Kitchen, Park Slope, The Lower East Side, Chelsea, Long Island City, Dumbo, and on and on develop into places where people want to live, work and play. Few other cities have this vibrancy. When it came time to buy a home of my own, i chose the Financial District because it is one of the very few gentrifying areas that did not push anybody out. The homes were simply repurposed from obsolete office buildings and that makes me feel good. The city has over a million rent controlled/rent stabilized homes and provides an amazing amount of services to the poor which I am in full support of, but that takes a lot of money; money that comes from keeping the rich and middle classes in the city. So Willets Point will become the home of more middle income residences and retail which will benefit a great many more people. Luckily, no one lives in Willets Point. But they will! :–) I understand completly, LuisV, and I agree with you to a great extent about progress. I was merely pointing out that “progress” usually means displacing the poor to benefit the rich. The UN building notwithstanding – I highly doubt that anything nearly as significant as the UN will be erected in Willets Point. Rather, it will be a playground for those with disposable cash – and will likely be desolate during the off-season for baseball (or worse yet, even during the baseball season if the Mets continue to field a losing product year after year). Just seems it happens time and again in this City. Small businesses struggle to survive yet somehow perservere through rough times in decaying urban areas, putting up with crime, lack of services and crumbling infrastructure for years – sometimes decades. Then one day someone decides the area is ripe for urban renewal and all of a sudden there’s a lot of capital investment, restoration of infrastructure and services and the little guy is squeezed out in favor of “big box” chains and corporate interests. It happened in Times Square, Harlem and now it will happen in Willets Point. Let’s returns to the area east of 126th Street in 5 or 6 years and see if there is a single mom & pop shop in evidence. Ed Solero, Before the UN was built the site was filled with slaughterhouses, breweries and tenements which technically provided services and housing. But we didn’t leave it there because people worked and lived there. For the city to progress, we had to clear it out for better uses for a growing city. Uses that would benefit far more people. That is the reason the Willets Point has to go and rightly so. I do agree with you about the loss of the RKO Keiths. The current plan is a pale one compared to a full restoration, but it is all we have at this point. I would rather see a part of it saved than none at all. WilliamMcQuade, I applaud your fight to save the Triboro. I never had the opportunity to see it. I agree that New York has lost a horrific number of the world’s most beautiful Movie Palaces but it is grossly unfair to say that New York somehow trails Chicago and San Francisco and Oakland in preservation. Let’s count the theaters shall we? All Five Wonder theaters are still here (Valencia, 175th, Paradise, Jersey (still counts) and the Kings now undergoing a $70MM renovation. We have Radio City, The Beacon, The New Amsterdam, The Hollywood, The Apollo, Loews Gates, The St. George and The Ziegfeld. There are others that are now operating as churches as well like the Gates and the Elmwood. In addition, we still have the Brooklyn Paramount, Loews Canal and the RKO Ketihs Richmond Hill waiting in the wings. The Staten Island Paramount, I also believe, is in the process of restoration. I believe that NY retains the greatest collection of movie palaces in the country. That NY has lost so many treasures says a lot about the sheer quantity of Movie Palaces that our city once had. We have lost much, but we still have much more than anyone else. Most other cities are lucky to have one or two remaining palaces. It doesn’t mean that we don’t fight to keep everything that is left. It is why we still fight for the Ridgewood. drewc Preservation laws are such a joke. Adding a building to the National Register of Historic Places or giving the building landmark status does very little to protect the building. And why wasn’t the entire building put on the list in 84 along with the lobby and grand foyer? Wonder if light rail would help the area with all the commuters running around. It would add to the charm of the Keith’s wouldn’t it? On the other hand, if they can’t agree what to do with the Keith’s and start going, laying tracks in the middle of the street would really be a pipe dream (pun intended). WilliamMcQuade No one is going to sink a ton of money into what many believe is a white elephant. It may be too far gone to renovate totally or the cost would simply be too prohibitive. Marshall & Claire would fight tooth & nail against any competiton for the beloved (no idea why) theater in the park. My guess it continues to sit there & rot away. A sad end to a beautiful theater. To Luis V I did not sit on the sidelines. I put time & effort & sweat & tears into the triboro to have all my hopes dashed by a crooked politician. The same goes for the Keiths. I just got tired of fighting city hall. NY, the entertainment capital of the world, has destroyed virtually all of their picture palaces in Times Square. While losing a lot, Chicago has at least 2 in the loop. San Francisco has a few & Oakland has two. New York does not have a good track record saving its history. Throw in Penn Station & you make it complete. When you do the equivelent of what I did on the Triboro & the Keiths early on, get back to me. That’s true, SWC. While the future of this country may be in the cities, that is in large part true because the rising cost of gas is going to drive the cost of living through the roof for commuters out in the burbs. There is an AWFUL lot of vehicular traffic through Flushing (not only cars but the convergence of several bus lines around the 7 train terminus) depositing crowds that rival those in Times Square! When I worked on Main St and Sanford Ave in Flushing nearly 20 years ago, going out to grab some lunch north of the LIRR tracks was quite an adventure! So how many subways serve the financial district and how many serve Flushing. The population of Flushing is 54,884 nominally up from 54,329 in 2000. The overcrowding is from the over 100,000 people that funnel into Flushing every day to get to the No. 7. You know LuisV… some people on this website actually DO try to get things done rather than just sit on the sidelines and complain. I, too, would be very happy to have some piece of the Triboro or Roxy still standing for all to appreciate, but we actually STILL have the entire RKO Keith’s building standing on Northern Blvd. And I get it… a multi-million dollar restoration of a 3000 seat theater in an outer borough of NYC does not just happen overnight. You need a developer with a vision, a community in support of the plan, tons of capital and strong political support. A lot of moving parts to coordinate and cajole into action. A real damn shame that we have none of that in play for the Keith’s! But I look to Brooklyn and see what happens when you have a political leader who actually gets behind a preservation and rehabilitation project like that of the Loew’s Kings… and I just get irritated by the goings on in Flushing. And what galls me more than anything else, is we still don’t have a straight answer on how faithful the restoration of the Keith’s lobby will actually be to Lamb’s original plans and specs. This whole glass curtain concept and the ramifications that has with respect to destroying the southern wall of the “landmarked” lobby in order to expose it to passersby, seems in itself to be a huge compromise of the LPC’s designation and protections. Are we not, at least, entitled to raise our voices about that issue? OK, so the landmark designation doesn’t cover the auditorium, but it doesn’t even seem that we’re going to see restoration and preservation for the entirety of those portions of the theater that ARE landmarked. As for Willets Point… There are always two sides to a coin. Let’s not forget that – while some may not find the ramshackle nature and broken pavement of the area across from Citifield – there are a number of legitimate small businesses that operate there and offer affordable options for folks in need of auto body work, hub-caps, tire rims, etc., particularly for those of meager means trying to maintain their older vehicles. It sure isn’t pretty, but it serves a purpose. Does progress and urban development always have to mean the displacement of the small and modest for the sake of luxury accommodations catering to more discerning clientele? And in the end, it only means that automobile owners in Queens will have to shell out more for their body work and replacement parts once those businesses are re-zoned out of existence. I politely disagree! The future of thsi country is in cities and there is no city better eqipped to reap the benefits of urban living than New York. Flushing will be but one part, though an important one. FiDi and downtown Brooklyn are booming. Long Island City and again picking up steam and this news today shows that there is a lot stirring in Flushing. I applaud them and support them instead of just sitting on the sidelines complaining but offering nothing in return. YAY for New York and it’s progress in growing not just its core but all areas of the city. Not anytime soon How it was created is irrelevant. We have to deal with what we have now and Bloomberg is doing the right thing in getting rid of the Auto parts slum and replacing it with housing and retail. As gas prices continue to rise, more and more Americans will want and increasingly need to live in urban areas where they can commute to work using mass transit and business will increasingly want to locate in areas with easy access to mass transit. Flushing can be New York’s 5th downtown (after Midtown, The Financial District, Downtown Brooklyn and Long Island City). Tell old Claire the “cancer” was created by her predecessor the late unlamented Donald Manes. Nonsense. We are now emerging from the greatest economic crisis since the Great Depression and there is no doubt in my mind tha Flushing will become a boomtown and these projects come to fruition. Willets Point WILL happen! That’s what eminent domain is for; to create development for the greater public good. We don’t need or want that 3rd world unpaved road quagmire that currently makes up Willets Point. We DO need more housing, more retail and more recreational and entertainment areas. It’s most unfortunate that the RKO Keiths couldn’t have been fully redeveloped. Instead, we will have the lobby and, in my opinion, it is better than nothing. How I wish we still had the lobby’s of the Triboro or The Roxy or any of the other palaces that met the wrecking ball. I just hope they truly do an honorable and faithful restoration with the $8MM budgeted. « Previous 1 2 … 7 8 9 10 11 12 13 14 15 … 48 49 Next »

影视

2014-49/2828/en_head.json.gz/16014

4 Hales Street, Coventry, CV1 1JD Charles John Phipps, William George Robert Sprague Essex & Nicol, W.S. Hattrell & Partners Hippodrome Theatre Coventry Theatre Rex Cinema ABC Coventry Theatre One Cinema The Royal Opera House was opened in 1889 with a performance of William Shakespeare’s “A Midsummer Night’s Dream”. Designed by the architectural firm Essex & Nicol, with well known theatre architect John Charles Phipps, the theatre had seating provided in orchestra stalls, dress circle and balcony levels and two boxes on each side of the proscenium. It hosted a wide range of theatrical productions from touring companies to a resident local repertory company to local amateur groups. In 1898, the theatre was re-designed by noted theatre architect W.G.R. Sprague and it became known as the Opera House. In 1910, a projection box was built at the rear of the stage, and films were screened as well as live productions. On 12th July 1938, a fire destroyed part of the stage, and during the rebuilding, a revolve was added to the stage facilities, and the facade of the theatre was modernized to the plans of architectural firm W.S. Hattrell & Partners. Live theatre came to an end in 1940 when a German incendiary bomb badly damaged the stage area. The Opera House was taken over by Charlie Orr in 1941, and after repairs had been made, it re-opened as a cinema on 21st June 1941 with Ann Sheridan in “It All Came True”. The projection box was still located at the rear of the stage, making the Opera House, the only cinema in the city to have rear projection. The Opera House was closed on 9th September 1961 with Steve Reeves in “The Last Days of Pompeii” and Steve McQueen in “The Great Saint Louis Bank Robbery”. The building had been sold to Sketchly Ltd. who demolished it to build a dry-cleaning business on the site. By 2008, an Indian restaurant and four shop units operate here.

影视

2014-49/2828/en_head.json.gz/16031

Writer/Director/Star Mathieu Demy Talks AMERICANO, His Famous Filmmaker Parents, and Choosing Film Over Digital for His Feature Directorial Debut by Sheila Roberts Posted 2 years, 161 days ago Written, directed and produced by Mathieu Demy in his feature directorial debut, Americano deftly mines the past of a true-life filmmaking family, while at the same time weaving a mesmerizing fictional narrative about coming to terms with unexpected grief and uncomfortable pasts. The stellar cast in this moving drama about inheritance and legacy includes Salma Hayek and, perhaps not incidentally, the children of famous film personalities – Geraldine Chaplin, Chiara Mastroianni and Demy himself. We sat down with Demy at a roundtable interview to talk about Americano which functions both as an homage to his famous parents, filmmakers Agnes Varda and Jacques Demy, and as a work that stands entirely on its own. He told us about the challenges of directing a low budget international production shot in France, Mexico and the U.S., how he chose to shoot his first feature on film rather than digitally, and why he decided to integrate footage from his mother’s 1981 feature Documenteur into his film. He also discussed how he intended Americano to be a road movie about grief and the mother-child relationship and was inspired by filmmakers like Claude Miller, Wim Wenders and Atom Egoyan. Hit the jump for the interview. Question: What inspired you to integrate into Americano some of the footage from the film your mother made back in the 80s? MATHEIU DEMY: It’s a feature that’s one hour long called Documenteur which is a play on words between ‘documentaire,’ which is ‘documentary,’ and ‘menteur,’ which is ‘liar.’ It’s a very personal fictional film that she directed in which I was acting as a child. I was trying to make my film more personal by using this footage. I had the ambition to do this road movie about grief which is more or less a universal story about a man losing his mother and the relationship between mothers and children. I wanted to make it more personal because it’s the kind of cinema that I relate to more. This is when I decided to act in it and use that footage and try to make it more personal. Did you reverse the mother/father relationship in this fictional story and was it inspired by your own background? DEMY: I did lose my father a long time ago. Yes, I definitely wanted to talk about that, but in a fictionalized way. There’s lots of both in there. What I felt was interesting was to say that the grief process is something very unexpected. In the film, the character of my father says “Okay, you’re going to go back to Los Angeles. You’re going to bring back the body, sell the apartment, and then it’s done.” But you can’t really do it that way. You have to live your own experience and it’s very different for every person. You have to live through that. This is what I wanted to express – that he had to do it his way. He screws everything up, but ultimately he’s going to find a way to be at peace with the memory of his mother and try to understand better what his background is. It’s a little bit about talking about things that were personal to me in a fictionalized way. I see you have a tattoo of “Americano” on your right arm. Did the tattoo come first or the film? DEMY: The film came first, then the tattoo came during the film. Was that inspired by your commitment to the film? DEMY: He faints at the beginning and it becomes the title. I figured out that it was a way to tell that he was going to sink into himself to find the solution, because this is the logo of the bar, this slightly imaginary place where he finds everything out. Everything comes together in that place. It’s like the l’oeil du cyclone (eye of the hurricane) or centerpoint of the film. It was also a way to say that we were entering an intimate tale because the film is not very realistic. It’s not that kind of film. Can you talk about the cast you assembled that includes Salma Hayek and also Geraldine Chaplin and Chiara Mastroianni who are children of famous film personalities? DEMY: Well that was on the top of that. I didn’t cast them for that, obviously. I tried to work with people that I really admired. I had written the part for Salma because I’m in love with her and I think she’s fascinating. I’m totally in love with the way she acts and I think she’s a great, great actress. I also wanted these three women because it’s mainly these three countries and three women to reflect the journey that he’s having. This is the story of a man who’s running away from something and going far away from home and far away from his references. I thought the Chiara Mastroianni character was a wonderful beginning to that because we have a lot of history in common — her mother and my dad. Chiara Mastroianni is the girlfriend and she happens to be the daughter of Catherine Deneuve who was my dad’s iconic actress. We’ve grown together and she’s exactly that same age as me. I think we have a lot in common and I feel very close to her. She also embodies what really is French art house cinema today. It was like a starting point that’s really interesting and she’s a great actress. And then, Geraldine, by her culture and her filmography, makes the link between the United States and Europe. Also, she had this great humor and I wanted a comedic character to weep and be so [emotional]. She had this great sense of humor that could allow this and bring me a little bit further from the roots. And then, Salma is about the last person you would expect in a French film that’s independent and broke. I thought it was really interesting that she took the film even somewhere else. In a way, those three women had to bring this Martin character through his journey. This is more how I tried to imagine the cast. On top of that, it’s a film that I think talks about family issues and also talks about cinema because it’s the sequel of that 1980 film of my mother. I figured out it would be fun if the actresses could also have that kind of cinema history. As a storyteller, do you feel you lose something when you’re not shooting on film? DEMY: It’s pointless to go against digital because sooner or later you won’t be able to do anything else. Every film also has its right format. I thought that for this film, working with the footage, I wanted them both to be organically the same but the time difference would show something. So, I used Super 16 Cinemascope. It’s very different from simple 16 of 1981, but we still have the same feel. This is why I chose film. I have a tendency to think that film is still more interesting today, but sooner or later digital is going to take over. Next year, in 2013, at least a thousand theaters across the country will be closing because they don’t have the money to convert. DEMY: That is sad. It is very sad. Well, digital projection, that’s for sure. In France, it is almost 80 percent now the case. But it’s about recording the images. In music, we can still record analog and then do the post production in digital. In film, sooner or later, we’re not even going to be able to film because they won’t be able to process. The labs won’t exist anymore, pretty soon. You’ll just have to do it with digital. Do the French have a preconceived idea about Tijuana? We know about Tijuana and we don’t go there. DEMY: (laughs) Yeah, that’s a preconceived idea. Instead, I would say I’m going to shoot in Tijuana. But an American person would say “Oh it’s really dangerous.” “Have you been there?” “No.” “Okay, so?” I had the best time in Tijuana. It was perfectly safe and perfectly cool and incredibly inspiring and easy to shoot. I was with the right people and I felt safer than in some areas of Paris. I thought the people were nice and they looked cool, were patient, looked amazing, and the light was fabulous and the colors were nice. It was great to shoot in Tijuana. We shot there for two weeks. What I love about Tijuana, and Mexico in general, is that it’s one of these countries where you still feel that you can discover some things. You still feel that you can walk in some place – like a bar or a home or a hotel – and find it really funky and cool, and you want to film this, and you can still get away with that. I go see the owner and say “Can we do that?” and he says “Yeah, sure,” and I say “Can you be in my film? You look cool.” “Yeah, sure. Why not?” It can actually happen and not cost a ton. I like that way of interacting between reality and film. I think it’s really interesting. You can do that in the States, but in L.A. it’s not like that. It’s harder because it’s a more studio-based industry. It’s the city of the studio. Even in Paris, it’s difficult to shoot that way. But you can shoot that way in Mexico. There are lots of places in the world where you can still discover stuff and I think it’s interesting for small films, for very small independent films. Then, when we arrived in Los Angeles, it was suddenly a little more complicated and a little more expensive and a little more professional, which is not easy for that kind of budget. That was sort of a change. Was it challenging to direct an international production like this where you’re filming in three different countries? DEMY: No, no, that was nice. We were maybe nine people from France – the D.P., my first A.D., and the person who built the sets. The major creative persons around me were my French friends that I’m used to working with. They’re my crew. Then, we traveled and tried to add to this some [additional] crew members here in Los Angeles and in Mexico. We had a Mexican crew over there and an American crew here and a French crew there with a common route, and that was fun. There’s a tonal shift between what you shot in France, L.A. and Mexico, and each segment is distinctly different. How did you approach the visual style of the film? DEMY: It was a deliberate choice to try to match, as we were talking about the casting, the way these three women should take him away from home. I was willing to express through the images and the style that this guy was going to be more and more involved in his own memories, more and more emotional, and more shook up by what’s happening to him. He starts off rejecting all of his memories and rejecting what is happening to him, in denial of all that. I figured out it’s pretty gray and blue and cold and wide. When we arrive in L.A., there are more traveling shots and it’s warmer and yellow and a little closer. And, as much as he gets agitated with his souvenirs and obsessed with the Lola character, then Mexico is really shoulder shot, really close-ups and really red. So these three [are distinctly different] because the character changes. He totally changes. I wanted everything to go that way to bring him to that kind of change. This was the deliberate choice for the style of the film. For that matter, too, we didn’t really shoot anything other than him or subjective shots of him in order to try and portray this man, because it’s that kind of film that portrays him and his feelings and the way he changes. Growing up in film, was cinema the biggest thing in your life? Was that passion always there for you or were there years when you were not into it as much? DEMY: Yes. I had my little teenage craziness where I wanted to be a doctor, I admit. I have to confess at one point I considered even going to school. Hopefully, I went back on the right track being an artist. No, I’m just kidding. It’s obvious when you grow up. For me, my parents, and especially my mother, always made films in a very artisanal kind of way. Her office was at home. She was always filming low budget stuff and including her family inside. It was more a way of life. I related to that from the beginning. As all of those professions of artisan, it often skips the generations, like shoemakers or boulangers – the people who make the bread – or when you grow up in a garage and you want to maybe take over the garage. I feel like it’s more like all those professions. And then, at one point, I wanted to do something else as a teenager and I rejected the family thing. It was like no, I don’t want to be an artist. But, finally, I’m not really capable of doing anything else. I enjoy very much filmmaking so I came back to that. There’s a beautiful shot of a car skimming across the water at low tide that’s evocative of films from the Nouvelle Vague era. What inspired that? DEMY: It’s a place where I grew up a little bit also. It’s called Noirmoutier and it’s a little island near Brittany in France. There’s this road that you can only access when the tide is low. It was pretty intense because we waited until the last moment to say “Action!” and they were freaking out in the car. It’s not an explicit reference to anything I can think of on a conscious level anyway. Like I said, I definitely tried to make some shots that would be long enough or strange enough to try to make you think of something else and eventually some other cinema references. Can you talk about the fate of the red mustang? DEMY: Like a lot of things in this film, I wanted to use some strong images of what the American fantasy could be also for a French filmmaker and try to use some iconic images that would trigger your imagination to think about other films, and also because it’s the pace of that kind of story where you follow a character and you have a little time to escape and dream. The film is full of references. That footage is a reference to the work of my mother and the Lola character is like a memory of Jacques Demy’s first feature, Lola. The film is full of little references that I wanted. That Mustang is very iconic and I wanted that also to be part of the process. I don’t know how much the Mustang is worth and I don’t care. It’s just like that – he abandons the car. I thought it was fun. There’s a lot of stuff going on. It’s the Rio Tijuana. There’s a lot of stuff in there. I figured this could be a possible ending for the mustang. Were there other films besides your parents’ films about losing someone or grief or exploring emotions that were in the back of your mind when you made this? DEMY: Oh yeah, definitely. There’s a French film called Mortelle Randonnée (Deadly Circuit, 1983) by Claude Miller who just passed away two weeks ago. He was a great director. This film is with Isabelle Adjani and Michel Serrault. It’s a beautiful film about this detective on the trail of a serial killer, the woman played by Adjani. She plays all these different characters and she’s crazy and beautiful. He lost his daughter and he fantasized that she could be his daughter and he’s after her. It’s an extraordinary film. It’s both a thriller and very psychological and a little magical at times and it’s funny, too. It’s very unique. I had this in mind. I had Paris, Texas [by Wim Wenders] in mind which is about losing yourself and finding yourself. It’s also about the mother-child relationship and the strength of that bond. I had Exotica in mind by Atom Egoyan. I really liked the relationship between this guy who comes to see the stripper, the schoolgirl. What I loved about it is that you think he’s some kind of perv, but ultimately you discover that he’s just trying to relate to the babysitter of his dead daughter. He’s not here for that. And, in a way, this is also the story of Martin, how he comes to this place and he wants to talk to Lola and wants to spend some time with her. He’s not here for that. He can’t even manage to screw her, which is not very believable. There’s a lot of anger when he’s throwing his mother’s possessions out. Is it interesting to go into that level of emotion? DEMY: It’s not only about anger. It’s also about not being able to face the choice of what should stay and what should leave. It’s a crazy dilemma. Do you want to keep everything? Should I just keep the pictures? What’s the rule? And, if you’re mad, you might as well throw everything out. I can understand that in a way it’s different from anger. It’s just that it’s too much to make a choice, to avoid making a choice. One of the things I loved about the Nouvelle Vague is, not only were they great filmmakers and storytellers, but they were passionate cinephiles as well. Do you see that kind of filmmaking spirit still alive today? DEMY: Yes, definitely. I try to work a little bit like that and be very passionate about it. Maybe this film can also relate to the Nouvelle Vague in the way that the production project is pretty crazy — with little money, shooting in three countries, and shooting in film versus digital, and rebuilding the whole Americano in Paris because it’s a set. These are artistic decisions that are not cheap, so that production project is really crazy, and the New Wave was also about allowing really wild production choices. It’s as much the producers that did the New Wave as the writers. The producers had to go with that – that freedom of work. In that way, this is sort of that kind of spirit maybe, except the French New Wave is over, even if in French cinema nowadays there are still a lot of references. You can feel that it is in our background, but there’s not a new New Wave of anything. That’s the strange thing about cinema nowadays. I don’t think we really know where it’s going or what group there is of influences to lead some project. There was the Dogma thing with that kind of stuff that was really interesting, and now I don’t really know where it’s going. 3D? I don’t think so. When I attended the French film festival here in Los Angeles, it struck me that the French really make most of their movies for themselves. DEMY: I don’t think so. I don’t really share that. I think there’s a lot of American movies that influence French directors. It depends. One of the things I’ve noticed during this week of French cinema is the diversity. When we were all on stage, the people made so many different films – very, very different films. It’s one of the strengths of the system we have. Each time you sell a ticket, even in American movies, part of that money goes into funding for French cinema. It’s the audience and the American movies who finance French cinema which is a cool way of making a closed circuit. This is why French cinema is strong versus other European cinemas that have the tendency to disappear. Italian cinema was in the ‘60s, and what it is now is sort of sad because it’s too expensive and too complicated. The strength of French cinema today is to have this diversity, and in this diversity, there are also some filmmakers who are very oriented towards an American way of making films, in my opinion. With Documenteur, there is the gradual expansion of the 16mm frame to ultimately that final shot. Can you talk about how that idea progressed for you? DEMY: This is when I chose the format of Super 16. We tried everything. We tried small camera, the big digital and 35. I didn’t want to have any kind of preconceived idea. It was just what would work for that. Super 16 was the same organic thing, but it had changed a lot. The stock from the 80s and the Super 16 Cinemascope are very different in quality. I thought it was the perfect thing. I wanted to use Documenteur as unrestored, as if I’d found it in a box like a document. We had to scan it in order to include it in the modern film. We scanned it before it was repaired, as the negative was. I thought it was cool that we would use it in the format of that story. It would help make it understandable that it is a memory and that it is also a film. For some people, it would give a clue that it might be another film. It was part of those little details that I thought it could make people wonder why and maybe get curious about the background story. I really tried to make a film that has a pretty universal theme – the death of the mother, grief, and the road movie. I tried to make that as universal and understandable as possible without the references. I guess you don’t need those references to the cinema of my parents or anything to understand the film in a way. But, I also wanted people to have little hints and ask themselves maybe why is this or why is that. This is also why I had this format kept the way it is. Someone mentioned the other day that digital can capture the warmth and the grain of film stock. Do you see that happening or will digital never be able to do that? DEMY: Sure. Of course. You can make digital look like film, but it’s still not the same. Film is processed. The way you process digital to make it look like film is not the same work. I mean, it’s not the same implication. For the moment, I’d prefer to get used to digital, get used to that image, because ultimately we’re going to have to do that anyway. Just get used to that image and try not to make it look like film which is a little bit like fake leather. I like real plastic better than fake leather. So, let’s have real plastic and be happy about it and not try to do something else. But it’s true that digital is another way of thinking, and when digital is going to be the only way to go, then we’re going to be comfortable in that way, too. We’re going to be comfortable that digital is like a negative, and then you can do whatever you want with it. You can make it look like this or like that, or grainier or less. Little by little, I think it’s going to replace film. Maybe in five or ten years we’ll be able to look at it as if it’s the standard aesthetic for film with no problem at all. It’s just that we’re in the middle of things now. We have to slowly grow into it. This is the way I feel because there are a lot of filmmakers and cinematographers who are already totally in digital and say there’s no use to go with the past. As a first time filmmaker, I thought it was interesting to do it in film, and whenever it’s still possible, I still think it’s interesting to shoot in film because soon enough it won’t be possible. That’s why. But I certainly don’t have any nostalgia about that. You just have to follow the way the world goes, too. You can’t be an old prick when you’re not even 40. What did you take from the process of making this film as both your feature directorial debut and something that’s also very personal? DEMY: It was great fun. First of all, I really had a blast. It was terrific. What I felt was an adult way, a more mature way of thinking cinema. When you’re an actor, you’re very much exposed, but in a strange way you’re totally protected behind a character, behind a script, behind a director. Being the director is really something. It’s a statement of something and you have to stand up for that. Okay, this is what I see. This is how I see the world. This is how I see cinema. And you have to be able to talk about that and explain it and be responsible. So I thought I might finally be growing up. Americano opens in theaters in New York on June 15th with a national roll out to follow. Tags:Americano, Interview, Mathieu Demy Related Links:Jason Bateman, Charlie Day, Jason Sudeikis, and Jennifer Aniston Talk HORRIBLE BOSSES 2, Building Chemistry, Ad-Libbing, and MoreRobin Lord Taylor Talks GOTHAM, The Positive Fan Response To His Performance, Penguin’s Genius and Insanity, Working with Carol Kane, and MoreSteve Martin, Rihanna and Jim Parsons Talk HOME; Plus Our Thoughts on the First Footage From the New DreamWorks Animation FilmBennett Miller Talks FOXCATCHER, His 4 Hour and 15 Minute First Cut, Collaborating with Megan Ellison, Shooting on Film, His Editing Process, and MoreComposer Alexandre Desplat Talks THE IMITATION GAME, Coming to the Project Late, Finding Continuity in His Scores, His Love of Conducting, and More « Casting Call: Benicio Del Toro Toplines JIMMY PICARD, Adam Levine Joins SONG, and Kenny Wormald Stars in KID CANNABIS Warner Bros. and Paramount Competing to Develop SPLINTER CELL Movie »

影视

2014-49/2828/en_head.json.gz/16127

Italy in the Eurovision Song Contest 1961 National selection Sanremo Music Festival 1961 Selected entrant Betty Curtis Selected song "Al di là" Finals performance 5th=, 12 points Italy in the Eurovision Song Contest ◄1960 1962► Italy was represented by Betty Curtis, with the song '"Al di là", at the 1961 Eurovision Song Contest, which took place on 18 March in Cannes, France. Broadcaster RAI chose the winning song from the 1961 Sanremo Music Festival as their Eurovision entry: the song had been performed twice at Sanremo and Curtis was chosen over Luciano Tajoli as the performer. "Al di là" was another Italian entry which failed to challenge at Eurovision yet became an international success afterwards. In this case though it was not Curtis who enjoyed the greatest success but Emilio Pericoli, who performed a version of "Al di là" in the 1962 film

影视

2014-49/2828/en_head.json.gz/16351

A Tashlin Rarity: The Way of Peace I was not aware of this film until today. It's from 1947, written and directed by Frank Tashlin for the Lutheran Church. Some of the crew, such as Wah Chang and Gene Warren, will be familiar to fans of stop motion animation of the time. The film is narrated by actor Lew Ayres.There is relatively little animation in this film. It is more a series of illustrations to accompany the narration. I don't know how much this film represents Tashlin's own religious feeling or how much it was simply an employment opportunity.At this time in his career, Tashlin had left Warner Bros. and was attempting to break into live action feature writing and directing. The year this film appeared, Tashlin first got credited as a screenwriter on the all-star musical Variety Girl. The Way of Peace followed a stint directing animated industrials for John Sutherland Productions, but it would be another five years before Tashlin got credit for directing his first live feature, fittingly titled The First Time. Frank Tashlin, The Way of Peace Thanks for sharing this Mark. I was unaware of its existence until just now also.It's really too bad Tashlin passed on way earlier than his peers. So many unanswered questions about his unique filmmaking style and sense of humor. J Lee Going by the date, this would have also been done after his uncredited work coming up with gags for Harpo in "A Night in Casablanca" as well as after his stints with Warners and the Sutherland studio. So this may have been something to bide time and get the bills paid while he was waiting for his next live-action opportunity.And while Tashlin's cynical side wouldn't seem to mesh with a film done for the Lutheran Church, he would use a church setting for one of his producer-director opuses of the late 1950s (though I suppose doing it and getting Bing Crosby to reprise his past roles as a priest could be called a little cynical attempt to manipulate the audience). Vincent Alexander Hey, Mark. Thanks for putting this up. I had seen this short before, but it's nice to see it getting some attention.As for Tashlin's religious views, it's a bit hard to say. There may be a clue in his book "The World That Isn't", which has a similar message of peace and Christianity. Ken A. Priebe Wow! Thanks for posting this, Mark! Where did you find it? I saw it mentioned in a biography on Tashlin, alongside the Daffy Ditties shorts. Nice to know this one still exists, as I was hoping it would. -Ken Reruns Redux It's the Cat Again Against Outsourcing Chuck Jones Reminder Upcoming Sheridan Industry Day Reitherman Reruns A Missed Opportunity It's the Cat More on Silent Comedy Timing

影视

2014-49/2828/en_head.json.gz/16556

Celeb Scenes 11.20.14 Claudia Jordan explains how she earned her 'RHOA' peach Trina turned down 'Love & Hip Hop: Miami' Porsha Williams trying to mend relationships on 'RHOA' season 7 Style Crush: 5 Tracee Ellis Ross Looks We Love T.D. Jakes responds to Deitrick Haddon's challenge Home » Drake returns to TV Drake returns to TV s2suser 0 Drake is returning to his roots in Canadian TV, but this time he’ll be behind the camera. The actor-turned-rapper has been attached to a sitcom called “Us and Them,” taking on a role as a producer. "’Us and Them’ is something he has been working on for some time with some of his actor friends," one of Drake’s reps told MTV News. "They will be continuing to develop the show, but Drake won’t be starring in it." This news doesn’t mean that the MC, who starred in teen drama “Degrassi: The Next Generation,” has completely left his acting career behind, though. If anything he’d like to take on roles in comedies for the big screen. Ideally, he’d become part of Judd Apatow’s team of funny people. "I just want to be part of real films. I don’t want to play a basketball player all the time or a rapper. I always tell [my management] my dream is to be in a movie with Will Ferrell or Michael Cera. I’m a big fan of all those," Drake said. "I feel like I’ve had the training and I’m surrounded by enough funny people that I could probably pull it off.” Once he conquers the world of comedy, Drake wants to double back and re-introduce himself as a serious dramatic actor. “My goal is to get deep into acting. I want to be like this generation’s Will Smith, just Canadian and light-skinned,” he said. — Sonya Eskridge Here’s more: Drake and BET apologize for performance Drake is Rihanna’s Mr. Write Drake’s the next young millionaire Tags: Drake

影视

2014-49/2828/en_head.json.gz/16568

Liam Hemsworth Replacing Taylor Lautner in Northern Lights? Posted by Krystal Clark on April 15th, 2010 Back in January we told you about Twilight’s favorite wolf-boy Taylor Lautner and his non-vampire related deal to star in the John Moore film, Northern Lights. He was going to collect a hefty sum of $7.5 million dollars to act opposite Tom Cruise (who was attached at the time) in the flick, but that all changed when he decided to jump ship and move on to bigger and better things. Now the film’s producers are scrambling to find his replacement and they think Australian native Liam Hemsworth might be it. According to Deadline, Hemsworth has been offered Lautner’s role in the David Ellison production and we’re pretty sure they’re not going to give him the same amount of money. Even though he’s their top choice at the moment the deal isn’t set in stone. Apparently Ellison’s a little too involved for most actor’s tastes and he’s scaring them away from the project. “It’s scaring some actors off because David has written himself a big role in the movie which he’s also financing,” according to an insider. “What, you’re going to work for your co-star who doesn’t have a big body of work? If that’s the vibe surrounding this film perhaps he needs to let this thing go. There are too many elements involved that are cringe worthy with the premise being one of them. The story centers on “a gifted, young, aerobatics pilot who faces off with his controlling, billionaire father and falls in love with a gifted, female pilot.” What the hell is that? That’s bad even by Twilight standards. Hemsworth shouldn’t get involved with this because his U.S. career is just getting off the ground and this could really put a dark spot on his resume. Do you think Hemsworth should sign on for Northern Lights? What do you think of the film’s premise? Taylor Lautner Joins Tom Cruise in Northern Lights (2) Liam Hemsworth Cut From The Expendables (0) Liam Hemsworth Cast in Arabian Nights (0) Liam Hemsworth Talks Arabian Nights (0) ‘The Hunger Games: Catching Fire’ Teases its Imax Reveal in New Featurette (0) The Hunger Games Adds Josh Hutcherson and Liam Hemsworth (0) ‘The Hunger Games: Catching Fire’ Releases a Bunch of New Photos (0) טלווווש הבליברית רצח my hoseband Tweet Posted by Krystal Clark April 15th, 2010

影视

2014-49/2828/en_head.json.gz/16628

| Denise Boutté By Yong Lee, 5/10/2010 Denise Boutté is a small-town-girl-turned-actor that stars on the hit TBS series Meet the Browns, along with recurring roles in several shows such as Boston Legal, Everybody Hates Chris, Girlfriends, Notes from the Underbelly, Cuts, Noah’s Arc and the unforgettable recurring character, Danielle Calder, on Days of Our Lives. I had the opportunity to speak with this beautiful and charming actress to discuss her current work. TCC: I'm noticing the Southern accent right now! DB: I KNOW! I'm from a small town in Louisiana, which is where I am now and it comes back to me whenever I come home. TCC: So you went to LSU with the intent of being a doctor, but then switched to mass communications. Why the switch? DB: Being from a small town, I wasn't sure what to do career-wise. I was kind of a braniac in school, and I wanted to make my parents proud, so the traditional choices of being a doctor or lawyer were there, and I decided to go the doctor route. But that changed real quick after I started classes! I was talking to one of the girls in my dorm about their majors, and one of them told me about mass communications. I started as a journalism major and I did an internship that took me to Dallas from Louisiana, and I started in advertising when I got there. TCC: You were a braniac in high school? Were you kind of nerdy? DB: Well, you can call me a cool nerd: I was Valedectorian, class president...I love to talk, I love people, and I guess you could say there were signs growing up that pointed to entertainment, but I never would have seen it. Our school was beyond small, only 88 graduating students and it was the 7th-12th grades. We didn't have a drama club, I never pursued theater, so I didn't really have an acting background in school. TCC: You majored in mass communications...what do you think about the way people are communicating now online? Do you Facebook or Twitter? DB: You know, it's all overwhelming! It took me forever to get a MySpace account, and when I did, all the people that told me to do that are now saying, "Oh no, you have to get on Facebook." I try to respond to each fan, but the responses just keep flooding back! Every time I clean out my inbox, it's like I get hit with another wave. But, it's a necessity. That's how it is now, people communicate via the Web, it's about instant gratification. You need to have rapport with your fans, and I'm working on a Web site and Facebook page. I love texting, and someone told me that Twitter is just like texting to a lot of people at the same time, so I think I'll give it a try. I think there is a need for privacy, though, so I think it's important to watch how it is you use those mechanisms. Be yourself, but be responsible about it. TCC: Tell me about your character on Meet the Browns. DB: Sasha...she is so close to who I am in real life. Now I LOVE playing the bad girl (like when I played Tina Simpson on "N-Secure"); it's fun to play roles that you aren't, to switch on that alter-ego. It's like living out a fantasy through your character. But Sasha is so close to me. I describe her as a cross between Kerry Bradshaw and Grace from Will and Grace. She's someone who's struggling to find that balance between life and work, and the comedy happens when she's trying to find that perfect harmony. The cast on the show is like family; my daughter on the show (played by Logan Browning) and I have become so close. TCC: Just from the few minutes we've been talking, I can tell that you're a really hard-working, energetic, smart, down-to-earth person. If you and Sasha are as similar as you say, it's easy to picture the family on the show revolving around her as the anchor. DB: Thanks! And yes, I feel very happy to play a character that represents so many strong, different women. I'd call the show more of a dramedy...I've actually spoken with some fans of the show that say they use it to start conversations with their kids...the show takes on a lot of serious topics, and I've had parents tell me that while they're watching together with their kids, it's a great opportunity to start a dialogue. In one episode, Sasha and Brianna are talking about pregnancy, and I had a mother tell me it allowed her to bring the subject up in front of her daughter. So it's good to know we're making an impact...Sasha is close to my heart. TCC: Have you found that work/life balance yourself? DB: I think so. My husband and I will be married seven years this Monday, and we've talked about kids. We definitely want kids, and it's a question of when, not if. But the timing has to be right, and I'm good for now. TCC: Do you consider yourself a workaholic? DB: Not really. I pursue other things. My passion is cooking. I LOVE cooking for other people, I think I need to. I made something for myself the other day and ate by myself and was like, 'This is pathetic!' TCC: You live in Atlanta and commute to Los Angeles. How tough is that? DB: Not bad, I do it about once a month. My husband is from Louisiana, too, and we sometimes meet up there as a halfway point (not that it's really halfway, he's got the better deal). But it's an easy flight. TCC: Are you a Hollywood kind of girl, into the party scene? DB: Well, I do go out, and I enjoy dressing up. But most of the time, I'm a t-shirt and jeans kind of girl. And BOOTS! I LOVE my boots, even in Louisiana! Would I love getting dolled up on the regular? No, I'm kind of tomboyish. But sometimes it's really fun. When you're talking about 'Hollywood people,' you'd be surprised at how many of them are real people. But the glamor is not something I seek. TCC: Did you ever have an 'I've arrived!' moment? DB: There was a moment while we were taping the Monique show where I had to pinch myself. What I had planned for my life before I got into acting and what I'm doing now are like night and day. If it had gone the other way, I would not be as happy! I remember watching some of the same celebrities on TV that I'm working with now, and I had no dreams of even meeting them! The other day, Tatyana Ali told me she loved my show, and I was like 'What??' It's a bit surreal. But at the same time, I don't want to be too OMG about it. I believe that you should take that opportunity and own it, but appreciate it at the same time. TCC: What are some of the projects you're working on right now? DB: Well I'm working on a romantic comedy right now that I can't say too much about...I can tell you it's being filmed in Miami, and I love it down there! One of the best pieces of advice I've ever received was to create your own opportunities. When I'm not in acting class, I'm working on my own projects. With so much unemployment, I realize being in the entertainment business is a blessing, but it's a game of chance and coincidence. My cousin, Frank, is a cop in Houston, and after hearing him talk about some of his experiences, I got really interested in what was going on there. I'm working on a project now that is based on that police unit; it's a cop drama with a twist. Writing it is a huge challenge; it's one thing to read scripts, but when you realize the work that goes into writing it, you have a new appreciation for it. My parents threatened me, though, that I'd better use my degree! TCC: Are you reading any books right now? DB: I am, let me grab it real quick...it's called The Shack by William P. Young, and it's about restoring faith. It was recommended by a friend, and I've been reading it during my flights. I like it so far, I hope it turns out to be good! TCC: If you were going out to the movies tonight, what would you go see? DB: That new one with Common, Just Wright. TCC: What do you think of the Tyler Perry empire? DB: I think it's a huge shift...kind of like a 'if you can't beat 'em, join 'em' approach. Some of the things we do, like shooting an entire episode in a day, people are stepping back and really looking at it. I think lots of people have stopped criticizing him, and are now trying to figure out how he does it. Instead of critiquing, they realize he's not going away and are trying to learn from it. In a way, he's making history, and I'm honored to be a part of it. View the discussion thread. Join Our Newsletter

影视

2014-49/2828/en_head.json.gz/16673

Project Greenlight: Affleck & Damon Series Officially Finished Many years ago, two childhood friends and actors came to Hollywood and shared an apartment. After struggling for years, the two decided to write their own script that they could star in. They finally got the script produced, starred in it and won Oscars for Best Screenplay. Unbelievable? Hardly. As you probably know, it’s the true story of Matt Damon and Ben Affleck. Their miraculous story inspired them to team up with producer Chris Moore and to create a contest and show called Project Greenlight that would give aspiring writers and directors a chance to fulfill their own dreams. The Project Greenlight series aired for two seasons on HBO and then for one season on Bravo. It followed the selection process and then the actual production of the winning film — and the many travails in between. The first season caught quite a bit of attention and was quite popular. Moving forward for the second season, the series creators shook things up a bit and continued to finesse the concept into the third season. Unfortunately, the Greenlight series lost steam and viewer interest waned as time passed. After the final episode of the third season aired back on May 12, 2005, it was unclear if the series would return. Executive producer Chris Moore (who also produced American Pie) wrote, “Last night was probably the last new episode of Project Greenlight ever. Although the movie Feast awaits release, the ratings of this year’s Project Greenlight show will not warrant bringing the show back. It is possible that Dimension will do the (Greenlight winning) movie again, which could mean there is a contest again next year. However, my gut is telling me that without the whole three-headed monster of the TV show, contest and film, there is little chance of Project Greenlight continuing.” Well, now months later, at the recent Las Vegas premiere for the third season’s horror film Feast, executive producer Matt Damon layed the question of the series’ future to rest. “It’s dead in the water. But this film is a pretty good note to go out on.” Added fellow executive producer Ben Affleck (taking a break from promoting his current film Hollywoodland), “It’s a demonstration of how difficult it is to make a movie.” Though the U.S. version is over, Project Greenlight Australia is already underway — in a slightly different format. At the start of the season, eight contestants/teams are chosen from over 700 registered contestants. Each week, the contestants are asked to prove their “movie-making” prowess by making short films — under tight

影视

2014-49/2828/en_head.json.gz/16695

HomeFilmMarkets & Festivals Black joins Watts for ‘King Kong’ Thesp cast to bring great ape to New York Jack Black has joined Naomi Watts in Peter Jackson’s “King Kong.” Black will play Carl Denham, the struggling showman and movie producer who captures the great ape on his native Skull Island and then brings him back to New York as a freak show attraction. Universal Pictures will release “Kong” on Dec. 14, 2005. Jackson went straight back to New Zealand to start pre-production on “Kong” after “The Lord of the Rings: The Return of the King” picked up 11 Academy Awards. In a statement, he said, “I’ve been wanting to work with Jack Black ever since I saw him in ‘High Fidelity.’ I have no doubt Jack will make (Carl Denham) a truly memorable character.” Watts is playing Ann Darrow, the beautiful actress with whom King Kong falls in love. Black’s perf in “The School of Rock” won the comic a Golden Globe actor nomination. He was also recently honored as the ShoWest 2004 comedy star of the year. Black co-stars with Ben Stiller in the upcoming “Envy,” from DreamWorks, and will voice a vegetarian great white shark in the studio’s “Shark Tale.”

影视

2014-49/2828/en_head.json.gz/16779

for reference. The original video has been deleted and is no longer available. Dancing Rewind: Charlie Sent Home It's the semi-finals, and the dancing is as impressive as ever. All of the contestants make a great showing, but it's hard to believe who gets eliminated just one week shy of the finale. The three Olympians (Amy, Meryl and Charlie) make up the group that is in jeopardy of being eliminated. Right off the bat, we are sitting on the edge of our seats-because these are the three that really deserve to potentially win the whole thing. We find out that Charlie is the one eliminated, and out of the competition. He has danced so well from the very start, but his ice dancing partner has been outscoring him for weeks- and he loses a lot of votes to her.He is undoubtedly a better dancer than a few of the other contestants left, but he certainly made his mark on the show and gained so many new fans. He would be a brilliant Broadway dancer, and should definitely have a bright career ahead of him. He is so talented and charismatic. Meryl and Maks topped the leader board last night with 40/40 on both of their dances. Their jive was incredible to watch. So much energy and difficulty-perfectly in-sync. She has reached the level where she looks like a pro. Amy and Derek wow us every week with her ability to make the dances look so easy. The judges especially loved her jazz routine- and Derek's choreography is brilliant-39/40. Looking forward to seeing what he creates for next week's highly anticipated freestyle dance. Probably the biggest surprise of the night--Candice and Mark were the first ones announced as safe. She continues to improve and let loose on the dance floor. Fans of the show love to watch stars make progress over the course of he season, and she has turned into a very respectable dancer. Her second dance of the night--a jazz routine--really shocked everyone (including the judges). She went way out of her comfort zone and danced much more provocatively (for her) to Janet Jackson's "Nasty". Still tastefully done, but showing a much edgier side. The Ferguson Decision

影视

2014-49/2828/en_head.json.gz/16922

About About BIFA Screening Group Rules of Eligibility Contact BIFA Partners Sponsors How to sponsor Archive Awards 2013 Awards 2012 Awards 2011 Awards 2010 Awards 2009 Awards 2008 Awards 2007 Awards 2006 Awards 2005 Awards 2004 Awards 2003 Awards 2002 Awards 2001 Awards 2000 Awards 1999 Awards 1998 Submit Film for 2014 Awards Awards 2012NominationsThe WinnersThe JuryThe HostThe VenueFilmsSponsorsGalleries Moët & Chandon AD Creative M.A.C Cosmetics 3 Mills Studios Company3 BBC Films St Martins Lane Intermission Film AllCity Raindance LightBrigade Media www.moet.com Moët & Chandon is the champagne of success and glamour since 1743. Renowned for its achievements, firsts and legendary pioneering spirit, Moët & Chandon is the Maison that introduced champagne to the world. Synonymous with the most venerable of traditions and the most modern of pleasures, Moët & Chandon has celebrated life’s most triumphant moments with grandeur and generosity for more than 270 years.The Champagne of CinemaFor nearly a century, Moët & Chandon has celebrated the glamour and the red carpet magic of international cinema. The Maison is a strong and long-time supporter of film awards and ceremonies, such as the Golden Globes, and the International Film Festivals in Venice and San Sebastian to name a few. 2014 will mark the 5th anniversary of Moët & Chandon's involvement in the Moët British Independent Film Awards. Moët & Chandon is delighted to toast the achievements of the British Film Industry and continue to support its most talented members. www.sohohouse.com/ Soho House opened in 1995 as an exclusive private members’ club for those in the film, media and creative industries. Since then, we have expanded with an additional five Houses in the UK. This includes Babington House in Somerset, Electric House in Notting Hill, Little House in Mayfair, High Road House in Chiswick and Shoreditch House in East London. Soho House Berlin is our first European outpost, located in the Mitte district. In the US Soho House New York is in New York's meatpacking district, Soho Beach House on Miami Beach front and Soho House West Hollywood on Sunset Boulevard. Our newest club, Soho House Toronto, launched in September 2012. www.adcreative.co.uk We are a multi-discipline team with big agency backgrounds, global brand experience and a crucial mid-size agency advantage:We are nimble, flexible and collaborative.We are inventive.We offer fresh insight and incredible value. We are an extension of your team. Working internationally and in the UK we deliver creative solutions for commercial problems, specialising in brand communications across Design, Branding, Digital Marketing, Social media, Web Development, Video production, Print, TV and Radio.Our client list includes Coca Cola, Dixons, The Moet British Independent Film Awards, Warner Music, Roxio, Taittinger, Maxxium. www.maccosmetics.co.uk/k M•A•C Cosmetics is proud to be the official make-up sponsor of BIFA and delighted to be supporting the Best Actress Award at this year's ceremony. M•A•C has become known as the premiere make-up brand by providing products to Makeup Artists creating the on-screen looks for top talent, working on-set at photo shoots and backstage at the international fashion shows. M•A•C can be found behind the scenes at award nights offering 'on-call' services to VIPs, directors, and film talent attending world film festivals, including the Toronto, Dubai, Deauville, Sundance and Tribeca, Doha, Pusan and London Film Festivals. During the past year M•A•C has supported 38 independent films and 41 feature films including Sunshine on Leigh, 12 Years a Slave, Captain Phillips, Kings of Soho and The Invisible Woman. www.3mills.com/ 3 Mills Studios is an iconic production destination in the heart of East London and home to the independent filmmaker. Situated on an attractive island oasis, this versatile and inspiring studio has hosted some of the most successful names in independent cinema including Andrea Arnold, Danny Boyle, Stephen Daldry, Wes Anderson, David Cronenberg, Tim Burton and many more. It is one of the most accessible Studios in the UK. Located just 30 minutes from Soho and within easy reach of rural locations in the South, it is an ideal base for any production. With 11 stages (totalling 79,000 sq. ft.), ancillary space and professional services, 3 Mills’ have the facilities to fit the bill and help create outstanding results. 3 Mills Studios – your place to create. www.3mills.com www.swarovskigroup.com Swarovski’s history on the silver screen goes back 80 years, and sparkles with unforgettable moments such as Dorothy tapping her crystal-encrusted ruby slippers in The Wizard of Oz, Marilyn Monroe wriggling in a series of breathtaking Swarovski-embellished gowns for Some Like it Hot and Audrey Hepburn accessorising her Little Black Dresses with chic jewellery pieces in Breakfast at Tiffany’s.Having worked hand in hand with countless costume, jewellery and set designers on some of Hollywood’s most iconic productions, it was a natural evolution for Swarovski to move into film production. Established in 2008, Swarovski Entertainment collaborates with industry partners and exceptional talent to develop, finance and produce original and artistically accomplished feature films with international box office appeal. Its films aim to express Swarovski’s philosophy and creative essence through moving images to enchant and inspire audiences around the world. www.swarovskigroup.com www.studiocanal.co.uk/ Established in May 1999, STUDIOCANAL theatrical UK has established a reputation for an innovative approach to distribution. A passion for film and commitment to creativity is central to STUDIOCANAL's activity in the UK market together with the desire to work collaboratively with our filmmakers to achieve the best possible results.STUDIOCANAL is a subsidiary of the CANAL+ Group. It is one of Europe’s leading companies in the market for co-production, acquisition, distribution and sale of international feature films. STUDIOCANAL is the only studio operating simultaneously in three main territories across Europe: France, the United Kingdom and Germany. The company distributes a total of more than 50 films a year throughout Europe. Additionally, STUDIOCANAL owns one of the most important libraries in the world, with more than 5,000 international titles.STUDIOCANAL’s Production ambitions to date have included Rowan Joffe's debut feature BRIGHTON ROCK starring Sam Riley, Andrea Riseborough and Helen Mirren; Joe Cornish's critically acclaimed ATTACK THE BLOCK, the first project to emerge from a partnership with Big Talk, Nick Murphy's debut feature THE AWAKENING starring Rebecca Hall, Dominic West and Imelda Staunton and the company's highest grossing theatrical release ever - Tomas Alfredson's award winning cold war thriller TINKER TAILOR SOLDIER SPY starring Gary Oldman as George Smiley with Colin Firth, John Hurt, Kathy Burke, Benedict Cumberbatch, Stephen Graham, Tom Hardy, Ciarán Hinds, Toby Jones, David Dencik, Konstantin Khabenskiy, Svetlana Khodchenkova, Roger Lloyd Pack, Simon McBurney, Christian McKay and Mark Strong rounding out a powerhouse cast. Future projects include Ben Wheatley’s SIGHTSEERS recently selected for Cannes, Jeremy Lovering’s IN FEAR, Michael Winterbottom’s KING OF SOHO, the Coen’s INSIDE LLEWYN DAVIS, Susanne Bier’s SERNEA and Dan Mazer’s hotly anticipated comedy I GIVE IT A YEAR currently shooting at Ealing Studios www.company3.com/ Company3 provides high-end post production services to feature film, commercial, music video and television clients. Our services include all aspect of post including online conform, color correction and VFX compositing. We are home to one of the largest and most talented pools of colorists and visual effects artists in the industry. www.bbc.co.uk/bbcfilms BBC Films is at the forefront of independent filmmaking in the UK, developing and co-producing around eight films a year. Christine Langan is the Head of BBC Films. Recent releases include BAFTA, Golden Globe and Academy Award® nominated Saving Mr. Banks from director John Lee Hancock; Stephen Frears’ BAFTA winning and Golden Globe and Academy Award® nominated Philomena; BAFTA and Academy Award® nominated The Invisible Woman from director and actor Ralph Fiennes; no.1 hit comedy Alan Partridge: Alpha Papa from director Declan Lowney; Dustin Hoffman’s directorial debut Quartet; Rufus Norris’s BIFA award-winning directorial debut Broken; Pascal Chaumeil’s A Long Way Down; and Joanna Hogg’s Exhibition. Upcoming releases include: Ben Kellett’s Mrs Brown’s Boys D’Movie - based on the hit BBC TV series – which will be in cinemas 27th June; Matthew Warchus’ uplifting British comedy drama Pride will be released 12th September; Richard Bracewell’s Bill which will be released 20th February 2015; and Thomas Vinterberg’s Far From The Madding Crowd starring Carey Mulligan will be released in spring 2015. BBC Films has an impressive back catalogue, which includes titles such as Simon Curtis’s Academy Award® nominated My Week with Marilyn; Lynne Ramsay’s intense thriller We Need to Talk About Kevin; Lasse Hallström’s Golden Globe nominated romantic comedy Salmon Fishing in the Yemen; Cary Fukunaga’s gothic romance Jane Eyre; Nigel Cole’s compelling true-life drama Made in Dagenham; Lone Scherfig’s Academy Award® nominated and BAFTA award-winning An Education; Armando Iannucci’s Academy Award® and BAFTA award-nominated In the Loop; Jane Campion’s Academy Award® nominated Bright Star; and Andrea Arnold’s BAFTA award-winning Fish Tank. Twitter @BBCFilms www.stmartinslane.com From its dazzling location at the hub of Covent Garden, West End theatres and Trafalgar Square, St Martins Lane is a dramatic and daring reinvention of the urban resort. Smart, witty and sophisticated, Philippe Starck’s design is a brilliant collision of influences - from the modern to the baroque - that suffuses the hotel with energy, vitality and magic. Entered through improbably tall, luminescent yellow-glass revolving doors—the tallest in London—St Martins Lane’s lobby is a soaring and theatrical space that offers a provocative manipulation of dimension and proportion. Starck presents a visually stunning play on scale, with oversized columns and angled niches painted a deep fluorescent yellow, complemented by Portuguese limestone floors. From its acid-etched, double-height yellow glass facade to its unpredictable plays on vivid colour to the dramatic series of columns that appear as shining towers, St Martins Lane’s lobby is a triumph of colour and light.Sanderson, in the heart of London’s West End, offers a retreat from the bustle of the city into a world of fantasy and well-being. The landmarked 1950s building has been transformed by Philippe Starck into a surreal Cocteau-like dream world, epitomising a new luxury that is smart, pared-down and tempered with a healthy dose of wit and irony. Just steps from Oxford Street shopping and the Soho district in London, Sanderson is a five star luxury boutique hotel ideally located for weekend breaks or business travel.www.sandersonlondon.com www.intermissionfilm.com To cut a long story short Intermission create award-winning film trailers. Established with a desire to do things differently and not just chase the bright lights, explosions and Hollywood happy endings they work closely with producers, filmmakers and marketeers to create diverse and distinctive audio-visual film campaigns that sell and entertain with equal skill. Theirs is a form of cinematic utopia, where every film is perfect, if only for a couple of minutes.Intermission and sister company AllCity have a shared passion for film. Combining their knowledge and experience, they work together to create work that's not just watched but blogged, tweeted, talked about and most of all remembered. www.allcitymedia.com Established in 2000, AllCity is an award winning London based creative agency specialised in delivering campaigns for the UK and International film markets. From script to screen we provide a variety of services for film, whether it be originating artwork, localising existing creative, or delivering full print, outdoor and online campaigns. Our highly experienced team bring knowledge and understanding from all corners of the industry, driving our collaboration with film-makers and marketing teams in order to deliver memorable campaigns. www.raindance.co.uk/site/ Raindance is unique. Founded in 1992, it has become Britain's leading independent film organisation, hosting training courses on all aspects of film production, and organising the Raindance Film Festival each October. By combining both training and exhibition directly, Raindance sets out to promote both independent films and filmmaking to a wider public. We are proud to be the founding sponsors of the British Independent Film Awards. www.lightbrigade.co.uk/ LightBrigade Media is enabling the delivery of the British Independent Film Awards 2012 through printed media and graphics.LightBrigade defines a new approach to brand communications and visual media. With a carefully assembled team of experts from disciplines including PR, events, creative, 3D and digital - all supported by our own production facility for graphics, build, litho and finishing - we’re a truly integrated proposition with a uniquely joined-up approach to visual media.Sponsor of the Award for Best Technical Achievement, LightBrigade is proud to be working alongside BIFA to deliver the Awards in 2012. At Morgans Hotel Group, we are the global leader and innovator of the lifestyle hospitality sector, dedicated to building a differentiated brand portfolio and establishing our properties in 24 hour urban and select resort markets. We create a vibe that encourages our guests, who we call the Creative Class, to live every moment more intensely. Morgans Hotel Group is immersive, transformative and deeply engaging; embracing irony and style, elegance and luxury, with strong and daring vision. We bring together the creative power of many – designers, artists, musicians – to bend the rules, stretch the realm of possibility and constantly push the boundaries of what a hotel can be. We lead, where others follow. variety.com/ Variety and Variety.com">http://variety.com/\">Variety.com provide the industry with the most comprehensive coverage of motion pictures, television and the digital space. With respected and experienced news reporters in Los Angeles, New York and around the world, Variety marries its historic coverage of the entertainment business with a technologically advanced website and new weekly print edition, offering readers the in-depth news coverage needed to remain competitive in the ever-changing entertainment industry. The Variety Group – Variety, Variety.com">http://variety.com/\">Variety.com, Variety Insight, LA 411, NY 411 – is owned by Variety Media, LLC, a division of Penske Media Corporation. © British Independent Film Awards | Created by Raindance Suite 10, 79 Wardour Street | London W1D 6QB | info@bifa.org.uk | +44 20 3411 2048

影视

2014-49/2828/en_head.json.gz/16961

Boston Comic Con Adds Game of Thrones’s Jason Momoa, Buffy’s James Marsters to Its Lineup Plus: more people from fan-favorite graphic novels and TV shows are coming to the Seaport this August. June 17, 2014 5:10 p.m. James Marsters Photo by Featureflash / Jason Momoa Photo by Helga Esteb / Shutterstock.com A Dothraki warlord and other fictional creatures you are emotionally attached to are coming to the Seaport this summer. Jason Momoa (a.k.a. Khal Drogo from Game of Thrones) is among the many VIPs who will be in attendance at the 2014 Boston Comic Con, and the convention even added a third day to its lineup to fit them all—the event now takes place August 8 through 10. In addition, fans will get close to other stars including James Marsters of Buffy the Vampire Slayer, John Barrowman of Doctor Who, Katie Cassidy from The CW’s Arrow, and Sean Astin of Lord of the Rings. All the more reason for Momoa’s attendance at the convention, Variety just reported that the GoT actor will play Aquaman in the highly-anticipated Batman vs. Superman: Dawn of Justice movie starring Ben Affleck and Henry Cavill (sorry, it’s a no-go for Matt Damon). Other confirmed cast members in the overly scrutinized film are Jesse Eisenberg as Lex Luthor, Jeremy Irons as Alfred, and Amy Adams, Laurence Fishburne, and Diane Lane reprising their Man of Steel roles. Marsters, who just ended his four-day stint in The Hound of the Baskervilles at UCLA, recently told the Hollywood Reporter that he’d absolutely consider reprising his role as Spike in Buffy—as long as they can find a way to have the vampire character not age. “What I don’t want to do is have an aging Spike apologetically telling Buffy that he’s under some aging spell,” he told the publication. As for the other special guests at Comic Con, John Barrowman was recently honored by the Queen of England in her Birthday Honours List with a Member of the Order of the British Empire award. Katie Cassidy, who used to star alongside Jared Padalecki in Supernatural, was just at the Supanova pop culture expo a few days ago to represent Arrow. And Sean Astin? He’s liking the idea of a Goonies sequel. But what else is new? Boston Comic Con will take place Friday, August 8, through Sunday, August 10, at the Seaport World Trade Center, 200 Seaport Blvd., Boston. Tickets for admission, celebrity photo ops, single events, and more are on sale now at eventbrite.com. Source URL: http://www.bostonmagazine.com/arts-entertainment/blog/2014/06/17/boston-comic-con-2014/

影视

2014-49/2828/en_head.json.gz/17041

Captain America 2 First Image, Confirms Black Widow's Major Role By Sean O'Connell 2013-04-08 10:34:39 comments Don�t turn your back on us, Steve Rogers. Just because you helped save New York City in Joss Whedon�s The Avengers doesn�t mean we no longer need your heroic assistance. Marvel Studios announced via press release that the anticipated sequel Captain America 2, subtitled The Winter Soldier has begun principal photography as it works toward its previously announced April 4, 2014 release date. In celebration of the beginning of the shoot, Marvel released the above photo of Chris Evans back in character as Captain America � turning his back to the camera and giving us a great look at his trademark shield (click to see it full size!). Speaking of, S.H.I.E.L.D. figures to be a big factor in Cap�s sequel. The release spells out a few details on the planned sequel, saying: Captain America: The Winter Soldier will pick-up where Marvel�s The Avengers left off, as Steve Rogers struggles to embrace his role in the modern world and teams up with Natasha Romanoff (Scarlett Johansson), aka Black Widow, to battle a powerful yet shadowy enemy in present-day Washington, D.C.� Of course, the Cap sequel is part of Marvel�s Phase Two, which launches on May 3 with Iron Man 3 and builds towards Whedon�s The Avengers 2, expected to hit theaters in 2015. But we have been hearing that The Winter Soldier will play as a standalone adventure, and has been described as �a political thriller,� which makes more sense now that we know it will have a D.C. setting. It is also interesting to know that Cap already will have a team up with Black Widow in this sequel. I love the idea of existing Marvel characters floating in and out of each other�s films. Get Iron Man into the Guardians of the Galaxy, just for fun! Anthony and Joe Russo will direct Captain America 2, from a script by Christopher Markus and Stephen McFeely. The cast rounds out with returning stars Hayley Atwell, Samuel L. Jackson and Toby Jones. In addition, the release confirms Robert Redford�s character in the sequel. He�ll play Agent Alexander Pierce, a �senior leader within the S.H.I.E.L.D. organization.� Watch What Happens When Kids Ask Mark Ruffalo To Hulk Out Guardians Of The Galaxy Has Another Mixtape, Here's What Was On It What The Hell Is Involved In Marvel's Audition Process?

影视

2014-49/2828/en_head.json.gz/17042

Big Brother 14 Winner Crowned: Who Won The Grand Prize? By Kelly West 2 years ago comments It's been seasons since I've been genuinely satisfied with the final two of any given season of Big Brother. In fact, Season 10 might be the last time I was cheering on both players. Tonight's Big Brother finale crowned a winner, but not before the final Head of Household competition played out and the last two players remaining had an opportunity to speak to the jury. Before the live portion of the show, the episode focused on a few more demonstrations of just how calculating Dan Gheesling was at this game. Apparently, he got Ian to agree to throw Part 1 of the HoH competition about ten minutes before he evicted Shane. The timing couldn't have been more perfect, as Ian figured his number was up at that point. The fact that he followed through on the promise after Dan met his end of the bargain shows the kind of player Ian is. Dan lied and backstabbed to get to the end. Ian played a slightly more honest game. And really, being more honest than Dan isn't that difficult. Let's not forget Ian's sneakiness in the earlier weeks of the season, when he was bringing information about Frank and Ian to Britney and Shane. Not only did Dan get Ian to throw Part 1, but he also got Danielle to throw it once Ian was down. Another impressive accomplishment, considering he'd just blindsided Shane. Danielle dropping may have cost her the game in the long run. Because Danielle lost Part 2 to Ian. The second part of the HoH competition was a timed event that had Danielle and Ian scaling the side of a "building" and putting windows with the houseguests' faces on them in the order they were evicted. Ian's strategy of only wiping off the names may have helped shave some seconds off his time, because he beat Danielle by more than a minute. And with the second part won, Danielle and Dan went to plan B, which was to try to get Ian to throw the final HoH competition. A faux fight was staged, wherein Danielle called out Ian for having a deal with Dan and telling him she was going to turn the jury against him. Given the current format of the show, she never would've had time to do that even if she wanted to. As intense as tonight's jury session was, I miss the days when the houseguests spoke with the jury before the finale. That gave the jury time to consider the answers and make their choice. The way they do it now, bringing the final juror out on finale night and having the jury do the questions live gives them no time to think things over. In the end, they probably come into the finale already knowing who they're voting for. Ian had no intention of throwing the last HoH competition. He outright told Dan that. But because he had two Final 2 deals, it's possible Dan threw it. If he did, he did a thorough job of it. As we've seen in previous seasons, the houseguests had to guess the way the jurors answered certain questions. It's such a crap-shoot, but Ian came out on top, winning by a couple of points. He held up his end of his promise to Dan and evicted Danielle. She left disappointed and even admitted to Julie that she thought Dan might have thrown it. Honestly, he might have. Or he might have intended to. But I don't think he would've made it quite as obvious if he did, so I'm thinking he would've lost anyway. I have a feeling the jurors were prepared for Dan to attempt to dazzle them, and if anyone came into tonight's finale undecided, I don't think Dan had the words to win their vote. Looking at both players, Ian had the easier win. He had the competition wins. He had the Quack Pack alliance. And while he had blood on his hands, he didn't blindside anyone. Dan, on the other hand, played a cutthroat game. He lied. He deceived. He manipulated. He did everything right - except win over the jury. Had he had more time to talk with them, maybe he would've gotten a couple of votes. But I think this jury looked at the two of them and wanted to see Ian win it. And why wouldn't they? He's a sweet guy, he's a fan of the game, and he did make some game moves. He also had a really solid speech prepared. And he didn't have to defend himself, nor has he won this game already, which is another thing that could very well have counted against Dan this season. All Ian had to do was be respectful and appreciative, bring up his comp wins, and throw a couple reminders of the Dan's game-flaws out there. I liked everything about Ian's answers and his speech. The only thing I didn't like was him talking over Dan or interrupting when it was Dan's turn. Sure, Dan was shaking his head while Ian talked, but he didn't interrupt. That's poor form, but in the end, a relatively minor infraction. Dan had to take a defensive approach, owning all of his moves in the hopes that they'd vote for him based on gameplay. The jury didn't seem won over by his speech, which was a strong indication that Ian had this game. The votes were cast, and by what was said, it seemed like things were leaning in Ian's favor. The only person that even hinted that they were voting for Dan was Danielle, and I think that's a mark of her loyalty. She seemed upset and maybe even angry with him, but without all the answers, she did what she's been doing all season: she stuck to Dan's plan. Before the results were revealed, the pre-Jury players returned. Janelle took a shot at Danielle, mentioning her lies, which may actually be a comment about things Danielle has said in conversation on the live feeds, if not a remark about her game-play. Janelle also showed her support for Dan, saying he should be the winner and that he's one of the best houseguests to ever play the game. Boogie showed respect for Ian, who was "his" player (for a little while, anyway). And Shane got to ask Danielle if she knew he was being blindsided. She assured him she didn't know and Dan backed it up, saying he knew she wouldn't go along with the plan if she knew about it. Speaking of Shane, he seemed a bit goofy during the jury question. Not sure if that was nerves or what, but he seemed to ramble a bit before he finally asked his question. And while we're on random comments, Britney looked adorable in her dress. With all the jury talking and speeches, there wasn't much time to rehash anything. It was time for the votes to be revealed. Danielle was the sole vote for Dan. Everyone else voted for Ian. The nearly unanimous vote makes me feel even more sure that the jury agreed together that they wanted Ian to win, possibly even before the finale. But I wonder how they'll feel once they watch the season and see the way Dan was playing. Some might see the lengths Dan went to to get to the end, while others will probably continue to feel Ian deserved the win. I wanted Dan to win. I'll admit that up front. But I'm a firm believer that the deserving player always wins. Because part of the game is winning the jury. In Season 10, Dan managed to do that. In Season 14, he had a lot more ground to cover and in the end, he just didn't pull it off. Maybe after the game he played, he never had a chance. But the fact that a former winner made it to the Final 2 is truly impressive and he moves to the top of my list of favorite players ever. Meanwhile, Ian loves this game, so as much as I would've liked to see Dan win again, I love that a fan of the series won. Ian's a good guy, he has a good attitude and I believe the value of this victory is worth much more than half a million dollars to him. Frank won the America's Choice prize, which was surprising, at least to me. I feel about the same way about Frank as I do about Jenn. Both seemed like really cool people, and their chatter on the feeds was some of my favorite to listen to, but I tend to focus on game-play, and I wouldn't have ranked Frank very highly there. He won a lot of competitions, but he fell short in the social game department. So on a game-side, he wouldn't have been my pick to win the $25k, but he's a nice guy, so it's easy to be happy he got it. And that wraps it up for the season! The grand prize goes to a 21-year-old college kid who loves Big Brother. Congratulations Ian! Tweet Big Brother's Donny Is Getting His Bold And The Beautiful Appearance, And He's Bringing Fr... The Sad Explanation For Evel Dick's Sudden Exit From Big Brother 13 Revealed Big Brother 16's Cody Explains That Crucial Choice He Made During The Finale Big Brother Will Be Back For Season 17 And Season 18 Big Brother 16 Live Feed Spoilers And Speculation: Who's Going To Win This Season? Big Brother 16 Live Feed Spoilers: Who Won Part 1 Of The Final Head Of Household? Big Brother 16 Watch: A Veto, A Blindside And The Final 3 Big Brother 16 Live Feed Spoilers: Who Won The Last Veto? HOT SHOWS

影视

2014-49/2828/en_head.json.gz/17126

Tag Archive | "Tessanne Chin Try" Pink’s ‘Try’ confirmed for ‘Justice System’ movie soundtrack Posted on 06 January 2014. Tags: Andrew Lee Pryce, Justice System, P!nk, Pink, Tessanne Chin Try, The Voice, Try Real Entertainment Productions and CEO, Andrew Lee Pryce are throwing their support behind the addition of P!nk’s Try to the official Justice System movie soundtrack, recently made possible by the film’s producers, Spyglass Entertainment. Released in 2012, Try peaked at number nine on theBillboard Hot 100 chart and was further popularized in 2013 thanks to the efforts of The Voice winner,Tessanne Chin, who successfully sang the song during her blind audition on the NBC talent show. In a press release, P!nk says she thoroughly enjoyed Tessanne’s pulsating rendition of her song and is glad that Try has been added to the Justice Systemsoundtrack. “I fell in love with Jamaican music when Tessanne Chindid over my song, Try on The Voice and it was extraordinary,” she said. “I now fall in love with Andrew-Lee Pryce’s talent as a film producer. “When Spy Glass Entertainment contacted me to use my song ‘Try’ in Pryce’s upcoming film, Justice System, I could not say no.” Pryce says Try is a perfect fit for the movie soundtrack given its strong, underlying message. “I love this song from, the first time I heard it! Each time I hear this song, even if I’m down. It’s a big motivation to keep trying hard for success, nevertheless what haters have to say.” Meanwhile, Pryce and the Real Entertainment Production congratulate Tessanne Chin for her outstanding performances that led her to the crown on The Voice, putting Jamaican music back, firmly, on the international map. He now hopes to emulate Chin’s success on the big screen. “Tessanne Chin tried until the end, when she won The Voice. Now I’m trying to break big in film and win an Oscar.” he said. Justice System, produced by independent American film company, Spyglass Entertainment, is a movie looking at the life of a young Jamaican footballer seeking a better, but finds gets himself in legal troubles in the United States. The movie will feature a slew of international stars, including Academy Awardwinning actor, Russell Crowe and rap star, Ja Rule to name a few. Real Entertainment Production is still on the hunt for the cast to play the role as the young Jamaican footballer. Pryce and his R.E.P continue to thank Spyglass Entertainment for allowing the opportunity to help bring this promising film to life. The film is expected to be released in 2016. Auditions for Justice System will be held across North America and the Caribbean between March and June 2014. Locations for said auditions include, Jamaica, Trinidad, the United States and Canada. Posted in LATEST NEWSComments (0)

影视

2014-49/2828/en_head.json.gz/17142

Share on Facebook Documentary Series Screens The Queen of Versailles A Special Projects Committee Event On August 15, an audience in the DGA’s Los Angeles Theater got a glimpse at the flaws in the American dream via director Lauren Greenfield’s documentary, The Queen of Versailles. The Queen of Versailles depicts a "Riches to Rags" story through an intimate glimpse into the lives of billionaire couple David and Jackie Siegel. The film begins with their triumphant construction of the biggest house in America inspired by the Palace of Versailles in France. Over the next two years, they lose their grip on their sprawling empire as the real estate bubble bursts and the Siegels attempt to navigate their way through the economic crisis that sets off a chain reaction in their lifestyle. Following the screening, Greenfield sat down with award-winning director and DGA Special Projects Documentary Series subcommittee chair Chuck Workman (Precious Images, The Source, Visionaries) for a discussion about the making of The Queen of Versailles. Greenfield’s other films include the award-winning documentaries Thin, a 2006 Sundance selection which earned her an Emmy nomination for Best Direction; Kids + Money, which was selected as one of the Top Five Non-Fiction Shorts in the World by Cinema Eye Honors 2009; and Beauty CULTure, which was a featured documentary at the Annenberg Space for Photography in Los Angeles. Her photographic work has also received critical acclaim from American Photo and her work was recently showcased in the Getty Museum's historical exhibition, "Engaged Observers: Documentary Photography since the Sixties." Greenfield has been a DGA member since 2009. photos by Trixie Textor 11/26/14-12/02/14 Log in as a Member to see upcoming events, screenings, and meetings. Documentary Series Screens The Invisible War Documentary Series Screens Undefeated Documentary Series Screens Pina

影视

2014-49/2828/en_head.json.gz/17177

Ghost Town (UK - DVD R2) Our Scott McKenzie checks out comic Ricky Gervais' first headline movie... Feature Ricky Gervais plays Bertram Pincus, a British dentist living in New York who tries to get through each day with as little social contact with other people as possible. When a complication during an operation results in him being technically dead for seven minutes, he wakes up to discover that he can see dead people. Led by the recently deceased Greg Kinnear, they’re all intent on Pincus helping them out with the unfinished business from their previous lives. If the stories are to be believed, then Ricky Gervais has been offered every comedy screenplay under the sun and he’s made a point of turning them all down because he wants to maintain some level of artistic credibility. That makes sense—after all, he made The Office and Extras his way without interference—but now that he’s moving into headline starring roles, why choose such a generic movie to do that with? Ricky Gervais tends to draw his comedy from awkward social situations, the same way Larry David does in Curb Your Enthusiasm, and it’s no coincidence that a few years ago Ricky made a point of using his new-found fame to gain an audience with David, which was recorded for British TV. I thought the funniest moments in Ghost Town had their roots in this area and were totally unrelated to ghostly goings-on. This may be a David Koepp screenplay, but the confrontations between Pincus and the hospital staff are pure Gervais. He also manages to slip in a few social comments into the mix as well. The main problem I have with Ghost Town is the apparent lack of ambition. The movie is filmed like a sitcom and the way the story begins and ends makes it feel like you’re watching the pilot episode of Curb Your Sixth Sense. Even the special effects of ghosts passing through people and inanimate objects look very unimpressive, although the rather silly device of the living sneezing when they walk through ghosts actually works quite well. The central performance is exactly what you might expect from Gervais, but the supporting roles from Tea Leoni and Greg Kinnear are nothing to write home about. The character of Pincus is quite close in nature to Melvin in As Good As It Gets and we all know from the beginning that his outlook on life is going to change by the time the end credits roll. Unfortunately it takes quite a long time to get there and there aren’t as many laughs to be had as you’d hope to get from Britain’s favourite comedian. I really wanted to like Ghost Town, but I just thought there wasn’t enough to set it apart from so many other high-concept comedies. Video Ghost Town is presented in 1.85:1 widescreen, but there’s not too much to impress the viewer in these stakes. Since the movie itself is essentially a sitcom it’s filmed as such, without any real flair and even the ghostly effects lack any details that might look good on a big TV screen. Come on, give us a little puff of smoke here and there—we’re supposed to be watching ghosts! The picture is a little fuzzy and lacks detail, especially in shots with a lot going on in the background. If you like the movie, there’s nothing here to put you off the movie but this is definitely not a disc that amaze your eyeballs. Audio The same goes for the audio quality as well. While the track is supposedly presented in Dolby 5.1, I challenge anyone to find rewarding details in the surround channels. The movie is heavy on dialogue and low on sound effects so as long as you can hear what everyone’s saying to each other, there’s nothing to complain about. The Brazil-like music is very pleasant though and is undoubtedly the highlight in a rather unimpressive audio track. Extras This disc opens with trailers for Hotel For Dogs, Without A Paddle: Nature’s Calling and JJ Abrams’ Star Trek. The main extra feature is a commentary with David Koepp and Ricky Gervais, which is as entertaining as you might expect from Gervais, who always has plenty to say. However, I can’t help thinking that there was a missed opportunity to record a commentary with Stephen Merchant and Karl Pilkington, his podcasting partners in crime. After that, the special features get a little less special. We get a standard making-of featurette with clips from the movie, behind the scenes footage and interviews with the cast and crew telling us how great everyone was. ‘Ghostly Effects’ is a couple of minutes of green screen and CGI shots showing how the ghost effects were edited together and ‘Some People Can Do It’ is a blooper reel. That’s your lot I’m afraid. Overall There are laughs to be had in Ghost Town, but there are few laugh-out-loud moments and I expect Ricky Gervais to go on to much bigger and better things after this movie. Everything about this release is pretty underwhelming, with average presentation and not much in the way of extras to keep your attention. Bottom line—if you’re a fan of Ricky Gervais, rent this movie. Ricky Gervais Part One (DVD) Ricky Gervais Part Two (DVD) Office: Series One, The (AU - DVD R4) Office: Series Two, The (AU - DVD R4) Ghost Town (US - BD) Advertisements Comments 6th March 2009 8:02 Join Date: July 2007 Kicking myself that I haven't seen this yet. Bound to be miles better than his brief cameo in Night At The Museum of course. Although it's just Heart And Souls with a different actor, it's still got to be great with Gervais as the lead. 2nd March 2009 English, Dutch, Turkish, English HoH Commentary by David Koepp and Ricky Gervais, Making Ghost Town, Ghostly Effects, Some People Can Do It David Koepp Ricky Gervais, Greg Kinnear, Tea Leoni

影视

2014-49/2828/en_head.json.gz/17272

Film.com/Movies Home > movies > The 50 Greatest Musical Numbers in Movie History The 25 Best Films of 2013: A Video Countdown 30 Gloriously Defaced Movie Posters The 50 Greatest Last Shots in Film History Every Movie Poster that Saul Bass Ever Made Film.com Staff · website Film.com became sentient in 2006 ... and now it is very hungry for popcorn and Junior Mints. The 50 Greatest Musical Numbers in Movie History Film.com Staff November 25, 2013 It doesn’t really feel like we’re living in a golden age of movie musicals. The days of all singing, all dancing Technicolor spectacle are well behind us, the fantasy of emotion bursting into immaculately choreographed showstoppers almost exclusively replaced by the fantasy of men bursting into chaotically choreographed battles dressed as bats, spiders and aliens. While a recent resurgence of traditional musicals has given hope to fans of the genre, the films themselves have hardly made this a revival worth celebrating – “Chicago” is often regarded as a stain on the Academy Awards, “Mamma Mia!” introduced the world to Pierce Brosnan’s singing voice, and last year’s “Les Misérables” was less of a tribute to a Broadway classic than it was a studio gluing a camera onto a three-legged chair and having famous people shout at it until money came out. Having said that, the cinema without songs would be like a novel without exclamation points. From the moment Al Jolson ushered the world into the era of synched sound, it was clear that movies and musical numbers were destined to have a very special relationship. When Hollywood began to deviate its attentions, independent and foreign filmmakers naturally picked up the slack, and movies as disparate as “Dancer in the Dark” and “Robin Hood: Men in Tights” have kept the tradition alive. Of course, the most globally beloved bearers of the flame were Disney musicals like “Aladdin” and “The Little Mermaid”, and this week’s “Frozen” finds the Mouse House harkening back to that grand tradition, even if they’ve ditched lush 2D animation for a more rounded, sterile look. But if “Frozen” – and “Black Nativity” – are the season’s only true musicals, it certainly doesn’t feel that way. An argument could easily be made that the Coen brothers’ pitch-perfect new film, “Inside Llewyn Davis”, is as much of a musical as anything else, its hero’s Homeric journey around the East Village folk scene of the 1960s peppered with moving performances that speak the truths he could otherwise never co

影视

2014-49/2828/en_head.json.gz/17315

Rogue will appear in X-Men: Days Of Future Past after all Rogue fans rejoice, as has confirmed that the energy-absorbing mutant has not been cut from Anna Paquin was always going to be a minor player in the new film, but it had seemed that she would be missing altogether when Bryan Singer described her involvement as "extraneous". However, he had teased that she would still be appearing in some capacity, and now reports that a Rogue cameo is still very much a part of the finished film. Without going into too much detail, it transpires that Rogue's involvement is pivotal to the film's plot, without her actually being on screen for very long. We won't spoil any more, although all the details are over on The report also claims that there will be other cameos along the way. Will Ray Park's Toad get another go-around? We'll have to wait and see, when the film opens in the UK on 22 May 2014. Total Film X-Men: Days Of Future Past

影视

2014-49/2828/en_head.json.gz/17446

Showing all 4 plot summaries Based very loosely on Robert Ludlum's novel, the Bourne Identity is the story of a man whose wounded body is discovered by fishermen who nurse him back to health. He can remember nothing and begins to try to rebuild his memory based on clues such as the Swiss bank account, the number of which, is implanted in his hip. He soon realizes that he is being hunted and takes off with Marie on a search to find out who he is and why he is being hunted. - Written by ibjsm When a body is recovered at sea still alive, the mystery man (Damon) seems to have forgotten everything in life, including who he was. Eventually he begins to remember smaller details in life and soon finds out that his name was Jason Bourne. What he doesn't like is that a gun and fake passports also belong to him. Now Bourne, and his new friend, Marie Helena Kreutz (Potente) travel from country to country in search of his new identity. But, someone else is not happy to see him alive, and is frantically trying to track him down. - Written by Film_Fan On a stormy night, a young man is pulled out of the Mediterranean Sea by the crew of a fishing boat. Thinking the young man is dead, a curious fisherman with a scalpel finds two bullets in his back and a miniature laser device in his hip. The laser reveals a Swiss bank account number. But our wet hero isn't dead, and soon finds himself in Zurich. In the bank vault the young man discovers his name, Jason Bourne. In addition, he finds a baffling pile of different passports, all with his picture, and a huge pile of cash. In the U.S. Embassy, Jason Bourne discovers his love interest and travel partner, Marie, along with the fact that someone wants to kill him. Armed with a bag of money and mysterious martial arts skills, with Marie by his side, Bourne scours Paris for clues about his identity and past life... and finds himself in the middle of two assassination plots masterminded by the CIA. - Written by Joshua Bess A man is picked up by a fishing boat, bullet-riddled and suffering from amnesia, before racing to elude assassins and regain his memory. - Written by Anonymous Synopsis An Italian fishing boat crew working off the coast of Marseille, France finds an unconscious man (Matt Damon) adrift in the Mediterranean with two gunshot wounds in his back. The man awakens on board... See full synopsis » (Warning: contains spoilers!) The Bourne Identity Storyline All Time Bests Artes Marciais - Meus filmes Assistidos em 2013 Best Action

影视

2014-49/2828/en_head.json.gz/17611

Legends & Legacies ▼ Storied Lives, Extraordinary Stories. We celebrate the lives of the people who have changed our world, from beloved entertainers to influential leaders and more. Jim DeRogatis Remembers Nick Drake Musician Nick Drake was not fully appreciated during... The Versatile Pat Morita Most Americans first met Pat Morita when he played... The Kennedy-Huxley-Lewis Connection After an assassin's bullets killed President John F.... The Highest U.S. Military Honor The Congressional Medal of Honor recognizes... Roy Scheider's Blockbusters Roy Scheider's name is forever linked to his... In the News ▼ The world’s eyes are on these newsmakers all over again, whether they’ve just passed away or are still notable many years after their deaths. Acclaimed and versatile film director Mike Nichols, the... Great American Smokeout 2014 On Nov. 16, 1977, the American Cancer Society held the... Broadway's Tribute to Elaine Stritch The lights of Broadway went dark in July to honor the... Remembering Diem Brown Diem Brown, reality television star of MTV's "The... Delightful Big Bank Hank Big Bank Hank, aka Hank Jackson, died today after a... Photo Galleries ▼ From history's iconic images to the smallest human moments, photographs bring life to our stories. See them for yourself in these slideshows Photos: How to Prepare Your Thanksgiving Turkey... Thanksgiving is nearly here, a time of year to relax,... Star Trek Photo Gallery Space: the final frontier … "Star Trek" has become one... Dallas Photo Gallery Prime-time soap opera "Dallas" ran for 14 seasons, from... Photos: Action Heroes With motion pictures the perfect medium for action,... Photos: Hollywood Dynasties They say in Hollywood it's all about whom you know. In... Quizzes ▼ Test your knowledge of beloved celebrities, movies, TV shows and more, or see how you compare to history's greatest figures. Who Would Direct the Movie of Your Life? They say that everyone has a story. So why not turn... Funny and Famous Last Words Quiz Take our quiz and see if you can match the comedian... Celebrities Who Served Photo Quiz Check out the slideshow of some of our favorite... Quiz: 8 Great Andy Rooney Rants For three decades, curmudgeonly "60 Minutes"... Which PBS icon are you? For many of us, Public Broadcasting Service is the... Today in History ▼ We took a look in the history books to learn who made news on this date in history. View today’s notables or browse through other dates. Born November 26 Charles Schulz was one of the most beloved and... Died November 26 Wild Bill Elliott was one of the smoothest cowpokes to... Mention Ricardo Montalbán and most will think of his... Died on November 25 In 1972, Time magazine called Flip Wilson "TV's first... Howard Duff was all over the television landscape from... Advice & Support ▼ Grief support groups and expert advice on bereavement, funerals, condolences, mourning customs, estate planning, memorial giving, and more. When someone you care about is grieving, it's hard to... What is the difference between a memorial service and a... Information and advice to help you cope after the death... Guide to Writing an Obituary Some people feel overwhelmed by the responsibility of... Never Too Late to Send a Sympathy Note When it comes to the difficulty of putting words to a... Dig deeper and find out more about the lives and legacies of people from all walks of life. The Mindset List® of American Death 8 Simple Rules for Remembering John Ritter Published: 9/17/2012 John Ritter (AP photo) John Ritter, the comic actor best known for his turn as Jack Tripper on Three's Company, was born Sept. 17, 1948. For all you fans out there, here are eight great ways to honor him on his birthday. 1. Know the basics. Ritter was the son of singing cowboy Tex Ritter and actress Dorothy Fay, so he was born into show biz – though he earned a degree in psychology from USC before his acting career took off. His first big TV appearance? He was a bachelor on The Dating Game when he was just 18. 2. Watch a clip from his first regular acting gig. Ritter made guest appearances on several TV shows in the early '70s, but his first recurring role was on The Waltons. He played the Rev. Matthew Fordwick on a total of 18 episodes over four years. 3. Laugh along with his breakout role. In 1977 Ritter landed the job that would make him a star – playing Jack Tripper on Three's Company. Costar Don Knotts called him "the greatest physical comedian on the planet," and it's hard not to agree with him. 4. Don't forget the spinoff. Three's Company stayed near the top of the ratings for its eight seasons – and we loved Jack Tripper so much that we wanted to see more. The spinoff, Three's a Crowd, didn't fare as well as the original, lasting only one season. But true John Ritter superfans loved it, too. 5. Say hello to a new blonde costar. The '90s saw Ritter back on TV, starring opposite Markie Post in Hearts Afire. 6. Follow him to the movies. Though Ritter was most famous for his television work, he made a few great movies, too – like Problem Child, Sling Blade and Noises Off. 7. Dream of what could have been. Ritter's last role was in a new TV sitcom – 8 Simple Rules for Dating My Teenage Daughter. Though the show lasted three seasons, Ritter graced it with his great talent for only a little more than one. During filming of 8 Simple Rules' second season, Ritter died after suffering an aortic dissection. The show went on without him, incorporating his death into the story… but it wasn't the show it had set out to be. 8. Say thanks for the memories. We wish we could have seen Ritter make 8 Simple Rules the long-lasting comedy classic that Three's Company was… and grow into even more and even better TV and movie roles. But we'll take what we can get – and what we got was a rich, three-decade career from one of the funniest guys ever to trip over a doorstep. Thanks, John Ritter. Written by Linnea Crowther

影视

2014-49/2828/en_head.json.gz/17694

W.W. Norton & Company is looking for a Licensing and Legal Assistant. see all Posts Tagged ‘Kate Lyn Sheil’ Festivity, FishbowlLA Sacha Baron Cohen Body Double Set for LAFF World Premiere By Richard Horgan on June 13, 2013 8:50 AM A year after Karl Jacob’s off-camera doubling for Sacha Baron Cohen as Aladeen hit theaters in The Dictator, the Minnesota-minted artist is gearing up for a sold-out Friday world premiere at the Los Angeles Film Festival of his co-directorial debut Pollywogs. The drama is set in Minnesota and derives its title partly from the idea that its two lead adult characters (Jacob, Kate Lyn Sheil) are emotionally stunted. Ahead of Friday night’s big debut, Jacob spoke with Twin Cities Daily Planet movie blogger Jim Brunzell III about the many references in the film to his (and Bob Dylan‘s) childhood hometown of Hibbing, MN, as well as the challenges the movie’s title may present overseas: “Apparently in the UK it [Pollywogs] means something different. One of the co-producers is British, and she said, “We may want to consider changing the title if it goes to Britain.” I think it could be some type of slang word.”

影视

2014-49/2828/en_head.json.gz/17834

‘Glee’ episode says goodbye to Monteith, Finn By LYNN ELBER Associated Press Oct 10 2013 8:26 am Photo by Chris Pizzello/Invision/AP Jane Lynch presents a tribute to Cory Monteith on stage at the 65th Primetime Emmy Awards. Monteith died on July 13. LOS ANGELES — Other TV series have woven a cast member’s death into an episode honoring them and their character. But “Glee” has an especially sensitive task. The Fox series will pay tribute Thursday to Cory Monteith, who was found dead in a Canadian hotel room in July of an accidental alcohol and drug overdose that ended his long, self-described fight against addiction at age 31. Monteith’s death is especially haunting given the character he played, a handsome Big Man on Campus with a sweet smile and big heart, one whose toughest problems involved dating and chastity or whether to align with glee club outsiders or the in-crowd football team. There’s also the uneasy knowledge that when Lea Michele’s character, Rachel, cries over boyfriend Finn, it mirrors the actress’ grief over losing her off-screen romantic partner. She dedicated her recent Teen Choice Award to Monteith, accepting with tears and wearing a necklace that spelled out “Cory.” Any real loss is difficult to cope with in the framework of fiction. But the deaths of sitcom stars John Ritter of “8 Simple Rules for Dating my Teenage Daughter” in 2003 and that in 1985 of Nicholas Colasanto, the bartender nicknamed Coach in “Cheers,” were illness-related and less fraught in their translation to on-air tributes. Some observers have suggested that the “Glee” episode should treat Monteith with dignity but not ignore the scourge of addiction that cut short his life – especially on a series that’s regularly delivered life lessons on big topics such as tolerance within its song-filled framework. Last month’s Emmy Awards remembered Monteith, with “Glee” star Jane Lynch calling his death a “tragic reminder of the rapacious, senseless destruction that is brought on by addiction.” “Glee” creator Ryan Murphy has not offered detailed plans for the episode, but has said that drugs will not be the cause of Finn’s death. However, Fox Chairman Kevin Reilly told members of the Television Critics Association last August that the episode would deal with “the incidents involved in Cory’s passing and the drug abuse in particular,” and that public service announcements involving cast members would air with it. One such announcement is planned, Fox said Tuesday. Mike O’Malley, who played stepdad Kurt Hummel to Monteith’s Finn, offered his take on the issue. “He dies of cancer, in a car accident, he dies of old age, he dies because of a drug overdose. It doesn’t matter,” O’Malley said. “He’s gone and you’re never going to see him again, and so now you gotta go to work, you got to honor his life, you’re trying to honor his fans’ relationship with the character.” He said the episode included “the most emotional scene I’ve ever acted in my entire life,” and called Monteith “a real bright light.” In a Fox promotion for the episode titled “The Quarterback,” students are seen gathered at an ad hoc memorial display at Finn’s high school locker, while another scene shows a weeping Rachel being comforted by glee club teacher Will (Matthew Morrison). A mournful version of Bob Dylan’s “Make You Feel My Love” performed by Michele is heard on the promo soundtrack. Other songs in the episode include covers of “Seasons of Love” from the Broadway musical “Rent”; James Taylor’s “Fire & Rain”; The Pretenders’ “I’ll Stand by You”; The Band Perry’s “If I Die Young” and Bruce Springsteen’s “No Surrender.” “Glee” will take a break of several weeks after the Monteith tribute as the network airs baseball’s World Series.

影视

2014-49/2828/en_head.json.gz/17854

Filming the Camps: John Ford, Samuel Fuller, George Stevens: From Hollywood to Nuremberg - Museum of Jewish Heritage - A Living Memorial to the Holocaust Address: 36 Battery Pl - 646-437-4200 www.mjhnyc.org Description: Hollywood directors John Ford, George Stevens, and Samuel Fuller entertained audiences with American cinema classics like The Grapes of Wrath, Shane, and The Big Red One. But their most important contribution to history was their work in the U.S. Armed Forces and Secret Services, filming the realities of war and the liberation of Nazi concentration camps. Their documentation provides an essential visual record of WWII. Filming the Camps presents rare footage of the liberation of Dachau with detailed directors' notes, narratives describing burials at Falkenau, and the documentary produced as evidence at the Nuremberg trials, among other historic material. Now, for the first time in the U.S., this material is being made available to a general audience.

影视

2014-49/2828/en_head.json.gz/18005

Bethenny Frankel Big Brother 11 The Real HousewivesJulie Chen, Bethenny Frankel shooting a pilot for CBS’ The View for moms by Andy Dehnart 22 Apr. 2010 | 8:34 am Two reality stars from very different shows, Big Brother host Julie Chen and departing Real Housewives cast member Bethenny Frankel, will team up as panelists on the pilot episode of a new CBS daytime talk show that’s like The View for mothers. “It’s a daytime panel show to take on ‘The View,’ targeted at women with children and hosted by celebrities, journalists and regular moms. A pilot will be shot in early May,” a CBS source (read: publicist; what normal person would describe moms as “regular”?) told the New York Post. Julie recently had a baby and Bethenny is expecting her first child this summer; they’d be joined by Lisa Rinna and Sara Gilbert. CBS wants to take on ‘The View’ [New York Post] « Real Housewives of DC will air this summer and star Michaele and Tareq SalahiJill Zarin accused of reviewing her own book, threatening a reviewer on Amazon »more stories about Bethenny Frankel, Big Brother 11, The Real Housewives The Sing-Off loses its starNBC's super-fun December a capella singing competition The Sing-Off is returning, but without its star judge, Ben Folds, and only as a two-hour special. Those are really depressing changes for a series that proved itself to be a super-fun show when it returned last December.

影视

2014-49/2828/en_head.json.gz/18012

First Look at Meryl Streep in The Iron Lady 07.08.11 by Chris The Iron Lady would be the perfect title for a female version of Iron Man, but it's actually the title for Meryl Streep's new biopic about Margaret Thatcher, U.K.'s first female prime minister. The first trailer for the movie just hit the web and it playfully draws out the surprise of seeing what Streep looks and sounds like portraying the famous head of state. Portraying real people is Streep's specialty. Her last Oscar nod came from her portrayal of Julia Child in Julie & Julia. The Iron Lady is being directed by Phyllida Lloyd, who previously directed Streep in Mama Mia!. Here's a synopsis: The Iron Lady is a surprising and intimate portrait of Margaret Thatcher, the first and only female Prime Minister of The United Kingdom. One of the 20th century's most famous and influential women, Thatcher came from nowhere to smash through barriers of gender and class to be heard in a male dominated world. The Iron Lady also stars Jim Broadbent as Denis Thatcher, husband to the prime minister, and Anthony Head as Geoffrey Howe, Thatcher's long-serving Cabinet Minister. The Weinstein Company is distributing the movie. Though there's a release date of Jan. 6, expect The Iron Lady to play in a L.A. theater before the end of the year to make it eligible for next year's Oscars. The Weinstein Company, historical British biopic, Meryl Streep . . . should the Academy start engraving the Oscars now? Related: Meryl Streep The Iron Lady MORE FROM REELZ: 03.19.2014Can You Find Taylor Swift in the First Trailer for The Giver? 02.28.2014Hollywood Hillbillies Oscars: The Best in Tough, Mema-esque Nominated Roles 12.13.2012Top 10 Most Oscar-Worthy Actresses of 2012 Did you know?REELZ isn't just a great place for movie reviews and celebrity news, we also have a great slate of original programming.Choose one of our shows below to learn more! MORE REELZ SHOWS ON TELEVISION

影视

2014-49/2828/en_head.json.gz/18148

Article: Interview with Cynthia Wade, director of LIVING THE LEGACY: THE UNTOLD STORY OF MILTON HERSHEY SCHOOL Posted April 02nd, 2010, 10:04 AM by SundanceTV Oscar-winning documentary director Cynthia Wade. On May 17th, Sundance Channel will screen LIVING LEGACY: THE UNTOLD STORY OF MILTON HERSHEY SCHOOL which follows three young students as they separate from their parents and enroll in Milton Hershey School, a residential school in Pennsylvania. The film follows the children during their first school year – a turbulent, dramatic and eye-opening experience for the students and their families. Director Cynthia Wade speaks with Sundance Channel about her experience working on this film. SUNDANCE CHANNEL: What first drew you to the story of Milton Hershey School? Wade: I’d recently finished FREEHELD, a 38 minute film (which won the Academy Award for Best Short Documentary in 2008 and 15 other film festival awards). I was directing another short documentary in Cambodia (BORN SWEET, which won Honorable Mention at the 2010 Sundance Film Festival). With those two short films as my latest endeavors, I was eager to move back into long-form documentary and direct another feature-length film. It’s a completely different experience directing a feature-length film, as it demands so much more material, time, patience, and energy — think “marriage” as opposed to “long term relationship.” I was ready for another “film marriage.” When I was approached by the Milton Hershey School as a director for this project, I jumped at the chance. It was exciting to think about staying with a project on a long-term basis, following characters over an extended period of time.

影视

2014-49/2828/en_head.json.gz/18269

Email to a friend "Bless Me, Ultima": Movie Revisits Controversy, Succeeds, After 40 Years Saturday, 02 March 2013 00:00 By Roberto Cintli Rodriguez, Truthout | Movie Review font size Brown faces along with the magic of northern New Mexico's landscapes and Indo-Hispano culture in new movie, Bless Me, Ultima, charm Roberto Rodriguez. First a confession: I was not a Chicano Studies major when I attended UCLA back in the day. Probably for that reason, I have never read Bless Me, Ultima, cover to cover. That's probably an unpardonable sin, akin to me never having donned a Zoot Suit. But let's talk about the new movie, set during World War II in northern New Mexico. Yet, for me, the context is always Arizona. Read more articles by Roberto Cintli Rodriguez and other authors in the Public Intellectual Project, here. Bless Me, Ultima is one of the books that was at the core of Tucson's controversial Raza Studies curriculum. It had been previously banned around the country, but the Tucson Unified School District put it on the map in 2010 by shutting down the program, essentially banning all books and other materials (the Aztec Calendar) associated with it. All this was precipitated because then-state superintendent of schools, Tom Horne, decided that Raza Studies were "outside of Western Civilization." That said, I would recommend the movie to any and all past, present and future censors, starting with Mr. Horne, his successor, John Huppenthal, current Tucson superintendent, John Pedicone, all the TUSD school board members and all the state legislators (nationwide) who have conspired to destroy Raza Studies. To them and to the world, I would say: Bless Me, Ultima is Raza Studies! From the opening scene, it is magical. More than magical is the beauty of New Mexico, whose reality is virtually unknown to urban types (like myself), who grew up knowing little of the land, the mountains, the waters and the open skies. Ultima is a curandera, an Indigenous healer, who moves in with a family in a village in northern New Mexico, where everyone knows each other but where feuds stretch far back, and where violence is no stranger. In the movie, Ultima takes 7-year-old Antonio under her wing, teaching him about life, about medicine, about the natural world, but most of all, about the nature of human beings. Without giving the story and ending away, Bless Me, Ultima indeed is about pride and prejudice. It is about faith and beliefs in a "modern world." Its power is that it is seen through the eyes of a 7-year-old, a boy who is destined to become a priest. Ultima is recognizable - a woman whom people both respect, but also fear, and as the movie shows, a woman who is shunned, even after she heals. Unstated is that this story takes place among what people refer to as an Indo-Hispano village. The fact that the book and movie touch upon the subject of curanderas is what roils conservatives. Just as in the movie, Ultima is accused of being a witch who practices witchcraft. Many of the village people react to her, akin to the way they've been taught to react for 500 years. Beyond watching the movie (and reading the book), I would recommend two related books: Women and Knowledge in Mesoamerica: From East L.A. to Anahuac (2011) by Paloma Martinez-Cruz and Red Medicine (2012), by Patrisia Gonzales, both from the University of Arizona Press. Both deal with the topic of woman healers and their knowledge and medicines that survive the so-called conquest, or European invasion. It is living knowledge, knowledge that cannot be destroyed, despite a 500-year effort. The magic of Bless Me, Ultima is beyond its content; it is, after 41 years, the ability to see Rodolfo Anaya's classic work on the big screen. Truly, to see brown faces throughout the whole movie, not simply in support roles or as extras - was part of the magic. In effect, Bless Me, Ultima was one of the first fruits of the Chicano/Chicana literary renaissance. It made me and makes me wonder when we will be seeing a few more classics, a product of the Flor y Canto (translation: flower and song) Movement of the 1960s-1970s, also referred to as "In Xochitl In Cuicatl." There are hundreds of stories ready to be told. To author Rudy Anaya: Gracias-Thanks-Tlazocamati. For more info, go to: blessmeultima.com. Copyright, Truthout. May not be reprinted without permission. Roberto Cintli Rodriguez Roberto Rodriguez, an assistant professor in Mexican-American studies at the University of Arizona, can be reached at xcolumn@gmail.com. Related StoriesIndigenous Groups Challenge Doctrine of Christian Discovery and DominationBy Jason Coppola, Truthout | News AnalysisRaza Studies: Inside or Outside of Western Civilization? By Roberto Cintli Rodriguez, Dr. Cintli's Blog | News AnalysisEthnic Minority Youth Lead New Wave of Student ActivismBy Gabriel M Schivone, Inter Press Service | Report Show Comments By Amy Goodman, Democracy Now! | Video Interview "Bless Me, Ultima": Movie Revisits Controversy, Succeeds, After 40 Years

影视

2014-49/2828/en_head.json.gz/18296

The UTE Contemporary drama vimeo | About the UTE Created in 1990, the Union of Theatres of Europe (and of the Mediterranean) is a European network of theatres, companies and artists - that aims at the development of international and transnational artistic collaborations, within Europe and beyond. Interferences Festival Dedicated to the the "stories of the body", the 4th edition of the INTERFERENCES International Theatre Festival, organized biannually by the Hungarian Theatre of Cluj, will open on the 26th November 2014. Alongside a rich programme of performances, concerts, screenings and workshops, the festival will also host the first meeting of our "Think-Tank Young Journalists Online", which will lay the foundations for the creation of an online multilingual magazine dealing with theatre in Europe. TERRORisms project in Tel Aviv On the 13th November 2014, the TERRORisms project will open in Tel Aviv with the premiere of Maya Arad's new play "God Waits at the Station". Based on a true story, a suicide-bombing during the second Intifida, the play questions our perceptions and representations of terrorism. Milena Marković in UBU - European Stages The 2014 second semester issue of European review "UBU - European Stages" offers a focus on the work of Serbian playwright and poet Milena Marković in the context of the UTE-TERRORisms project. CONFLICT ZONES | ZONES DE CONFLIT The Union of Theatres of Europe is proud to announce the launch of the CONFLICT ZONES network - a three-year programme aiming to explore the conflicts that have been shaping our surroundings, moves and thoughts ever since the beginning of the Great War. more Gaudeamus, back on stage First created in 1990, Lev Dodin's mythic performance returns to the stage of the Maly Drama theatre in Saint-Petersburg in a new version performed by the young actors of the theatre's ensemble. more Euronews report | WWI centenary Euronews report WWI centenary Concept box "We must make ourselves the guardians of an idea of Europe, a Europe of the difference, but of a Europe that consists precisely in not closing itself off in its own identity and in advancing itself in an exemplary way toward what it is not [...]" Jacques Derrida TERRORisms A two-year theatre project by the UTE, in cooperation with 6 theatres in Germany, Norway, Serbia, Israel, England and Palestine.

影视

2014-49/2828/en_head.json.gz/18351

7 Bits of Behind-the-Scenes Dirt That Have to Be in Lifetime’s Saved by the Bell Movie Lana Del Rey Is a Karaoke Lover’s Dream preview What Pixar’s Next Movie Will Mean to Girls By Kyle Buchanan In 2009, NPR writer Linda Holmes had a simple request for Pixar, one she put forth in an article titled, “Dear Pixar, From All the Girls With Band-Aids on Their Knees.” The entreaty? “Please make a movie about a girl who is not a princess.” At that point, Pixar hadn’t made a movie that starred a girl at all. Yes, there were important female characters in many of the company’s most beloved films, like Jessie from Toy Story and Dory from Finding Nemo, but none who could truly be considered the lead of her own movie. Most Pixar films unequivocally starred a male character — or often two, since the studio has made several buddy comedies. “The story is never ‘a girl and the things that happen to her,’” wrote Holmes, “the way it's ‘a boy and what happens to him.’” That will soon change, and in a big way. After delivering its first female-led film with 2012’s Brave, Pixar brass came down to Los Angeles last night to preview their big title for next year, Inside Out, which is completely princess-free. It takes place in the mind of a little girl named Riley, but she’s not exactly the lead; instead, thanks to the ingenuity of Pixar, Riley is more like the setting. The film’s real protagonist is Joy (voiced by an effervescent Amy Poehler), one of five emotions who steer Riley through life via a control center in her mind that’s akin to the bridge from the Starship Enterprise. Joy and her cohorts — including Fear (Bill Hader), Disgust (Mindy Kaling), Anger (Lewis Black), and Sadness (Phyllis Smith) — all work together to keep Riley emotionally balanced, and for the first 11 years of her life, the primary influencer is Joy, as evidenced by Riley’s sunny demeanor. But as adolescence sets in, Joy finds her lead role usurped. Suddenly, Sadness wants to pipe in at inappropriate times — coaxing Riley to cry during her first day at a new school, for instance — and as the two emotions jostle for control, both of them fall into the deepest reaches of Riley’s mind and have to work their way back. Meanwhile, left to their own devices, Fear, Disgust, and Anger collude to transform Riley into a moody preteen. “The whole story sparked from watching my daughter grow up,” said director Pete Docter, who also helmed Monsters Inc. and Up. As his daughter Ellie grew older, she started to lose the natural joy that once seemed so inherent in her personality, and as Docter mused on why that was, he hit upon his movie. “Also, as we did our research, psychologists told us there is no one more emotionally attuned than a 12- to 16-year-old girl,” he told Vulture after the presentation. “They are just totally dialed in to read everything — for whatever reason, it’s sociologically true.” The real spin on the Pixar formula comes when Joy and Sadness have to work together to make their way back into Riley’s mind; unless you count Merida’s misadventures with her non-verbal, transformed mother in Brave, Inside Out qualifies as Pixar’s first female buddy comedy. Producer Jonas Rivera says that decision came naturally. “Joy just felt like she’d be female,” he said. “It wasn’t something that we engineered or overthought — it just felt right to us.” Docter concurred. “It’s not like I set out to make a girl-power movie,” he told Vulture. “But I think this story and the subject matter really speaks to that.” And it will likely speak to millions of little girls, too. I thought of Holmes as Docter played the first five minutes of his movie, a fleet and touching montage that emotionally rivals what he accomplished in the famous first act of Up. As Inside Out begins, Riley is born, and Joy enters her mind for the first time, awed at what she beholds. As Riley grows, playing games with her parents and roaming around the house as a toddler, Joy stores those memories in glowing marbles, each of which coaxes elements of Riley's personality to come to the fore. One of those memories flashes by in a flash, but it's pivotal: Tottering around on an icy lake with her parents, young Riley inadvertently hits a hockey puck into a nearby net, scoring an accidental goal. Joy files that experience away as a treasured memory, and Riley's interest in sports grows commensurately; moments later in the montage, when we see an older Riley, she's skidding across the ice again, this time equipped not with a tiara and a scepter but with a hockey mask and a stick. She's in the middle of a game, manipulating the puck like a master, driven as can be. In an instant, you know: This is a girl with band-aids on her knees, and the movies (and Pixar) are all the richer for it. Photo: Courtesy of Pixar

影视

2014-49/2829/en_head.json.gz/119

Home » Film » DVD Review: Standing with Stones DVD Review: Standing with Stones Posted by: Fitz June 2, 2009 in Film Please Share...0000000How many stone monuments do you think are in the British Isles? Any guesses? What would you say if you learned that there were nearly 1,000 stone circles in the U.K.? What if I told you that if you added the other monuments, such as stone rows, long barrows, cairns, standing stones, and so on, you'd end up with tens of thousands of monuments? I was shocked too. The popular media has made us think that Stonehenge is the only big stone monument in the Isles, but there's obviously much more than that. With Standing with Stones, writer and presenter Rupert Soskin hopes to share his knowledge and fondness for these mysterious places. A renowned naturalist and writer, Soskin has been exploring the stone monuments most of his life and has a few theories to share. But even with his theories and those he relates from other archaeologists, anthropologists, and historians — we just don't know enough about these sites to tell how they were used or why they were built. Some of the monuments have astronomical significance, built to predict the winter and summer solstices or the position of the sun, moon, and stars. Others are remnants of objects used by the Romans to measure distance, like the London Stone which has been used to denote the center of London for measurements. But most of them are complete unknowns. Throughout the documentary, Soskin takes viewers on a tour of more than 100 monuments scattered across England, Wales, Scotland, Ireland, and the smaller islands of the U.K. It took Soskin and documentarian Michael Bott more than two years, living in a camper-van for a month at a time, as they traveled thousands of miles recording footage. Was the journey worth it? Definitely. Whereas nature documentaries such as Planet Earth have stunning high definition video of living creatures inhabiting the planet, Soskin and Bott somehow managed to capture the amazing natural beauty of these stone sites in a way I don't think I've ever seen before. Breathtaking shots of landscapes dotted with these Neolithic, Bronze, or Iron Age monuments left me wanting to hop on a plane and visit them myself. And Soskin's presentation weaves humor, humility, and intelligence together as he provides some context for these sites. It's obvious that he has a passion for them and wants to share it. And he does a wonderful job as our congenial, informative tour guide. That said, it's the cinematography that sticks with me. Yes, I listened and learned quite a bit about these many sites I'd never even heard of. But the brilliant shots in daylight, fog, or even the dead of night are simply amazing. When you add in cool computer-generated graphics of the theories discussed, including how some of the sites may have looked before the stones were removed for other purposes along with the entertaining presentation and beautiful high definition video, you have an amazing experience lasting more than two hours. My only complaint about the DVD is there were frustrating gaps of a few seconds where the picture would go black as it loaded the next chapter. In addition to the documentary itself, you get quite a large number of extras. The "Interview" included provides a great deal of background from Soskin and Bott on the making of the film. The project has been in the works since 2001 and the duo discuss how it came to be and their goals for the film. The "Outtakes" feature includes a number of bloopers caught while filming. Soskin, like any other narrator or actor, sometimes takes several tries before getting a line right. It's obvious his sense of humor helps him through those rough patches. Some "Unseen Footage" shows some of the clips cut from the film while they shot it. It was very interesting to see the camera work and how weather affected their shots. The "Original TV Pilot Film" that was made in 2001 is included on the DVD. Originally the Soskin and Bott's idea was for a number of short segments on television. But after they shot the first 10 minute film, they decided that it was untenable due to schedules and weather. Instead, the duo took it upon themselves to write, shoot, and edit the film. Also included is a short trailer for the film, a slide show with 72 slides covering the making of the film, and commentary from Soskin and Bott. If you've ever wanted to know more about some of the stone monument mysteries of the British Isles, Standing with Stones is a great way to learn more. In addition, the high definition video provides a beautiful way to tour parts of the U.K. without actually getting a plane ticket! For more information about the film, be sure to check out the Standing with Stones website. Documentary landscape movie stone circles Stonehenge 2009-06-02 Tagged with: Documentary landscape movie stone circles Stonehenge About Fitz Fitz is a software engineer and writer who lives in Colorado Springs, CO, with his family and pets, trying to survive the chaos! Previous: Movie Review: Drag Me to Hell Next: The Runway Walk Book Review: ‘Beverly Hills is Burning’ by Neil Russell Book Review: ‘Alien’ by Alan Dean Foster Book Review: ‘The Art of Rio’ by Tara Bennett

影视

2014-49/2829/en_head.json.gz/199

Lifetime Orders Six Episodes of Glen Mazzara’s The OMEN TV Show DAMIEN by Perri Nemiroff Posted 92 days ago We’ve got more Poltergeist, Amityville Horror and Texas Chainsaw Massacre making their way to theaters, just to name a few, but the horror reboot/remake/sequel craze isn’t just relegated to the big screen anymore. Rosemary’s Baby had its run on NBC back in May, MTV is working on a Scream TV show, Bates Motel recently wrapped its second season and now Lifetime just snagged one of their own. The network just put in a straight-to-series order for Damien, a show based on Richard Donner’s The Omen. Lifetime gave the go-ahead for Fox Television Studios to churn out six episodes, which will likely air in early 2015. The concept comes from former Walking Dead showrunner, Glen Mazzara, and will focus on an adult Damien Thorn. Hit the jump for more on the show. Mark Romanek to Direct THE SHINING Prequel OVERLOOK HOTEL by Matt Goldberg Posted 130 days ago Mark Romanek is in talks to direct The Shining prequel Overlook Hotel for Warner Bros. According to Variety, former The Walking Dead showrunner Glenn Mazzara recently turned in his draft for the original story. The script is based on Stephen King‘s prologue to the novel, which was cut from the book prior to publication. The story takes place at the turn of the 20th century, and focuses on the hotel’s first owner, robber baron Bob T. Watson. Watson and his family scaled Colorado Rockies to build the grand resort, a place they could also call home. Things presumably went downhill from there. Hit the jump for more. 30 Things We Learned from the BREAKING BAD Writer’s Room at the Writers Guild Foundation by Hunter Daniels Posted 356 days ago Breaking Bad may be over, but the well deserved victory lap (which will wind ‘round the sure-to-be-bestselling series box set en route to a slew of Emmy Awards next year) continues unabated. Last night, Collider was on the scene in Beverly Hills at the Writer’s Guild Foundation to see the show’s seven member writing staff reunite to share stories and life advice. The lively panel, moderated by former The Walking Dead Showrunner Glen Mazzara and featuring Sam Catlin, Peter Gould, Gennifer Hutchinson, George Mastras, Moira Walley-Beckett, Thomas Schnauz, and of course Vince Gilligan was full of insight and laughs as the crew reminisced about abandoned home invasion subplots, alternate character deaths, the structure of the writer’s room, alternate endings for the series, Gilligan shooting himself in the thigh with a dart, and much, much more. Hit the jump for a recap and the top thirty things you should know. Former WALKING DEAD Showrunner Glen Mazzara to Write THE SHINING Prequel THE OVERLOOK HOTEL by Adam Chitwood Posted 1 year, 228 days ago It appears that Stephen King’s beloved novel The Shining is all the rage at the moment. King is set to release his sequel novel Doctor Sleep later this fall and the Shining-centric documentary Room 237 recently hit theaters, but now it appears that the story is headed to the big screen once again by way of a prequel. Glen Mazzara—who previously took over for Frank Darabont as showrunner on AMC’s The Walking Dead before being forced out of the position halfway through the most recent season—has been tapped to write the screenplay for the Warner Bros. prequel film The Overlook Hotel. Hit the jump for more. Continue Reading AMC Sets Scott Gimple as New Showrunner on THE WALKING DEAD Third time’s the charm? Following the shocking news that Glen Mazzara would be stepping down as showrunner on AMC’s hit drama series The Walking Dead, TV Line now reports that supervising producer Scott Gimple has been tapped as the replacement. Gimple will mark the third showrunner on the 3-season-old series, as original creator/showrunner Frank Darabont was forced out halfway through the show’s second season. Hit the jump for more details. Continue Reading THE WALKING DEAD Renewed for Season 4; Showrunner Glen Mazzara Exits the Series Over “Difference of Opinion” AMC is getting really good at dicking around the showrunners of their most popular and creatively beloved shows. The network’s frequent headbutting with Mad Men creator/showrunner Matthew Weiner is no secret, and they edged out The Walking Dead creator/showrunner Frank Darabont halfway through the hit zombie series’ second season. Now, in a shocking move on the heels of a season four renewal, current The Walking Dead showrunner Glen Mazzara has announced that he’s leaving the show over a “difference of opinion” with the network. Hit the jump for more. Continue Reading Glen Mazzara and Robert Kirkman Talk THE WALKING DEAD Season Three, Changes from the Comic Book, Fan Reactions & Possibly Killing Off All the Characters by Christina Radish Posted 2 years, 37 days ago The hit AMC drama series The Walking Dead is back for Season 3, with higher stakes, more threatening human villains and, of course, plenty of zombies. When things pick back up, Rick Grimes (Andrew Lincoln) and his fellow survivors continue to seek refuge, this time in an abandoned prison, but soon discover that there are greater forces to fear than just the walking dead. The struggle to survive has never been so perilous, especially considering that Rick’s wife, Lori (Sarah Wayne Callies), is close to the due date of her pregnancy. The show also stars Laurie Holden, Steven Yeun, Norman Reedus, Chandler Riggs, Lauren Cohan, Scott Wilson, IronE Singleton, Melissa McBride, Danai Gurira and David Morrissey. At the show’s press day, showrunner Glen Mazzara and writer Robert Kirkman (who also created the comic book) talked about how open the writers’ room is to changes from the comic book, which change they were most nervous about fan reaction to, the main themes of Season 3, shooting the opening sequence for the season with no dialogue, keeping the mystery of Michonne (Gurira), why Daryl (Reedus) is so much fun to write for, whether or not the show could survive if you killed off all of the original characters, and why it’s important for them to reinvent the conventions of television. Check out what they had to say after the jump, and be aware that there are some spoilers. Continue Reading Go Behind the Scenes of THE WALKING DEAD Prison with Creator Robert Kirkman by Dave Trumbore Posted 2 years, 74 days ago We’re about a month away from the premiere of the third season of The Walking Dead on AMC, but that doesn’t mean you have to wait that long to go inside the infamous prison. In what’s sure to be the centerpiece of the upcoming season, the prison will act as a safehouse of sorts for our remaining heroes. But for how long? Well, before the living start staking claims and the dead start wandering its halls, The Walking Dead creator, Robert Kirkman is here to take us on a behind-the-scenes tour of the prison. The Walking Dead, starring Andrew Lincoln, Norman Reedus, Chandler Riggs, Sarah Wayne Callies, Steven Yuen, Michael Rooker and IronE Singleton, returns to AMC starting Sunday, October 14th. Hit the jump to take the tour. New Images from THE WALKING DEAD Season 3; Plus Showrunner Glen Mazzara Talks The Governor and Keeping the Show Scary The third season of The Walking Dead is drawing near, and fans are starting to get an idea of what’s in store for everyone’s favorite inept zombie apocalypse survivors. Last week two new teaser trailers landed online, and today we’ve got a batch of new images and some quotes from showrunner Glen Mazzara about the new season. We last saw our crew of survivors in an extremely precarious situation, and these images promise plenty of human-on-zombie violence when the show returns. Furthermore, we get a better look at new characters The Governor (David Morrissey) and Michonne (Dania Gurira). Hit the jump to check out the images and to see what Mazzara has to say about the upcoming episodes. Continue Reading THE WALKING DEAD Showrunner Glen Mazzara Talks Continuing with a Faster Pace in Season 3, Fidelity to the Source Material, Character Deaths and More by Tommy Cook Posted 2 years, 117 days ago The second season of The Walking Dead truly felt like two separate shows. The first half embracing a much more languid pace culminating in the discovery of a death long since thought known versus the second half’s uber-accelerated, major-character-culling end. If the first half depicted the group’s somber loss of hope in this dystopian landscape, then the second half was the metaphorical retort of a middle finger. Who needs ‘hope’ anyways? Let’s shoot something in the head and feel better – at least for a moment or two. At the Saturn Movie Awards, Glen Mazzara (Executive Producer/Showrunner of The Walking Dead), was on hand to pick up the award for Best Television Presentation. While there, I had the opportunity to speak with Mazzara about the pace of the upcoming third season, more major character deaths and the ‘Prison’ storyline arc, among many other topics of conversation. For the full interview, hit the jump. Continue Reading Comic-Con: THE WALKING DEAD Panel Recap and New Trailer for Season 3, which Premieres on October 14 by Adam Chitwood Posted 2 years, 134 days ago Though in previous years TV panels were relegated to Sunday in Hall H at Comic-Con, this year the television shows invaded the 6,000 seater on Friday in a big way. One of the most anticipated panels was for AMC’s The Walking Dead, and Nerdist’s Chris Hardwick hilariously moderated the panel packed with the series’ stars as well as creator Robert Kirkman and showrunner Glen Mazzara. Hit the jump to read my full recap. New Poster for THE WALKING DEAD; Plus Showrunner Glen Mazzara Talks What to Expect in Season Three Just ahead of the show’s Hall H debut next week at Comic-Con, a new poster for the upcoming third season of AMC’s The Walking Dead has landed online. Moreover, showrunner Glen Mazzara recently talked a bit about what to expect when the zombie series returns: “The entire landscape has fallen to zombies. The entire world has collapsed, the apocalypse has taken over, the zombies have taken over, there’s no safe place. And I think in the past our characters thought they could find some safe harbor, and now there’s just no good hiding place at all.” We’ll likely have a much better idea of what season three will entail after next week’s panel, and you can rest assured we’ll have a full recap up on the site shortly afterwards. The poster teases two major characters from the comics making their debuts this season: Michonne (played by Danai Gurira) and The Governor (David Morrissey). Hit the jump to check out the poster and to see what Mazzara has to say about Morrissey’s work as the fan-favorite antagonist. Continue Reading New Images from Season 3 of THE WALKING DEAD by Allison Keene Posted 2 years, 145 days ago After watching everyone wander around The Farm for most of Season 2, fans of The Walking Dead have been eagerly anticipating the third season’s teased locale of The Prison – something readers of the comic series know is a highly anticipated setting, and for good reason. The series returns to AMC in October, and the cast should be looking more distressed than usual on screen since during their current filming schedule Georgia has reached the most extreme temperatures in its history (Last year, cast and crew members only had fire ants, mosquitoes and ticks to battle – oh the glamour of film!). For the new pictures from the frying-hot set and more about The Prison itself (possible spoilers), hit the jump. THE WALKING DEAD Showrunner Glen Mazzara Talks “The Governor,” the Prison, Michonne and More by Dave Trumbore Posted 2 years, 148 days ago There have been quite a few spoilery news tidbits concerning AMC’s The Walking Dead lately, but the one safe thing we can talk about right up front is the inclusion of the villainous Governor, played in the upcoming season by David Morrisey (The Reaping). As he plays the main antagonist (of the non-shambling variety) to Rick (Andrew Lincoln) and the gang, it’s probably a good thing to know where the third season of The Walking Dead is going to take us as far as the Governor is concerned. Showrunner Glen Mazzara recently addressed that question while shooting on location. I’ve done my best to keep this spoiler-free, but all bets are off after you hit the jump. Continue Reading AMC Bringing THE WALKING DEAD, BREAKING BAD and COMIC BOOK MEN to Comic-Con 2012 by Ethan Anderton Posted 2 years, 156 days ago We’re just 20 days away from the biggest pop culture convention of the year with Comic-Con 2012 coming next month, and slowly but surely studios and TV networks are firming up their rosters of films and series that will take San Diego by storm. This week it’s AMC announcing their line-up of panels for the convention, and the trio of programs hitting the Con is no surprise. The Walking Dead will make a triumphant return to the convention with an hour-long panel in Hall H moderated by Talking Dead host Chris Hardwick and including special guests like cast members Andrew Lincoln, Sarah Wayne Callies, Laurie Holden, Norman Reedus, Steven Yeun, Lauren Cohan, Denai Guerrero and David Morrisey along with Executive Producer and Showrunner Glen Mazzara, Executive Producer Gale Anne Hurd, Executive Producer Robert Kirkman and Co-Executive Producer and Special Effects Make-up Supervisor Greg Nicotero. But that’s not all. Hit the jump for more. First PAN Trailer Reveals Joe Wright’s Reimagining of the Classic Story Featuring Hugh Jackman Rumor: Matthew McConaughey Might Play the Villain In THE STAND Movies THE HOBBIT: THE BATTLE OF THE FIVE ARMIES Celebrates Last Trip To Middle Earth With Five Empire Magazine Covers

影视

2014-49/2829/en_head.json.gz/304

Famous People Of The World Biography of World famous people, information of their life and behaviour, lifestyle of celebritis, famous actor and actress, Hollywood life, People with their power to change the world, famous magician, sport, and other abilities Post Default Famous African American Women In all aspects of our lives, we always ask how I value? What is my value? But I think dignity is our birthright. ~ Oprah WinfreyMany women of talent have the determination and perseverance to achieve their dreams and make a mark for themselves in their respective fields. These women have focused on a firm target and continued passion and enthusiasm came to a place where not only succeed, but lend a hand and contribute to the welfare of others. The following are profiles of some famous African-American women, who have excelled in their respective fields and are a constant source of inspiration for women than men in the world.Famous African American Women Angela DavisI think it is important to activist work is precisely because it allows you to give something back and do not consider themselves as an individual, which may have realized that being part of a course historical movement. ~ Angela DavisAngela Davis came into activism as part of the student union coordination of non-violence. Later he became an active member of the views of American political and joined the Black Panthers and the black power politics during the 1960 and 1970. Angela Davis was also linked to the murder of Judge Harold Haley during an attempt to break Prison Black Panther, when she fled underground, and was the FBI most wanted list. He was eventually arrested, tried and released, what can be described as one of the most famous trials in recent history of the United States. In 1968 he joined the Communist Party and also ran the U.S. vice-president in 1980 elections. After this, Angela Davis is a well-known activist and writer, supporting women's rights and racial justice. He continued his career as a philosopher and professor at the University of Santa Cruz and San Francisco University. She works for racial equality and gender equality and the abolition of the prison.She has gained recognition as a popular public speaker not only nationally but also internationally. She is the founder of the anti-prison of the base called Critical Resistance, a national organization working to build a mass movement to dismantle the prison-industrial complex and we believe that putting people in a cage that will not make society safe.Gwendolyn BrooksI, who have spent the entire range of almost angry rejection of my dark skin by some of my brothers and sisters brainwashed queenhood a surprise in the new Black Sunam qualified to enter at least the kindergarten of new consciousness now ... I have high hopes for me. ~ Gwendolyn BrooksGwendolyn Brooks was a famous African American poet, whose poems are generally based on the urban life of African Americans who fought against racism and poverty. After publishing her first poem at the age of 14 years, Brooks has continued his studies at Wilson Junior College in 1936 and later participated in writing workshops at the Community Center Art Chicago South Side. Gwendolyn Brooks became the first African American to win the Pulitzer Prize for poetry in 1950. He also attended the Second Conference on the Black Fisk University in 1967. She has taught at Northeastern Illinois State College, the University of Wisconsin-Madison and the City College of City University of New York.Mae JemisonDo not let anyone steal your imagination, your creativity or curiosity. This is your place in the world, is his life. Go ahead and do everything you can with it, and to live the life you want. ~ Mae JemisonMae Jemison is an African-American doctor and a former NASA astronaut who was the first African American woman to travel in space. After completing his medical internship, Mae Jemison joined the Peace, where she served as medical officer from 1983 to 1985 Corps. She was responsible for the health of volunteers Peace Corps who served in Liberia and Sierra Leone, it was part of the efforts of NASA space shuttle made on September 12, 1992. After his work at NASA, she joined the staff of a medical school and also launched its own technology company.Oprah WinfreyWe are all responsible for our own life - no other person who is or may be the same. ~ Oprah WinfreyOne of the most influential African Americans, women, Oprah Winfrey, is actually a source of inspiration for many of the immortals, and has touched millions of lives in his work. Oprah has obtained many "first known" for being the first African-American syndicated talk show host, or to be the first African-American woman millionaire. Oprah has her own production company, which is responsible for the Oprah Winfrey Show, O Magazine, Oprah's Angel Network, Oxygen Network, and the famous Oprah Book Club In 1993, Oprah is also a campaign for a special law called "Oprah Bill", which aims to provide a national database of convicted pedophiles. Oprah is a part of several films and television productions. Because of his success that has been able to contribute to social improvement. He always wanted to donate to various causes, particularly the emphasis on education. As part of Oprah's Angel Network, he gives $ 100,000 reward to people who help others a lot. Oprah won the Lifetime Achievement Award, the National Academy of Television Arts & Sciences in 1998. Time magazine even named him one of the 100 most influential people in 20 century. the gallery rooney mara tattoo and movie Do you know Rooney Mara ? Rooney Mara was born and raised in Bedford, New York. Rooney Mara acting begin in 2005 and has star in films A N... Racing Hottie Danica Patrick has put aside competition for a while and went to Washington. NASCAR rock star, admitted a superficial knowledge of civic education (as a joke that did not do well in school about "[his] evidence... Sarah Kay Gallery Sarah Key Stamp Gallery Sarah Key Stamp Gallery Sarah Key Stamp Gallery Sarah Key Stamp Gallery Sarah Key Stamp Gallery Sarah Key... News From Colin Edward at MotoGP More Danica Patrick Hot Pics Gallery Aziz Ansari Pics Princess Eva Angelica "Maniac" Elijah Wood Daguerre Hottie Danica Patric Musicion Rossi Nuovo Casco Timberlake fan of Pippa Tips For Auditioning For American Idol rooney mara tattoo tattoo rooney mara Blog I Was Read Children Health Villa and Home Sweet Home Design Punk Music Zone De List Home Decor Picture All About me Desktop Best Wallpaper Milozka Edu World Nyonyo Merak Dua This Sound Hot Style Design Lighting Weddings Blog Automodifie Secret OF Tattoo Game And Cheats Famous People History Popular Tattoos Picture For Men And Women Copyright Famous People Of The World © 2010. Popular Tattoos Regard to Famous People. All images, unless otherwise stated, were taken from the Internet and are assumed to be public domain. In the event that there is still a problem or error with copyrighted material, the break of the copyright is unintentional and noncommercial and the material will be removed immediately after the test. Is permitted to copy the original to include links.

影视

2014-49/2829/en_head.json.gz/439

Tag Archives: Dave Grohl Feb 13 2012 Culture, Music Commentary: Grammys 2012 photo cred | Billboard via Getty Images Did anyone see Bruno Mars’ silly tantrum backstage after Adele won for best pop vocalist? Chris Brown. Quit your lip synching or gtfo the stage. I don’t think I could ever get sick of The Foo Fighters. I actually enjoyed Dave Grohl’s speech and appreciate him for voicing his opinion, but it’s a shame they cut him off… I could’ve sworn I saw a twinkle in Mark Foster’s eye when he was singing The Beach Boys’ “Wouldn’t It Be Nice.” My heart melted because it felt like he was just singing straight to me. John Legend grooving to The Beach Boys was also quite adorable. The Beach Boys are looking and sounding pretty great for their age! It feels like just yesterday I was watching them on that one episode of Full House. Nope Chris Brown, we don’t have to forgive you. The Grammy’s can put you in our faces all they want, but I’m not budging. Even though it wasn’t well received, I loved Taylor Swift’s dress during her performance of “Mean.” Now if I could only find out who the designer was… Neil Patrick Harris is a babe. I am still amazed by Katy Perry every time I hear anything about her and her music. Does anyone remember the poor review I gave her nearly two years ago? She’s grown as an artist definitely, but I’m not taking back anything I said. Her new song has potential for being the new girl anthem of 2012 though. Adele SLAYED w/ her performance! Bon Iver for Best New Artist – YAY! Great speech. Jennifer Hudson’s tribute to Whitney Houston: Flawless Nicki Minaj’s performance is not as family-friendly as I thought it would be. It was downright terrifying. Adele is also the loveliest human being ever. What a doll! She totally deserved all of her awards tonight. (and none for Lady Gaga – sad day) ************************************************************************************************* On an important related note, this HelloGiggles post about why people shouldn’t be okay with Chris Brown performing at the Grammy’s is quite insightful. I’ve had a similar opinion for awhile, but usually when I talk about that I make jabs at his performance and the more obvious scandal. This writer, however, has got some pretty solid facts and it is worth reading. And not to start something controversial, but the reason why that HelloGiggles post is mentioned on Yow Yow is so we can avoid things like this. It’s important for all of us to remember that there’s a border between a play on words or a play off pop culture, but this is not one of those times. It’s not cute anymore especially when it involves Chris Brown. Typing things like this out as a tweet is not the same as feeling the same way or wanting to be in that situation. Not being able to tell the difference between these things frightens me and makes me fear for the safety of other young women that have this notion in their head that it is okay to say these things. Tagged Adele, Bon Iver, Bruno Mars, Bumbershoot 2009, Chris Brown, Dave Grohl, Deaths, Events, Foster the People, Full House, Grammy Awards 2012, HelloGiggles, Jennifer Hudson, John Legend, Katy Perry, Lady Gaga, Mark Foster, Mean, Music, Neil Patrick Harris, News, Nicki Minaj, Scandal, Taylor Swift, The Beach Boys, The Foo Fighters, Whitney Houston, Wouldn't It Be Nice Aug 29 2011 Lady Godga gets a reaction One of the best moments of the VMA’s last night was seeing all of the celebrities react to Lady Gaga’s performance of “You and I.” This is the last VMA post, I swear. I’m already even over it myself, but Flavorwire compiled these reactions together and I thought it was pretty convenient. In the middle of our live text commentaries last night during the show, Ashley told me that she actually liked Gaga last night while I just could not agree with that at all. I can typically enjoy her in small doses, but the theatrics of last night were just too much for me. Her persona was kind of obnoxious. And it was a little bit ironic of her “character” to talk about how Lady Gaga was so into herself when it seemed like the entire show was all about Jo Calderone. Do. Not. Care. I just wanted to point out that Dave Grohl was not cheering for Jo Calderone, but for Queen’s Brian May. Tagged "You and I", 2011 MTV Video Music Awards, Brian May, Britney Spears, Dave Grohl, Events, Humor, Jo Calderone, Justin Bieber, Lady Gaga, MTV, Music, Queen, This or That Email Subscription Kendall Jenner for Estée Lauder in Vogue

影视

2014-49/2829/en_head.json.gz/472

So Ji-sub signs contract with Chinese agency On Dec. 20, 51K, the entertainment agency owned by So Ji-sub in Korea, announced the star’s decision to sign up with a newly created Chinese agency.According to 51K, the Chinese agency, ATN Entertainment has vowed to further enhance the career of the Korean actor. The head of ATN management is the producer Terrance Chang who was behind movies such as “Paycheck” and “Mission Impossible 2.” A representative from the star’s Korean agency has said, “We are so glad to have met the perfect partner agency. We can’t wait for the next chapter of So’s career in China.” 51K added that although ATN will be responsible for representing the star in China, that all national activities undertaken by the star in Korea will be remain with the Korean agency. Chang said of So, “When I first met So Ji-sub, I was struck by his strong charisma. I believe he is a talented actor with much potential. I want to help him become not just a household name in Asia, but worldwide.”Meanwhile the Hallyu star was awarded for his acting abilities on Dec. 15 at the 19th annual Korean Culture Entertainment Awards Ceremony. The 35-year-old actor took home the grand prize for his feature role in this year’s hit movie “Only You.” The model-turned-actor made his debut in the entertainment business in 1994 through the Storm Modeling agency. By Carla Sunwoo [carlasunwoo@joongang.co.kr] Tweet

影视

2014-49/2829/en_head.json.gz/507

Ana Pollak (Australia 1958 – ) Micheal Harding 'Flux' is a short animated film based on Ana Pollak's drawings of water, specifically the Hawkesbury River - where she lives on Dangar Island. The artist states that it "'Flux' is a sequel to the drawings made in 2007-2009 which combined my study of Chinese calligraphy with the themes of water and oyster farms on the Hawkesbury estuary”. It is also inspired by music, which has been important throughout her life. In 'Flux' that is specifically Arvo Part's Lamentate – which was in turn inspired by Anish Kapoor’s sculpture 'Marsyas'. 'Flux' was the result of well over a year's intense work, first testing various mediums and approaches, before making over 1,000 drawings which were photographed digitally and edited using a computer. Pollak found a natural synchronicity between moving water and moving film. The sound track is by Michael Harding. Pollak is a Sydney-based artist whose work encompasses drawing, painting and sculpture. Influences include Chinese calligraphy, which she studied in 2001–03; she first studied drawing at the Byam Shaw School in London in 1976, with later studies at the Alexander Mackie School of Art and the National Art School, among others. She has exhibited with Ace Gallery in Los Angeles and Sara Roney Gallery in Sydney. In 2007 Pollak won the Dobell Prize for Drawing (as judged by Colin Lanceley) for her drawing 'Mullet Creek' based on the traditional wooden stakes that used to be a feature of river-based oyster farms not far from where she lives. Since that time, the artist has extended her exploration of the Hawkesbury with a haunting series of drawings of fog and of the movement of water. As her only means of transport from Dangar Island to the mainland is via her own boat, a dory based on an American sealing boat that glides through the water effortlessly, she understands the movement of water, and the atmospheric conditions associated with it. Hawkesbury River, Sydney, New South Wales, Australia Time-based media, digital video animation, 16:9 ratio, black and white, stereo sound, 02:48 min dimensions variable Signed and dated lower c. verso on last page of printed leaflet inside presentation box, pencil "Ana Pollak 19.6.12". Purchased with funds provided by the Australian Prints, Drawings and Watercolours Benefactors Fund 2012 © Ana Pollack

影视

2014-49/2829/en_head.json.gz/552

Arts Movies Local Arts Fantasia 2012: You Are the Apple of My Eye – film from Taiwan is rude yet sweet, totally hilarious News Desk More from News Desk Published on: August 4, 2012Last Updated: August 4, 2012 8:29 AM EST Poster for the Taiwanese film You Are The Apple of My Eye. It's a very funny look back at high-school days. Ko Chen-tung plays Ko Ching-teng in a scene from the Taiwanese movie You Are The Apple of My Eye. No, he’s not angry, and he’s not about to throw the chair, he is being punished by his teacher – a punishment that combines physical discomfort and humiliation. Ko is taking the rap for his fellow student, Shen Chia-yi, who is sitting behind him, looking guilty and upset. This movie from Taiwan, You Are the Apple of My Eye, is so funny and nice! And I don’t mean that in an ironic, sarcastic, back-handed compliment kind of way, either. It truly IS nice. I wonder how many people had such a good time in high school? There is a lot of swearing and some bare (male) bottoms, but nothing most of us haven’t seen before. And the overall mood is one of rambunctiousness, love, hope, friendship, and, towards the end, nostalgia. Not one bit of nastiness – well not between the friends, anyway. Teachers behave badly on occasion. Not too often, though. It’s not surprising that the film was a box-office smash in Taiwan, Hong Kong, and Singapore. Certainly the audience at Fantasia seemed charmed by it and laughed raucously at the constant stream of funny bits. You Are the Apple of My Eye is narrated by Ko Ching-teng, who introduces us to his high-school friends. “Every movie has to have a fat guy,” he says about one friend. Though, by present North American standards, he’s not that fat. One friend collects U.S. basketball cards and dreams of being an NBA star one day himself. One does pointless magic tricks. Another has a constant erection, and that’s the direction of the humour, sometimes. But refreshingly, there are no jokes about female body parts, even though all five guys are very interested in honour student Shen Chia-yi and do all kinds of things (mostly very stupid things) to win her admiration, or at least her attention. (Shen Chia-yi is played by Michelle Chen. Reportedly the actress is 8 years older than Ko, not that you could tell.) Seems like every guy in Ko’s gang is a class clown. They joke around, disrupt the class, and don’t study very hard (if at all). Shen Chia-yi ends up helping Ko with his studies, partly because the teacher told her to and partly because of an act of bravery and self-sacrifice he makes on her behalf that makes her see him in a new and more flattering light. (Though she never stops telling him that he’s childish.) It’s not a spoiler to say that Ko is not as stupid as he first appears. He is narrating the film after all, isn’t he? The film is based on a memoir, The Girl We Chased Together in Those Years, written by scriptwriter and director Giddens Ko. He told TimeOut Hong Kong that his book is “100 per-cent real” but some things were changed for the film to make them more dramatic. A serious argument took place over the phone, and not in person, in the rain (!) as it was depicted in the film. Another thing that sets the film apart from the book – Hu Jia-Wei, Taiwan’s “Queen of Blogs” who uses the pen name Wan Wan, asked Giddens Ko to put her in his film. So he created the part of Shen Chia-yi’s best friend for her. (While watching the film I had thought “Oh, he went to school with this famous person!” But no.) Visit Wan Wan’s Facebook page to see her work. I believe the Japanese world “kawaii” (cute) applies here. Giddens Ko has already written more than 60 (!!!) books. He used to force himself to write 5,000 words, every day. You Are the Apple of My Eye was shot at Ko’s real high school, Ching Cheng High, in Changhua, Taiwan-rude. The film’s popularity has increased tourism to the area, with people visiting a magnificent temple that’s seen in the film, eating at the same restaurant that the characters did, and even buying high-school uniforms and school bags at the town’s uniform store. An article about visiting the area, and places that appeared in the film was written by someone from Singapore. The film is full of little jokes and I’m sure that I missed most of them. But I did laugh at the message on the PA system asking Jay Chou to come to the office. (To some North Americans Jay Chou might just be the guy in The Green Lantern, but in Asia he is a huge pop star.) There were some hopping creatures that were called zombies in the film, but my past viewing experience tells me that they were actually vampires. Hopping is what Chinese vampires do. That’s how you know that they’re vampires. Actor Ko Chen-tung, who played Giddens Ko’s alter ego won the Best Newcomer award at the Golden Horse Awards. (The event is held in Taiwan, but the films also come from Hong Kong, mainland China and other places where people speak Chinese.) Ko Chen-tung is now known as Kai Ko. He’s acted in two more films and has recorded an album, as well. Gossip columnists are trying to figure out if he is seeing an actress who is 12 years older than he is, or if they are “just friends.” I wish that I had seen the first screening of You Are the Apple of My Eye, so I could recommend the second screening, but the theatre was full in any case. But if you get a chance to see this film, somehow, somewhere do not say no! And if I have somehow given the idea that this is a “chick flick” – it’s not! You Are the Apple of My Eye was seen at the 2012 Fantasia Film Festival in Montreal. Taiwanese director Giddens Ko (L) actress Michelle Chen (C) and actor Ko Chen-tung (R) at the 31st Hong Kong Film Awards on April 15, 2012. The annual awards are the Hong Kong equivalent to the Oscars and the British BAFTAS. (Aaron Tam/AFP/Getty Images) If you have seen You Are the Apple of My Eye, you’ll know why this is funny. OK, official cutline starts here: Taiwanese actress Michelle Chen (L) reacts as Taiwanese director Giddens Ko (C) kisses Taiwanese actor Zhendong Ke (Ko Chen-tung) at the 31st Hong Kong Film Awards on April 15, 2012. (Aaron Tam/AFP/Getty Images) Looks like Giddens Ko still thinks he’s the class clown, doesn’t it? Official cutline starts here: Taiwanese actors Ko Chen-tung (L), Michelle Chen and Taiwanese director Giddens Ko pose backstage at the 6th Asian Film Awards, celebrating excellence in cinema, at Hong Kong Convention and Exhibition Centre on March 19, 2012 in Hong Kong. The event gathers the best cinematic talent in Asia. (Victor Fraile/Getty Images) Surprise! Dark Knight Rises villain Tom Hardy says he liked Canuck... Fantasia 2012: Noted film scholar David Bordwell to give a free... Fantasia 2012: You Are the Apple of My Eye - film from Taiwan is rude yet sweet, totally hilarious

影视

2014-49/2829/en_head.json.gz/554

Nat Geo Movies Nat Geo Movies Home Find DVDs The Making of Benda Bilili! Behind the Scenes: An Interview With the Filmmakers Florent de la Tullaye (left) and Renaud Barret, the directors of Benda Bilili! Photograph by Chris McPherson Q&A WITH RENAUD BARRET & FLORENT DE LA TULLAYEHow did your film come into being?Renaud Barret: In 2004, I was directing a small advertising agency in Paris and Florent was an international photojournalist. But we were both sick of what we were doing. We went to Kinshasa and, through encounters and people we met, we made a television documentary called La danse de Jupiter (Jupiter’s Dance), a long walk through the ghetto with musicians. It was during that time, in that energy, that we met the Staff Benda Bilili. We quickly decided to make an album with this incredible group, all the while filming them. In fact, we became producers because they told us that’s what we were! We stayed with them for a long time, often under the impression that their story was closely tied to ours. They always motivated us, even during the worst moments.In 2007, we decided to make a film about the band, thinking we would stop after recording the album. Then concerts became a possibility in Europe, and we decided to carry on with what little means we had.Florent de la Tullaye: Benda Bilili! is our first feature-length film for the cinema, but it’s our third film on Kinshasa, and we’re developing a fourth, thus developing a real insight into the workings of the city. We live with the characters we film, that’s what interests us. We work with lightweight cameras which allow us to work like photojournalists and always be ready when something is happening.Barret: In any case, we couldn’t work with a conventional crew. Little by little, we’ve learned to speak Lingala, the official language of the Democratic Republic of the Congo, which allows us to enter into a different kind of relationship with the people. We have become experts on Kinshasa, and we believe that its people have suffered misrepresentation because of the endless clichés exploited by foreign television. That creates a certain anger among the population which one can tolerate as white people if you stay on the surface of things. We prefer seeking out the good and beautiful. Our luck lies in the fact that we work with musicians, and it’s thanks to them that people in the ghetto welcomed us with open arms. Kinshasa is a broken, shattered city, yet still very photogenic. Its people are Don Quixotes who are forever making up dreams. The Staff Benda Bilili made itself a dream, and it is now coming true. How did you meet them?Barret: A chance encounter during one of our many wanderings. We’d been hearing about them for a while, like a gang hard to localize. One night they were playing in front of a restaurant frequented by whites and the local brass. Their music immediately attracted us, with hints of Elmore James blues. The Staff knew us by reputation because we had spent a lot of time immersed, like total crazies, filming other Kinshasa bands.De la Tullaye: The next day after meeting them, we started filming. Renaud was behind Coco, and to our bad luck he passed by the General Intelligence building with his camera. Police officers showed up on all sides, and the Staff’s reaction was violent. Coco even started to make a charge on the station in his wheelchair! That first day created a very strong tie between us; we helped each other out. The following year, we came back to Kinshasa with a bit of money to produce an album. After three days in the studio, a fire devastated the housing center where several members of the Staff were sleeping. The recording had to be interrupted because it had little connection with reality: They had nothing left at all. They were terribly upset because the fire came at the very moment they were fulfilling their dream. They had to stop sessions to find money and carry on living as best they could. In 2006, we returned to Kinshasa to make Victoire Terminus (Victory Terminus), a documentary on female boxers, and continued filming and helping the Staff. At the end of 2006, toward the end of our stay, Vincent Kenis (producer of the series Congotronics for the Belgian label Crammed Discs) came to record the Staff in the Kinshasa Zoological Park. And we came back in 2007 with enough money to take care of the musicians during the recording sessions. Their lives on the street were literally eating them alive. It’s an endless war. The public roads are abandoned, and it’s very hard for the disabled to get around. They’re real supermen. When did Roger, the little satongé player, show up?Barret: We’d already seen him in 2004 at a rural center where he’d come to get food. He played his curious instrument, and we wanted to talk to him but he disappeared before we met him again by chance in 2005. We told him to go see the Benda Bilili which he joined after an audition that blew everybody’s mind. Roger was a shégué, a kid living on the streets. Kinshasa has a population of around 10 million. It’s a devouring city in which families live on less than a dollar a month and where, most often, children don’t attend school. A lot of people are forced to put their kids on the streets because they can’t take care of them. Some decide to leave on their own because there’s nothing to eat at home and others are war orphans. The population of shégués is estimated at 100,000. They shine shoes or sell cigarettes on the outskirts of Kinshasa and return home on weekends with their paltry earnings to feed their family. The government deports them to Eastern Congo or forces them to join the military. This situation is a bomb waiting to explode because the kids who receive no help sometimes become violent and join street gangs. The members of the Staff Benda Bilili are kind of like their papas, especially Ricky. De la Tullaye: The Staff Benda Bilili is a street syndicate that makes the law. They are highly organized because they need to stay tight to exist. They organize mutual aid. They need the children to get around, and the kids need the disabled to defend themselves, so this creates a small society consisting of papas and adopted children. What do the songs of the Staff Benda Bilili talk about?Barret: They’re an expression of the streets, primal and melancholic chant mixed with funk. The lyrics are simple in appearance, but they pass on influential educational messages to a largely illiterate population. Lingala is a rather poor language, so many of the meanings are hidden. The songs appear to be harmless, but in fact they show real force, humor, and a straightforward look at daily life in Kinshasa. For a long time we’ve been fans of Black music of many kinds, from funk to soul, and this city attracted us because of the rhythm, wealth, and vitality of the music scene. Today our goal is to help musicians we’ve met and filmed to record their albums and lead better lives.De la Tullaye: While the Staff is a group of handicapped musicians, struck at an early age by polio, from the start they were gifted musicians who played in other groups. But they always showed up late, because time in Kinshasa is very elastic! So they decided to play together. The recording conditions of their album were very complicated, and it took us four years to finish. Same for the film: We played our time, waiting for things to take off for the Staff so that they could leave Kinshasa for a few concerts. The first big break was their show at the Belfort Eurockéennes in July 2009, one of the biggest music festivals in France. It’s really moving to share this adventure with the Benda Bilili, especially thinking back a few years when they told us, “With you, we’re going to make it!” The festival also allowed us to hear their music on good equipment for the first time and to realize their force on stage.Barret: We followed the 2009 tour, which went all the way to Scandinavia. We found ourselves in a five-star hotel in Oslo, whereas not so long ago we were sharing cardboard boxes on the outskirts of Kinshasa. But when it comes down to it, the Benda Bilili don’t give a damn about where they are, even though they can be surprised by the conditions of life in Europe (and the existence of highways!). For them, success was never a matter of doubt. It’s normal, especially after such a life of hardship. Most of the musicians are mature and therefore remain clearheaded. They create small businesses with their families. Roger, who is soon to become a dad, for example, founded a video supply company that brings in a regular income for his family. How did the group react to your film being selected to screen at the Cannes Film Festival?De la Tullaye: They raised their canes at us and laughed! They were delighted for us. With earnings from the film, they want to found an organization and build a place to teach young musicians and pursue the Staff Benda Bilili adventure. Most of the members in the band have surpassed the average life expectancy of the Congolese, which is 45 years. They are aware that all could come to a stop soon. We want to return with them to Kinshasa to show the film. That’s the most important thing on our agenda right now. We’re convinced that this will allow the people to discover things they no longer pay attention to.—Interview by Benoît Hické Become a fan on Facebook. More About Benda Bilili Watch the Benda Bilili! trailer in the Nat Geo video player. Find out what Benda Bilili! is about and learn more from the directors. Benda Bilili! Go back to the homepage for the film. Benda Bilili! is now playing in select theaters worldwide. Check our theater listings to see where it's playing in your area. Theater Listings » See Benda Bilili Live Benda Bilili is touring the U.S. this fall. Visit their MySpace page to check their tour schedule. Benda Bilili Concert Tour » Find Music From the Film Stream Tracks at SoundCloud and Download Songs From iTunes Buy the CD at Amazon Proceeds from the sale of film tickets help further National Geographic’s nonprofit mission to increase global understanding through education, research, and conservation. Your support counts! Learn More » Content feed temporarily not available. More From Nat Geo Movies Flying Monsters 3D Wildest Weather in the Solar System Life in a Day The Last Lions The First Grader More From National Geographic Book the Jouberts for Your Event Buy Beverly Joubert Prints Watch Nat Geo Movie Videos On TV: "Alaska State Troopers" Plan Your Next Island Getaway U.S. Road Trips Nat Geo Birding Make Magic With Your Camera Phone Diver "Vanishes" in Maya Underworld Deep-Sea Creatures National Geographic Home » Movies » Benda Bilili!: Interview With the Filmmakers Photography Animals Environment Buy Prints Stock Footage Stock Photos Our Trips Jobs Global Sites Sustainability About Contact Gifts Maps & Globes Photography Gear Donate Press Room Customer Service Advertise With Us Terms of Service Privacy Policy © 1996-2014 National Geographic Society. All rights reserved.

影视

2014-49/2829/en_head.json.gz/574

In Case You Missed It:Ditching Real Estate Brokers Home » Entertainment » Tina Fabrique Dazzles in ‘Ella’ Tina Fabrique Dazzles in ‘Ella’ On its opening night at the O’Reilly Theater, “Ella” received not one, but two standing ovations. It could have received three. That’s how memorable and entertaining the show is. From the stage presence of Tina Fabrique, who stars as Ella Fitzgerald, to the synchronicity of the jazz band that backs her up, to the whimsical, luminous set that makes you feel part of the world Ella made with her voice, the show is a hit. From the opening tune, Fabrique wrapped the audience around her little finger with her second-to-none vocals and ability to capture all the gestures, body movement, and the unique voice that made Fitzgerald internationally adored. Whether you closed your eyes or kept them open, you’d pinch yourself in wonderment about whether it was Fabrique on that stage, or “the First Lady of Song,” herself. TINA FABRIQUE AS ELLA FITZGERALD The show was co-conceived by Rob Ruggiero and Dyke Garrison, while Ruggiero also directed, and brought in playwright Jeffrey Hatcher to enhance the script. It was a joint effort to masterfully merge Fitzgerald’s life with her music, which is well-suited, considering the singer lived her life on stage, and seems to have taken much of her pain on stage with her. Set in a concert hall in Nice, France, a week after the death of Fitzgerald’s sister, the show is a tour de force of Fitzgerald’s life behind the curtain, when no one was cheering for her. While much is known about the voice of Fitzgerald, little is known about her private suffering, from being arrested and sent to an orphanage as a child, to being abused by her stepfather. “Ella” reveals Fitzgerald’s struggle with criticism that she was neither pretty nor petite enough, and that all her worth was in that great mountain of a voice, clear and perfect as a Caribbean sea. Fitzgerald’s critics took no notice of the singer’s wide smile, the twinkle in her almond-shaped eyes, or the loveliness of her caramel skin. But Fabrique captures the singer’s inner and outer beauty, and re-imagines her as the phoenix that rises from the ashes in triumphant fashion. The show features over 20 songs that Fitzgerald performed, including favorites like “It Don’t Mean a Thing (If It Ain’t Got that Swing);” “A-Tisket, a Tasket;” and “The Man I Love.” As you listen to Fabrique sing Ella’s tunes, this is what happens to you. First, your heart pulls tightly on itself, starting at its bottommost tip. Second, you are lulled into a cocoon of pretty sounds and vocal power reserved for only a talented few. Finally, after it is all over, you breathe out a satisfied sigh, because by then, you are in awe. After the song is finished, you will be caught between wanting more and applauding, stomping, or shouting, as many audience members did, because you will have recognized that, in the tradition of Fitzgerald, Fabrique has laid her heart and soul out like a canvas, then colored it with her own titanic of a voice. The show also stars George Caldwell (Moe Gale/Pianist); Harold Dixon (Norman Granz, Fitzgerald’s manager); Rodney Harper (Chick Webb/Drummer); and Ron Haynes (Louis Armstrong/Trumpet Player). If you are a fan of Ella Fitzgerald or if you want to learn about why she continues to translate in the 21st century, this is the show to see. If you love jazz and seasoned musicians who know how to rock a house, you won’t find a better show anywhere. The show runs until Nov. 1. For tickets, visit ppt.org, or call 412-316-1600.

影视

2014-49/2829/en_head.json.gz/819

TIFF Features Menu Reviews Horror breakouts by Norman Wilner | Last Updated 6 days ago Maika Monroe’s double whammy in It Follows and The Guest puts her in some pretty terrific company. Here are a few other actors who made memorable appearances in horror movies – even if the movies themselves didn’t always deserve them. in Halloween (1978) The daughter of Hollywood royalty Tony Curtis and Janet Leigh, Curtis quickly established her own identity as the steely Final Girl of John Carpenter’s seminal slasher film. She’d reprise the role in 1981’s Halloween II, 1998’s Halloween H20: 20 Years Later and 2002’s Halloween: Resurrection, but the first movie is the only one anybody needs to see. in Friday The 13th (1980) I’ve always wanted to believe producer/director Sean S. Cunningham cast Bacon as a dickish camp counsellor because he’d seen the actor as the obnoxious Chip Diller in National Lampoon’s Animal House and couldn’t wait to kill him. Johnny Depp in A Nightmare On Elm Street (1984) Depp’s teensy but charming role as doomed boyfriend Glen was his first big-screen part. He remained admirably loyal to the franchise, even contributing a very goofy cameo to Freddy’s Dead: The Final Nightmare. Jennifer Aniston in Leprechaun (1993) Yup, that’s her. Fortunately, Friends came along a year later and prevented her from making any of the sequels. Paul Rudd in Halloween: The Curse Of Michael Myers (1995) Playing the troubled Tommy Doyle, last seen as a four-year-old in the original Halloween, Rudd’s supposed to be sinister and menacing. He can’t sell it, but it’s kind of adorable to watch him try. Naomi Watts in Children Of The Corn: The Gathering (1996) That’s future Oscar nominee Watts as a medical student who comes home to her Nebraskan hamlet just in time for all the children to go crazy and start killing the grown-ups. Just think of this as her audition for The Ring, which let her star in a real horror movie. Amber Heard in All The Boys Love Mandy Lane (2006) About half an hour after its TIFF Midnight Madness premiere, Jonathan Levine’s savvy slasher movie had been picked up by the Weinstein Company and unknown lead Heard – whose biggest previous credit was playing the young Charlize Theron in North Country – was a force to be reckoned with. If Mandy Lane hadn’t spent the next seven years stuck in distribution hell, people might even have understood why. Michael Fassbender in Eden Lake (2008) The future Magneto plays the unlucky boyfriend of Kelly Reilly in James Watkins’s gruesome thriller about a couple whose vacation in the country goes terribly wrong. And dammit, he’s charming even when he’s been beaten to a bloody pulp. © 2014 nowtoronto.com . All rights reserved.

影视

2014-49/2829/en_head.json.gz/838

Out On VOD: There Is Always Someone To Eat In BUTCHER BOYS Andrew Mack, Contributing Writer From the writers and directors of The Wild Man Of The Navidad comes a horror film for the meat-eaters in your family: Butcher Boys. It will be released on VOD in the States on Friday, September 6th! From the writer/producer of The Texas Chainsaw Massacre comes this gut-wrenching, non-stop roller coaster ride through the hellish underbelly of inner-city America. A birthday celebration at an upscale restaurant sets in motion events that bring a group of friends face to face with the macabre world of cannibals, the Butcher Boys. The Butcher Boys are international predators who deal in human ­flesh - dead or alive.Now I don't know about 'international' predators. These guys seem to stick in and around the factory district of San Antonio in this film. But there is a reason that this film feels like it came from a bygone era of horror cinema in that it is written by the writer of the original Texas Chainsaw Massacre, Kim Henkel. He based this story on the satirical novel A Modest Proposal by the same guy who wrote Gulliver's Travels, Jonathan Swift. In his novel Swift suggested that impoverished Irish sell their children as food to the rich and wealthy. Butcher Boys feels like it was plucked out of the 70s in the way that it goes along the usual way that horror films do before descending into utter madness. It feels very familiar in that sense. I will admit that directors Duane Graves and Justin Meeks also create a great sense of isolation during the second act when lone survivor Sissy is trying to escape these Butcher Boys. Otherwise it did not really grab me like I hoped it would. Bag

影视

2014-49/2829/en_head.json.gz/854

HomeMusicAwards Oscar music nominees A look at the original score, original song contenders Jon Burlingame @jonburlingame ORIGINAL SCORE Gustavo Santaolalla,“Brokeback Mountain” The rap: He may have seemed an offbeat choice as composer of a piece of Americana, albeit one that turns the Western genre on it ear, but the five-time Grammy-winning Argentinian (who had also scored “Amores perros,” “21 Grams” and “The Motorcycle Diaries”) delivered a score that resonated with its spare lyricism. He’s already picked up the Golden Globe for one of his “Brokeback” songs.In his own words: “I wanted an Americana feel, but I also wanted a universal feel. Obviously an acoustic guitar — with steel strings, not nylon — and strings, to embrace the guitar. But I also added the idea of a pedal-steel guitar, which (provided) a counteraction between two elements, just like the two characters in the movie.” Alberto Iglesias,“The Constant Gardener” The rap: This Spanish-born composer had already demonstrated his versatility with five scores for director Pedro Almodovar (including “All About My Mother” and “Talk to Her,” which won him two of his six Goya Awards, Spain’s version of the Oscar). “The Constant Gardener,” his first work for director Fernando Meirelles, demanded very specific African sounds. This is his first Oscar nomination; he’s also up for a BAFTA.Nuts & bolts: Iglesias’ score for the John le Carre political thriller features the voice of acclaimed Kenyan artist Ayub Ogada and his work on nyatiti, a Kenyan lyre; plus a host of unusual and atmospheric wind instruments, including kawala (an Egyptian bamboo flute), Turkish clarinet and zumara (a North African double clarinet). John Williams,“Memoirs of a Geisha” The rap: Five-time Oscar winner, composer of nearly 100 scores, enlisted cellist Yo-Yo Ma and violinist Itzhak Perlman for key solos. But the Japanese instruments — the stringed koto, shamisen and biwa; the bamboo-flute shakuhachi; and the massive taiko drums — provided the authentic sound of the geisha world that has already earned Williams Golden Globe and Broadcast Film Critics awards and a BAFTA nom.Gospel according to John: “(The challenge was) bringing Japanese instruments into the conventional Western orchestra, making an East-West connection and getting the measure of that connection right, so that the balance wasn’t tilted too far one way or the other.” John Williams,“Munich” The rap: Adding his nom for “Memoirs of a Geisha” and this score for Steven Spielberg’s film about the Mossad agents who hunted down those responsible for the 1972 massacre of Israeli Olympic athletes, Williams has gained his 45th Oscar nomination, tying the previous record held by Alfred Newman, his old boss at 20th Century-Fox.The challenge: “Getting an atmosphere that suggested something of the Middle East, and of the Palestinian and Israeli experience in musical terms that would support the film,” Williams says. As for tying Newman’s record, Williams reminisced about playing piano for the Fox music director in the 1950s: “I admired him as a conductor more than anyone I worked with, and any link does make me very proud. I was very close with his brother Lionel, and I always felt a member of the Newman family, a bit, by extension.” Dario Marianelli,“Pride & Prejudice” The rap: The Italian-born, London-based composer — unknown in this country except for the little-seen “The Brothers Grimm” — earned his first Oscar nom for his romantic, classically styled music for the Jane Austen adaptation. Acclaimed French classical pianist Jean-Yves Thibaudet performed the many piano solos in the film.A delicate balance: It was tricky, Marianelli says, “to start with music of the period and then quickly move away from it, to more emotional areas where it could really connect with the characters. The piano was meant to capture a side of Elizabeth’s character. It was really the soul of the score. The piano pieces that are played in the film by the actresses were written before anything else, and they provided the themes that were developed later.” ORIGINAL SONG “In the Deep” (“Crash”)Music and lyrics by Kathleen “Bird” York, music by Michael Becker The rap: Best known for her recurring role as Andrea Wyatt on “The West Wing,” York may be able to focus more on her music career now that she’s been nominated for the dreamy song that plays over the finale of “Crash,” written for her longtime collaborator Paul Haggis (she regularly wrote songs for his CBS series “Family Law”).Bird is the word: “(The song’s) like a prayer that you have by yourself at 2 in the morning,” says York, “when you’re reflecting on one of the seminal moments in your life, and you’re not exactly sure how to get up it, under it or around it — but you have that moment when you’re lost in the most beautiful way.” “It’s Hard Out Here for a Pimp” (“Hustle & Flow”)Music and lyrics by Jordan Houston, Cedric Coleman and Paul Beauregard The rap: The song provides one of the key moments in the film and crystallizes the hero’s plight. The rap is the work of Memphis musicians Juicy J (Houston), DJ Paul (Beauregard) and Frayser Boy (Coleman), who were enlisted before shooting by producer John Singleton and director Craig Brewer. Houston and Beauregard had written a song for Singleton’s “Baby Boy” in 2001 and, as Three 6 Mafia, have made a major impact on the hip-hop scene in the South.Straight outta Houston: “The song is catchy, and when you watch the movie, you see how they created it. It’s so dramatic.” “Travelin’ Thru” (“Transamerica”)Music and lyrics by Dolly Parton The rap: Veteran country singer-songwriter Parton was touched by the transgender tale of “Transamerica,” and the song it inspired earned her a second Academy nom (“9 to 5″ was the first, in 1980).Dolly’s take: “I thought it was a wonderful idea for a movie. I know so many people (who) seem to be misfits in their own bodies. In fact, I have a good friend (who) once was a woman and now is a man. (The movie) was not just about the woman, but about the son,” she says, referring to the cross-country road trip that gender-challenged Felicity Huffman takes with his/her angry, confused son. “It was about people being misplaced, trying to find their own way, try ing to make all the pieces fit.”

影视

2014-49/2829/en_head.json.gz/928

Home > News > Movie News Rachael Leigh Cook Takes Role in Golden Door 1 comment(s) August 15, 2007 03:55:51 GMT Rachael Leigh Cook has signed to play a role in a romantic comedy feature titled "The Golden Door" which rapper Snoop Dogg is in final negotiations to also star. Photo credit: Scott Alan/PR Photos Back to her field of expertise of romantic comedy genre, Rachael Leigh Cook has secured a starring part in "The Golden Door (2008)" alongside "Disturbia" star Sarah Roemer, The Hollywood Reporter has revealed. On the way to accompany the two are rapper Snoop Dogg and Joseph Cross, who are currently in final negotiations to join the cast. Pic focuses on a blue-collar nursing student who gets forced to leave school following the death of his father in a freak handball accident. With the help of his uncle, the guy is able to find work as the doorman in a swank Manhattan apartment building, where he forms an unlikely romance with a young resident, played by Roemer. Should deals are reached, Cross will act as the student-turned-doorman while Dogg as his co-worker who hazes the man and shows him the ropes. As for Cook, the actress is confirmed to portray the sister who encourages the relationship of Cross� character, much to the dismay of the girl's mother. Production is slated to start on September 4 this year in Spokane, Washington under the direction of David M. Rosenthal. Cinematographer Joseph Gallagher has been tapped to shoot the project. © AceShowbiz.com « Older Posting Jennifer Lopez's New English Album to be Released Oct. 9 Newer Posting »Sold Out, Paris Hilton's West Hollywood Home posted by brazilian boy on Sep 22, 2009 shes hot!

影视

2014-49/2829/en_head.json.gz/1026

Jennifer Lopez, Laverne Cox win GLAAD Media Awards Jennifer Lopez arrives at the 25th Annual GLAAD Media Awards on Saturday, April 12, 2014. (Richard Shotwell/Invision/AP) 25th Annual GLAAD Media Awards LOS ANGELES (AP) - Jennifer Lopez has added a couple of more trophies to her block. The pop star and "American Idol" judge was honored Saturday night at the 25th annual GLAAD Media Awards with the Vanguard Award, which lauds efforts to increase visibility and understanding of the gay, lesbian, bisexual or transgender community. In addition to being an outspoken advocate for gay rights, Lopez serves as executive producer of the ABC Family series "The Fosters," which centers on a lesbian couple raising their children. "The Fosters" also won the award for outstanding drama series. Other winners at the Beverly Hilton Hotel ceremony included NBC's "Days of Our Lives" for daily drama, Fuse's "Big Freedia: Queen of Bounce" for reality program, Tegan and Sara for music artist and "Young Avengers" for comic book. "Bridegroom" and "Call Me Kuchu" tied for the outstanding documentary trophy. "Orange is the New Black" star Laverne Cox was presented with the Stephen F. Kolzak Award, which is given to a gay, lesbian, bisexual or transgender member of the entertainment community. Previous recipients include Wanda Sykes, Rufus Wainwright, Melissa Etheridge, Ellen DeGeneres and Ian McKellen. Norman Lear, the veteran producer of such sitcoms as "All in the Family" and "Maude," was honored with the Pioneer Award. The awards salute fair, accurate and inclusive representation in media of the gay, lesbian, bisexual and transgender community and the issues that affect their lives. Other winners will be presented at a New York ceremony on May 3.

影视

2014-49/2829/en_head.json.gz/1269

DGA Quarterly CURRENT ISSUE DGA Interviews Director Profile On the Job With Independent Voice Shot to Remember The Industry / Technology Critic's Corner Internet Theft DVD Classics Share on Facebook Summer 2012 It’s a Scary Job (But Somebody’s Got to Do It) Giving the fantasy TV series Grimm the naturalistic look of a police procedural was a perfect fit for director/producer Norberto Barba. Even chasing “wesen” in the Portland rain doesn’t faze him. By Shawn Levy Grimm's star David Giuntoli has to investigate a stake in the heart. (Photo: Scott Green/NBC) It is the Thursday after Memorial Day, and a weepy sky casts a pall above Portland, Oregon. A little nip rouses when the wind blows, which, gratefully, isn’t often. The ground is soggy; puddles abound. There are some—many, probably—who’d wish for something summery for May 31. But to one eye, it’s an ideal day. “This is perfect Grimm weather,” says Norberto Barba, director/executive producer of the hit NBC show. “We use ‘Grimm’ as an adjective a lot,” he explains. “You’ll hear people say, ‘That’s very Grimm’ about a location or a shot. The weather here is perfect for us—very overcast. And last season’s finale ended with a downpour, so a soggy day like this is really great.” Barba’s work clothes may look typically Northwestern, but the New York native confesses that he had no real concept of Portland before arriving here to shoot Grimm. “I thought it was gonna be a little town,” he says. But he has come to appreciate the city and to integrate it crucially into the series. “We see Portland as a character,” he explains. “In preparing other directors, I always remind them that the setting is an important part of the story. The superstructure and architecture of the buildings and the weather provide leads to the color palette as well as a visual foreground and background. The local element is important. If a character brings coffee into a scene, I make sure it’s from a Portland coffeehouse.” Barba and his crew are assembled in a gravel lot just north of the crescent arch of the iconic Fremont Bridge, where an old-timey silver Airstream with Montana plates sits inauspiciously in the drizzle. Fans of the show, which combines a police procedural with supernatural elements derived from European folklore and myths, will immediately recognize the trailer as the ark containing the secret lore and mystical weapons with which the series’ hero, police detective Nick Burkhardt (David Giuntoli), has become increasingly—and reluctantly—intimate. During the course of the first season, Burkhardt learned of a world behind the visible world, a dimension of evil monsters (wesen) and those who find and fight them (grimms). Burkhardt is stunned and even horrified to realize that he’s the scion of a lineage of grimms, and he was introduced to the intricacies of the supernatural world along with the audience. At the season’s climax, with paranormal activity in Portland on a deadly rise, Burkhardt encountered a mysterious woman (Mary Elizabeth Mastrantonio) who claimed to be his mother. He had always believed that she died when he was young. That climax is still ringing in the air. The last of the 22 episodes of season one aired two weeks earlier, and the shoot wrapped just a few weeks before that. So after a hiatus of a little over a month, the Grimm crew reunited in this recurring location with a first-day-back-at-camp air. It’s something of a nightmarish place to shoot, with two freeways humming nearby, a moderately busy freight train line immediately adjacent, and an active welding shop right on the grounds. But Barba seems genuinely happy to be back at work in the world of blutbads, fuchsbaus, hexenbiests, and other creepy creatures from the Grimm canon. From underneath a tent that protects the monitors and sound equipment, he starts the next phase of the adventure with a modestly affirmative cry of “OK guys, here we go: first take of season two. Action!” Barba’s resume, while distinguished, certainly doesn’t indicate an affinity for the fantasy aspects of the series. His dozens of episodic TV credits as a director are heavily weighted toward police dramas, with multiple jobs on CSI: Miami and CSI: NY, and various permutations of Law & Order, including Law & Order: Criminal Intent, for which he also served as an executive producer. But, says Grimm executive producer and co-creator David Greenwalt, “[Barba’s] background in police procedurals was important because the procedural aspects of the show allow more people a way into it. We knew we wanted a director/producer on the show because we wouldn’t be there [in Portland]. We interviewed several people, but Norberto just popped with his enthusiasm and his energy. He’s low-key and high-key at the same time.” And, in fact, Barba’s easygoing manner camouflages a real professional intensity. In the brief hiatus between seasons of Grimm, he directed the season finale of Law & Order: Special Victims Unit, meaning he helmed two finales and a premiere in little over a month. “It’s exciting to work on such big stuff,” he says. “I love it.” Barba tries to keep it light and collegial on the set of Grimm. (Photo: Scott Green/NBC) The first setup of the day is fairly straightforward. An SUV carrying Giuntoli and Mastrantonio pulls up to the Airstream, the two get out of the vehicle and exchange a few lines, then enter the trailer. Barba and director of photography Marshall Adams have set up two cameras: a stationary one that captures a traditional master shot of the trailer and the bridge, and a boom-mounted camera that will dolly along with the SUV as it enters the gravel lot. That’s the one getting the lion’s share of Barba’s attention. Several takes are given over to camera operator Tim Spencer to ensure he is able to capture the headlights of the SUV through the window of an abandoned motorboat and then follow the progress of the car up to the trailer. “Once you see the headlights through the window, let that take you,” Barba instructs him. “I want the car to reveal the trailer.” Satisfied that he’s captured the motion as he’d hoped to, he strolls over to give the actors a few notes. “I told her I wanted to see a little affection when she sees the trailer for the first time,” he says when he returns to the shelter of the tent. As he later explains, “The script indicates that she’s familiar with the place. I want her to reveal that she’s been there before.” Those little indications of intimacy, Barba says, relate to the overall narrative, in which Burkhardt is still unclear whether the woman truly is his mother: “It builds trust in him. He starts to recognize that she is who she says she is.” Barba’s chats with the actors are light and collegial. There isn’t any worried huddling, no sense that a lecture is in progress or that the actors are working out some emotional issue. Indeed, according to Giuntoli, Barba is accommodating in handling his cast. “He’s very good at picking the moments to give direction and the times to let go,” says the actor. “Sometimes he’ll just say, ‘Forget about your mark. Don’t worry about it. Just do what you feel.’” That casual air is actually, as Barba later reveals, a studied practice. “One of my mentors, Edward Dmytryk, said that most of our job is to separate the actors from the machinery of filmmaking so that they feel they can just live in the moment and reveal themselves. I’m very careful about how I talk to them, because I don’t want them thinking, I want them just being.” Later in the afternoon, at the Grimm basecamp, about a mile from the vacant lot set, Barba and the actors block a scene inside a mock-up of the Airstream interior that’s about three times the size of the actual thing. Here, as opposed to outdoors, he spends more time on the details of the line readings. For one exchange in particular, he encourages Giuntoli to brag a little about his familiarity with the world of the supernatural and for Mastrantonio to be pleasantly surprised to hear it. These are the sorts of details that matter as much in the episode that’s being shot as they do to the larger narrative of the series, and it’s a sign of Barba’s role as executive producer that he understands and encourages it. As Giuntoli notes, “In episodic TV, the process can be so disjointed, so having someone like Norberto who chooses to work on the most crucial episodes is a great comfort to an actor. Actors can trust him because he’s got the greater picture in mind.” Barba talks it over with 1st AD Paul B. Pedreira (left). (Photo: Scott Green/NBC) In fact, Barba admits to choosing which episodes of Grimm to direct based on their importance to the overarching narrative of the series. “There’s a danger of Grimm being a ‘creature-of-the-week’ show,” he says. “But what enriches it is the sense of an underlying mythology that’s being revealed. I’ve cherry-picked the episodes that reveal the mythology, and those episodes start a conversation among the audience about the direction the show and the story can go.” Given that his background is so heavy in police shows, Barba may seem an unlikely candidate to direct—let alone executive produce—a show like Grimm, and he acknowledges that he was taken aback when the idea first arose. “When I got the call, I thought, ‘fantasy/mythology?’ I’m more a procedural guy,” he recalls. “But then I saw it as a superhero story. There’s the superhero dilemma: A geek gets something that he perceives as a problem or a hindrance, something that turns him into a freak, but then he accepts it and learns to control it and master it and use it for good. It’s a discovery that starts with something scary and then reveals itself as a gift.” As it turns out, Barba was, in a sense, raised on science fiction. Growing up in the Bronx in a family of Cuban immigrants (“I was born in the same building as Stanley Kubrick,” he delights in sharing), he would watch episodes of Star Trek and The Twilight Zone with his dad, who used to walk him across a bridge to Manhattan’s Astral Theater to see first-run Hollywood releases with Spanish subtitles. His formal film education was peripatetic and thorough: two years at Columbia University, where, though an undergrad, he sat in on graduate film classes, learning a heavily theoretical European approach to cinema; two years at USC, where, “desperate to get my hands on a camera,” he “did a little bit of everything”; and eventually postgraduate work at AFI, where, he says, “the focus was all story and premise. The idea is that story is everything and if you know the story then you know where to put the camera and how to direct the actors and how to edit the pieces together.” To pay off his student loans, he spent six years as a reserve with the Psychological Operations unit of the U.S. Army, where he made training films and documented military exercises and, through lucky strokes, missed assignment to active duty service in the first Gulf War and the war in Kosovo. The crew sets up a murder site using the architecture of the city. (Photo: Scott Green/NBC) In the early ’90s, fresh out of AFI, Barba was directing low-budget films when he got a call from director Donald Petrie, who was shooting the pilot for a Twin Peaks-ish series called Country Estates. As Barba recalls, “He asked if I was interested in getting his lunch, washing his car, and picking up his dry cleaning for no pay. I asked what I would get out of it. He told me I could shadow him, go to all meetings, casting, etc., and I would direct the pilot on paper. At any given moment on the set, he might turn to me and ask what I would do in that particular situation. And so I shadowed him, and he did stop everything one rainy night and asked me what I would do, as cast and crew watched. And after that he convinced the studio that I was the right person to direct the second unit scene that actually opened the pilot.” That experience helped steer him, a few years later, to directing an episode of the short-lived drama Vanishing Son, and he didn’t enjoy the experience. “I thought, ‘I’m never gonna do this again. This is crazy,’ ” he remembers. “I was directing a schedule, not a story.” But after another made-for-TV feature, he landed the job that changed everything for him. “I got a gig on New York Undercover,” he says, “and I was so jazzed. We were on the streets, it was handheld, and I was home. It was really exciting, and it reached a demographic that no one else had. Each show was fresh and had different challenges.” Since then, Barba has been almost exclusively employed as an episodic TV director, coming to trust his ability in the medium and his maturation as an artist. “When I started,” he admits, “it was terrifying. You have eight days to shoot, and you have to think on your feet a lot. I went through a period when I over-planned everything and if there was a curveball thrown at me then I found myself really scrambling. But as I evolved, I found that preparation gives you the freedom to trust your voice and your instincts and your actors and crew and make changes you hadn’t planned. I want to take advantage of what the other artists on the set have to offer, and I can serve as the filter and select what’s best from their ideas.” Good to his word, Barba regularly demonstrates flexibility on the set. While shooting the scene inside the Airstream someone on the camera crew comes up with an inspiration for a new way to light and stage the shot and shares the suggestion with the director. “Oh, that’s nice! That works. Let’s do that,” Barba says enthusiastically. Then he turns to the actors. “We’ve discovered a really pretty shot here,” he tells them, and he begins working with them to tweak the blocking. Discussing the moment later, Barba says that he has learned not to over-prepare for a day’s work. “I come to the set with a definite plan,” he says. “But I like to find the moments that happen on the set. John Huston, I think, said the best directors find the accidents and take advantage of them. As an executive producer I see a lot of directors, and some of them are, I think, too rigid with their plans. It’s a collaborative process, and you have to allow the actors and the camera crew to contribute. I try to empower the crew to be able to feel that they can say ‘look what I found.’ And maybe I like it and maybe I don’t. But they don’t feel that it won’t be considered. They feel like they can contribute.” This moment of improvisation is, according to 1st AD Paul B. Pedreira, not at all unusual for Barba. “He’s firm when he needs to be,” Pedreira says, “but there’s no ego, and he’s open to hearing from others. He’s happy to hear a good idea; it doesn’t have to be his.” That openness extends to the episodic directors whom Barba oversees in his role as executive producer on the show. “He spends a lot of time with guest directors in prep,” Pedreira notes, “and then leaves them to themselves when they shoot. It’s their episode. I’ve been on shows where directors have been micromanaged, but this is more of a director’s show, and he makes them feel welcome.” Barba (in black shirt) likes to use the natural resources of Portland to reflect the mood of the show. (Photo: Scott Green/NBC) As Barba puts it, his personal experience as an episodic director has taught him to use a delicate touch when overseeing others. His approach ensures that the quality and integrity of the series are maintained while allowing the directors to bring new vitality and freshness to the show. “I believe in the philosophy that you can’t reinvent the show in a week but you can leave us with something that makes the show better,” he says. “I spend more time choosing the guest directors and preparing with them than supervising them. My job is to prep them and make sure they know the story and the world so well that I don’t have to be there. We become partners, and if they need me then I guide them. I look at the dailies, and I might mention to them something like, ‘Try not to shoot her with a wide lens so much.’ But I don’t hover. If I’m doing my job right, I’m prepping the next director while the current director is working.” “It’s quite a big job that he’s got,” says co-creator Greenwalt. “He’s directing episodes and prepping other directors and working with new creatures and cutting together what he’s shot. But he’s incredibly well organized. And we trust him with our vision for the show.” That trust is vital to what Barba does. “When you run a show, it’s your baby,” he remarks. “I’m the only producer who’s up here in Portland, and now that I’m established I have their trust. They know that I’ll see their vision through and add to it. I can keep the look and feel consistent, and if something needs to be changed, they know that I’ve got the big picture in mind.” That happens, in fact, during the day, when the crew is turning around to get some additional footage of the scene inside the Airstream. The season two premiere Barba is directing is actually the middle piece of a three-episode arc, and the director of the final portion, Terrence O’Hara, is prepping his segment when he runs into a question about a detail of staging. Barba has yet to shoot the scenes of his episode that will mesh with the bit that O’Hara is prepping, so he tells the guest director to take the initiative: “Do what you need to. I’m open. I can change my part to make the two parts fit.” Such openness is key to Barba’s larger vision of his career. “I’ve got to where I wanted to be, but it hasn’t been easy. I’ve been working nonstop for 12 years. It’s exciting. And I have tremendous gratitude for the people who supported me and who believed in me and who are now my partners in crime.” And whether those partners are humans or wesen, you sense that he has equal respect for them all. Television Feature stories about the craft and challenges of directors and their teams in episodic television, movies for television, daytime drama, reality, sports, news, variety, childrens, commercials and other television genres. More from this topic See more articles from Television The Newsroom With rapid-fire dialogue and complex visual schemes, The Newsroom was no easy assignment for director-producer Alan Poul and his team of directors. But no matter how big the stories, it's always about the characters. The Voice Dealing with more moving parts than almost any show on TV, the directorial team on The Voice captures life-changing moments as competitors discover their true voice. Hot Time in the Cold Town Chicago Fire Director-producer Joe Chappelle and a fine-tuned directorial team balance some of the biggest, most daring visual effects on TV with everyday human drama on Chicago Fire — and all this in the dead of winter. Selling Point Lance Acord In directing some of the most acclaimed commercials in recent years, Lance Acord goes for a casual feel that's anything but easy to achieve. Suzanne Smith Suzanne Smith is the only woman directing pro football and NCAA basketball. She credits DGA mentors with helping her to reach her goal. The Following As characters drop like flies in the hit TV series The Following, director-producer Marcos Siega and his team create an authentically tense and scary atmosphere. Even the blood is directed. Boardwalk Empire In an extraordinarily creative environment, director-producer Tim Van Patten and a team of highly skilled veteran directors recreate the glamorous, seedy and seductive world of Prohibition-era America in Boardwalk Empire. More from this issue View the Summer 2012 Issue It's a Scary Job But (Somebody's Got to Do It) Grimm Director Norberto Barba Battling "wesen" and solving mysteries in the wilds of Portland, may not be for everyone. But in Grimm, director/producer Norberto Barba makes it look easy. Chemistry Lesson Breaking Bad With a distinctive visual style and lots of locations, Breaking Bad is a challenging show for directors. Fortunately, a great team is in place to help them. Filmmaker Friendly Tom Bernard & Michael Barker Co-presidents Tom Bernard & Michael Barker have steered Sony Pictures Classics through the choppy waters of indie film for 21 years with a combination of business savvy and a respect for directorial vision. Quiet on the Set! Mel Brooks Mel Brooks spills the beans about directing some of the most outrageous and hilarious comedies ever made. He's not joking (well, just a little). Put Me In, Coach Mark Waters The director of Mean Girls and Mr. Popper’s Penguins explains how playing sports prepared him for the toughest game of all—directing comedy. Greatness in the Making William Friedkin William Friedkin first saw Citizen Kane more than 50 years ago and has never looked at films the same way again. He explains how Orson Welles used the tools of the trade to create a masterpiece. Out of the Vaults Warner Archive Collection The enterprising Warner Archive Collection offers unsung films by major directors. Resources

影视

2014-49/2829/en_head.json.gz/1305

Clear and Present Danger (US - BD) Gabe perfects his Jack Ryan finger pointing technique with Harry Ford... Feature Just when you thought things couldn’t possibly get any worse for Mr. Jack Ryan, the poor fella finds himself in yet another scrape with bad guys from another country. But what starts off as a simple little anti-drug campaign quickly swirls out of Jack’s control, and he discovers that the real enemy may be from within his own government. Clear and Present Danger gets almost as much television play as Patriot Games, and catching them in sections on odd weekends has led me to often forget which film is which. The two films were conceived and written at almost the same time, share many of the same actors, the same producers, the same writers (plus John Milius), the same composer, the same director of photography, the same editor, and the same director. One can understand my confusion. The big differences are the location (this time Jack goes to Latin America), the direct involvement of higher members of the government (like the President, who gets a proper tongue lashing), the larger B-story not involving villains (I think even the most liberal among us wouldn’t call Willem Dafoe and his army buddies villains), and James Earl Jones’ sickness. Danger has the more intricate plot and the steadier director’s hand, but it doesn’t feature the visceral excitement or wrenching family drama of Patriot Games, at least not for me, save maybe the rocket launcher scene. Patriot Games is sloppy in parts, sure, but cleanliness and meticulous manner in which Danger is presented ends up amounting to too much of a ‘good thing’. There’s simply too much stuff happening, too much story (a pretty convoluted one at that), too many characters, and not enough gut punch. Red October and Patriot Games (and to a lesser extent Sum of All Fears) also have a sparser pace. There was no point here where I wasn’t very aware of how long the film felt. I do appreciate the generally cynical feel of the plot, which considering Clancy and Milius’ personalities is a little surprising, though I suppose one must consider that the film was made during the Clinton administration (though written in response to Iran/Contra, hmm). Actually, not so far beneath the surface story one might be able to read a political conservative’s take on the covert way the Clinton administration waged war without consequences for two terms. I don’t think we’d see a mainstream Hollywood movie featuring such blatantly corruptible (and practically idiotic) U.S. President in this era (save documentaries, zing!). There are exciting shades of grey all through the conflict, including the actions of the good guys and bad guys. As in the case of Patriot Games, Noyce manages one fully brilliant sequence—in this case the sequence where both Ryan and bad guy Felix figure out what really happened to the cartel leaders at the same time—but ultimately he fails to blend what feels like two converging films entirely convincingly. His best shot is the convoluted third act, where most believability slides right out the window. This film marked the beginning of the end for Harrison Ford’s career, which is probably, and unfairly, my biggest reason for not loving the film. Before Clear and Present Danger Ford starred in his last great movie, The Fugitive, and after came more than a decade of the same grumpy finger-waggers. Ford still has a bit of charm here, but he certainly overdoes the frowning and pointing. Willem Dafoe and his commandos, including Benjamin Bratt, all end up playing the same characters they’ve played before and since, as does most of the Presidential cabinet, but I’m not snobby enough to complain about it. The film’s aces are Miguel Sandoval, who plays an amusingly clueless drug lord, and James Earl Jones, who is very hard to watch die. Video Clear and Present Danger looks very good for a fourteen year old movie, better than either Red October or Patriot Games. Noyce has an affinity for blue this time around, which actually makes it look more like a James Cameron or Renny Harlin film then a Phillip Noyce film. In fact, blue more or less bleeds into every other colour in frame, especially when filming indoors. The non-blues are effectively pretty, especially the Columbian reds, yellows, and oranges. You’re likely to notice some dark grain throughout, especially against bright whites (of which there are plenty), but the overall print is quite clean otherwise, featuring almost no compression noise or edge enhancement. The only real errors I noticed are probably the fault of the original source, like inconsistent background detail (probably the anamorphic lens) and slightly choppy motion during action. Audio Apparently Clear and Present Danger was the first Laserdisc to utilize Dolby Digital AC-3 surround capabilities. I suppose that’s one for the history books, and I suppose that has something to do with the solid nature of this Dolby TrueHD track. The hyper realistic nature of the soundtrack is effective, and the money moments are dynamic, though there are less of them then other action films. James Horner continues the Jack Ryan tradition and infuses his score with traditional music from the area the antagonists originate, in this case Latin America. There’s less infusion here than the previous films, but it’s good to have it because the rest of the score is pretty traditional thriller stuff. Extras A decent making-of featurette entitled ‘Behind the Danger’ makes up the bulk of the disc’s two extras. The look and feel of this mini-doc is very similar to those that adorned Red October and Patriot Games, featuring footage obviously culled from the same interviews, and a similar pace and runtime. There’s a lot less pre-production to talk about this time, because this film was pre-produced partially in tandem with Patriot Games, but to make up for it we’ve been supplied with more behind the scenes footage. The featurette runs a little over twenty-six minutes. The other extra is an HD version of the original trailer. Overall Clear and Present Danger is my least favourite in the pre-reboot Jack Ryan saga, but it still entertains, even if it’s not quite as smart as it seems to think it is. The third act is a bit of a mess, but the final five minutes or so are possibly the best in the entire series. It could also just be that I’m a little espionaged-out after watching these films in a row. * Note: The images on this page are not representative of the Blu-ray release. Patriot Games (US - BD) Hunt for Red October (US - BD) Clear and Present Danger: Special Collector's Edition (US - DVD R1) [quote=keffa wrote]awesome film. have ordered it on BLU. hope Ford makes another sometime soon, sorry no more Affleck! [/quote] Additional Options awesome film. have ordered it on BLU. hope Ford makes another sometime soon, sorry no more Affleck! Shannon_Nutt Come on, Gabe...it's Dr. Jack Ryan, not Mr.! A little respect, please. Blofeld I really miss these solid, exciting, non-stupid thrillers of yesteryear. Some material may be inappropriate for children under 13 English HoH, French, and Spanish Behind the Danger, Trailer Harrison Ford, Willem Dafoe, Anne Archer, Joaquim de Almeida, Henry Czerny

影视

2014-49/2829/en_head.json.gz/1307

DVDSleuth.com is your source for daily DVD news and reviews. Columbus Circle (2010) Blu-ray Disc Released: 3/6/2012 All Ratings out of Movie: Video: Audio: 1/2 Extras: No Extras Review by Mike Long, Posted on 2/28/2012 Everyday we are bombarded by stereotypes and cliches, and yet we are told to ignore them. However, the thing about stereotypes and cliches is that there is often a nugget of truth to them. One such stereotype is that many comedians or comic actors work from a dark place and that they use their humor to cover up old wounds. This may sound far-fetched at first, but one only has to listen to some stand-up material to see that this is often true. (Oddly, with some comedians, the more popular they get, the more dark and personal their work becomes.) It can be assumed that these "sad clowns" are using comedy to exorcise their personal demons. There must be some kernel of truth to this, as evidenced by one of the co-writers of Columbus Circle. Columbus Circle is set in a posh high-rise apartment building located in the titular New York City area. Abigail Clayton (Selma Blair) lives alone in a penthouse apartment and she hasn't left her home in years. She only communicates with the concierge, Klandermann (Kevin Pollak), (through letters which she slides under the door), and her physician, Dr. Raymond Fontaine (Beau Bridges). Abigail's real name is Justine Waters, and she's actually a famous heiress who "disappeared" years ago. Distrustful and paranoid, she has chosen to lock herself away. One night, the old woman across the hall from Abigail dies when she apparently falls down her stairs. Police Detective Frank Giardello (Giovanni Ribisi) insists on learning if Abigail heard anything, despite her reluctance to speak with him. A few days later, a new couple, Charles (Jason Lee) and Lillian (Amy Smart), move in across from Abigail (despite the fact that she'd hoped to buy the space and have the entire floor to herself). The two have a volatile relationship, and against her better judgment, Abigail reaches out to help Lillian. Will opening her home to a stranger result in dire consequences? Columbus Circle is a decidedly Hitchcockian thriller, so it's somewhat surprising to see that it was co-written by stand-up comic turned actor Kevin Pollak. Yes, he's taken some dramatic roles over the years, but these often have some comedic elements. Here, both his performance and his writing are both very serious. The other writer on the film is George Gallo, who also directed. Seeing as his resume contains titles like Midnight Run and Bad Boys, he seems like more of a match for this material. (If I said, "Hey do you want to watch a movie from the writer of Bad Boys and Kevin Pollak?", you would think that I was crazy.) Together, they've created a nice little film noir which harkens back to the thrillers of the 40s. This falls squarely into a category I like to call a "solid movie". Again, the story is decidedly Hitchcockian, as we have a mysterious woman, a crime, and double-crosses. The film noir aesthetic is not only evident in the film's shadowy look, but also in the story, as everyone has an agenda and no one is who they seem to be. The script is full of twists, some evident, and others which will catch the viewer off-guard. (Once you understand that this is a "twisty" film, the sudden turns in the story become easier to predict.) However, there is still an unescapable feeling that we've seen this before. The acting is solid, and it's interesting to see some actors taking a risk, as Jason Lee plays a heavy and Kevin Pollak plays the skittish doorman. Selma Blair always comes across as icy, so she's perfect as the woman who wants to be left alone. Yes, Columbus Circle has some good elements, but they only add up to the aforementioned "solid movie" and not a great one. This simply has to do with the fact that the movie never swings for the fences. It's got a good look, the story is fairly solid (despite some plotholes in the finale), and the actors are good, but it never pushes the envelope. Note that I didn't begin this review with my typical "I've heard of these people, why haven't I heard of this movie?" intro. The movies in the category are typically shelved films which deserved to stay on the shelf, but Columbus Circle is actually worth watching if you're in the mood for a twisty movie. Columbus Circle makes me wish that I sealed my correspondence with a wax seal (and that I did correspondence) on Blu-ray Disc courtesy of Universal Studios Home Entertainment. The film has been letterboxed at 2.35:1 and the Disc contains a VC-1 1080p HD transfer which runs at an average of 31 Mbps. The image is sharp and clear, showing a trace amount of grain at times and no defects from the source material. The colors look good, but the image gets a bit too dark at times. However, the contrast between light and dark works quite well most of the time. The level of detail is good, as we can make out textures on objects. The Disc carries a DTS-HD Master Audio 5.1 track which runs at 48 kHz and an average of 4.0 Mbps. The track provides clear dialogue and sound effects. The stereo and surround sound effects are very good, as we are often treated to the noises happening off-screen outside of Abigail's apartment, and these noises fill the front and rear channels. The subwoofer effects are good, as well, most notably during the fight scenes. Overall, a very good audio track. The Columbus Circle Blu-ray Disc contains no extra features. Review Copyright 2012 by

影视

2014-49/2829/en_head.json.gz/1377

On Location... Back To School Filming Locations AKA: This Section Is Due To Be Replaced! We've been working on a major new locations engine, but we just didn't have time to finish it yet. In future each movie will have its own locations site with all the locations listed with "then and now" pictures, Google Earth links and more! It's a simply massive project but we hope to start rolling it out in late '09. In the meantime, all submissions made from this page will only take an average of 24hrs to be added, so please keep 'em coming! Featured Movie Location: Jason's UniversityWanna see the real life filming location used for Jason's University in the movie? These scenes were actually shot at University of Wisconsin, located in Madison, Wisconsin. [Google Map] Locations Manager(s): Cass Martin, Joseph M. O'Har, Pam O'HarOn LocationThe sorority house that Thorton stumbles upon in the beginning is actually the Tri-Delta house at the on 28th St. (The Row) at the University of Southern California. You can see the greek letters and a dolphin (their mascot) painted on the street in front of the house when his limo pulls up. [Thanks to Jason]The exterior of the house of Sally Kellerman's character ("Diane") was the same home used in the original "Halloween" (i.e., the "Tommy Doyle House" to those in the know!). The home is actually located on Orange Grove right off of Sunset Blvd. in the heart of Hollywood. [Thanks to Dan Farrands]Much of Back to School was filmed on the campus of the University of Wisconsin at Madison, hardly a swimming powerhouse. Long, cold winters cut the outdoor swimming season down to about three months. In fact, as a student there I don't remember one outdoor pool. [Thanks to Mark Everly]The swim stadium scenes where the diving competiton took place is the swimming complex at the Industry Hills Sheraton / Country Club in the City of Industry, about 25 miles southeast of Hollywood, CA. [Thanks to Sal Gomez]Some scenes were filmed at California State University, Los Angeles, CA.Can you help? Do you know any of the (or any other) filming locations used for Back To School, particularly Thornton's House.? [Please send them in]Locations LinksFollowing is a recommended link:University of Wisconsin Next Page: Back To School Movie Bloopers & Goofs Or Skip To: Review, Music, Trivia, Behind The Scenes, Extras, Buying Guide About This SitePlease Share This Page: Back To School Movie & Images ©1986 MGM/UA. Original Content ©2009 Fast-Rewind.com. Powered by Rewind C21 CMS. Read our review of Back To School and see the people who made and starred in it. Find the 9 songs and 8 pieces of instrumental score music by Danny Elfman featured in Back To School. See the 15 items of great trivia we have for Back To School. Learn what went on during the making of Back To School. Nothing's perfect! See the 6 mistakes listed for Back To School. Memorable quotes, Links and more for Back To School. Our Editors pick the best DVD, CD, Blu-ray, Posters and more for Back To School...

影视

2014-49/2829/en_head.json.gz/1527

The Weirdest Parts of the 'Breaking Bad' Kickstarter We definitely thought the guy who netted over $50,000 to make potato salad would be the oddest thing we'd see on Kickstarter all year, but nary a week has passed, and the bowels of the internet have already spit out something that somehow manages to be even weirder. Breaking Bad super-fan Larry Shepherd wasn't entirely satisfied with the conclusion of Vince Gilligan's landmark series, which ended with (spoiler!) Walter White dying, so he has decided to launch his own Kickstarter campaign for a Breaking Bad spinoff series called Anastasia. The imaginary series would pick up just moments after the finale, and star two U.S. Marshals (hopefully played by Val Kilmer and Slash, oy vey!) who discover Walt's body. But there's a twist: after the two Marshals leave the body unattended for just a few seconds (Slash just really needed to rip out a few guitar riffs to let out some stress; law enforcement is a tough gig, you know), a mysterious figure of unidentifiable gender and age, grabs Walt's body by the ankles and escapes into the night. So starts the mystery of Anastasia, and so ends the sanctity of western civilization. It only gets more absurd from there. Here are the weirdest aspects of this very unfortunate Kickstarter project. The show will presumably star Val Kilmer and Slash for some reason.We can already feel the electric chemistry between these two leads. Amazing. Unscripted Alcoholics Anonymous meetings will happen on the show with real celebrities going through real drug recoveries.Certainly, loads of in-recovery celebrities will pop on by to talk about their very real addictions on a scripted television show... "Steven Tyler is going to be the first person we invite."He's not coming. "People that love Native American spirituality are going to love this show."No they won't. Shepherd promises to get Val Kilmer an Emmy, but not an Oscar because this is a TV show.Tatiana Maslany can't even get a nomination, but we're sure this guy will get Val Kilmer an Emmy. "To me, Anastasia is a restaurant...and our actors are the food."Huh? A-list actors will dress up in pounds of makeup and the audience will have to guess who they are.I'm sure their agents will love that. Val Kilmer will create the "quirkiness" of his character.You know, I don't think the real Val Kilmer is terribly enthused about this whole thing. But "Slash will stay in the 'Slash' character."What? So Slash will just be Slash? Will he bring his top hat and Les Paul to drug raids? Backers on Kickstarter will pick the names of the main characters.Yep, that's totally going to end well. Get ready for your two lead U.S Marshals "I.C. Weiner" and "Call of Duty Hitler." Vince Gilligan and Sony have not approved of the idea.But Shepherd is prepared to move ahead with the idea, with or without Breaking Bad. Nothing stops this train, nothing. // Follow @CurrentlyJordan // The Best Uses of Beatles Songs in Movies and TV United Artists via Everett Collection The Beatles' influence has touched every inch of modern pop music, leaving an indelible mark on film and television... which is pretty good for four working-class mop tops from Liverpool. Director Ron Howard will be the next to immortalize the band onscreen, in a new documentary that will explore the group's early years, when they still toured their music across the globe. Surviving Beatles Paul McCartney and Ringo Starr, as well as Yoko Ono Lennon and Olivia Harrison will contribute to the feature, which will trace the band's humble beginnings at the Caven Club in Liverpool, their tours through Germany, all the way through the group's final public performance in San Francisco's Candlestick park. But before we get around to seeing Howard's tribute to the Beatles, we're inclined to look back upon some of the best musical contributions they made to movies and TV. Bowling for ColumbineThe last half of the John Lennon-penned "Happiness Is a Warm Gun," which may or may not be about heroin, serves as the perfect soundtrack for Michael Moore's anti-gun manifesto Bowling for Columbine. It's used in a terrifying sequence that shows just how gun crazy some Americans are, and as the song ramps up, the sequence escalates to a violent and unnerving conclusion that still has us wincing all these years later. "Baby, You're a Rich Man" in The Social NetworkWhat better way to end a biopic about one of the richest men in the universe than this cut from Magical Mystery Tour. It's so fitting, it's almost like it was made expressly to cap off David Fincher's tale of billion dollar grudges. "You've Got to Hide Your Love Away" in HelpWe couldn't, in good faith, compile a list of the best Beatles moments in film and television without including a sequence from the Fab Four's own filmography. We chose "You've Got to Hide Your Love Away" the film Help for sheer oddness of the sequence. Plus, it's just a great song in general. "In My Life" in Little ManhattanThe best thing about the Beatles is how timeless their music is. "In My Life," a song about losing and gaining friendships through the slippage of time, is the perfect piece of music to accompany the story about a preteen losing his first love in modern day New York. "A Little Help From My Friends" on The Wonder YearsJohn Cocker's throaty rendition of "A Little Help from My Friends" graces the title sequence of The Wonder Years, and it may be the best cover song ever recorded. It's even better than the original Beatles tune, and it just makes The Wonder Years a better show. Nowadays, we can't even look at Fred Savage without hearing Cocker's raspy croon blasting through our heads at full volume. "Come Together" in A Bronx TaleIn a scene from Robert De Niro's directoral debut, a pair of Italian mafiosos rough up a couple of unruly bikers that stop into their bar while "Come Together" spills out of a jukebox. Thanks to the '60s aesthetic, the song is a perfect addition to the scene. "Hey Jude" in The Royal TenenbaumsFilmmakers like Quentin Tarantino and Martin Scorsese are often celebrated for their use of pop music in film, but Wes Anderson's musical touches in his work are just as poignant. His use of a beautifully orchestrated version of "Hey Jude" in 2001's The Royal Tenanbaums is a perfect example of this. "Twist and Shout" in Ferris Bueller's Day OffWe're still not sure if Ferris Bueller is really a wizard, or if it was just the power of music, but the teen somehow brings the entirety of downtown Chicago to a grinding halt for the musical number to end all musical numbers. // Can We Believe Daniel Radcliffe as a Tough Guy in 'Horns'? Back in the summer of 2011, It wasn't easy to envision what a post-Harry Potter world would look like, but we definitely didn't expect to see Daniel Radcliffe with a pair of knobby horns sprouting from his head, seeking revenge for his murdered girlfriend and sporting an American accent. Credulity runs pretty deep around these parts- You need to believe in the unbelievable to watch so many movies - but can we really buy Daniel Radcliffe as a tough guy? In the new trailer for Horns, which you can watch here, we’re asked to believe just that. In the upcoming horror flick, based on the novel by Joe Hill, Radcliffe plays Ig Perrish, who after a rough night of heavy drinking wakes up with horns protruding from his head. While rather unsightly, the horns do give Ig the ability to get people to confess their deepest, darkest sins, and Ig uses this newfound ability to discover who raped and killed his girlfriend, a crime of which he was accused. This supernatural mystery sounds interesting, but so much of the film's success will be hinged on Radcliffe and his ability to play a tough guy. A classic anti-hero, Ig fosters a deep need for revenge coursing through him. A darkness ready to erupt. And from what we've seen of Radcliffe via his filmography, we're not sure the young Gryffindor has it in him. Now, Radcliffe is an intensely likable human being. He's almost supernaturally affable. And over his stints in the theater, both Broadway and London’s West End, he’s developed into a fine young actor. He’s absolutely stuffed with charm and affability, but he still doesn’t have that hard edge to him that makes us think he could be believable as a man seeking bloody revenge for his lost love. With all that said, it is an actor's job to throw away who they are and morph into someone new, and it would be unfathomably silly to not give Radcliffe the benefit of the doubt. He's impressed us before and we wouldn't want to see the actor typecast in soft and sensitive roles for the rest of his career. Radcliffe has the ability to be so much more than just Harry Potter, and you can almost feel the actor trying his best to break away from the character that has come to define him. Let's hope that Horns is a showcase for the actor's diverse range. Hopefully, the boy that lived can finally die away. // The 'Big Hero 6' Trailer Shows Us Marvel's First Real Disney Movie It's safe to say that Marvel's sale to Disney hasn't changed the comic book company's game plan with regards to its superhero movies. Tony Stark, thankfully, isn't taking surprise trips to Disneyland in the Iron Man sequels. In fact, those not clued into the industry might not have even noticed that the House of Mouse on the House of Ideas had even merged at all. Now enter Disney's Big Hero 6, which seems to be the first real glimpse of cinematic collaboration between the two media giants. Take one of Marvel's lesser-known D-list superhero teams, sprinkle some CG Disney magic on top, and here we have a guaranteed crowd pleaser. Disney The story follows Hiro Hamada, a young robotics genius who must team up with his gaggle of nerdy friends to save the Franken-titled city of San Fransokyo. By Hiro's side is Baymax, a peaceful nurse robot juiced up with armor and other crime fighting upgrades. The trailer is cute and charming in that Disney way, but there's also glimpses of the standard high-flying Marvel superheroics. There are plenty of great physical gags stemming from the fact that Baymax is really just a giant white blubbery balloon... thing. Since Marvel's Avengers universe seems to be getting darker and less kid-friendly by the minute (The Winter Soldier literally threw that one guy in front of a freakin' truck in the last Captain America), Big Hero 6 might be a nice stopgap for young kids looking to release some adrenaline, but not looking for daily nightmares of Sebastian Stan. // Comedy Fans Will Love the Cast of Disney's 'Big Hero 6' Big Hero 6, Disney and Marvel's upcoming CG-animated superhero smash-up, might not be the place you'd expect to find deep belly laughs, but the voice cast runs deep with some fantastically funny actors from some of our favorite TV and movie comedies. Here's a rundown of the cast and where you might know them from. Ryan PotterRole: Hiro Hamada, a half-Japanese, half-Caucasian genius who creates Baymax, his own robot superhero.Potter is currently Nickelodeon's resident dreamboat and has starred on the channel's series Supah Ninjas and Fred: The Show. Big Hero 6 will be the actor's first feature film. Scott AdsitRole: Baymax, A peaceful nurse robot turned action hero.Adsit is most well-known for his role as the perpetually exasperated producer Pete Hornberger on 30 Rock. He has also had roles in the films The Informant!, We're the Millers, and Accepted. His television roles include roles in Moral Orel and guest appearances on Curb Your Enthusiasm, The Office, Monk, and Malcom in the Middle. T.J. MillerRole: Fred, a nerdy guy who creates his own robotic Kaiju monster to fight evil.Miller currently has a stand out role as Erlich in HBO's tech comedy Silicon Valley, which just wrapped up it's freshman season and garnered a couple Emmy nods. The actor has also appeared in films like Our Idiot Brother, She's Out of My League, Rock of Ages, Extract, the How to Train Your Dragon movies and the recent Michael Bay blockbuster, Transformers: Age of Extinction. Jamie ChungRole: Go Go Tomago, a tough as nails crime fighter who flies around in an advanced supersuit.After appearing on a season of MTV's long-running reality series, The Real World, Chung embarked on a successful acting career, appearing in the films, Sucker Punch, Grown Ups, Premium Rush, The Man with the Iron Fists, and the two Hangover sequels. This year, she is staring in Sin City: A Dame to Kill For. Genesis RodriguezRole: Honey Lemon, a sweet and sensitive character who's new to the superhero game, but holds the team together.Rodriguez is a veteran of both Spanish-language and American soap operas, having appeared in several telenovelas and the American daytime series, Days of our Lives. As for feature films, she has appeared in the comedies Casa de Mi Padre, What to Expect when You're Expecting, and Identity Thief. Disney Damon Wayans Jr.Role: Wasabi, a super smart but overly cautious hero equipped with plasma bladesWayans is currently starring on the comedy New Girl and has also appeared on the swiftly cancelled but brilliant series Happy Endings. Later this summer, Wayans will team up with New Girl cast mate Jake Johnson for the action-comedy Let's Be Cops. // Can Any 2014 Film Beat 'Transformers: Age of Extinction' at the Box Office? Paramount Pictures via Everett Collection Dawn of the Planet of the Apes might have usurped Transformers: Age of Extinction from the top spot at the domestic box office this weekend, but the fourth installment in Michael Bay's rock'em, sock'em robot franchise did hit a very significant milestone. With a hefty $752 million intake, Age of Extinction is now the top grossing film of the year, and just after just three short weeks. That could be a good thing or a bad thing, depending on where your opinion lies on Bay's controversial franchise, but 2014 is far from over. There's still a ton of strong summer and fall films looking to contend for the top spot at the box-office. We've taken the remainder of the big films releasing in 2014 and assessed their chances of outgrossing Transformers: Age of Extinction. HerculesCan it beat Transformers?: Over the last couple of years, the Rock has blossomed into a full-fledged movie star. The last Fast and Furious movie grossed $789 Million, but this latest Hercules film doesn't have the fast cars or the built-in fan base of the aforementioned franchise. We think Hercules will do well at the box office (if the Rock flexes it, they will come) but there's no possible way the Rock's latest venture will come close to making Transformers money... even though we're pretty sure the Rock could take Optimus Prime in a fist fight. Guardians of the GalaxyCan it beat Transformers?: Marvel has a lot riding on Guardians of the Galaxy. The studio's galaxy-spanning adventure doesn't have any recognizable heroes in its ranks, and might not have the same box office muscle as something like Iron Man 3 or The Avengers. But even Marvel's safest bets would have trouble toppling the Transformers in 2014. This year's Captian America: The Winter Soldier only took in $712 million at the box-office, falling short of what Transformers made in just a few weeks. But who knows? Maybe the buzz, hype, and the novelty of Marvel's space opera gamble might bring in a huge enough audience... but we wouldn't bet much on it. Like we said, it is a gamble. Teenage Mutant Ninja TurtlesCan it beat Transformers?: The Michael Bay produced Turtles reboot will likely do big business just by virtue of having Bay's name on the marquee. It also helps that the Teenage Mutant Ninja Turtles are enjoying a huge upswing in popularity thanks to the current animated series running on Nickelodeon. But even with so much going for it, the upcoming Turtles flick still lacks the same media saturation that the Transformers series has. Also, the last Teenage Mutant Ninja Turtles film floundered at the box office. This one will likely do better than its predecessor, but no that much better. The Expendables 3Can it beat Transformers?: Has Sly Stallone sold out? It's hard not to feel that way. The upcoming entry in the heavy hitting Expendables series, which originally promised to bring back the R-rated sensibilities of '80s action movies, has earned a soft ball PG-13. So while The Expendables 3 might lack some of the gory oomph of the earlier films, the toned-down adventure will likely get more teens and tweens into the theater. Will it be enough to beat Transformers? Definitely not, but we wouldn't be surprised if it became the top grossing Expendables film to date. The Hunger Games: Mockingjay Part 1Can it beat Transformers?: The Hunger Games series is basically a summer blockbuster releasing in November, and the lack of competition plus the huge buzz surrounding the series might be the right cocktail to take out the current box office leader. The last Hunger Games film, Catching Fire, made $158 million on its opening weekend, easily besting the opening for Transformers 4, but the Hunger Games series doesn't quite have the same earning power overseas. Catching Fire made $864 million over its box office lifetime, while Transformes has hit almost $800 million in just a few weeks, thanks to heavy business in China and other places abroad. Mockingjay has a chance, but a slight one. InterstellarCan it beat Transformers?: Christopher Nolan is perhaps the only director besides Michael Bay that can still attract big box office business based on name alone. The mysterious Interstellar will no doubt attract some deep box office sums, but we're also doubtful that Interstellar's intriguing premise will be enough to beat the known quantity that is Transformers. Nolan's last film, The Dark Knight Rises, made $1.1 billion in theaters, so it's certainly not beyond reason, but that was the capper of a huge franchise about a recognizable comic book hero. We don't think a story about a rural astronaut can outmatch Optimus Prime. The Hobbit: The Battle of the Five ArmiesCan it beat Transformers?: While the domestic earnings for the second Hobbit films left a little to be desired, Peter Jackson's fantasy series does huge business overseas. And those foreign box office receipts boosted Desolation of Smaug to a $958 million gross. Since this will be the last entry in the franchise, we're thinking this might have the best chance of the lot. // Can 'True Detective' Save Colin Farrell's Career? Columbia Pictures via Everett Collection Are we headed for a Farrellaissance? Hopefully not, because that's a terrible bit of word play, but we are likely headed for some other, better realized pun about Colin Farrell's career upswing. The actor is currently in talks to star in the second season of True Detective, which probably doesn't click with some of Twitter's snarkier ideas via that whole "True Detective Season 2" meme that flooded the Internet a few months ago, but it does follow the TV series' modus operandi of targeting marquee movie stars to portray its brooding leads. Taylor Kitsch is also in talks for a lead role in the series, and would play opposite Farrell's character. The union of Farrell and the HBO series feels almost symbiotic in nature. With only one season under its belt, True Detective has proved it has the ability to rejuvenate the career of wayward actors. Just look at what the series did for Matthew McConaughey. Some of us were in on the ground floor when McConaughey started his rise to renewed relevance, with roles in films like Richard Linklater's Bernie, the darker-than-dark Killer Joe, and the coming of age film Mud. But the general public really took notice of McConnaughey's career transformation (the McConaissance, as the phenomenon has come to be known) with the one-two punch of Dallas Buyers Club and True Detective. HBO's stylish and meditative crime drama became an unlikely sensation with viewers, and it gave people the chance to really see McConnaughey's brilliance as an actor. And suddenly Fools Gold, Failure to Launch, the shirtless jokes, and everything else we came to associate with the actor fell away. In eight short hours, he became Rust Cohle, waxing poetic about time and flat circles and winning the heart of TV fans everywhere. The same thing can easily happen with Colin Farrell. There's no question that Farrell is talented, but his filmography reads like a list of wasted potential. His great films like In Bruges and Seven Psychopaths are nestled between some more unfortunate dreck like the shmaltzy Winter's Tale, the bland remake of Total Recall, and the dreary Dead Man Down. This lead role in True Detective could be just the shot in the arm that Farrell's career needs. And since Taylor Kitsch has been Hollywood's resident blockbuster killer for the past handful of years, maybe True Detective can help him as well. // Whose Side Are You On in These Animals vs. Humans Movies? 20th Century Fox Film via Everett Collection Whether they're battling for survival, the planet, or just the God-given right to boogie down at the local country club, man and nature have always been at each others throats at the movies. Across the cinematic landscape, a great many battles have been waged between humans and animals, and as viewers, our sympathies often shift between the species. With Dawn of the Planet of the Apes hitting theaters tomorrow, here are our favorite man versus animal films, and who we side with in each expedition. The GreyWhat's it about? After crash-landing in the Alaskan wilderness, a group of men must survive the elements and a pack of feral wolves.What are the humans fighting for? Surviving 'til the end credits.What are the animals fighting for? Tasty chunks of Liam Neeson.Who do we root for? Once Neeson strapped those tiny booze bottles to his knuckles, we were firmly on team Liam. The BirdsWhat's it about? Swarms of birds begin attacking a sleepy California town.What are the humans fighting for? Their safety, clean cars.What are the animals fighting for? It's never explained, but we're guessing tastier bread crumbs.Who do we root for? The birds... hey, it's a Hitchcock movie, so we just root for mayhem. Once Upon a Forest What's it about? Three young forest animals try to save a friend, who is wounded by chlorine gas from a human truck accident. What are the humans fighting for? Nothing in particular. What are the animals fighting for? Survival, their friend, their home. Who do we root for? Since the humans accidentally orphan a tiny woodland creature, it's obvious we're rooting for the animals. CaddyshackWhat's it about? Bill Murray tries to kill a pesky gopher terrorizing Bushwood Country Club.What are the humans fighting for? The golf course, their sanity.What is the animal fighting for? The gopher just wants to cause as much chaos as possible and dance like crazy.Who do we root for? Definitely the gopher. He's all right. Don't gotta worry 'bout him. How to Train Your DragonWhat's it about? On the Island of Berk, a young boy befriends a dragon in the midst of a human/dragon feud.What are the humans fighting for? Their safety and their livestock.What are the animals are fighting for? Sheep. Freedom. Mostly sheep.Who do we root for? The dragons, obviously. Vikings are cool, but... c'mon. Dragons. JawsWhat's it about?: Three men try to take down a gigantic shark that's been terrorizing a beach town.What are the humans are fighting for? Survival, pride, and shark teeth to sell to tourists.What is the animal is fighting for? The right to eat silly beach-goers.Who do we root for? After all that male bonding, how could we not root for Richard Dreyfuss and co? King Kong What's it about?: A mythical gigantic ape is captured and forced to move to New York City. What are the humans are fighting for?: Money, fame, a dangerous circus exhibit that will totally never backfire.What is the animal fighting for? Freedom, his human woman, a chance to see that Empire State Building that everyone's been talking about. Who do we root for? King Kong, because no one should be forced to live in Midtown. Rise of the Planet of the ApesWhat's it about? James Franco starts humanity down the slippery slope of extinction by making apes really smart.What are the humans fighting for?: Some for tyranny, some for survival.What are the animals fighting for?: Respect, dominance, way more bananas.Who we rooted for: The writing is on the wall. Let's embrace our ape overlords. // Is a Live-Action 'Dumbo' Remake a Good or Bad Idea? Walt Disney Co. According to the House of Mouse, everything is fair game for the remake treatment. With the hugely successful Maleficent just about wrapping up a spellbinding run at the box office, Disney has set its sights on their next live-action remake: Dumbo, the 1941 classic about a baby elephant that miraculously learns to fly thanks to his jumbo-sized ears, is getting remade into a live-action film. Transformers scribe Ehren Kruger is penning the script, and the film will feature an additional human story that will mirror Dumbo's journey in the film. Given the nature of the story, Dumbo will be a tricky film to update for a modern audiences, and some might argue that the flying elephant is better off left in the past. Here are our reasons for and against a Dumbo remake. WHY IT WILL WORK It's a good story: Dumbo, at it's purest, is a simple and uplifting parable about being yourself in the face of adversity and letting your freak flag fly. It's a pretty universal story and there's no reason it couldn't work for today's audiences. In a time of revisionist fairy tales and live-action perspective twists, maybe sticking with the bare bones classic narrative would be the best way to handle a Dumbo remake. The songs are great: We dare you not to cry while a locked up Ms. Jumbo sings "Baby Mine" while cradling Dumbo. It's impossible. It's in serious need of an update: As well meaning as it was at the time of release, Dumbo is racked with problems, and the story is in need of a fresh coat of paint. The crow characters are obviously the biggest issue to contend with. At best, they're slightly insensitive racial stereotype, and at worst well... Let's just say the leader of the flock is named "Jim Crow" and leave it at that. Besides the film's troubling racial depictions, there are other issues. 1941 was a very different time and place, and having your two main characters getting hammered and going on a bad trip featuring hallucinatory pink elephants probably wouldn't fly with parents in 2014. Many kids haven't seen the original: Disney fandom is such a generational thing, and the kids that are currently torturing their parents with yet another spirited rendition of "Let It Go" probably haven't seen, or might not even be aware with Disney's golden age of animation. Recreating Dumbo for a new audience will likely introduce the character to a new generation of fans. WHY IT WON'T It's controversial: As stated earlier, Dumbo has its fair share of controversy, which is why it's slightly baffling that Disney chose to remake this particular film out of its extensive back log of animated classics. If included at all, the crow characters would need some serious retooling, and we could easily see them being removed altogether. But removal of characters and elements from the classic film would likely draw ire from Disney purists. It's sort of a lose-lose situation. It's too simple: The original Dumbo clocks in at only about 60 minutes, which is barely a feature length film, and pales in comparison to recent Disney efforts like Maleficent (97 minutes) and Frozen (105 minutes). Stretching another 30 minutes out of a 60-minute story would just make a crappier film. They'd likely need to add additional plot lines, which of course leads to... The added human story: The original Dumbo feels unique in the way that it focuses almost solely on the circus animals while leaving the human characters, who are often portrayed as cruel and self-serving, in the background. Creating a human family as a side plot seems like an idea that goes against what makes the original film special in the first place. We can't help but think that everything involving the new human characters will feel superfluous. Dumbo is a story about a baby elephant and his mouse friend, not a boy and his pachyderm. Too many CGI animals: After the first trailer for the live-action Paddington Bear movie turned a formerly lovable anthropomorphic character into the stuff of nightmares, Disney has to be pretty cautious with the new version of Dumbo. Between Dumbo himself, Timothy Q. Mouse, the crows, and all of the other elephant characters, there's going to be a ton of CG animals running around, and the effects would need to be impeccable for all of those digital characters to look convincing in a live-action setting. // The 'Planet of the Apes' Franchise Has an Incredible List of Writers The Planet of the Apes franchise has a deep lineage of interesting writers penning different chapters about our future simian overlords. With the latest installment of the franchise, Dawn of the Planet of the Apes hitting theaters this Friday, we've decided to put the spotlight on the scribes that have brought the ape-ocalypse to life throughout the years. Rod SterlingFilm: Planet of the ApesNotable Works: The Twilight ZoneRod Sterling was the creator of the legendary sci-fi anthology TV series The Twilight Zone, whose influences continue to touch every inch of modern sci-fi storytelling. Besides The Twilight Zone, Sterling has also written a number of films, including thrillers like The Yellow Canary and Seven Days in March. He also created another anthology series, Night Gallery, which featured stories focusing on horror, supernatural, and macabre elements. Michael WilsonFilm: Planet of the ApesNotable Works: Lawrence of Arabia, It's a Wonderful Life, The Bridge on the River KwaiBesides co-writing the first entry of the Planet of the Apes franchise, Michael Wilson wrote an astounding number of cinematic classics, including Lawrence of Arabia, It's a Wonderful Life, and The Bridge on the River Kwai. If Wilson's credits weren't interesting enough, the writer was blacklisted from the Hollywood studio system after being accused of being a communist. During this time, he wrote a number of films overseas. One of which was Salt of the Earth, a film written, produced, and directed by filmmakers blacklisted by Hollywood during the McCarthy era. Paul DehnFilms: Beneath the Planet of the Apes, Escape from the Planet of the Apes, Conquest of the Planet of the Apes, Battle for the Planet of the ApesNotable Works: Goldfinger, The Spy Who Came in from the Cold, Murder on the Orient ExpressPaul Dehn is the most prolific screenwriter of the franchise, penning scripts for four out of the five original films in the series. Outside of the Planet of the Apes franchise, Dehn has written several spy thrillers including the James Bond film Goldfinger and a film adaptation of John le Carre's The Spy Who Came in from the Cold. He also wrote the screenplay for Agatha Christie's Murder on the Orient Express. John William Corrington and Joyce Hooper CorringtonFilm: Battle for the Planet of the ApesNotable Works: The Omega Man, Boxcar Bertha, General HospitalThis married couple and screenwriting duo has lent its talents to five films over the years. Besides Battle for the Planet of the Apes, they also wrote the screenplay for Omega Man, another apocalyptic film starring Charlton Heston in the lead role, and Martin Scorsese's Boxcar Bertha. The writing team is also known for their work on soap operas, having written for long-running soap staples like General Hospital and One Life to Live. Lawrence Konner and Mark RosenthallFilm: Planet of the Apes (2001)Notable Works: Mona Lisa Smile, The Sorcerer ApprenticeLawrence Konner and Mark Rosenthall have worked together on a diverse number of projects including Mona Lisa Smile, Star Trek VI, and The Sorcerer Apprentice. They also, funnily enough, penned the script for Mighty Joe Young, another film about primates, but one with far fewer apocalyptic overtones. Lawrence Konner has also written for the HBO series Boardwalk Empire though without his writing partner. William Broyles Jr.Film: Planet of the Apes (2001)Notable Works: Entrapment, Apollo 13, The Polar Express, Cast AwayWilliam Broyles Jr. is a bona fide A-list Hollywood screenwriter with numerous films under his belt including Jarhead, Unfaithful, The Polar Express, and Cast Away. His script for for Apollo 13 was nominated for an Academy Award for best adapted screenplay. Rick Jaffa and Amanda Silver Film: Rise of the Planet of the Apes, Dawn of the Planet of the ApesNotable Works: Avatar 3, Jurassic WorldMarried screenwriters Rick Jaffa and Amanda Silver had a handful of films under their belt, but the duo really broke out with their script for 2011's Rise of the Planet of the Apes, which revitalized the franchise and earned them a Saturn Award nomination for writing. Ever since, the pair have become a hot commodity for sci-fi blockbusters. Jaffa and Silver were hired to write the upcoming tent-pole films Jurassic World and Avatar 3. // >>

影视

2014-49/2829/en_head.json.gz/1580

A/V Room IndieLondon Alfie - Jude Law Q&A Edited by: Jack Foley/ Interview by Martyn Palmer Q. Do you have to empathise with a character like Alfie at all? A. Well, I suppose it’s the same process you go through if you were playing Macbeth; you hope that the morality of the piece as a whole resolves it for you. I’m only interested in playing characters that have a journey, a sense of evolution within the piece as a whole anyway. And I certainly think in this there is a journey that Alfie goes on where you, as the audience, are seduced, you are invited in, you are as much as a culprit as he is, as the women in his life, who are suckered by this veneer, this presentation, by this energy that he has and hopefully by the end you are apart of his dismantling, when he finally realises that the only person who is going to make him happy is himself. And that’s why I refer back to Macbeth in a way, if you embark on a classical piece like that, you are playing a mass murderer and you are hoping still to seduce an audience and for the audience to understand and empathise with his actions in the hope that the writer, in this case Charles and Elaine, resolve the issues and I believe they have done in Alfie. Q. But do you have to find some common bond with the character? A. I like the idea that it’s about someone, and this is something we are all guilty of in this day and age, of relying on the veneer, relying on a facade, pretending everything is alright, never asking one's self deep down, ‘am I happy? Am I OK?’ And being surprised when things are falling down around you and it’s like ‘why am I not happy? I’ve got great clothes, I’m sleeping with great women or great men...’ And yet the problems lie within and that’s at the base of this piece and it’s incredibly interesting. Q. Was it hard addressing the audience by speaking directly into the camera? A. I remember talking to someone who said was that the most shocking thing when they saw the original back when it came out in the sixties – Michael Caine talking to the camera. We lost that tool because we are used to that nowadays, we’ve seen it on TV and in other films. So we talked a lot about at least raising the bar so that it wasn’t as comfortable as it is in the original. We wanted to push it as far as we could. Also I remember us talking about the

影视

2014-49/2829/en_head.json.gz/1642

Anything Goes - the official biography "Anything Goes" traces the life and career of John Barrowman, from his Glaswegian childhood and American adolescence to his first big break starring alongside Elaine Paige in "Anything Goes". Since then, John has made a name for himself with outstanding West End achievements, including an Olivier Award nomination, and success in the movies the "Producers" and "De-Lovely". His triumphant transition into television was confirmed when "Torchwood" won a Best Drama BAFTA. John also lays bare his personal life: his emigration as a child, coming out to his family and his 2006 civil partnership with long-term boyfriend Scott Gill. "Anything Goes" is revelatory and insightful, told with real heart and characteristic Barrowman charm. This is a wonderful tale of how one boy achieved his dreams. You can buy Anything Goes from Amazon in the UK by clicking the Anything Goes: The Autobiography link. Price: £5.59

影视

2014-49/2829/en_head.json.gz/1657

Tagged Dinosaurs on a Spaceship An Adventure in Space and Time Casting! January 30, 2013 We received word last night that David Bradley has been cast as William Hartnell in Mark Gatiss’ dramatised account of the early years of Doctor Who, An Adventure in Space and Time! Bradley – recognizable from this appearances in the Harry Potter film series – also appeared in Series 7’s Dinosaurs on a Spaceship as… Win Doctor Who on iTunes with BBC America December 14, 2012 Those good people who work on the Anglophenia section of BBC America (it’s a part of the website that celebrates the best of British culture but with an American flavour) have decided to let Christmas come early for lucky Doctor Who fans by creating a competition to win weekly iTunes downloads with a Doctor Who… From DWM: The Eleventh Doctor Volume Six December 8, 2012 The latest Doctor Who Magazine special focuses on the most recent run of episodes starring Matt Smith, Karen Gillan and Arthur Darvill. The 2012 series of Doctor Who saw married couple Amy (Karen Gillan) and Rory (Arthur Darvill) joining the Doctor (Matt Smith) for their final adventures together in the TARDIS. Their travels in time… Matt Smith Teases 50th Anniversary, Live Events November 8, 2012 During last weekend’s Comic-Con in London, certain guests were lucky enough chat with Doctor Who star Matt Smith in an intimate round the table interview session to gain cryptic hints for what we might be lucky enough to get during the show’s fiftieth anniversary. The full interview transcript can be read by clicking the link… Live+7 Proves Who’s a Ratings Success! November 6, 2012 The final ratings are in, the count is final, Doctor Who is still a major ratings winner for the BBC and one of the most popular shows on British television! There were some that were worried; every time the overnight viewing figures were released for the 2012 episodes of Doctor Who, heavy sighs were let… Matt: “Tell me about the Zarbi.” November 1, 2012 On Monday, Matt Smith spoke to BBC Radio 2’s Steve Wright to promote the new Doctor Who Series 7: Part 1 DVD and Blu-ray. Though it’s not an exceptionally extensive interview, and some pretty silly question are asked, it’s worth a listen, particularly as Smith comes up with some gems like: I guess flying for… Series 7 Part 1: The DVD Dilemma October 31, 2012 Those desperate to see the latest five episodes of the Doctor Who again must’ve been relieved on Monday when Series 7: Part 1 was released on DVD and Blu-ray… but the BBC are forcing us to make a big decision – or spend out numerous times on the same release. The DVD and Blu-ray features…

影视

2014-49/2829/en_head.json.gz/1771

Denny's to Feature Hobbit Fare Oct 25, 2012 Warner Bros. Pictures has teamed up with Denny’s to bring menu items and exclusive memorabilia based on the upcoming film The Hobbit: An Unexpected Journey to restaurants across the U.S.The Hobbit: An Unexpected Journey, a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures, is set to hit theaters on Dec. 14.Beginning Nov. 6, Denny’s will unveil a Middle-earth-inspired menu featuring 11 new offerings including the Hobbit Hole Breakfast, Frodo's Pot Roast Skillet and the Build Your Own Hobbit Slam.Denny's guests will also have exclusive access to 12 collectible trading cards designed around the film. With the purchase of select Hobbit-inspired entrees, guests will receive a trading card pack that includes collectible cards and Denny's coupons. "We are delighted to partner with Warner Bros. Pictures to bring the captivating spirit of The Hobbit: An Unexpected Journey to life in our diners nationwide," says Frances Allen, chief marketing officer, Denny's. "We were inspired by the imaginative world of Middle-earth and wanted to offer fellow fans an equally inspired food experience to share in the excitement and anticipation for the upcoming debut."

影视

2014-49/2829/en_head.json.gz/1799

Home › Television › Doctor Who Prequel: The Bells of Saint John Doctor Who Update Series: Doctor Who Prequel: The Bells of Saint John A quick clip for the premiere episode By Robert T. Trate March 23, 2013 Source: BBC The BBC posted a new prequel clip to the next episode of Doctor Who. The clip, “The Bells of Saint John” feature the Doctor (Matt Smith) taking a break on Earth, despondent that he can't find Clara.Doctor Who returns to the BBC and BBC America on March 30th. Mania will be bringing you coverage with reviews and updates on the rest of the 7th Season. TELEVISION REVIEWS 1 Wyldstaar 3/23/2013 5:40:13 PM Cute, but I saw the conclusion coming a mile away. I guess that's one of the disadvantages of being an adult while watching TV shows and movies. I've seen so many of them that it takes a particularly unusual situation to surprise me. Not even the search for a character who's already died twice is enough to throw me anymore. I remember when I was a little kid watching Buck Rogers in the 25th Century, and at the end of the episode Dr. Huer told Buck they'd found an old movie from his era in the archives he thought Buck might enjoy called "Jaws." My dad was in the room and he says, "Just when you thought it was safe in the 25th century", and then Twiki on the show proceeds to say, "Just when you thought it was safe in the 25th century." I thought my dad was a genious, and couldn't wait to grow smart enough to do that. Now I am, and I wish I could just take it all at face value again! wrrlykam 3/23/2013 6:45:28 PM The BBC have this minisode running endlessly on freeview channel 301 (red button) for a whole week. Still, less than a week to go now. 1 ADD A COMMENT

影视

2014-49/2829/en_head.json.gz/1841

What to Watch: Robin Sparkles returns to 'How I Met Your Mother' On TVBarney uncovers a "Behind the Music"-style profile on Robin Sparkles, much to the embarassment of Robin and the joy of everyone else. "How I Met Your Mother" pulls out all the Canadian guest-star stops in this episode, with appearances by Alan Thicke, Alex Trebek, Jason Priestly and almost every other celebrity Canada has given us. CBS 8 p.m. EST.Trending topicThe band Fall Out Boy announced today that they are reuniting after a three-year break, People.com reports. The band stated in a press release that their new album, "Save Rock and Roll," will be released May 6/7 to coincide with the 10th anniversary of their first studio album, "Take This To Your Grave." They also announced the "Save Rock and Roll" tour would kick off May 14 in Milwaukee.Hot video: Second-grade class corrects NFL players' tweetsGateHouse News Service

影视

2014-49/2829/en_head.json.gz/2048

PLAYBILL.COM'S BRIEF ENCOUNTER With A Gentleman's Guide Star Bryce Pinkham — A Killer Role on Broadway Bryce Pinkham Bryce Pinkham, currently starring as Monty Navarro in A Gentleman's Guide to Love and Murder, chats with Playbill.com about his role in the new musical, which opened on Broadway Nov. 17. Bryce Pinkham is making a name for himself as a killer actor — not only an actor delivering good performances, but also an actor who kills. Literally. (Onstage, anyway.) After making his Broadway debut playing Black Fox in Bloody Bloody Andrew Jackson, he took on the role of the villainous Carl Bruner in Ghost The Musical. The Yale Drama School graduate can now be seen onstage at the Walter Kerr Theatre, murdering Jefferson Mays eight times a performance. Featuring a book by Robert L. Freedman, music by Steven Lutvak and lyrics by Freedman and Lutvak, the musical casts Pinkham as Monty Navarro, an impoverished young man who finds himself the ninth in line to inherit a fortune. The only problem is he has to get the other eight heirs — all played by Tony winner Mays — out of the way, in the most polite and British way possible. Pinkham's previous stage credits also include Love's Labour's Lost (Shakespeare in the Park), Knickerbocker Holiday (Lincoln Center), Orphans' Home Cycle (Signature/Hartford Stage), A Funny Thing Happened..., Our Town, Beyond Therapy (Williamstown), A View From The Bridge (Guthrie Theater), All's Well That Ends Well, Woman Of No Importance (Yale Rep) and Much Ado About Nothing (Chautauqua Theatre Co.). Pinkham chatted with Playbill.com about taking on a new role in an original musical and the task of killing his co-star eight times a night. What exactly is A Gentleman's Guide to Love and Murder? Bryce Pinkham: The way I've been describing the show to people is it's as if Gilbert and Sullivan were bored one night and they called up Charles Dickens and said, "Hey, come over to my place. By the way, do you like 'Downton Abbey'?" and Charles Dickens was like, "Yeah, I love 'Downton Abbey.'" "Oh, great, because we're going to binge watch the entire first season." So they binge watch... then they take a hit of laughing gas and decide to write a musical all night. "Downton Abbey" is so popular right now. What is it about British entertainment that Americans love so much? BP: I guess it's something about their sense of nobility and their sense of class, and, of course, the dryness of their wit. But there's something we love about their sense of duty, their sense of rising to the top. And we learned most of our theatre from them, too, so it's all about looking back at our British heritage, you might say. I'm mostly English myself, so it's fun for me to get used to that. Pinkham, with Jane Carr, in A Gentleman's Guide to Love and Murder Your character is a kind of anti-hero in this musical. BP: My character's the underdog, and he learns at the beginning of the show that he's the heir to a great fortune — something he didn't know before his mother passed away. Turns out, she's related to the noble family, and the only problem is there are eight people before him in the line of succession — all played by the inimitable Jefferson Mays. It's a journey he takes to sort of reach the top. And, because it's a musical comedy, he decides to dispatch all those despicable relatives to their maker, and sing and dance about it on the way. You're creating another new role in a musical. How does that feel? BP: I love it because nobody's done it before you. It's very explorative in the room, and with this show in particular, the spirit is so playful to begin with, that it allows us — Jefferson and I and the rest of this amazing cast — to really invent, still. The show has been in the works for ten years, and there have been many actors who have contributed to its growth, and I'm very lucky to be the actor with his hands on this role at this moment. But it's not lost on me how much work has gone into the show before I got here, and it feels like it's already been set up as an amazing show, but I also get the chance to make it my own. That's sort of what you dream for. This isn't the first murderer you've played on Broadway. BP: I never thought I'd be the guy playing these mischievous men — I guess you'd say bad guys. I don't. I try to look at them as human beings. And hopefully when you see the show, you root for him. The reason I think the show is brilliant is because it's been created for you to love the bad guy, like you would in "Dexter" or something like that. It's hard to do, and they've done it really well. Hopefully, by the end of the show, you do love him. He's a loveable underdog, and you can't help but love him when he dismembers people and stuff. Is it hard to kill Jefferson Mays eight times a night? BP: No, because each time I kill him, the audience is promised that he'll come back as an even more ridiculous character. People actually start to look forward to the deaths, because they know they'll get to see Jefferson do something equally or even more ridiculous. It's a delightful progression.

影视

2014-49/2829/en_head.json.gz/2188

The Legend of Bruce Lee Now on FilmOn Posted by monique On May - 6 - 2013 Alki David is now catering to Bruce Lee fans by airing “The Legend of Bruce Lee,” an original thirty-hour biopic TV series exclusive to FilmOn. The entire series is free to everyone subscribed to FilmOn.com. The entire thirty hours is playing in the US for the first time on the online network; it was produced by Lee’s daughter, Shannon Lee. Lee is also the chairperson of the Bruce Lee Foundation. FilmOn acquired the exclusive US rights to stream the series from CCTV, China’s national broadcaster. The series, which was originally produced for Chinese audiences, has been dubbed in English for the US. FilmOn founder and CEO Alki David said of the series, “For the millions of Bruce Lee fans in the USA who will have never seen the series before may have been teased by a Lionsgate 90-minute film version, which was criticized for not covering enough of Bruce’s life story! Now they can see the full thirty hour dramatization of Bruce Lee’s life story starring Kwok-Kwan Chan as Bruce Lee, completely for free on FilmOn.TV” The series began airing May 1 and if you want to join in, head over to FilmOn.com. FilmOn’s promotional YouTube video, which has been seen over 650,000 times, can be seen below the post. FilmOn not only offers “The Legend of Bruce Lee”; it also offers an additional 500+ ad-funded television channels including live local television broadcasts in New York, Chicago, Boston, Dallas, Miami, Atlanta, Denver, Washington DC, Phoenix, Los Angeles and San Francisco. Write in Words: (Optional) Categories: NEWS, TELEVISION NEWS, VIDEO Do you like this story?

影视

2014-49/2829/en_head.json.gz/2204

A scene from Kazuya Murata’s Fullmetal Alchemist: The Sacred Star of Milos. [Photo: Eleven Arts] Fullmetal Alchemist: The Sacred Star of Milos By Kalvin Henely ON January 18, 2012 Go to Comments (0) As a superfluous addition to the long line of popular Fullmetal Alchemist mangas, TV shows, and now films, Fullmetal Alchemist: The Sacred Star of Milos manages to be an entertaining and faithful expansion on the original material while being inconsequential to it. To know how the writers pull off this feature-length, fast-paced tangent to the completed TV series is by no means necessary to enjoy the action-packed adventure, but it helps to understand where the film falls into place. Writers Hiromu Arakawa and Yûichi Shinbo place this throwaway storyline, of main characters Alphonse and Edward Elric venturing to another country for the first time to find fugitive alchemist Melvin Voyager, as happening after episode 20 of Fullmetal Alchemist: Brotherhood. It's in this episode that Alphonse still believes that it's possible to find his brother Edward's body (his soul occupies a suit of armor), so it's conceivable that they could jump on a train heading out of town in hopes of finding it, as they do here. Once The Sacred Star of Milos starts, however, there's little time or need to think about any of this as the film quickly boils up a plot full of new characters and places—albeit in a familiar broth of alchemy, spirituality, and familial bonds—that take you away from the familiar points of reference in the show to a blank canvas that the film can run its course on. Imaginative, brisk, epic, and dark in a way that few live-action films are, The Sacred Star of Milos, besides being hard to keep up with, may have jumped the track, marginalizing its main characters to focus on those they encounter on their journey, such as the evil Ashleigh and his sister Julia, who must defeat Ashleigh to save herself and her city, but the film retains the franchise's themes on the abuse of science and the sacredness and impenetrability of truth and fills its self-contained world with a remarkable cosmology. Though it has the requisite adolescent-boy bait—action, adventure, science, brotherhood—for a shōnen manga, Fullmetal Alchemist's tone has always been rather mature, its content graphic and its main characters tragic. While The Sacred Star of Milos keeps the brothers' background surface deep, the film opens up an equally bloody Greek tragedy (many of the places have Greek names) of its own with rivalries between siblings Julia and Ashleigh, and the ethnically oppressed and displaced people of Milos and their oppressors from neighboring Creta who live in Table City, once the holy land of Milos. Without giving away anything, it's the suspense around the human blood that at one point pipes through the ancient city of Milos that's the most memorable detail in this rich tapestry, as it both recalls the at times barbaric nature of ancient civilizations and serves as a visually stark metaphor for the power of the people. Buy: Video Director(s): Kazuya Murata Screenwriter(s): Hiromu Arakawa, Yûichi Shinbo Cast: Rie Kugimiya, Romi Park, Toshiyuki Morikawa, Fumiko Orikasa, Kenji Utsumi, Maaya Sakamoto, Megumi Takamoto, Sakiko Tamagawa, Shinichirô Miki Distributor: Eleven Arts Runtime: 110 min Rating: NR Year: 2011 Tweet Appleseed in film Millennium Actress in dvd Millennium Actress in film

影视

2014-49/2829/en_head.json.gz/2223

AUDIO VIDEO NEWS Blu-ray Double Dipping on Legend By SV Staff • Posted: Sep 3, 2008 If you happened to pick up I Am Legend the first time it was released on Blu-ray, you might want dump it on eBay while you're waiting for this. Really, or just toss it. Warner Bros. announced the Ultimate Collector's Edition of I Am Legend will be released on December 9th, just months after the initial release. What's on this new edition that's going to make you throw out the old Blu-ray you just bought? The new THREE-disc Blu-ray set will have picture-in-picture Focus Points, provided you have a Bonus View player. This lets you watch "making of" features during the actual movie. The box set has a 44-page sketch book, art cards, and more, including an alternate ending. Click on the link below for an expanded list of bonus features. I like Will Smith as much as the next blogger, but if this new edition doesn't have a completely un-released version of the flick, I'm not sure folks are going to storm their stores for this new $59.99 release. Was the movie really that good? -Leslie Shapiro MovieWeb.com with Special Feature list Share

影视

2014-49/2829/en_head.json.gz/2336

Red Dwarf to blast off on new adventure Original cast on board for fresh series Go back to the future with Red Dwarf Vote now for the best sci-fi film never made The best sci-fi film never made: Also-rans take a bow El Reg buried under unmade sci-fi movie entries So, what's the best sci-fi film never made? The cast of Red Dwarf are poised to reunite for a new series of the cult TV sci-fi series, twelve years after the spacecraft finally ran out of fuel on the BBC.Co-creator Doug Naylor has, according to Wired, confirmed Chris Barrie, Craig Charles, Danny John-Jules and Robert Llewellyn are on board for a further six episodes.The new series will air on freeview channel Dave, which had a big hit with its 2009 four-episode Red Dwarf: Back to Earth special.Filming will begin in November on the Naylor-scripted episodes, but there are currently no details as to just what viewers can expect from the space vet

影视

2014-49/2829/en_head.json.gz/2478

Walking TacoMovie and TV Reviews. About Dwise1 MJV MovieSeal TacoGrande PostsCommentsYou are here: Home / Archives for Robert AmayaCourageous February 5, 2012 By Seth H. 1 Comment Tweet The Kendrick Brothers of Sherwood Bible Church are at it again. No doubt hoping to match their home run of Fireproof of 2008, they’ve shifted their focus from taking on divorce to attacking fatherlessness in America. We’re still in Albany, Georgia, but this time, instead of following the heroics of the Albany Fire Dept., we’re on patrol with the Dougherty County Sheriff’s Dept. (Interesting that, Albany being a city of 77,000, it doesn’t seem to have its own police force, but I guess they had to trim the cast somewhere.) The Kendricks have ramped the action up a notch with this one. Right at the beginning, we see Fireproof’s Ken Bevel, now playing Nathan Hayes, stop for gas, only to have his truck stolen by a dew-rag clad gang-banger (T.C. Stallings, a devoted husband and father in real life). He throws himself half-way through the driver’s window, and we are treated to a fist-fight with Nathan hanging out the window at 30 miles an hour. The movie eventually leads up to a climactic scene with guns blazing. In between is more action, more than a few laugh-out-loud moments, and a heart-felt message about how crucial a father is to a child’s development, and how those without fathers often become dew-rag clad truck thieves. The story follows Deput. Hayes, a recent transfer to the department, three other Deputies, Adam Mitchell (Alex Kendrick), Shane Fuller (Kevin Downes), and David Thompson (Ben Davies), and Javier Martinez (Robert Amaya), a rarely employed construction worker, and their families. Javier breaks his back to provide for his family and eventually finds employment working on Adam’s house. He then becomes part of the group. David is the rookie of the squad who’s holding in a shameful secret. He has a daughter around three years of age, whom he has never met, and whose support he had not contributed a dime to. (Apparently, the Georgia Division of Child Support Services was vaporized along with the Albany P.D.) Shane struggles to be a dad to his son when he only sees him every other weekend. Adam dotes on his daughter but refuses to join his son for the father-son 5K. And Nathan and his wife, Kayla (Elenor Brown), struggle to fend off the “saggy-pants boys” interested in their teenage daughter. A tragedy eventually forces these men to reevaluate what they are doing as fathers. The story dives into Christian kitsch for awhile. Adam comes up with a written resolution and the five families actually hold a ceremony with their pastor in which they dramatically recite it. In a similar vein, we later see Nathan take his daughter to a very expensive restaurant (below), where he, again with great ceremony, presents her with a “promise ring.” Yeah, I know. I chortled at this scene, too, but then I found out my wife had very specific plans for me to do exactly that with our daughter one day. But for all the kitsch, the film really is trying, and trying to do far more than just entertain. The problems with Courageous mainly serve to highlight the fact that most movies just fill themselves up with explosions and car wrecks and expect you to buy a ticket. Courageous sets the bar much higher, and does come close to clearing it. There was a time when I would have been unable to enjoy this movie. I can enjoy it now largely because I have a wonderful wife, who makes my life very sweet. That said, there are still some key points of this film I can’t help but take issue with. A lot of the film’s attitude is summed up when Nathan delivers the curmudgeonly line “If fathers just did what they were supposed to, half the junk we see on the street wouldn’t exist.” This seems to be the mantra of conservatives and liberals alike: it’s all men’s fault. But if you look at the history of America over the last 40 years or so, men have not been the only – or even the primary – culprit of the breakdown of the family. History does not tell of a movement of men throwing off their responsibilities to society. We don’t see crowds of men burning their undergarments and demanding the right to kill their children. We do, however, see women doing all these things. In the U.S. today, more than two thirds of all divorces are initiated by the woman. And why not? The feminist political machine has tilted the legal game board of divorce ridiculously toward the woman’s pockets. (Please note: Every man in Iowa should carefully read chapters 236 and 598 of the Iowa Code before he even thinks about getting emotionally attached to a woman. As for the other states, talk to a lawyer there.) Millions of children in the U.S. grow up without fathers because their mothers want it that way. My first year out of law school, I worked in a family law firm. I never had a man in my office who didn’t care about his children. Most of my clients were there because they were having to fight just to see their children. The slant in family court is based on more than gender stereotypes. The judicial community includes many territorial lionesses. A child is power, and they are not about to share it. Conversely, male judges are of the old way of thinking, in which men are expected to take the lumps and bear the weight of the world on our shoulders without complaint. This combination of liberal women and conservative men, not only in court, but also in society, is a frustrating dynamic. While women are exhorted about their rights, men are flagellated with our supposed responsibilities. Lawyers aren’t supposed to get emotionally involved, but I couldn’t help feeling the pain my clients felt. Commanded to be fathers by the right, yet torn from their children by the left; commanded to “be a man,” yet emasculated. Courageous never addresses any of this, failing to live up to its name. The Kendrick brothers buckle under the pressure of political correctness. Too afraid to take women to task for their desertion, like so many before them, they turn on men. It’s hard to stay angry at a movie that has this much heart, and is actually trying to make a difference in the world. But while it’s a valiant effort, another Fireproof it is not. Fireproof met Actor-director Alex Kendrick takes aim at bad fathers. people squarely where they were at. There’s no reason 3 billion men couldn’t have connected with Caleb Holt, the fire chief who shows valor in the work place, but doesn’t know how to love his wife. The story eventually shows that, only by first receiving the unconditional love of God can Caleb show unconditional love to the flawed and sinful woman he lives with. It would actually have been fairly simple for Courageous to do the same thing. Shane Fuller is a character that millions of men would easily connect with, including unbelievers. He is divorced. He wants to be a father to his son, but, as he explains it, he only gets him every other weekend, after his mother has filled his head with her toxic opinions of him. He wants to provide for his son, but almost a third of his paycheck is swallowed by alimony. Shane should have been the lead role of this movie! He could have been the Caleb Holt of Courageous. How can Shane, and other men, be the kind of fathers God wants them to be, despite the obstacles? How can God help them to raise their kids right despite what they have to deal with? This was a golden opportunity for the Kendricks to win the hearts of their intended audiece. Beating up on men will do nothing to fix the family. Ministering to broken men where they are at will do a lot more. Sadly, Shane is confined to a small role as the bad cop we’re not supposed to like, and Courageous preaches to the choir. Most of the focus is on Adam, Nathan and Javier, who all have perfect wives, straight out of a Christian fantasy. Overall, I recommend seeing Courageous. There’s a lot of great moments I didn’t want to spoil here. The fact that I can even disagree with it shows it had more of a brain than most movies. It’s not easy to make a movie that ministers. I still laughed and I was still swept along by the story. It was good to see Christian cinema taking another (mostly) positive step. Number four at the box office in October of 2011. High-five! VN:F [1.9.22_1171]Have you seen this movie? Rate it!please wait...Rating: 4.0/5 (2 votes cast)1 COMMENTFiled Under: Action, Comedy, Drama, Family, Independent, Movies, Opinion Articles, Uncategorized Tagged With: 4 Stars, Action, Alex Kendrick, Ben Davies, Christian, Comedy, cops, Courageous, crime, Drama, Elenor Brown, Family, Ken Bevel, Kevin Downes, Robert Amaya, Sherwood Bible Church, Stephen Kendrick, T.C. Stallings Loading Best of ’09/Pre-Academy Awards AnalysisBy Matt V Leave a CommentThis will be a lengthy article. Since the Oscars air on Sunday night, it’s about time I get my list of the year’s best films up on here, as well as look over many of the current nominees contending this weekend. I’ll start with my favorite films of 2009. 1. District 9 (Director: Neill Blomkamp) […] Cowboys & AliensBy Matt V 1 CommentJake Lonergan (Daniel Craig) enters the town of Absolution in 1873 as a man with no name. In fact, he’s a man without an identity. He doesn’t know his own ‘who,’ ‘where,’ or why. What he does know is that he can speak English, he’s wounded, he can easily disarm and maim a group of […] Iron ManBy Simon R. Leave a CommentIn the late 1990s I heard lots of chatter about some dude named Robert Downey, Jr. Apparently he was an actor who was in rehab a lot, from what I gathered, and there was also some sort of connection with the TV show Friends. Then came the new millennium and he faded into gossip magazine […] Member, The Large Association of Movie Blogs The 5 Most Underrated Movies of All Time Trailer-Based Predictions for the 86th Oscars The 5 Most Overrated Movies of All Time Hansel & Gretal: Witch Hunters Gamerzitch Harrington for County Attorney MJV & The Movies at Criticker.com Movie Zeal The Movie Encyclopedia Walking Taco YouTube Channel Documentary (21) Musical (5) Opinion Articles (18) Downton Abbey (1) Man vs. Food (2) Psych (1) Star Trek: Enterprise (9) Star Trek: Voyager (2) Video Reviews (6) Tags (mouse over to view) Zach GalifianakisWP Cumulus Flash tag cloud by Roy Tanck and Luke Morton requires Flash Player 9 or better. Meta WordPress.org Text Copyright © 2009-2011 © Walking Taco Images are property of their respective owners.

影视

2014-49/2829/en_head.json.gz/2769

Change City Your Cart Adler Theatre On October 13, 1926, plans for the Orpheum Theatre were announced. Business was booming for the Radio-Keith-Orpheum (RKO) theatre chain, and they needed a larger theatre. Built at a cost of $2 million, the Orpheum Theatre-Mississippi Hotel complex was considered an economic miracle. At the Theatre's opening on November 25, 1931, Davenport and the rest of the country were in the depths of the Great Depression. On that Thanksgiving Eve, the opening night crowd watched a show that included five vaudeville acts and the movie comedy "Suicide Fleet", starring Bill Boyd, Ginger Rogers, Robert Armstrong, and James Gleason. Ginger Rogers sent a telegraphic signal from Hollywood that began the ribbon-cutting ceremonies for the Theatre's opening. She also sent flowers from the garden of her Hollywood home to Mrs. George M. Bechtel, wife of the Theatre's developer. The RKO was worthy of its grand opening celebration. The architect was A.S. Graven of Chicago, whose projects included the Drake Hotel in Chicago and the Paramount Theater in New York City. Henry Dreyfuss of New York, who served as an art consultant for the Radio-Keith- Orpheum chain, designed the interior. The beauty of the Orpheum's Art Deco style was reflected in its gold leaf ceiling, crystal light fixtures and black ebony, walnut and marble detailing. As the economy improved, the Orpheum prospered. For many years, it was considered the area's finest theatre. All the big "talkies" opened at Iowa's largest movie house. Entertainment legends such as John Barrymore, Liberace, Ella Fitzgerald and Pearl Bailey performed live at the Theatre during its glory. Eventually, the Orpheum's large seating capacity and overhead costs untimely contributed to its demise as a first-run movie house. Smaller multi-screen complexes and shopping mall theatres ended the Orpheum's reign as king of Davenport's movie theatres. "Cleopatra Jones" was the final film shown at the Orpheum on September 11, 1973. After that, the Theatre was occasionally used for Broadway productions and rock concerts. Nevertheless, the RKO gradually fell into disrepair. In 1981, the Davenport Chamber of Commerce purchased the RKO and donated it to the RiverCenter For The Performing Arts, Inc. This nonprofit group was established to raise money from private sources to restore the Theatre and to operate the facility as a performing arts center. A $4.25 million goal was set, and the community rallied to the cause. Most notable was a $1.3 million endowment gift from Lee Enterprises. To honor that gift, the Orpheum was renamed the Adler Theatre in memory of publishers, E.P. Adler and his son Philip D. Adler, both known for their charitable and cultural achievements in the community. The massive renovation of the Adler Theatre began in 1984 and continued for two years. The building was essentially gutted and then restored to its former Art Deco elegance. Original crystal and glass chandeliers were restored. Original seats were rebuilt, reupholstered and their hand-painted side panels were restored. Also, new carpeting was reproduced in England using a roll of the original floral woolen carpeting found during remodeling. The rebirth of the Orpheum into the magnificent Adler Theatre was finally a reality with the Adler Theatre's curtain rising on April 16, 1986 with a gala concert by Burt Bacharach and the Quad City Symphony Orchestra. As the renovation in the 80s restored the splendor of the Adler Theatre's public spaces, little was done to address the shortcomings of the backstage areas and the need for a much larger stage to accommodate the requirements of today's touring productions. For that reason, renovations in 2005 and 2006 addressed behind-the-scenes elements that included an increase in critical stage and storage space, enhancement of the sound system, relocation of dressing rooms, installation of a new freight elevator allowing easy access of equipment and stage sets, improvement of lighting and rigging capabilities and replacement of the heating and cooling system. The stage expansion and backstage renovation project has allowed the Adler Theatre to provide a greater economic impact, improve performance quality, increase facility usage, operate as a more competitive, cost effective theatre and continue to enhance the quality of life in the Quad Cities. Today, the Adler Theatre preserves the grandeur of an era gone by...treasured by performers and patrons alike. The beautifully restored 2,400 seat Adler Theatre continues to host celebrity headliners, Broadway greats, comedians, dance and symphony performances where the proud tradition of quality, live entertainment lives on. Address: 136 E. 3rd St. Davenport Iowa United States Live Music Venue, Other Location on Map

影视

2014-49/2829/en_head.json.gz/2792

CSUN Homepage CSUN Today CSUN Leaders CSU News CSUN Film Program Awarded $50,000 from Hollywood Foreign Press Media Contact: Carmen Ramos Chandler carmen.chandler@csun.edu(818) 677-2130 on Arts and Culture, Media Releases Comments Off Actress Ell Fanning at the Hollywood Foreign Press Association’s banquet. Photo courtesy of Nate Thomas. California State University, Northridge’s acclaimed film program was awarded $50,000 to support student film projects earlier this month by the Hollywood Foreign Press Association at its annual star-studded grants banquet. While such celebrities as Sofia Vergara, Channing Tatum, Kerry Washington, Robert Pattinson and Morgan Freeman looked on, actors Elle Fanning and Logan Lerman announced the award during an evening celebration Aug. 14 that included a performance by actress Kristen Bell and tributes to the late Robin Williams and Lauren Bacall. “It was wonderful to see our film program highlighted in the presence of so many of Hollywood’s luminaries,” said CSUN President Dianne F. Harrison, who attended the celebration. “The honor comes on the heels of The Hollywood Reporter’s ranking us among the top 25 film schools in the nation. We’ve always known we have a great program. It’s nice to see it being recognized across the entertainment industry.” The Hollywood Foreign Press Association, which is made up of international journalists who report on the entertainment industry and hosts the Golden Globes each year, donated more than $2 million in grants to a variety of entertainment-related and charitable organizations at the banquet. The donations benefit a wide range of projects, including higher education, training and mentoring and the promotion of cultural exchange through film. “We try every year to give as much as we can to these highly deserving organizations,” said the association’s president, Theo Kingma. “It is gratifying to know that our efforts are appreciated and we are helping to further the cause of education and film preservation.” Cinema and television arts professor Nate Thomas, head of CSUN’s film program, noted that the university and the Hollywood Foreign Press Association have a relationship that is nearly two decades old. “They understand who our students are — working class and reflective of the rich diversity of cultures that make up not only Southern California, but the United States as well,” Thomas said. “Every gift we get makes a difference to our students and helps them move closer to their dreams — telling stories and making movies that speak to who they are and the worlds they come from. The Hollywood Foreign Press Association’s leadership gets that and has always been supportive of our students’ efforts.” In addition to the association’s continued support of the film students’ senior projects, CSUN students also edit in the Hollywood Foreign Press Association Senior Film Edit Suite on campus and work on sound design in a state-of-the-art sound mix facility made possible by a grant from the association. Hailed by The Hollywood Reporter as one of the top 25 film programs in the nation, California State University, Northridge’s Department of Cinema and Television Arts, housed in the Mike Curb College of Arts, Media and Communication, has an international reputation for producing dedicated and talented entertainment industry professionals who recognize the value of hard work as they learn and continue to perfect their crafts. The department’s alumni work in all aspects of entertainment media, from writing, producing and directing to manning cameras and having the final say in what project is made. Serving more than 38,000 students each year, CSUN is one of the largest universities in the United States. CSUN ranks 10th in the country in awarding bachelor’s degrees to underrepresented minority students, fifth nationally in awarding master’s degrees to Hispanic students and enrolls the largest number of deaf and hard-of-hearing students of any U.S. state university. CSUN’s 171 academic programs and engaged centers enjoy international recognition for excellence. CSUN partners with more than 100 institutions of higher education in 22 countries around the globe and attracts the largest international student population of any U.S. master’s-level institution. Situated on a 356-acre park-like setting in the heart of Los Angeles’ San Fernando Valley, the campus features modern educational buildings and world-class LEED Gold-certified performing arts and recreational facilities, recognized as among the best in the country. CSUN is a welcoming university that champions accessibility, academic excellence and student success. CSUN Receives Additional $6 Million for David Nazarian College of Business and Economics Campaign CSUN to Celebrate Native American Culture at Annual Powwow Legendary Performance by Los Lobos and Los Lonely Boys at VPAC CSUN Professor Monitors Health of Marine Life Off San Onofre’s Shores CSUN ‘Education on the Edge’ Lecture to Explore Virtual Reality & Teaching ← President Harrison Highlights Vision for 2014-15 at Annual Convocation Abhijit Mukherjee, NSF Look for ‘California Renewable Energy’ → Featured Tag on November 21, 2014in Business, Education, Media Releases Driving to Stay Unbeaten on November 20, 2014in Athletics on November 19, 2014in Community, Media Releases, Science and Technology CSU Resources CSU Leader CSYouCSU News TopicsArts and Culture CSUN in the NewsKid’s Author and CSUN Alum Marilyn Amster Gould Publishes Adult NovelCSUN Professor Dr. Karin L. Stanford Talks Daughter Ajae Jackson’s Career Choice in a Harsh BusinessCSUN Alums System of a Down Announce International Tour, Armenian Show AthleticsMatadors Battle Portland State, Seattle U Over Holiday WeekendBlack Friday, Cyber Monday, Giving Tuesday….Matador Athletics looks forward to a Day of GivingCSUN Hosts Cal State Fullerton, UC Irvine to Wrap Up Regular Season Get the full experience RSS California State University, Northridge Phone: (818) 677-2130 / Contact Us Contact Page Owner

影视

2014-49/2829/en_head.json.gz/2981

Tag: Julianne Moore (1-10 of 43) EW's PrizeFighter analyzes the Best Actress race, brought to you by Reese Witherspoon By Nicole Sperling on Nov 18, 2014 at 4:20PM Comments + Image Credit: Merrick Morton; Albert Watson/A.M.P.A.S.;Jojo Whil Thank goodness for Reese ­Witherspoon. Despite a recent surge in strong roles for women (e.g., Cate Blanchett in Blue Jasmine, Jennifer ­Lawrence in Silver Linings Playbook), Hollywood really dropped the ball when it came to showcasing interesting roles for actresses in 2014. If it weren’t for Witherspoon’s newfound strength as a producer, two of this year’s likely ­nominees wouldn’t exist—and the Best Actress race would look even more dire than it currently does. Witherspoon herself is one of the primary contenders, of course, for her portrayal of a novice hiker looking for redemption in the adaptation of Cheryl Strayed’s memoir Wild (which the actress produced). But she also optioned and developed the box office hit Gone Girl, which should land a nomination for Rosamund Pike, playing the iciest (and scariest) wife in modern ­cinema. Neither of them is the front­runner, however. READ FULL STORY Queen Latifah on what to expect from tonight's Hollywood Film Awards By C. Molly Smith on Nov 14, 2014 at 8:45AM Comments + Image Credit: Robert Voets/CBS Founded in 1997 by Carlos de Abreu to recognize excellence in filmmaking, the Hollywood Film Awards ceremony is arguably the beginning of awards season. And the event has remained one of the industry’s best-kept secrets—until Friday. Now in its 18th year, the Hollywood Film Awards is finally making its broadcast debut. Queen Latifah is hosting the ceremony, which will hand out 18 awards on air, tonight at the Hollywood Palladium. She will be joined by stars such as Reese Witherspoon, Michael Keaton, and Julianne Moore, who have received early buzz for Wild, Birdman, and Still Alice, respectively. In advance of tonight’s show, Latifah tells Entertainment Weekly her thoughts on awards season and what to expect from the Hollywood Film Awards’ inaugural broadcast. READ FULL STORY War is hell in the new 'Mockingjay' trailer By Esther Zuckerman on Sep 15, 2014 at 12:18PM Comments + A full trailer for The Hunger Games: Mockingjay—Part 1 is finally here, and it offers a look at the war-torn land Panem has become as well as a poor, brainwashed Peeta, now acting as a mouthpiece for President Snow. In the trailer, Haymitch explains to Katniss that Peeta is the Capitol’s weapon, just like she is the rebels’. Katniss, however, uses Peeta’s plight as an ultimatum. “You will rescue Peeta at the earliest opportunity, or you will find another Mockingjay,” Katniss tells Julianne Moore’s President Alma Coin and Philip Seymour Hoffman’s Plutarch Heavensbee. The trailer also gives fleeting glimpses at characters old and new, including Natalie Dormer’s Cressida. Effie Trinket pins a mockingjay pendant on Katniss’s armor, Gale shows off his talent with a bow and arrow, and Finnick gives Katniss a worried glance. It all ends with Katniss shooting down a plane with her arrow. We’ve always known she has great aim. READ FULL STORY 'Mockingjay' director: Parts 1 and 2 will have 'two distinct stories' By Nina Terrero on Aug 18, 2014 at 2:51PM Comments + Over the course of two Hunger Games films, Katniss Everdeen (Jennifer Lawrence) has been unflinchingly confident. But in Mockingjay – Part 1, the teen heroine suffers a bout of age-appropriate angst as she reluctantly becomes a rebel leader. “It’s a very confusing, conflicted, complicated time for Katniss,” says director Francis Lawrence, who also directed 2013’s Catching Fire. “Having gone through the games one more time and having lost Peeta and having been run through the wringer, she’s even more damaged. So you find her in a more agitated place. She’s distraught, confused, angry.” READ FULL STORY 'Mockingjay' director: There's more President Coin in the film than the book By Nina Terrero on Aug 18, 2014 at 11:05AM Comments + Image Credit: Murray Close Julianne Moore is a big fan of the Hunger Games series, so much so that she directly approached Mockingjay – Part 1 director Francis Lawrence about securing the role of President Alma Coin, the tenacious leader of District 13 who leads the revolution against the Capitol. “She actually sort of tracked us down and had an interest in the books through her kids,” Lawrence says. The Golden Globe winner’s interest acted as an audition, he notes. “She didn’t audition. Once we knew she wanted it, that was it—done,” Lawrence says, laughing. “I sat down with her, she had great ideas, we got along and that was it.” President Coin—who becomes reluctant allies with Katniss Everdeen in the rebellion’s efforts to overthrow President Snow—was written by author Suzanne Collins through Katniss’s perspective as narrator; she is perceived as ambitious and egotistical. But with Moore’s involvement, Lawrence says, the gray-haired politician’s role in his two-part finale has expanded significantly beyond her portrayal in the bestselling Hunger Games series.. “There’s more of her in this than in the book, and because of that, there’s some development,” Lawrence says. “I think the character has developed into something pretty amazing. And Julianne was a big part of that.” The Hunger Games:Mockingjay – Part 1 is slated for release on Nov. 21, 2014. For more on Mockingjay – Part 1, pick up Entertainment Weekly’s Fall Movie Preview issue, on stands now. 'Mockingjay' teaser trailer reveals Natalie Dormer, Julianne Moore's characters By James Hibberd on Jul 28, 2014 at 8:54AM Comments + Enough propaganda spots! Here’s your first real look at The Hunger Games: Mockingjay—Part I: a full minute of footage focusing on the rival leaders of Panem and the struggles of combatants on the ground. Oh, and there’s a shot of the Mockingjay herself: Katniss Everdeen (Jennifer Lawrence). The clip introduces Academy Award nominee Julianne Moore as leader of the outlaw District 13, President Alma Coin. It also gives a brief shot of Game of Thrones actress Natalie Dormer as Capitol film director Cressida. But if there’s a focus in the trailer, it’s on the late Philip Seymour Hoffman’s rebel leader Plutarch Heavensbee as he tries to convince Coin of Katniss’ importance to the uprising. Check out the video below, and may the buffering be ever in your favor: READ FULL STORY 'Winter Sleep' wins the Palme d'Or at Cannes By Amber Ray on May 24, 2014 at 5:50PM Comments + The top award at the 2014 Cannes Film Festival has gone to Winter Sleep, an epic-length family drama directed by Turkish filmmaker Nuri Bilge Ceylan. A jury including Gael Garcia Bernal, Sofia Coppola, Willem Dafoe, and Nicolas Winding Refn selected the winners from the 18 films in competition. Prizes were handed out during Saturday night’s closing ceremony. Ceylan dedicated the award to “the young people in Turkey and those who lost their lives in the last year,” referring to a coal mine accident that killed 301 workers. Italian director Alice Rohrwacher took home the runner-up Grand Prix prize for the coming of age story The Wonders. READ FULL STORY 'Mockingjay Part 1': First look at Julianne Moore as President Coin -- VIDEO By Nicole Sperling on May 15, 2014 at 2:41PM Comments + Today Lionsgate unveiled the first images of Julianne Moore as District 13’s President Coin for the upcoming Hunger Games: Mockingjay Part 1. For fans of the series, she looks just as you’d want her to as president of the resistance: severe gray-streaked hair, a solemn expression, yet eyes that reveal a well of emotions and experiences. She is a character that is being largely invented by the filmmakers. Coin is a key figure in Mockingjay, but one that is predominantly seen through the distrustful eyes of protagonist Katniss Everdeen. Moore talks about the evolution of her character in a video that appears with the first images. Moore and director Francis Lawrence spent a lot of time discussing who this woman is and what kind of leader she has become. In particular, Moore references a scene in the story when District 13 is bombed by the Capitol and Coin declines to retaliate. READ FULL STORY Critical Mass: Does Liam Neeson's 'Non-Stop' crash or soar? By Jeff Labrecque on Feb 28, 2014 at 12:24PM Comments + Image Credit: Myles Aronowitz January and February are traditionally regarded as dumping grounds for Hollywood’s lesser movies — the time when studios release the films not good enough for Oscar season and not promising enough for the summer box office. But with a surprising string of winter action hits, beginning with 2009’s Taken, that window might also be termed Neeson Season. “Neeson’s imposing 6’4” frame, haunted eyes, and knack for snapping limbs like celery stalks have elevated throwaways such as Unknown, The Grey, and Taken 2 into something more than the sum of their parts,” writes EW’s Chris Nashawaty. “They may not all be memorable films, but they’d be utterly forgettable without the high-gloss patina of a class that he gives them.” Twenty years after playing Oskar Schindler, the 61-year-old Irish actor is the star of his own B-movie sub-genre, and in Non-Stop, he gets to take the gimmick to new heights. Neeson plays Bill Marks, a sad air marshal whose transatlantic flight from New York to London is interrupted by a text message threatening to kill a passenger every 20 minutes unless $150 million is wired to an offshore account. Everyone is a suspect, including Marks. Might it be the pretty businesswoman with the window seat, played by Julianne Moore? The macho NYPD cop played by House of Cards‘ Corey Stoll? The other air-marshal on board, played by Anson Mount? Or is it one of the other dozen or so possible suspects? Suspense! Reuniting Neeson with his Unknown director Jaume Collet-Serra, the film also stars Downton Abbey‘s Michelle Dockery as a skeptical flight attendant, with 12 Years a Slave‘s Lupita Nyong’o also making a before-she-was-famous appearance. Click below to see what some of the nation’s leading film critics are saying about Non-Stop before buckling in for Neeson’s latest. Casting Net: Zach Galifianakis may team up with Julianne Moore; Plus, 'Goosebumps' movie news, more By Lindsey Bahr on Feb 13, 2014 at 8:43PM Comments + Image Credit: Frazer Harrison/Getty Images • Zach Galifianakis (The Hangover) will take on a supporting role in the indie drama Freeheld, starring Ellen Page (Juno) and Julianne Moore (Far From Heaven) as domestic partners battling New Jersey pension laws. Based on Cynthia Wade’s Oscar-winning documentary short, Moore will star as Laurel Hester, a detective who becomes terminally ill. Page would play her partner Stacie Andree, and Galifianakis is set to portray equality activist Steven Goldstein. Philadelphia scribe Ron Nyswaner wrote the script, and Peter Sollett (Raising Victor Vargas) will direct. [THR] READ FULL STORY

影视

2014-49/2829/en_head.json.gz/2995

JoinSign in Search OptionsSearch EverythingSearch Editor In Chief » Editor In Chief » Jim Hill » "Flyin' Chunks" looks back at Dorse Lanpher's 48 years at Disney & Don Bluth's animation studios "Flyin' Chunks" looks back at Dorse Lanpher's 48 years at Disney & Don Bluth's animation studios Subscribe via RSSEmail Blog Author Featured ContentEditor In Chief Jeff Calhoun talks about the new & improved Disney "Newsies" before ducking out to work on a "Duck Dynasty" show for Las Vegas So when the good people of Pittsburgh head out for the Benedum... To Hell with Bill Cosby? Disney already did that with "The Devil and Max Devlin" Like a lot of you folks out there, I don't exactly know how... How a droopy diaper and a cute rice cooker helped inspire Baymax's distinctive look and movement in Disney's "Big Hero 6" If you're a new parent and find that there's something... Craig McCracken talks about the labor intensive story process behind Disney XD's "Wander Over Yonder" How long does it take a group of grown-ups to come up with a... Transcriptions & Directory of Disney Dish podcasts with Jim Hill and Touring Plans' Len Testa Press releases received in our In Box Dorse Lanpher has a real eye for detail. Which is just what you'd expect from one of the top effects artists in feature animation. But as it turns out, Lanpher was able to use his eye for detail for more than just creating all those fire, water and shadow effects that you've seen in most Disney animated features from "Sleeping Beauty" all the way through to "Home on the Range." Given that Dorse had a front row seat for an amazing amount of animation history during the 48 years that he worked in the industry, Lanpher was able to take all of his highly detailed memories and then channel them into an eminently entertaining & informative memoir, "Flyin' Chunks and Other Things to Duck: Memoirs of a Life Spent Doodling for Dollars" (iUniverse.com, October 2010). Copyright 2010 IUniverse.com. All rights reserved Want to know what it was like to spend a leisurely lunch hour on the Disney lot back in 1956? Dorse takes you there, to a time when you could ... ... go to the sound stages and watch a live action production being filmed ... Standing quietly in the dark, I'd watch all of the stagehands, electricians, actors and actresses while photographing a real movie scene. It was a super experience. Sometimes I would find out where the Firehouse Five Plus Two was rehearsing ... I would take my brown bag and sit in an audience of maybe two or three people. Ward Kimball, the band's leader, always welcomed us, apparently glad to have fans listen ... I will always remember Ward Kimball's snappy outfits. He would wear bright colors and not be concerned with subtleties. He would wear a red shirt, yellow tie, blue pants with green suspenders and a nifty hat of any color or any combo of colors depending on the day. Ward Kimball, the only Disney artist Walt ever called a genius, started the band after he taught himself to play the trombone. Those were good days. The Mickey Mouse Club was thriving and I would see the Mouseketeers and Annette Funicello bouncing around the studio. I would see Cliff Edwards driving his Nash, an automobile that ceased production years ago, on to the studio lot. His name was painted on his spare tire with a picture of Pinocchio in the center. You want to know what it was like to work at Disney in the 1970s? Lanpher takes you there as well. To be specific, to the backlot. Where there was this ... ... lovely Middle American neighborhood with curving streets and those Victorian styled homes. Some of our artists discovered that one of the houses (back there) had a swimming pool. So occasionally some of our more adventurous artists, working on the weekend, would take a break from their work on Pete's Dragon and (go for) a quick swim. Red Buttons and Jim Dale on "Pete's Dragon" Passamaquoddy setCopyright Disney Enterprises, Inc. All rights reserved (Speaking of) Pete's Dragon, the studio built a huge outdoor set (for that film) which was very impressive. There was an enormous hole dug in the ground of the back lot and filled with water. Around the edge of the water they constructed a New England style fishing village as if the village sat at the edge of a harbor. It was very magical for it was totally believable. Very sad that a beautiful work of art like that was just bulldozed down after completion of the production. Around (this same) time there was also a beautiful western set on the other side of the lot. It was a small western town with Zorro's large early Spanish style home as part of the set. That set was used for the Zorro series. Later the town and Zorro's home were replaced by what was now called the Zorro Parking Structure. Shades of early Jonie Mitchell: "They paved paradise and put up a parking lot." Lanpher did some really interesting things during his days at Disney. Like serving as a live-action reference model for "The Small One," that animated holiday-themed featurette that Don Bluth directed just before he bolted from the Mouse Factory in 1979 to start his own animation studio. For this assignment, Dorse remembers borrowing ... A very Dorse Lampher-looking Joseph from "The Small One"Copyright Disney Enterprises, Inc. All rights reserved ... costumes from Wardrobe and a pet pony from a neighbor of one of the animators, Heidi Guidel. I played Joseph, Vera Macaluso played the Virgin Mary and the pony played a burro. Speaking of Don Bluth, Lanpher was one of those 13 "renegade artists" who left with Bluth to go work on such fondly-remembered animated features as "The Secret of NIMH," "An American Tail" and "The Land Before Time." Which perhaps explains why Don contributed an affectionate foreword to "Flyin' Chunks and Other Things to Duck." Which brings me to one of those more interesting moments in Lanpher's memoir. Which is when Dorse reveals that it was Don Bluth - rather than Richard Williams - that Steven Spielberg initially reached out to when he was looking for someone to handle the animated portions of "Who Framed Roger Rabbit." To hear Lanpher tell this tale: We were nearing the finish of An American Tail and we were again on the verge of financial ruin. Don Bluth had been contacted by Steven Spielberg about directing the animation for a live action-animation film starring Roger Rabbit. There was good buzz in the studio for a while. We were going to get hungry and we needed another picture to do. Working hard to finish An American Tail I didn't notice the buzz had stopped. One day I asked Don what had happened to Roger Rabbit. He said "It's been shelved." End of story. Well, not entirely. Dorse would eventually exit Bluth's animation operation and return to the Mouse House. Where among his very first assignments was handling a lot of the effects animation on "Roger Rabbit." Copyright 1988 Disney Enterprises, Inc. / Amblin Entertainment. All rights reserved From there, Lanpher was one of the hundreds of dedicated animators & artists that made Disney's Second Golden Age of Animation happen. And in the wake of enormous successes like "The Little Mermaid," "Beauty and the Beast" and "Aladdin," the Studio spent lavishly on the films that followed. Take - for example - the over-the-top premiere that Disney staged in NYC for "Hercules." The street in front of the (New Amsterdam) theater had bleachers set up and thousands of people were treated to (a performance of the Main Street Electrical) parade. After the outdoor ceremonies we entered the theater and saw a screening of ("Hercules"). The (party afterwards) was spectacular ... buses carted us over to the World Trade Center for the party on the one-hundred and sixth floor of one of those really tall buildings. We were served Champagne while we waited for an elevator. John Tucker and I drank liberally to oil our nerves for a ride in an elevator the size of my living room which was going to take us up higher than all of the other building in New York ... When we stepped out of the elevator the windows of the lobby were floor to ceiling so one could stand with your toes against the window and peer straight down on the city of New York. It was thrilling. The Hades float from Disney's Hercules Electrical Parade rolls up 42nd Street.Photo by Jeff Lange. All rights reserved Dorse doesn't miss a trick with "Flyin' Chunks and Other Things to Duck." His amazing eye for detail, that little extra something that makes an anecdote that much more memorable (like how - at that "Hercules" after-party at the top of the World Trade Center - Lanpher was able to persuade "Friends" star Jennifer Aniston to sit in his lap and then pose for a picture. Which Dorse then included as one of this 200-page paperback's illustrations) make this a very enjoyable read. So if you've got some Christmas cash burning a hole in your pocket and are now looking a fun & informative book that'll take you behind-the-scenes at both Don Bluth & Walt Disney Feature Animation studios ... Well, you can't possibly do better book than Dorse Lanpher's memoir of " ... a Life Spent Doodling for Dollars." If you're looking to take advantage of those post-Christmas bargains over at Amazon.com, before you do anyonline shopping there, could you please click on the banner below? If you do that ... Well,JimHillMedia.com then gets a teeny, tiny chunk of whatever you spend at Amazon.comThanks and Happy Holidays! animation, book, Ward Kimball, Walt Disney Animation Studios, Sleeping Beauty, Who Framed Roger Rabbit, New Amsterdam Theatre, Steven Spielberg, Richard Williams, Pinocchio, World Trade Center, paperback, Aladdin, Hercules, The Little Mermaid, feature animation, backlot, Friends, The Land Before Time, Main Street Electrical Parade, Annette Funicello, Cliff Edwards, Dorse Lanpher, Beauty & the Beast, Pete's Dragon, Wardrobe, The Micket Mouse club, Flyin' Chunks and Other Things to Duck: Memoirs of a Life Spent Doodling for Dollars, Heidi Guidel, Vera Macaluso, Don Bluth, An American Tail, effects animation, Home on the Range, Zorro, the Small One, The Secret of NIMH, Jennifer Aniston, John Tucker Sue in Texas Sounds like a fun read, but Jim, what does the title mean? I thought I'd find out in the article! Me in Saudi I'm guessing that "Flyin' Chunks and Other Things to Duck" refers to what he animated. Since he was an effects animator, he animated many of the objects that weren't characters: fire, water, flying chunks, and, of course, other things to duck. In traditional animation, before computers, everything was drawn, and animators normally would either be character animators, animating the main characters, or effects animators. Sue in Texas -- Me in Saudi is right. The "Flyin' Chunks" portion of the title of Dorse's memoir is primarily about what he did for a living. And being that he was a guy who did effects animation for over 4 decades ... Well, that means that Lanpher has animated numerous explosions in his time. Which invariably means keeping track of a lot of flyin' chunks. But at the same time, the "Flyin' Chunks" portion of the title of this book has a secondary meaning. Given that Dorse has had some ups & downs in his professional life (i.e. demotions, fights with pinheaded execs at various studios, falling outs with co-workers) as well as his personal life (i.e. divorce, depression, burglaries, earthquakes), "Flyin' Chunks" also talks about how we can better handle a lot of the stuff that life throws at us. How we can handle this seemingly random change with at least a modicum of grace. Given that Lanpher's something of a self-help enthusiast (the afterword of this book lists a number of his favorite self-help volumes) ... Well, Dorse obviously hopes that people can maybe read this memoir and possibly follow his example. Or -- at the very least -- learn from his mistakes. Anyway ... Does that give you a better understanding of the title of "Flyin' Chunks," Sue in Texas? I hope so. And -- again -- I'm apologize for leaving that info out of today's review. It's just that the Disney & Bluth-related anecdotes in this book are so unique & interesting, I wanted to make sure that those got placed in the spotlight. Rather than some of the other stuff that you'll learn about as you page through this 200-page paperback. Hi Jim -- Thanks for the clarification. I was imagining the secondary meaning when I read the article, and felt like something was missing when I got to the end. Later I had a "well, duh" moment when the primary meaning dawned on me. I'm just slow, I guess! Your comment makes me even more interested in the book, as it gives a more multi-dimensional view of the author. Sounds like a great read. Thanks for taking the time to answer! Dorse Lanpher 8 Jan 2011 2:26 PM Jim, I like your explanation of my book title relating to the effects work I did, those flyin' chunks, i hadn't thought of that. What I had in mind for the title of my book is a metaphorical capsule shot of what life, to me, seems to consist of, Flyin' Chunks and Other Things to Duck. In the book I was illustrating the need for a person to successfully deal with life's problematic events, personal stuff, so as to be able to continue following ones passion for a rewarding life. Sinatra did it in song, "Lift yourself up, dust yourself off, and start all over again." Dorse

影视