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2016-36/0814/en_head.json.gz/9160 | One 02 March, 1992
Lady With The Spinning Head Lyrics
Satellite Of Love Lyrics
Night & Day Lyrics
The song appears on the Achtung Baby album. All royalties from this single went to AIDS Research and the cover, of buffaloes falling over a cliff, was a photograph by artist David Wojnarowicz. The b-side included a cover of Lou Reed's Satellite of Love featuring background vocals by Gavin Friday.
U2 premiered the song for the first time on February 27, 1992 in Lakeland, Florida while rehearsing for the upcoming Zoo-TV tour. The performance was broadcast that same evening on Top of the Pops. Adam and Larry joined Michael Stipe and Mike Mills of REM for an acoustic performance of One at the MTV Rock & Roll Inaugural Ball on January 20, 1993. They billed themselves as Automatic Baby. Violinist Jo Shankar and percussionist Stefan Rager joined Bono and The Edge for a performance of One at the Festival Against Racism in Hamburg, Germany on January 31, 1993. Bono, The Edge, and Brian Eno as Passengers performed an orchestral version at the Pavarotti and Friends: Together For The Children of Bosnia in Modena, Italy on September 12, 1995 to benefit the War Child charity. It was also one of 5 songs played when U2 performed at the Tibetan Freedom Concert on June 8, 1997 on Randall's Island, New York. A 3-CD enhanced set for this concert was released featuring U2 performing One and an interview with Bono.
The Tea Party performed the song live and Robbie Williams when he headlined the Slane Festival in 1999. Bono, accompanied by Zucchero, performed One for the NetAid concert at Giant's Stadium on October 9, 1999 to raise money and awareness for the Drop The Debt campaign.
Bono and Daniel Lanois performed an acoustic version on the steps of the Lincoln Memorial to celebrate America's Millennium Gala. U2 performed the song live when they received the Freedom of City award.
A medley of One/Unchained Melody from the November 27, 1993 Sydney concert appeared on Hold On/The BBC Radio 1 FM Sessions. Many artists have recorded a version of One including: Information Society on We Will Follow: A Tribute to U2; the Royal Philharmonic Orchestra on Pride:The RPO Plays U2; Straitjackets on Zoovenir-A Tribute to U2; and Studio 99 on The Best of U2-A Tribute. British soul singer Mica Paris also released a cover of One featuring several remixes.
Release Date: 02 March, 1992 Produced By: Daniel Lanois and Brian Eno Engineer: Flood Label: Island Records Recorded At: One VIDEOS | 影视 |
2016-36/0814/en_head.json.gz/9937 | Rex Cinema
Water Street,
Radcliffe,
J.E. Tonge
Picturedrome
Odeon Radcliffe
Art Cinema
Classic Bury
Empire Cinema
The Picturedrome opened on 4th December 1911 with a seating capacity of just over 800 seats. The opening films were “The Siege of Calais” and “A Gay Time in Washington”. The cinema was located at the corner of Knowles and Water Streets in Radcliffe.
It was re-named the Rex Cinema from 1955 but by the early 1960’s it was screening films and operating sessions of bingo. In 1962 it closed as a cinema and went over to a full time bingo club operation. In the early
1980’s faults developed in the fabric of the building and it was closed. It was demolished in December 1982.
A grassy area and large billboard now occupy the site where the cinema was located.
The terrace houses that were situated next to it were demolished later in the 1980s.
The Colliers Arms pub still remains though.
m llewellyn, Ken Roe | 影视 |
2016-36/0814/en_head.json.gz/10896 | Movie DVDs
DVD Staff Picks
Bullz-Eye
Movie Buffs
Fitness for Guys
Celebrity Teaser
Bullz-Eye.com
The Book of Eli review, The Book of Eli Blu-ray review, The Book of Eli DVD review
Denzel Washington, Gary Oldman, Mila Kunis, Ray Stevenson, Jennifer Beals
Albert & Allen Hughes
The Book of Eli
Buy the Blu-ray
All photos © Warner Bros. Reviewed by Jason Zingale
here’s a joke somewhere in the fact that the Hughes brothers’ first film in nine years takes place in a post-apocalyptic wasteland, but while the sibling directors don’t exactly have the best track record in town (their only hit remains their 1993 debut, “Menace II Society”), “The Book of Eli” will still find an audience thanks to the involvement of Denzel Washington. It’s not that the veteran actor delivers a particularly memorable performance as the title character, but rather he makes sitting through the film a lot more fun. And “The Book of Eli” is definitely fun at times, but more often than not, it suffers from lethargic pacing and a noticeable lack of sharpness from its directors.
It’s been 30 years since the world was transformed into a blistering desert by nuclear war, and in that time, a zealous loner named Eli (Washington) has been on a journey to deliver the last remaining copy of the Bible to some unknown location in the west. Eli may not look like much, but he’s more than capable of surviving the hostile environment populated by hijackers and cannibals. That is, until he runs into trouble when he passes through a town governed by a ruthless man named Carnegie (Gary Oldman). Carnegie believes the book has the power to revive civilization, but when Eli refuses to surrender the Bible and join his posse, Carnegie goes to extreme lengths to acquire it. A plagiary-heavy mix of post-apocalyptic films like “Mad Max” and “The Road,” and classic Westerns like “A Fistful of Dollars,” “The Book of Eli” wants to be both a hyper-stylized action movie and a dramatic study of the importance of religion in society. Of course, what it really ends up being is a mindless popcorn flick with some great action sequences and some of the most superfluous shots of people walking ever recorded on film. Allen and Albert Hughes’ idea of heavy drama is a series of long, gazing shots at a burnt-out sky, and although the washed-out visuals certainly help in creating their dystopian world, constantly panning across a sea of sepia-hued clouds doesn’t really emote much more than it did the first time. They also have an annoying habit of shoving the camera into their actors’ faces for close-ups that just screams a lack of creativity.
How they managed to persuade Denzel Washington to sign up for the film is a big mystery, but it probably had something to do with the actor wanting to let loose for a change. It’s a good thing he did, because while Washington doesn’t quite elevate the material beyond B-movie territory, he does make it more entertaining thanks to his naturally charismatic personality. His co-stars don’t fare as well – particularly Oldman, who despite playing his share of eccentric baddies in the past, fails to make much of the terribly one-dimensional Carnegie. You can blame the writing for that, but it’s the Hughes brothers who ultimately undo their own movie by dragging it out longer than it needs to be. “The Book of Eli” definitely has its moments – including a hilarious cameo by Michael Gambon and Frances de la Tour as a locked-and-loaded couple that Eli meets along the way – but unless you go into the film with low expectations, you’ll probably walk out wishing the Hughes brothers disappeared for another nine years.
Two-Disc Blu-Ray Review:
“The Book of Eli” arrives on Blu-ray loaded with special features like an awesome picture-in-picture video track jam-packed with interviews, behind-the-scenes footage, and screen to storyboard comparisons, as well as a series of mini-featurettes ranging from production design to stunts. Also included is a short animated prologue that fleshes out Carnegie’s backstory, a discussion with academics about surviving a real-life apocalypse, a small collection of deleted scenes, and a digital copy of the film. | 影视 |
2016-36/0814/en_head.json.gz/11058 | Charlton Heston, Hildegard Neil, Eric Porter, John Castle & others. Charlton Heston, director.
cutout DVD Letterbox
In 1947 Charlton Heston made his Broadway debut as a minor character in Antony and Cleopatra. A quarter century later, he adapted the Bard's story about Rome's hero and Egypt's queen (Hildegard Neil) for the big screen as screenwriter and director, and cast himself in the title role of Marc Antony. Though working on a shoestring budget, he gives the movie the Ben-Hur treatment, opening up the story to its cinematic possibilities with royal pomp and spectacle among the pyramids, warfare at sea, and a clash of armies on land. | 影视 |
2016-36/0814/en_head.json.gz/11990 | Emmett Brooks Productions, LLC and Enough Said, LLC make-up an award winning film and television production company which uses its unparalleled passion and style to create unique content and captivating imagery. We are driven by passion coupled with pride.
Geoff Callan - Director / Producer
www.GeoffCallan.com
As a 5th generation San Franciscan, Geoff has over 18 years of experience in the film & television industry. With success on both sides of the camera, Geoff’s most recent “on-camera” credits include co-staring roles in “Pursuit of Happyness” starring Will Smith and directed by Gabriele Muccino, and “Zodiac” starring Mark Ruffalo and directed by David Fincher. Geoff’s television appearances include co-starring roles on Frasier, the NBC Movie of the Week, “Behind the Camera: The Unauthorized Story of ‘Charlies Angels’”, Lifetime Television’s “Vanished”. Geoff co-stared in and was the associate-producer of the 2004 feature film “Happily, Even After”. He served as the Vice President of Marketing and Production for The Sporting Channel from 1993-1997 where he wrote, directed, and produced many national broadcast commercials, sketches, and short films. Before teaming with Mike Shaw in 2001, Geoff served as the Executive Producer for One World Network’s (co-founded by Melanie Griffith) “new media” division. He was responsible for all film, video, and internet production.
Geoff’s creative storytelling, passionate leadership, and innovative directing continue to inspire audiences.
Mike Shaw - Director / Editor
A Native San Franciscan, Mike was the winner of ABC 7’s Profile of Excellence Award in 2002, and produced “Seth Enslow: The Hard Way”, a captivating extreme sports film that won the Best Film Awards at NBC’s 2000 Gravity Games and ESPN’s 2000 Summer X Games Film Festivals.
Since 1993 Mike has been producing and directing cutting edge projects that continue to captivate audiences across the country. As a former Pro Action Sports athlete known for his competitiveness and innovative style, Mike has been able to translate that talent into filmmaking where he is known for his nontraditional angles and flawless cinematography.
Matt Kennedy - Production Executive
Matt Kennedy, a native San Franciscan, has 15 years of experience in the film and television industry. Prior to working on PURSUIT OF EQUALITY, Matt was most recently a consultant for the production company Created By. He was also the post-production coordinator on the Oliver Stone directed film, World Trade Center. His production company, Relentless Pictures, was formed with the goal of developing and producing pictures for the independent market utilizing his prior development and production experience.
Prior to forming Relentless Pictures, Matt was a New York based Development Executive working first for Crossroads Films and later at United Artists. During this time he worked as part of a development/production/acquisition team on such films as: Bowling For Columbine, Nicholas Nickelby, City Of Ghosts, Together, Jeepers Creepers II, Pieces Of April, The Woods and Romance & Cigarettes. At United Artists he was also in charge of successfully maintaining first-look deal relationships with American Zoetrope, Crossroads Films, Revolution, Single Cell and Mr. Mudd. Matt also served as a liaison with key MGM executives regarding United Artists projects in development. Matt started his career in the film business at Miramax Films in New York working at various times in publicity, development, finance and the office of the chairman, Harvey Weinstein.
John Fraser - Associate Producer
John graduated from San Francisco State University in 2003 with a degree in Cinema Studies. He has been is an accomplished musician and has been working with Emmett Brooks Productions and Enough Said Productions since 2003. John’s tenacity and instincts proved to be a valuable asset as he contributed a great deal of footage used in the film.
Paul Byrd - Motion Graphics / Graphic Design
Lewis Nelson - Voice Over Artist and Narrator
Lewis’s dynamic style and voice make him one of the most sought after artist in the San Francisco Bay Area. [email protected]
John DeBorde - Composer
A dynamic composer with roots in classical, rock and ethnic music, John DeBorde brings a refreshing, down to earth approach to each and every project, from feature film and television to promotional, interactive and educational genres.
www.johndeborde.com
Duane Cramer - Photographer Special Thanks to Duane Cramer for providing the photo of Gavin Newsom used on the DVD and Movie Poster!
www.duanecramer.com
______________________________________ BEHIND THE SCENES If not for the past financial support of over 120 individuals and foundations, we would not have been able to create such an amazing award winning documentary film. Although everyone is acknowledged in the film credits, below is a list of those who we would like to give special recognition.
The Betsy Gordon Foundation, Betsy Gordon Partially funded by a grant from the Kanbar Charitable Trust, Administered by the Jewish Community Endowment Fund, Maurice Kanbar The Bob Ross Estate, Thomas E. Horn
The Wallace Alexander Gerbode Foundation, Marcia & Sarge Gerbode Barbara and Robert Callan The Small Change Foundation, James Hormel and Raymond Mulliner Terry Bean AT&T, Troup Coronado
PG&E , Brandon Hernandez
Alexander Lloyd ©2007 Enough Said Productions. All rights reserved. | 影视 |
2016-36/0814/en_head.json.gz/12590 | Visit the following main content areas of ReadingEagle.com:
Welcome to the new readingeagle.com
Newsmaker Form Business Spotlight Form Cities and Crime: The Fight in Pennsyvlania
Originally Published: 1/13/2014
'American Hustle' makes its move at Golden Globes
"Dallas Buyers Club," "12 Years a Slave," "Breaking Bad" also big winners.
[+] Enlarge.
Amy Adams wins best actress in a motion picture comedy or musical for "American Hustle."
Shut out all night at the Golden Globes, the historical drama "12 Years a Slave" eked out the night's top honor, best film drama, while the con-artist caper "American Hustle" landed a leading three awards, including best film comedy.
David O. Russell's "American Hustle" had the better night overall, winning acting awards for Amy Adams and Jennifer Lawrence. Best picture was the only award for "12 Years a Slave," which came in with seven nominations, tied for the most with "American Hustle."
Awards were otherwise spread around.
Matthew McConaughey took best actor in a drama for his performance in the Texas HIV drama "Dallas Buyers Club." Leonardo DiCaprio, a nine-time Golden Globe nominee, won his second Globe for best actor in a comedy for his work in "The Wolf of Wall Street."
Alfonso Cuaron won best director for the space odyssey "Gravity," a worldwide hit and critical favorite.
The night's biggest winners may have been hosts Tina Fey and Amy Poehler, whose second time hosting the Hollywood Foreign Press Association's Beverly Hills, Calif., ceremony was just as successful as last year's show. Fey concluded the night by toasting the awards as "the beautiful mess we hoped it would be."
The Globes offered a fond farewell to AMC's epic tale of meth kingpin Walter White, honoring it as television's best drama and giving Bryan Cranston the top acting award.
Other big TV winners at the Golden Globes were the Fox detective comedy "Brooklyn Nine-Nine" and the HBO movie on Liberace, "Behind the Candelabra." Actress Robin Wright won for her work in "House of Cards" on Netflix, representing the first time a service other than a broadcast or cable network has won a major television award.
Cranston's award for "Breaking Bad" came after losing four times in the category.
In two of the bigger surprises of the evening, "Brooklyn Nine-Nine" was named best television comedy and Andy Samberg won best actor in a comedy for his work on the show.
Movie star Michael Douglas donned the flamboyant costumes to play Liberace for "Behind the Candelabra," and won his fourth Golden Globe for the work. Earlier in the evening, the production won the award for best TV movie.
Show co-host Amy Poehler capped her big night by winning the best actress award for NBC's "Parks & Recreation."
Elisabeth Moss gets a lot of publicity for her work on "Mad Men," but won a Golden Globe as best actress in a miniseries for playing a detective investigating the disappearance of a pregnant girl in the Sundance Channel miniseries, "Top of the Lake."
Veteran actress Jacqueline Bisset, five times a nominee who won her first Golden Globe, savored the moment in getting a best supporting actress trophy for "Dancing on the Edge," shown on Starz.
Jon Voight, another Hollywood veteran, won a supporting actor honor for his work in Showtime's "Ray Donovan." It was his fourth Golden Globe. | 影视 |
2016-36/0814/en_head.json.gz/13170 | Thalia Theater
Kruiskade 55,
3012 EE
Thalia (Official)
Streamline Moderne
Oude Luxor Theater
Pathe Schouwburgplein
Lutusca Theater
Hofplein Rotterdam
Cinerama Filmtheater
This is the 3rd Thalia Theater to operate in Rotterdam. The Thalia Bioscope was opened by Abraham Tuschinski on 31st July 1911 at Coolvest 44. On 24th August 1916, Tuschinski opened the second, much larger Thalia Theater at Hoogstraat 325. This was destroyed by bombing on 14th May 1940.
The Thalia Theater #3 was opened on 7th July 1955 with Kirk Douglas in “Twenty Thousand Leagues Under the Sea”. It was built for the Tuschinski Theatres group of Amsterdam, and was designed by an architectural firm headed by J.P.L. Hendriks, with W. van der Sluys and L.A. van den Bosch. Seating was provided on a single level.
In recent years, it stopped being a full-time cinema, and became a nightclub and concert venue, which screens occasional films. It is now a café.
Eric Leeuwenberg
The Thalia cinema closed in 1997 after Pathé Cinema started a succesful seven room department on the Schouwburgplein nearby. After that Thalia was only used for some editions of the International Film Festival Rotterdam. It was closed for the rest of the year. Then the Beurs Cafe took in. They went broke and the doors were closed for a long time again. The same cafe made a fresh new start in 2011. | 影视 |
2016-36/0814/en_head.json.gz/17617 | Home > Movies & TV > Queen Elizabeth parachutes into Olympic stadium… Queen Elizabeth parachutes into Olympic stadium with James Bond to open London Games By
Queen Elizabeth II. Parachuting into the Olympic stadium. With James Bond.
In a five-minute film played as part of the London Olympics opening ceremony, a global audience watched as James Bond, played by Daniel Craig, met the Queen at Buckingham Palace.
“Good evening, Mr. Bond,” she says, delivering her only line in the skit with aplomb.
The pair then board a helicopter and fly across various London landmarks towards the Olympic stadium. Hovering high above the venue, the Queen, in a fetching peach-colored dress – together with Bond (not in a fetching peach-colored dress) – jumps from the helicopter, with the two of them deploying their Union Jack parachutes within seconds.
Shortly after the parachutists disappeared from view, the Queen showed up in the stadium, taking her seat to rapturous applause from the gathered 65,000 audience. She later declared the London 2012 Games officially open.
Whether the head of state will get an entry on IMDb for her debut acting role remains to be seen (she surely must), but it was certainly a surprise no one had been expecting.
OK, there was, of course, some jiggery-pokery in the creation of the skit, with the parachuting Queen played by a stunt man. But it was certainly the real Queen who appeared in the segment at the start.
Slumdog Millionaire and 127 Hours director Danny Boyle, the man behind Friday night’s opening ceremony, had the idea for the sequence last summer, but it took until March before it could be filmed because of Daniel Craig’s busy schedule. The Queen apparently had a few appointments too.
According to a Telegraph report, the short film, directed by Boyle, took a crew of 130 three hours to shoot.
Nicholas Brown, the BBC’s director of drama production, said the Queen’s performance was perfect. “She got it in one take,” he said. “That’s what she does, and she does it very well. She is a professional.”
Brown added, “It was extraordinary to have the two [the Queen and Daniel Craig] together….the Palace was terrific about the shoot and we were delighted and honored that the Queen was involved.”
Check it out for yourself below.
Queen Elizabeth’s Olympics Helicopter Jump with James Bond from MYNAME1229 on Vimeo. | 影视 |
2016-36/0814/en_head.json.gz/18918 | U218 Singles 20 November, 2006
I Still Haven't Found What I'm Looking For Lyrics
With Or Without You Lyrics
Vertigo Lyrics
New Year's Day Lyrics
Where The Streets Have No Name Lyrics
Sweetest Thing (The Single Mix) Lyrics
Sunday Bloody Sunday Lyrics
Desire Lyrics
Elevation Lyrics
Sometimes You Can't Make it On Your Own Lyrics
The Saints Are Coming Lyrics
Window In The Skies Lyrics
U218 Singles' released in 2006, was the 'definitive best of', the first single disc collection to span the band's career from Boy (1980) to How To Dismantle An Atomic Bomb (2004). At the same time, U218 Videos was released, a DVD featuring music videos from throughout U2's career. Featuring sixteen singles from the more than forty then released by the band, the album also included two new songs both recorded at Abbey Road Studios in London in September 2006 and produced by Rick Rubin. 'The Saints Are Coming', a cover of the 1978 Skids track, was recorded with Green Day, debuted live a few days later at the reopening of the New Orleans Dome and proceeds from worldwide sales went to Music Rising, a charity set up by Edge to 'help bring the music back to New Orleans' . Released as a 2 track CD, maxi CD, and DVD single, the b-side was a performance of Tower of Song, recorded with Leonard Cohen, for the movie 'Leonard Cohen: I'm Your Man'.
'Window In the Skies' was a brand new U2 song, written and recorded at Abbey Road and released as a single in early 2007. It was described by Bono as 'a psychedelic pop song with 6/8 timing, you never hear that. It's very, very rare.' Nominated in the 'Best Pop Performance By A Duo Or Group With Vocals' category at the 2007 Grammy Awards, the band performed 'Window' live for the first time in Japan on the Vertigo 06 Tour. Release Date: 20 November, 2006 Produced By: Various Engineer: Various Label: Island Records/Mercury Recorded At: U218 Singles VIDEOS
Window In the Skies «
The Saints Are Coming
Sunday Bloody Sunday - War
City Of Blinding Lights
Sometimes You Can't Make It On Your Own Elevation - Tomb Raider
Vertigo (How to Dismantle An Atomic Bomb)
Walk On (All That You Can't Leave Behind)
Desire - Rattle and Hum
Where The Streets Have No Name - The Joshua Tree
I Still Havent Found What Im Looking For (The Joshua Tree)
''I think we make better music and have better ideas now. No Greatest Hits tour just yet.' Larry (U2 by U2)
'We're getting closer to the song that we hear in our heads, but it's still not there yet. We've got to take it to the next level.' Bono (U2 by U2)
'I'm better than I was by a long way, I am smarter and I know what works. Larry's a better drummer. Adam is a better bass player and Bono is a better lyric writer and singer. It just takes us a little longer these days, because we have to spend the time to get to where we want to go. There are more false starts, I suppose.' Edge (U2 by U2) COMMENTS | 影视 |
2016-36/0814/en_head.json.gz/18970 | 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 |
2016-36/0815/en_head.json.gz/203 | Cedarhurst
449 Central Avenue,
Cedarhurst,
B.S. Moss Enterprises
Office Space, Retail
Airdome
Lawrence Theatre
Five Towns Theatre
Pix Theatre
Opened by 1923, the Central Theater was a large single screen theater located right in the middle of the shopping district on Central Avenue in Cedarhurst, Long Island. The theater had a nice balcony and the most comfortable seats. They were large, plush rocking chair types. The theater in the late-1970’s was very well maintained and “modern” looking. It blended in very well with the upscale nature of the neighborhood (lots of glass, marble and brass fixtures).
I went there in the late-1970’s to see only two movies: “The Deep” and “Grease”. Prior to closing it had been converted into a triple screen theater. By the mid-1980’s, the theater was closed and by the late-1980’s the space had been converted into retail.
Chris Connoll
ZiegfeldMan
The Central was doing very nicely until 1979 ( I saw Close Encounters there in 1977, which I think about often ) The opening of the Sunrise Multiplex in 1979 basically killed this theater, which is sorely missed, as there are no theatres left in the Five Towns. The theatre briefly triplexed and then died, being replaced by the abomination known as the “Cedarhurst Center,” which opened with the best of intentions as a really beautiful building with commercial space. Nice boutiques, little restaurants, and a health club. Within a few years, the place became a “white elephant”; some stores remain, the health club has changed hands a few times, but it never lived up to its expectations. A few years ago there was interest in turning it back into a movie theatre, but it never happened. Cedarhurst is a splendid little village with nice people and nice stores. I work there. Boy, do I wish the Central was still there.
I made a visit to the former Central today with my camera in hand. There are some stores at street level, but the main purpose of the building itself seems to be office space. A sign in the front entryway indicates that plenty of space is available within. I was very surprised to see how large the theater structure is – this must have been around a 1500-seater and probably the largest theater built in the Five Towns area. Folks probably had to travel to Rockville Centre or Lynbrook to find a larger house.
New rooftop glass atrium
View from down Central Ave
Building profile
It doesn’t appear that there was ever any stage-loft space, so I doubt this was ever anything other than a cinema. You can glimpse what appears to be a curved glass rooftop structure in the third photo that was presumably installed when the building was gutted for conversion to office/retail space. The pink facade is a pretty lightweight material that has a stucco-like surface and feels hollow to the touch. I imagine the original facade was stripped down to bare brick.
The address of the building is now 445 Central Avenue (can’t say for sure that the theater used the same #) and the zip would be 11516.
I’d never been to Cedarhurst before and was delighted to find such a vibrant and hopping commercial strip here in what seems to be a thriving and largely Orthodox Jewish community.
Here’s a 12/9/1980 ad from Newsday, by which time the Central had been triplexed and under the stewardship of B.S. Moss along with the Belair Twin in not too distant Valley Stream.
This Daily News ad for “Flash Gordon” comes just a few days later and identifies the theater as a B.S. Moss house.
So, we need an AKA above for “Central Triplex.” I’d also enter the address as 445 Central Ave (until other evidence to the contrary comes to light) and update the zip.
Hi Ed:
I think we are both fans of the Ziegfeld Classics as I believe I see your name on the Ziegfeld page many times. I work in Cedarhurst (we could have had lunch together yesterday!) I sorely miss the Central, that’s where I saw Close Encounters in its original run. Incredible evening almost thirty years ago. These days I go over to Green Acres (not the Sunrise) or The Fantasy in RVC. I have issues with the Lynbrook at the five corners, and don’t get me started on the Malverne!! Best of all is the Ziegfeld. I saw Porgy and Bess not too long ago at Moving Image in Astoria. Reviving it at the Ziegfeld is a very creative move on Craig’s part. It’s not a well known film-but beautiful-I just hope people show up to see it!!
Hi Gary. Yup, I recognize your comments from the Ziegfeld page as well. I’ve bemoaned the present condition of the Lynbrook over on its CT page, particularly after having recently given it another couple of visits in the last month or so. Never been to the Malverne.
Let’s connect at some point, since I live over in Woodmere. White Castle is a guilty pleasure of mine.
Just came from Moving Image in Astoria, a place I love and support. There was a preview of the new “3:10 to Yuma”-FABULOUS.
Go see it tomorrow!!!
The Malverne gives new meaning to “glued to your seats.”
stoneyron
The Central Theater was the most beautiful Theater I had ever seen in my 35 years of working in the movie business,I had the pleasure of working there first as an usher in 1970 and then as a projectionist in 1973, I was so sad to see they closed such a beautiful theater and how the historical society could ever let them ruin it and turn it into a mall is beyond me,if I were rich I would put it back to the way it was as a theater or a playhouse again.If anyone wants to invest and do that I would be willing to supply the equipment and invest in such a project,with all the multiplex Theaters around there should be one big theater left. towns area
robboehm
Lost Memory has a reference to the Central in 1923. The text accompanying the sketch referred to by Tinseltoes makes the 1962 theatre as new. For a half million it should have been.
paktype
The space is now called the Cedarhurst Center and it is used for retail stores. It was very nice when it first opened in the late 1980s but it is a little run down now. | 影视 |
2016-36/0815/en_head.json.gz/204 | Yorba City
East Ybor
1503 E. Seventh Avenue,
Yorba City,
Art Deco, Mediterranean Revival
40th Street Drive-In
Carmike Centro Ybor 10
Casino Theatre
Ritz Theater
The Ritz Theatre opened in Tampa’s Latin Quarter of Ybor City in 1917 and had a lengthy run that ended in the 1970s. Originally a one screen theatre showing first run movies it was one of several theatres in Ybor. The building itself is a brick structure and the interior of the lobby is Art Deco. The theatre area itself is an elaborate Spanish Colonial look…very Hacienda.
Like much of Ybor City the theatre was in terrible shape by the 1970s and had sufferred a fire. In the 1980s the seats were removed and the theatre re-opened for concerts and also housed a gothic/alternative dance club The Masquerade. The Masquerade moved to a different location in the 1990s but the Ritz remained in operations as a concert venue as Ybor experienced a renaissance and businesses returned. Late in the 1990s The Masquerade returned to the Ritz and is still there.
ToddFrary
This link has a photo and lists the opening date as 1928:
neonitenick
This theater holds some wonderful memories for me. I attended The Ritz nearly every weekend during the early-to-mid sixties. During this period The Ritz was essentially a B-film house specializing in horror/sci-fi and campy teen films that played to packed houses on the weekends. Alternatively both standard film fare as well as Spanish language films also played.
Beginning with William Castles' 13 Ghosts in 1961 to Village of the Giants in 1965 I saw hundreds of films over a 5 year period. On Fridays and Saturdays The Ritz would run a triple-feature program such as The Fly, The Spider, and The Deadly Mantis. The following weekend Black Sunday, The Raven, and Day of the Triffids would be playing. A couple weeks later the attractions were The Brain Eaters, The Screaming Skull, and Brain from Planet Arous.
On one Sunday afternoon Presley’s Fun in Acalpulco teamed with Bye Bye Birdie packed the house. And the following weekend The Blob, Blood of the Vampire, and Tarantula were playing. Blockbusters like West Side Story and It’s A Mad Mad Mad Mad World also played from time to time. When A Hard Day’s Night sold-out the theater on one Saturday afternoon the management, evidently fearing a possible riot, ran the entire feature with the house lights turned up.
Unbelievable as it sounds today, admission during this period was 20-cents for children under 12, and 60-cents for adults. I do not recall a separate price for students although it was probably half the adult admission.
The auditorium was Basic Mediterranian Revival. The interior was painted a combination of patterns of red, orange, and pink, and the side walls of the auditorium contained house fronts complete with red-tile roofs, chimneys, and windows lit from behind. Beige curtains illuminated by red stage lights hid the 35-foot wide CinemaScope screen within the procenium. Capacity was 700 which was later reduced to 400 when new larger seats were installed when theater converted to running adult films.
At the end of 1965 the theater was purchased by a company out of Miami that owned and operated several adult theaters statewide, and on January 1, 1966 it became The Ritz Adult Theater. Triple-X films and live nudie stage shows were now the attraction, and it ran for an amazing 15 years.
It was also used for a short time by The Playmakers, a local stage production company. In the early eighties it was purchased by a private owner who had hoped to transform it back into a movie house featuring first-run films. The building was given a complete makeover in preparation. The interior and exterior was repainted, and new carpeting, seats, and curtains were installed. The screen which had been moved up against the rear wall was still in good condition and was moved back into place. The original 35mm projectors had remained in the booth and were still functional.
Unfortunately due to a drain on funds and resources, as well as lack of support from the public, the owner was never able to see his dream of running movies materialize. For a short time several concerts were presented (mainly heavy metal and punk) but a larger core audience never fully developed and the doors eventually closed.
After sitting empty for some time the building was purchased and completely remade for an alternative dance/nightclub called The Masquerade.
I had a chance to visit the building shortly after the new club had opened. All seating had been removed and the village house fronts on the side walls all been stripped down to the bare concrete walls. The floor had been leveled out and a mosh pit had been dug out in the center. Sadly the only remenants to show that it may have once been a movie theater were the stage and the procenium. The Maquerade had apparently done very well for several years attracting hordes of alternative and undergound concert goes, but early in 2006 it finally closed it’s doors. The building currently remains empty.
historictheatresintampa
Please provide any stories or information that you might have about this theatre (or any single-screen theatre in Tampa) here… http://historictheatresintampa.blogspot.com
This will assist us in preserving the history surrounding these theatres in Tampa. Thank you!!
This is a duplicate listing
Yes, I found it through a zip code search.
Roger Katz
I’d consider them open. http://www.ritzybor.com
Nick DiMaggio
This is a duplicate page of the Ritz Theatre in Ybor City, Tampa FL. Ybor City is misspelled as Yorba City in the heading. Yorba City does not exist in Florida. | 影视 |
2016-36/0815/en_head.json.gz/237 | Your Slightly Early Oscar Predictions For 2014
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The only thing we know for certain about next year's Oscars is that: a) Seth MacFarlane won't be hosting them, and b) It's pretty stupid to be talking about them already. But being stupid has never stopped me before.
So, considering the Oscars have been over for roughly 40 hours now, it seems the perfect time—the perfect time!—to speculate about next year's Oscars, sure to be hosted by a holographic monkey voiced by Mark Wahlberg. In some ways, looking forward to movies is almost more fun than actually watching them.Thus, here are my complete out-of-random-orifice guesses for the nine films to be nominated for Best Picture in 2014. Obviously, I haven't seen any of these movies; one of them has already been shown at the Sundance Film Festival, but otherwise, not only have none of these been screened, most of them aren't even finished. Since when has that ever made a difference to the Oscars?
The nominating envelopes, please...Before Midnight. The one movie on this list that has already been seen, it's the third (and presumably final) installment of the Richard Linklater/Ethan Hawke/Julie Delpy series of Before Sunrise and Before Sunset. You should know that the first two films are among my favorite films of all time, and therefore I'm ecstatic that it received such rapturous reviews at Sundance. (Grierson called it his favorite film at the festival, and he was hardly alone.) It would seem a risk to predict such a small film to make the Best Picture list, but it appears well on its way to be the most well-reviewed American film of the year. Also, I love these movies so much that I just wanted to type a little about them.The Counselor. It's tough to argue against: Director Ridley Scott; screenplay by Cormac McCarthy; a cast featuring Michael Fassbender, Brad Pitt (as the bad guy), Javier Bardem, Penelope Cruz, and even Dean Norris from Breaking Bad. It's about "a lawyer who finds himself in over his head when he gets involved in drug trafficking," and that's all we know, but with this pedigree, that's probably enough.Foxcatcher. Definitely the most bizarre and potentially intriguing film on this list, it tells the true story of John DuPont, the paranoid schizophrenic millionaire who went crazy in 1997 and killed a gold-medal-winning wrestler who was training on his estate in Newtown Square, Pa. (Also training at the camp at the time: Kurt Angle!) Directed by Bennett Miller (Capote, Moneyball), it stars Steve Carell as DuPont and Channing Tatum as the wrestler he kills. Just sounds fascinating. (Correction: Mark Ruffalo plays the man DuPont kills; Tatum plays his wrestler brother.)Gravity. The Academy doesn't typically go for sci-fi, but they might find the combination of George Clooney, Sandra Bullock and director Alfonso Cuaron (Children of Men) too much to resist. Clooney and Bullock are the only actors in the film—they play astronauts stranded in space—and it reportedly begins with a nearly 20-minute shot with no cuts. Cuaron is the master of the technique.
Inside Llewyn Davis. Three of the last four Coen brothers movies have been nominated for Best Picture, and one of them won. So I wouldn't dare exclude their new film, about the early-'60s folk music scene in New York City, even if it does feature John Goodman with some really weird John Goodman facial hair.Monuments Men. Here's Clooney again, this time as a director. Generally speaking, Clooney has underwhelmed when behind the camera—The Ides of March was pretty much a clunker all-around—but he's got a killer premise this time. It's a heist movie in which a group of art historians try to recapture paintings stolen by Hitler before he destroys them. The cast is pretty much an all-timer: Clooney, Matt Damon, Daniel Craig, Cate Blanchett, Jean Dujardin, John Goodman and Bill Murray. This one would seem hard to screw up.Nebraska. The newest from Alexander Payne (The Descendants, About Schmidt, Sideways, Election), it's a road trip movie about a father and son shot in black-and-white. Originally Payne had attempted to get Gene Hackman out of retirement for the film, which would have been amazing, but he ended up with the quixotic duo of Bruce Dern and Will Forte.Saving Mr. Banks. We were reminded with Argo just how much the Academy likes movies about movies, so here's next year's entry. It's about the making of Mary Poppins—specifically the life story of Poppins author P.L. Travers, played by Emma Thompson—and features the so-obvious-you-worry-it'll-be-horrible casting of Tom Hanks as Walt Disney.The Wolf of Wall Street. Pretty much destined to lead every op-ed for the final two months of this year, it's Martin Scorsese's film about securities fraud on Wall Street. It's the fifth Scorsese-Leonardo DiCaprio collaboration, though it's the first with Jonah Hill. (Unless I missed him in Gangs of New York.)
Other possibilities include:*** August: Osage County, an adaptation of the play, featuring Meryl Streep, Ewan McGregor and Benedict Cumberbatch.
*** The Bling Ring. The true story of celeb-obsessed teenagers who robbed movie stars' homes, starring Emma Watson and written and directed by Sofia Coppola.
*** Captain Phillips. Tom Hanks again, this time directed by Paul Greengrass in a movie about the American kidnapped by Somali pirates.
*** Elysium. Matt Damon and Jodie Foster in the first film by director Neill Blomkamp since District 9.
*** 42. The Harrison Ford-as-Branch Rickey movie, though I was less wowed by the trailer than others.
*** The Great Gatsby.. I think it's going to be horrible, but you shouldn't doubt the cast.
*** Upstream Color. Shane Carruth's followup to Primer that was so revered at Sundance doesn't have a chance, but I'm so excited to see it I included it anyway.I'm sure I'll end up getting all of these wrong, but by the time we know, no one will remember.Grierson & Leitch is a regular column about the movies. Follow us on Twitter, @griersonleitch.Reply18 repliesLeave a reply | 影视 |
2016-36/0815/en_head.json.gz/286 | TNT Is Remaking Dallas. Why Are You Remaking Dallas, TNT?
By James Poniewozik @poniewozikJuly 11, 2011 Share
TNT has ordered ten episodes of a remake of Dallas, to start airing next year. Why?
I should issue the standard disclaimers. It’s all in the execution; I loved the Battlestar Galactica reboot; I hope to eat my words, &c. But Dallas seems to be less in need of remaking than even the usual unnecessary remake. (Cough! upcoming ABC version of Charlie’s Angels! cough!) Not because Dallas was bad, but because it was so successful and so much of its time.
I’ll be curious, certainly—especially since the remake brings back originals like Larry Hagman and Patrick Duffy—but if you’re making a Dallas for the 2010s, why not pic a city that is to today as Dallas was to the ’80s? (Suggestions from an informal Twitter poll ranged from Silicon Valley to Portland—put a bird on it!—to, for those willing to venture abroad, Dubai.) Of course, I get it—brand recognition can give a series a tailwind. But when that brand is a TV legend, it can also be a headwind.
In any case we’ll see—and if you can sit through Rizzoli and Isles, TNT will be airing a sneak peek tonight. The release after the jump:
TNT has given the greenlight to DALLAS, an all-new series based upon one of the most popular television dramas of all time, about the bitter rivalries and family power struggles within a Texas oil and cattle-ranching dynasty. Famous for its ratings-grabbing cliffhangers, the original series was known for its wealth, seduction, scandal and intrigues. Set in the big state of Texas, TNT’s new DALLAS — from Warner Horizon Television — also lives life large and in the fast lane and brings a new generation of stars together with cast members from the original drama series. The new DALLAS stars Josh Henderson (90210), Jesse Metcalfe (John Tucker Must Die), Jordana Brewster (Fast & Furious), Julie Gonzalo (Veronica Mars) and Brenda Strong (Desperate Housewives), and they will be joined by iconic stars Patrick Duffy, Linda Gray and Larry Hagman as J.R. Ewing. TNT has ordered 10 episodes of DALLAS, which is slated to premiere in summer 2012.
TNT will give viewers their first look at DALLAS on Monday with a special sneak peek during the season premieres of the network’s blockbuster hits THE CLOSER, which starts at 9 p.m. (ET/PT), and RIZZOLI & ISLES, which airs at 10 p.m. (ET/PT). TNT is unveiling today a website dedicated to the new DALLAS series, where fans can view an online photo gallery that features a first look into the show’s new and returning cast. Fans can visit the new site, http://www.dallastnt.com, to watch sneak peeks and behind-the-scenes videos. The website will be periodically updated with new materials.
“TNT has explored the possibility of an updated version of DALLAS for several years, but it wasn’t until we read Cynthia Cidre’s outstanding pilot script that we knew we had the foundation for a great new series,” said Michael Wright, executive vice president, head of programming for TNT, TBS and Turner Classic Movies (TCM). “It is incredibly exciting to see both new and familiar characters in the hands of a dream cast under the guidance of the enormously talented Cidre and Mike Robin. We couldn’t be more pleased with how DALLAS has come together.”
The original DALLAS aired from 1978 to 1991 and centered on the Ewing family, a cattle and oil dynasty occupying the expansive Southfork Ranch in Texas. A long and bitter rivalry between brothers J.R. Ewing (Hagman) and Bobby Ewing (Duffy) eventually led to J.R. losing control of most of the Ewing industries. In the new DALLAS, this explosive rivalry now lives on through another generation, with the future of the family fortune in the hands of the Ewing offspring: cousins John Ross Ewing (Henderson), the son of J.R. and ex-wife Sue Ellen (Gray), and Christopher Ewing (Metcalfe), the adopted son of Bobby. Brewster stars as Elena, who is involved in a love triangle with Christopher and John Ross. Gonzalo stars as Christopher’s fiancée, Rebecca. And Strong stars as Ann, Bobby’s wife.
Executive producer Cynthia Cidre, who wrote the acclaimed film The Mambo Kings and produced the TV series Cane, wrote the pilot for the new DALLAS. TNT’s series is based on the original series created by David Jacobs. The new Dallas comes to TNT from Warner Horizon Television. Michael M. Robin (The Closer) is the director and executive-producer of the pilot. | 影视 |
2016-36/0815/en_head.json.gz/311 | MR-Periodic Table of Comedy
February 2nd, 2014 at 7:00PM Additional Show Dates :
TICKETS: $15.00 | FLYER Join us every Sunday at 7pm for an amazing night of comedy with Jeff Garlin from the hit television shows -The Goldbergs- and Curb Your Enthusiasm along with his amazing and hilariously talented comedian friends. Comedian Dana Eagle
THE LATE LATE SHOW, COMICS UNLEASHED, COMEDY CENTRAL, HBO, Miss Eagle appeared in an ABC Pilot with Jason Alexander and was the host of Comcast On Demand's UNConventional. She has been seen on The Late, Late Show with Craig Ferguson, Comedy Central and Byron Allen's Comics Unleashed, following which she became a contributing writer. She is most proud of the unique experience performing throughout Iraqi bases for the troops. She was showcased in HBO´s US Comedy Arts Festival in her solo show, Stones From Glass Houses followed by the second in the series, Mood Disorders: A Light-Hearted Romp Through Crippling Depression, featured at the Los Angeles Women´s Theatre Festival. She recently completed a pilot for the E! Entertainment Network, and has been seen in a series of memorable commercials beside Jay Mohr and football legend, Boomer Esiahson.
WEBSITE | | FACEBOOK | TWITTER | BOOK
Comedian William Nickerson
Comedian Jacob Sirof
COMEDY CENTRAL, E!, NBC, DOUG LOVES MOVIES PODCAST, Jacob Sirof believes in pushing boundaries and not pulling punches. If you don't leave one of his shows at least a little offended, he probably had an off night. He has appeared on Comedy Central, E!, NBC, and is a regular on the Doug Loves Movies podcast, where he is the resident defender of all things George Lucas.
Comedian David Relyea
FLAPPERS BURBANK, ICE HOUSE, JOKER'S WILD NEW HAVEN, JITTERS COFFEEHOUSE, In 1993, a highly decorated high school musician/actor applied to the wrong school and ended up in a physics PhD program. He promptly graduated and moved into the Los Angeles underground. Today, still wanted by the government, he survives as a scientist of fortune. If you need a comedian - if no one else can help - and if you can find him - maybe you can hire: Dave Relyea. | 影视 |
2016-36/0815/en_head.json.gz/338 | Bestselling Author Jodi Picoult to Pen LGBT Fiction
By Seth Adam, GLAAD's Vice President of Communications | June 26, 2009 With sixteen books under her belt, three made-for-TV movies and a play inspired by her novels, Jodie Picoult celebrated the premier of New Line Cinema's adaptation of her internationally celebrated fiction, My Sister's Keeper, last night in New York.
The film marks the first of Picoult's novels to hit the silver screen and boasts a star-studded cast, including Cameron Diaz, Abigail Breslin, and Alec Baldwin. Film critic Robert Ebert calls the adaptation "tender, tactful and very touching," which bodes well for the film's anticipated success.
But it's not only the film that's got readers talking; it's also the plot of Picoult's newest novel-to-be.
In an article published on EDGE Online, openly gay screenwriter Kevin Taft talks with Picoult about her plans to author a new book "about gay rights. And in particular, what it means to be a family."
The novel tells the story of a lesbian couple forced to undertake a difficult legal battle in order to begin a family.
Picoult describes to Taft why she decided on LGBT rights as the focus of her next novel:
I think gay rights are the last civil right in America... And it's not about labels for me. It's about the moments. It's about being able to be by your partner's side when he's sick. It is about being able to say I'm little Jackie's mom when you go into nursery school. It's all those tiny things that everybody else takes as their due.
Soon after Picoult began her research for the book, the issue gathered personal significance when her 17-year-old son, Kyle, revealed that he is gay:
Here I was working up this book about gay rights... then my son Kyle came out to us. And I was like, ‘well now I really have to write this book!'...And I know I have a very strong adolescent readership... [and] there are many adolescents who need to hear ‘I'm totally normal. And one day there might just be hope for me. And I might have what everyone else has. And it won't even be a problem.' And that's what I want this book to be for them.
So how did Picoult react to her son's news, Taft asks:
I'm so happy that he is comfortable in his own skin. It didn't matter who he was because he is my son... And I don't love him any more because he's gay. I don't love him any less because he's gay. I just love him because he's Kyle.
And Picoult has high hopes for the book and its potential impact on those still dubious about LGBT rights:
When you talk about the issue of gay rights... when you talk about it as a political platform... that to me is demeaning to the gay community... And the whole point for me in writing this book was to target the little old lady with blue hair in Mississippi who's never met one of ‘them gays.' So that [by reading the book] she meets someone [and] identifies with that person...I think once you hear the voice of someone who is gay or lesbian, they don't become a threat anymore.
My Sister's Keeper hits theaters nationwide today.
Picoult's book spotlighting LGBT rights will be available in spring 2011.
Issues: Entertainment
Tags: Books, coming out, Lesbian, Movies | 影视 |
2016-36/0815/en_head.json.gz/369 | Hollywood Screen Legend Lauren Bacall Dead At 89
Hollywood Screen Legend Lauren Bacall Dead At 89 Tweet
Posted August 12th, 2014 @ 6:05pm Screen Legend Lauren Bacall has died. Known for her sultry looks and husky voice, Bacall became one of film noir's most famous leading ladies starring in several movies in the 1940s with fellow screen legend and late husband Humphrey Bogart. Together, they were known as "Bogie and Bacall," sharing screen time in films such as "To Have and Have Not," "The Big Sleep," "Dark Passage" and "Key Largo." The two married in 1945 and remained wed until Bogart's death in 1957. Bacall later wed actor Jason Robards with whom she had three children before their divorce in 1969. "How To Marry A Millionaire" with Marilyn Monroe and "Designing Woman" with Gregory Peck were also among her early film credits. Bacall earned her first Oscar nomination for Best Supporting Actress in 1997 for her role in "The Mirror Has Two Faces." She received the Kennedy Center Honors later that year, and in 2009 the Academy of Motion Picture Arts and Sciences presented her with an Honorary Oscar. Family members say Bacall died Tuesday after suffering a stroke. She was 89. Photo: Getty Images | 影视 |
2016-36/0815/en_head.json.gz/488 | THE LEFT CALL
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Liberal Fantasy Or Not, Washington Could Use A Dose Of Aaron Sorkin’s West Wing Idealism
By David K. Sutton
The West Wing is one of the finest shows to ever appear on television, and I’m only sorry I didn’t watch it during its original run, which began 14 years ago. It’s funny, people refer to The West Wing as a 90s show, but only 10 of the 154 episodes aired in that decade. But it was obvious the show, particularly in the early seasons, was heavily influenced by Clinton-era topics like Don’t Ask, Don’t Tell, free-trade agreements, and even gun control. When Aaron Sorkin’s White House drama appeared on Netflix in the summer of 2012, I binge-watched the entire seven seasons in under three months. Yes, the show is that good.
President Bartlet (Martin Sheen)Toby Ziegler (Richard Schiff)
Aaron Sorkin’s writing style is both loved and loathed, and he is often accused of using his shows to advance his own political beliefs. If there’s a true manifestation of that claim, it would be Sorkin’s current HBO show, The Newsroom. But there’s no question the first four “Sorkin” years of The West Wing were full of liberal political idealism. Take for instance Sorkin’s direct rebuttal to President Clinton’s 1996 State of the Union speech when the president said, “the era of big government is over.” In the West Wing episode titled “He Shall, from Time to Time…,” the fictional President Josiah “Jed” Bartlet (Martin Sheen) plans to use this very same Clinton line in his upcoming State of the Union speech. But Communications Director Toby Ziegler (Richard Schiff), after an episode filled with his bellowing defense of the National Endowment for the Arts, persuaded Bartlet to go a different direction. “Government can be a place where people come together and where no one gets left behind…an instrument of good,” said Ziegler. This is the Sorkin idealism that is rich throughout the first few seasons of the series.
But is there anything wrong with a romantic and optimistic view of how things could work in Washington? Nobody is deluded enough to believe the West Wing could pass for a documentary, but shouldn’t we strive to live up to it’s idealized take on politics in the nation’s capital? West Wing characters are not angels, they are flawed just like you and I, but at their core, all of the main characters are doing what they think is right.
Josh Lyman (Bradley Whitford)Leo McGarry (John Spencer)
In episode 19 of the first season, “Let Bartlet Be Bartlet,” the White House staff grows increasingly frustrated at the lack of progress by their administration. The episode reaches its pinnacle with a great scene between Chief of Staff Leo McGarry (the late great John Spencer) and President Bartlet where Leo reminds the president that some things are more important than reelection. Leo, in a great moment of liberal idealism, walks to his office to tell his staff, “We’re gonna lose some of these battles, and we might even lose the White House, but we’re not gonna be threatened by issues, we’re gonna put ’em front and center. We’re gonna raise the level of public debate in this country and let that be our legacy.” He then asks Deputy Chief of Staff Josh Lyman (Bradley Whitford), “That sound all right to you Josh?” To which Lyman replies, “I serve at the pleasure of the president of the United States,” with each of the main characters following in turn, echoing that sentiment.
It’s not that The West Wing ignored the realities of Washington, D.C. whether it be narcissistic politicians or callous lobbyists. But the cast of likable characters who made up the fictional West Wing world, often rise above the circus-like antics of Washington politics. I think Sorkin’s overarching theme for The West Wing was to say that people can be good, Washington can work, we simply need to put in the hard work necessary to make it work, and it wouldn’t hurt to take the cynicism down a notch or two.
And this is where I think Washington, D.C., and for that matter the rest of the nation, could use a real-life lesson from the fictional West Wing. I’m just about as cynical as they come, but I choose to keep my bitterness and sarcasm in check when it comes to important policies and issues that affect people’s lives. I can hold the view that politicians are adversely affected by big money in politics while also holding the view that there are many government workers who care about the work they do, and who want to make a difference in the world. You can call that a liberal fantasy and you can call that idealism, but I believe the world is what we make it. If we are cynical, and choose to run government within that framework, we should expect to get nothing more from government. But if we believe government can be an extension of the community, that government can be a source of good, and we recognize that there are fellow citizens just like you and I working to make government better, then we should expect the best government human beings are capable of in the 21st century. If you think government is the problem, then how motivated can you be to make it work? But if you think government can work, if we just make an effort to see it through, and with a healthy dose of idealism, we are bound to produce a better product, whether that’s in government, business, or any walk of life.
Keywords:Aaron Sorkin idealism liberal liberal fantasy President Bartlet President Clinton The West Wing Washington Washington D.C.
No Comments Tweet this Post Government Shutdown: Republicans Make For A Disingenuous Negotiating ‘Partner’Government Shutdown: Republicans Make For A Disingenuous Negotiating ‘Partner’ Share This Post On Facebook Undocumented immigrants contribute billions of tax dollars each year (one study puts it at $12 billion). I wonder what happens to state and local coffers when they are all deported…
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This Is What Liberal Media Bias Looks Like (To The Rest Of Us) This Is What Liberal Media Bias Looks Like (To The Rest Of Us) #MSM #liberalbias http://leftcall.com/26193/mainstream-media-liberal-bias-is-like-a-movie-theater/
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“I understand the whole like this is a lesser of two evils thing, but this is actually a — I put it more in the context of — this is a kind of problem that democracy knows how to..
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Does Hillary Clinton Want To Abolish The 2nd Amendment? Does Hillary Clinton Want To Abolish The 2nd Amendment? #2A #Hillary2016 #Trump http://leftcall.com/26137/hillary-clinton-donald-trump-abolish-second-amendment-supreme-court-justice/
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2016-36/0815/en_head.json.gz/709 | 166 E. Bridge St
Homestead, PA 15120
Contact Virtual Tour Homestead, PA
Ralphie May (Special Event)
8:00 PM Pittsburgh Improv, Homestead, PA
Comedy Central For 25 years now, Ralphie May has appeared at the biggest venues, slayed every late-night audience multiple times, recorded a special for every comedy-loving network on television, traveled the world for the USO and reached the level of popularity few standup comedians have attained. Yet little compares to the amount of exposure May received when Netflix exclusively launched his new comedy special “Unruly” on Februrary 27th, at the same time it released the new season of “House of Cards.”
“That’s the biggest launch in Netflix history,” May said. “The wave for ‘House of Cards’ is a tsunami and I’m the fat guy trying to body surf. These guys are taking me to the middle of the country. They’re taking me into people’s homes. I’m the luckiest guy in America.”
You could make the argument May already was among the luckiest, with a charmed career that’s equal parts sweat equity and choking the life out of every opportunity that came along. He fell in love with comedy after performing at a church conference at age 13, and winning unexpected rewards. He turned professional at 17 when he opened for Sam Kinison after winning a contest as a dual-enrollment student at the University of Arkansas.
“He told me to move to Houston,” May said, “so I didn’t wait till graduation. I just left: ‘I’m going to Houston to do standup.’ And that was 25 years ago. It’s crazy.”
Houston was a comedy Mecca at the time with seven clubs and a thriving, competitive scene. May could work all the time, and he did, also landing a radio gig that helped expand his reputation. He eventually earned a spot on the first season of “Last Comic Standing,” and though he finished second, he might as well have won (anybody remember who won that year?) with the way fans fell in love with his over-the-top persona.
The raw, uncensored hallmarks of his mentor Kinison are evident in May’s set, laid out brilliantly over two hours in “Unruly,” recorded in front of a raucous, fist-pumping crowd of thousands in Atlanta. But May doesn’t deal in simple outrage, building a routine that’s rich, deep and fearless. He’s able to balance boyish charm, withering introspection and compassion for his fellow human being with some of the dirtiest, most honest observations you’ve ever heard.
“When I was a kid, my grandmother taught me how to crochet and how to quilt, and that’s kind of how I do an act,” May said. “I have one-liners, I have dirty jokes, but I also have long stories that are 10 or 20 minutes long and the laughs come every eight seconds. It’s a different set. And it’s a different life than most people have led.”
In the uncensored and unfiltered “Unruly,” he riffs on pop culture, race, his own excesses, the dangers of meeting Anderson Cooper and the mesmerizing deliciousness of Chick-Fil-A. With the increased visibility of the Netflix partnership, May hopes to fill the next 25 years of his career with even more breathless moments.
Viewership expectations are high. May debuted five specials over a decade on Comedy Central with each drawing record ratings. He also tours extensively and has made 19 trips into war zones to perform for troops with the USO and Wounded Warriors charity. And his popularity continues to grow. He and his family split their time between Nashville and Los Angeles, where he has television development deals for an unscripted reality show with Ryan Seacrest Productions and a scripted series with Will Ferrell’s Gary Sanchez Productions.
May is currently on tour in North America. For more information about May or to buy tickets, visit www.ralphiemay.com.
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2016-36/0815/en_head.json.gz/729 | THEATER; A Royal Behemoth Stumbles To Broadway
By CAMPBELL ROBERTSON
FOUR days before ''The Pirate Queen'' opened on Broadway, Alain Boublil and Claude-Michel Sch?rg, the incredibly successful songwriting team, and John McColgan and Moya Doherty, the incredibly successful producing team, were sitting in a room at the Hilton Theater talking about Chicago. It was there, during those ''dark days,'' as Ms. Doherty said, that they discovered that their $16 million baby was going to need a serious course correction. ''A big show like this is like a big cruise boat with thousands of people on board,'' Mr. Sch?rg said in a heavy French accent. ''You don't go right, left, right like a very little boat.'' ''You remember,'' he added, ''when they saw the iceberg, they tried to turn, but because of the inertia of the boat it was too late.'' Ms. Doherty jumped in with her Irish accent: ''And you know what they say about the ship that was built in Belfast by Harland & Wolff: There was nothing wrong with it when it left Belfast.'' There was a sprinkling of laughter in the room as the implication of this metaphor set in. Then Mr. McColgan said dryly: ''O.K., don't mention the Titanic.'' It's too early to tell whether ''The Pirate Queen,'' which opened on Broadway to a barrage of dismissive reviews on April 5 at the Hilton, will sink or steam ahead despite the nasty reception by New York critics. (The show's weekly gross, production officials quickly point out, grew even after the reviews.) But the metaphor is still a tempting one, if only for what the show promised. In a Broadway landscape currently filled with plays and boutique musicals ''The Pirate Queen'' is a behemoth: large scale, ambitious and one of the most expensive shows of the season, if not the most expensive. It has involved some of Broadway's top talent, both the artists with it from the start and those brought in during an all-hands-on-deck overhaul after its disappointing debut in Chicago. And in interviews before and after the Broadway debut the producers and creative team said ''The Pirate Queen'' is the show they had envisioned from the start, even if getting it to that point was a struggle. So how did a show of this size and scope, and with this pedigree, end up running headlong into some of the worst reviews of the season? Well, there was nothing wrong with it, so to speak, when it left Belfast. After producing ''Riverdance,'' which went from being a seven-minute interval act for a televised song contest in 1994 to grossing $1 billion worldwide, Mr. McColgan and Ms. Doherty, an affable married couple, began toying with the idea of a musical based on the life of Grace O'Malley, a legendary Irish clan leader who faced down Queen Elizabeth I. It had all the elements -- bad guys, swordfights, love affairs and a strong heroine -- and it was a show that would be filled with Irish music and dancing, a kind of production they had done before, rather fruitfully. True, they had never produced a book musical, but they were no mere Wall Street dabblers; she is an owner of one of Ireland's largest independent television stations and sits on the board of the Dublin Theater Festival; he has directed a production for the esteemed Abbey Theater in Dublin and directed the full stage version of ''Riverdance,'' which played on Broadway. About five years ago they sent a letter of introduction to their favorite musical songwriting team: Mr. Boublil and Mr. Sch?rg, the creators of the mega-mega-hits ''Les Mis?bles'' and ''Miss Saigon.'' This was their kind of show, a big, pop-operatic, large-gestured, leather-breeches kind of show, a genre that put down serious roots on Broadway in the 1980s and early '90s but, while a couple of those shows are still running, has not been heard of much since. Mr. Boublil (who had been working on a novel) and Mr. Sch?rg (who had, ''as usual,'' been revising their 1996 disappointment, ''Martin Guerre'') had never written a show on a topic that was given to them, and they were only vaguely aware of ''Riverdance.'' So they asked for six months to decide. By the end of that period they had a draft of the first act. Given the scale of this show Ms. Doherty and Mr. McColgan had initially considered performing it in a giant mobile tent, then thought about opening in Dublin, then London, and finally settled on Broadway, with a Chicago tryout. As the songwriters continued to work, the producers began assembling a serious Broadway team. Eugene Lee joined early as set designer, and after Mr. McColgan decided not to direct the show himself, Mr. Lee recommended the Tony Award-winning director Frank Galati, with whom he had worked on ''Ragtime.'' Most of 2006 was filled with the usual auditions, rehearsals, rewriting, set building and costume making. For a few people involved with the production there was even a trip to western Ireland. On Oct. 2, after a long period of tech rehearsal, the actors finally took the stage of the 2,344-seat Cadillac Palace Theater in Chicago for the last dress rehearsal. Suddenly there it was, fully realized onstage with its 42-member cast and extravagant sets and costumes. And? ''The question I asked myself,'' Ms. Doherty said, ''was, 'Where did the power of that music go?' I knew it was there, but we had lost touch with it.'' Something was off, everybody agreed. Nobody expected perfection at that point, but this wasn't the musical they had been working on. 1 | 影视 |
2016-36/0815/en_head.json.gz/742 | George R.R. Martin, Author And ... Movie-Theater Guy? By editor
Oct 7, 2013 ShareTwitter Facebook Google+ Email VIEW SLIDESHOW 1 of 3
George R.R. Martin prepares to introduce author Neil Gaiman and performer Amanda Palmer at charity benefit at his newly renovated Jean Cocteau cinema in Santa Fe, N.M., on Sept. 29. Reopening the old movie house has been a passion project for the Game of Thrones author — but for some of his fans, it's one more distraction that's come between them and Martin's unfinished epic.
Grayson Schaffer for NPR
The Cocteau theater was dark for seven years until Martin purchased and renovated it. It reopened in early August.
/ VIEW SLIDESHOW 3 of 3
Ygritte (Rose Leslie) and Jon Snow (Kit Harington) in HBO's Game of Thrones. The show's most recent season covered roughly the first half of the third book; Martin has published five of a projected seven novels so far.
Helen Sloan
/ HBO
Originally published on October 8, 2013 2:21 pm George R.R. Martin's hit fiction series A Song of Ice and Fire has sold more than 25 million copies and sparked an HBO adaptation, Game of Thrones, that won two Emmys in 2013, bringing its total to 10. But many fans are grumbling that Martin hasn't been spending enough time of late in his mythical kingdom of Westeros and its surroundings. On the list of things Martin is doing instead of writing the next Game of Thrones book? Reviewing the latest episodes of Breaking Bad, editing a sci-fi series and writing a novella. This summer, even HBO's execs piped up, saying that they'd really appreciate it if Martin were to "get busy writing" — specifically, writing The Winds of Winter, the next book in the Game of Thrones series. It's years overdue. And now he's opening an old movie theater? 'A Great Moment Because It Was Shared' Martin is dressed in black, in his iconic fisherman's cap and suspenders. He's standing at the empty concession stand of the Jean Cocteau, a 120-seat single-screen Santa Fe, N.M., theater that the local paper outed him as having purchased last April. Contractors are crawling over the place, putting letters on the marquee, fixing leaks. In 24 hours, the Jean Cocteau is slated to open for the first time in seven years. And there's plenty to do. Jon Bowman is the general manager and a longtime Martin minion. "Oh, he calls all of his associates minions," Bowman explains. "It sounds better than crony, you know?" Bowman is here 15 hours a day in the run-up to the opening, but he can usually still find time to give tours of the restored theater. But today it's Martin giving the tour. The Jean Cocteau is a beautiful little theater, with purple and green serpentine hallways restored to their original glory. We head up a flight of stairs. "The history of the building actually goes back to 1910-1912," Martin says. "And [it] was many things. It was a brewery." He's panting. He gets out of breath easily. He's 64 and overweight. He reads the online forums and knows that some of his harsher fans have made crude jokes about him having a heart attack before he finishes his books. But when he talks about deciding to reopen the Cocteau, his eyes light up. His love of movies is rooted in his childhood growing up in the projects in Bayonne, N.J. He'd sit in the cavernous old movie palaces there, watching the monsters that would inspire his books. Martin could have built a massive home theater here in Santa Fe, but he says there's nothing like watching a film with an audience. He remembers seeing Raiders of the Lost Ark for the first time, specifically the moment where Indiana Jones shoots an attacking swordsman in a crowded marketplace. "And the shock that went through the audience — the audible gasp at that moment — and then the howl of laughter that followed it," he says. "That was a great moment in the cinema, and it was a great moment because it was shared. If you're sitting all alone in your living room, it doesn't have anywhere near the impact." He shows off the projection booth, equipped with both an old-fashioned 35 mm film projector and a digital one. They'll start off with a week of Martin's favorite sci-fi films. Then they'll host musicals and readings and comedy acts — essentially whatever sounds like fun. Next door, he shows off an unusual little room. All the old movie palaces used to have them, he says. It's what was once known as a "crying room." "It's soundproofed," he says, noting that in a more decorous era, a parent would've stepped into that room to settle a crying infant. In Martin's case, it provides for the possibility of a different kind of exile. He watches films from the crying room if the scene in the movie theater is just too much. 'Why Aren't You Home Writing?' There's a line outside the Cocteau on opening night. The movie tickets, free for the first week, have already been given out, but eager fans wait in line in case of no-shows. Martin is just inside the entryway, greeting people. "Come in, get some popcorn! Watch the show!" One guy takes Martin's hand — looks him in the eye. "I just want to know why you're not home writing books," he asks. This happens a lot. Martin just shrugs it off. Inside, concessions are surprisingly cheap; Martin wanted it that way. It's more fun. At last, it's time for the show to start. "Thank you, guys," Martin says. "And thank you all for coming here to welcome back the Jean Cocteau cinema." The lights dim. Martin walks up the aisle and out the back, to join his wife, Parris, in the crying room. And the show begins. Meanwhile, Over At The Frankenstein Place The scene is much the same on another evening at the sci-fi convention Bubonicon, which Martin has been attending since the '70s. He's doing a reading, and the room is bursting. He's sharing passages from another side project, a 250,000-word complete history of Westeros. It's similar to what J.R.R. Tolkien did with the Silmarillion, so he's been calling it the "GRRMarillion." "And when will the GRRMarillion come out? I don't know," he says. "I'm not working on it anymore; I've put all that aside while I try to finish Winds of Winter." The Winds of Winter is due — as of now — to come out next year. There's supposed to be at least one more book after that. "You know, there are writers, and I know some of them, who are very disciplined," Martin says. "Who write, like, four pages a day, every day. And it doesn't matter if their dog got run over by a car that day, or they won the Irish sweepstakes. "I'm not one of those writers. I — I write emotionally. I'm an emotional person. So, you know, my best days are the ones where I can keep the distractions at a minimum so I can go into that world, the world of Westeros." If he doesn't, HBO has said it's prepared to finish the TV show without him. "Laying railroad track with the locomotive coming up behind you ... you better lay it faster," Martin says. "And that is the feeling I have right now. The locomotive in this case, of course, is not just the books but the TV show, which is moving along much faster than I'm laying the tracks." Craig Chrissinger, who runs the Albuquerque sci-fi conference, has known Martin since long before he was famous. And he's seen Game of Thrones alter the author's life in some disturbing ways. "Everything's different," he says. "I mean, after the Red Wedding episode" — a particularly brutal plot development in which Martin killed off several beloved characters — "they had death threats." "When he gets that stuff, I know that it personally affects him," Krissinger says. A Little Time With The Fans, A Little Time At The Movies Back at opening night at the Jean Cocteau, it's just before Dark Star, the third and final film. Martin steps outside to admire the marquee. "Oh, it looks gorgeous; look at it," he says. "It's all lit up, for the first time since 2006. Darkness replaced by light. You can't beat that. That's very cool." He's beaming. But no matter what's showing on the screen, somehow Martin, the man himself, is the main attraction. A young fan walks up and asks to do a back flip next to him. "As long as you don't kick me in the face," Martin says. The kid's friends, standing by, take pictures of the spectacle. Martin is obliging, but after a few minutes, he slips back inside, into the crying room, escaping into the midnight movie.Copyright 2013 NPR. To see more, visit http://www.npr.org/. Related Program: All Things ConsideredView the discussion thread. © 2016 Rhode Island Public Radio | 影视 |
2016-36/0815/en_head.json.gz/755 | Gainesville Moms
Scene Calendar for June 23Live Music for June 23Richie Ramone brings namesake sound to High DiveSanta Fe College stages ballet-theater production of 'Peter and the Wolf' What's Happening: Suggestions for the coming weeks
Spielberg's highly-touted ‘Lincoln' falls a bit flat
Daniel Day-Lewis, center rear, as Abraham Lincoln, in a scene from the film, "Lincoln." (AP Photo/DreamWorks, Twentieth Century Fox, David James, File)
By Rob RyanStaff writer
Published: Friday, November 16, 2012 at 12:14 p.m.
Last Modified: Friday, November 16, 2012 at 12:14 p.m.
It's hard to say what exactly makes “Lincoln,” the highly touted, oft-delayed portrait from Steven Spielberg of one of our country's most beloved figures, fall just a little bit flat at the end. The pieces are all there: Spielberg masterfully executes the material, the acting from the key players is phenomenal, the period detail is spot on, the John Williams score is typically magnificent ... but something's missing.
‘Lincoln'
Rated: PG-13Starring: Daniel Day-Lewis, Sally Field, David Strathairn, Tommy Lee Jones, Joseph Gordon-Levitt, Hal Holbrook ★★★★
Perhaps it's the film's relatively narrow scope. The title, in fact, is a bit of a misnomer; the film is not, in a strict sense, about the life of Lincoln (Daniel Day-Lewis), but rather his efforts during his final months in office to both end the Civil War and the abomination of slavery. In an uncanny echo of current events, Lincoln is popular among the people and has the support of the Senate, but the House of Representatives remains stubbornly opposed to his every move.But, having committed to abolishing slavery, Lincoln sets his various political operatives to work, twisting arms and doling out rewards and jobs as necessary. His primary allies are Secretary of State William Seward (David Strathairn) and Thaddeus Stevens (Tommy Lee Jones), the leader of the radical Republican abolitionists in the House. Meanwhile, we also see Lincoln attempt to reach a peace accord with the Confederacy and deal with divisions in his own household; his wife, Mary Todd Lincoln (Sally Field,) is bound up by the loss of a young son while their oldest son, Robert (Joseph Gordon-Levitt), is ashamed at not being allowed to join the Union Army. These domestic squabbles and the broader Civil War are largely in the background, however. Ultimately, this is a movie about politics and the legislative process. It's a tribute to Spielberg's skill as a director that he manages to make what could easily have been a droll history lesson into a lively movie. He gets a huge assist from his usual brigade of longtime collaborators, from the breathtakingly beautiful lighting by Oscar-winner Janusz Kaminski to the skillful editing of Michael Kahn, who's been with Spielberg since “Raiders of the Lost Ark.” A special mention must be made of John Williams, who tones down the bombast and delivers a haunting, wonderfully melodic score, the likes of which we haven't heard from him in many years.The cast is sure to gather up plenty of awards nominations later in the year. Strathairn turns in a great performance as the perpetually harangued, overworked Seward, a man who is loyal to a fault but is also frustrated by his president's propensity to leave him out of the loop. Jones, as is often the case, gets the best one-liners and gets to bring his trademark exasperated wit to bear, but he also showcases Stevens' deep conviction for the abolitionist cause (his character gets a fantastic payoff that will likely bring many to tears). And then there's Day-Lewis, who brings Lincoln so completely to life, from his voice to his walk and his mannerisms, that he almost seems to go beyond mere acting. Come spring, it's likely Day-Lewis will walk away with his third Oscar.And yet, while all this makes for entertaining viewing, the movie does not seem to have a great deal to add to the myth of Lincoln's presidency. We certainly see Lincoln and his era brought vividly to life, but we don't really gain any new insight into what made him the great man and great president he was. It's a relatively minor flaw, and ultimately “Lincoln” is still a very good movie, but it prevents the movie from being quite as grand as the accomplishments of the man it depicts.
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2016-36/0815/en_head.json.gz/820 | [09/21/04 - 12:00 AM]The N Teams Up with Marvista Entertainment and Brookwell Mcnamara Entertainment on a Multi-Series Production & Development Deal [via press release from The N]
The N Teams Up With MarVista Entertainment And Brookwell McNamara Entertainment On A Multi-Series Production & Development Deal 22 Half-Hour Episodes of �Boarding School,� The First Of Three New TV Projects, Slated To Commence Production In Spring 2005
New York, NY, September 21, 2004 � On the heels of the recently announced groundbreaking co-production and distribution agreement between MarVista Entertainment and Brookwell McNamara Entertainment (BME), the two companies announced today that they have teamed up with The N, the nighttime network for tweens and teens, on a new, multi-series production and development deal for the network. The announcement was made today by Michael Jacobs, MarVista's President, Production and Distribution and Sarah Tomassi Lindman, Vice President, Programming and Production, The N.
The N has ordered 22 new half-hour episodes of the original teen drama, Boarding School, the first of the three new television projects for The N. Boarding School is slated to begin production in Spring 2005. Under the agreement, BME (That�s So Raven, Even Stevens and the upcoming feature film, Raise Your Voice starring Hillary Duff) and MarVista will both serve as producers for the new half-hour series with MarVista handling the worldwide distribution. Boarding School is scheduled to premiere Fall 2005 on The N.
�We�re thrilled to be working with MarVista and BME on three new, original projects,� said Lindman. �Their combined experience and expertise will make Boarding School a huge hit with our audience.�
Boarding School is an intense dramatic series that drops in on the world of five passionate girls and one dream: to shred on the waves as world-class professional surfers. Despite their drastically different backgrounds, the amateur surfers develop a closeness as they live, study, surf, and learn what it takes to be women in a male dominated sport.
�Partnering with the multi-talented David Brookwell and Sean McNamara and developing our relationship with a network the caliber of The N, MarVista is once again certain to supply our international buyers with top-rated programs with worldwide appeal,� commented Jacobs. �We are looking forward to the development of a mutually beneficial long-term relationship with both of them.�
�Having a solid co-production and distribution agreement with MarVista makes good sense from a business and creative view point,� said BME President David Brookwell. �Add to that our new association with The N and we have a match-up that most companies would envy.�
ABOUT THE N The N, the nighttime network for tweens and teens, is a programming arm of MTV Networks and is currently available in 42 million households via cable, digital cable and satellite television. The N's mission is to be the authentic voice for teens and help them figure out their lives with relevant, topical programming on-air and online at the network's web site www.the-n.com. The N airs everyday from 6:00 p.m. to 5:00 a.m. (ET). The N and all related titles, characters and logos are trademarks of Viacom International Inc.
ABOUT BROOKWELL MCNAMARA ENTERTAINMENT
Brookwell McNamara Entertainment is a full service production company focused on the development and production of theatrical features and television series. Recently, BME produced �Raise Your Voice� starring Hilary Duff, John Corbett and Rita Wilson. Company partner Sean McNamara directed the New Line feature, which will be released in October. Brookwell McNamara Entertainment is currently producing the half-hour comedy series, �That�s So Raven� starring Raven Symone and recently completed the hit series �Even Stevens�, starring Shia LaBeouf and Christy Romano both for the Disney Channel.
ABOUT MARVISTA ENTERTAINMENT
Headquartered in Los Angeles, with offices in Barcelona and Boston, MarVista owns the Whamo library which contains 3000 hours of programming along with forty animated feature films. Included in the library are children�s and family live action series, documentaries, and holiday specials. The company also has a substantial library of sports and music oriented programming. In addition to the Whamo library, MarVista has added to its core business the production and acquisition of live-action feature films, television movies and series. MarVista utilizes its operations in Barcelona, Spain to cultivate international co-production opportunities.
[september 2004] S | 影视 |
2016-36/0815/en_head.json.gz/860 | Share Creator / Trevor Howard
Trevor Howard (1913-1988) was a British actor. If you needed a Stiff Upper Lip authority figure or, alternately, a fearsome Large Ham, Howard was your go-to actor.Howard studied at the Royal Academy of Dramatic Arts (RADA) in the 1930s and began a stage career before World War II intervened. He served in the Royal Signal Corps, though the nature of his service remains controversial. In his lifetime, Howard was regarded as a war hero; it was posthumously revealed that he was discharged for mental instability.Howard began acting in films with 1944's The Way Ahead and 1945's The Way to the Stars. He came to the attention of David Lean, who cast him as Alec Harvey in Brief Encounter opposite Celia Johnson. Howard followed this with another Lean collaboration, The Passionate Friends, playing a similar role. Despite becoming a star as a romantic lead, Howard was soon typecast as military officers.Arguably Howard's most famous role is the unflappable Major Calloway in Carol Reed's The Third Man, which provided the template for his career. In movies like The Cockleshell Heroes, The Key and The Roots Of Heaven he exemplified the Stiff Upper Lip British officer. Howard played against-type as the eccentric Anti-Hero of Reed's Outcast of the Islands and cameoed in Around the World in 80 Days. In 1960, he earned a Best Actor nomination for Jack Cardiff's Sons and Lovers.Notable performances in the '60s and '70s include Captain Bligh in Mutiny on the Bounty, Colonel Fincham in Von Ryan's Express, Lord Cardigan in The Charge of the Light Brigade and Father Collins in Lean's Ryan's Daughter.Increasingly relegated to character parts, Howard looked to independent movies for leading roles. He played a Cheyenne Indian in Windwalker and the title character, a depraved aristocrat, in the surreal comedy Sir Henry at Rawlinson End. He also did a lot of television work; among other roles, he played George Frideric Handel in John Osborne's 1985 teleplay, God Rot Tunbridge Wells! His final role came in the 1988 horror movie The Unholy.Howard's appeal and screen image were well-summarized by Richard Attenborough, director of Gandhi, who said that he needed an actor to play Judge Broomfield who could convey British justice and fair play with a minimum of screen time, and naturally turned to Howard. That said, he was equally adept at scenery-chewing villains, as his roles as Captain Bligh and Lord Cardigan demonstrate.To the public, Howard was known off-screen for both his fondness for alcohol and obsession with cricket. His contracts included a clause to excuse him from filming whenever a test match was in play. To directors and fellow actors, however, Howard was almost universally regarded as one of British cinema's most friendly and hard-working stars. He was married to actress Helen Cherry.Trevor Howard works on this wiki: Brief Encounter The Passionate Friends The Third Man Around the World in 80 Days Mutiny on the Bounty (1962) Father Goose Von Ryan's Express Morituri The Charge of the Light Brigade Battle of Britain Ryan's Daughter Mary, Queen of Scots A Doll's House (1973) The Last Remake of Beau Geste Superman Meteor The Great Muppet Caper Gandhi :: Indexes ::
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http://tvtropes.org/pmwiki/pmwiki.php/Creator/TrevorHoward | 影视 |
2016-36/0815/en_head.json.gz/907 | 60 Years Later, Still 'Singin' In The Rain' By Lloyd Schwartz
Aug 9, 2012 ShareTwitter Facebook Google+ Email Gene Kelly stars as Don Lockwood in Singin' in the Rain. In celebration of the 1952 musical's 60th birthday, a newly restored print was released in theaters for a one-night public screening, and a new edition has been released on DVD and Blu-Ray.
Originally published on August 9, 2012 2:37 pm Hollywood is often at its best when it's making fun of itself, and few movies are funnier or more fun than Singin' in the Rain, the broadly satirical musical comedy about the transition from silent movies to sound. Gene Kelly, who co-directed the film with Stanley Donen, stars as the stuntman turned matinee idol who falls in love with adorable Debbie Reynolds. He even gets to parody his own swashbuckling in MGM's Technicolor Three Musketeers. Donald O'Connor is Kelly's wisecracking sidekick and exhilarating dance partner, and the sublimely hilarious Jean Hagen got an Oscar nomination for her portrayal of Lina Lamont, the silent-screen goddess whose glamorous looks hide her vocal — and mental — shrillness. Singin' in the Rain wasn't a huge hit when it opened, but the 1952 film — which turns 60 this year — is now regarded as one of the best Hollywood musicals of all time. To celebrate the birthday, a newly restored print was released in theaters for a one-night public screening, and a new edition has been released on DVD and Blu-Ray. An Arthur Freed Production The idea for the movie came from Arthur Freed, the head of the MGM unit that — beginning in 1939 and for more than two decades — produced a string of legendary musicals, both adapted from Broadway shows and original scores. Two of these, An American in Paris and Gigi, won Best Picture Academy Awards. Singin' in the Rain is in some ways Freed's tribute to himself. He came to Hollywood as a songwriter, most often teamed with composer Herb Nacio Brown. In 1929, they wrote the title song for the first Oscar-winning sound film, The Broadway Melody. Freed wanted to make a musical that would use their old hit songs "Broadway Melody," "You Were Meant for Me," "You Are My Lucky Star" and, of course, "Singin' in the Rain." They even wrote a new song for a breathlessly acrobatic Donald O'Connor number, "Make 'Em Laugh" — which sounds an awful lot like Cole Porter's "Be a Clown" from The Pirate, an earlier Freed musical with Gene Kelly and Judy Garland. Among the delights of the new home-video release, along with a collectible umbrella, are clips of the songs as they originally appeared. For example, there's Cliff Edwards, a.k.a. "Ukelele Ike" and the voice of Jiminy Cricket in Walt Disney's Pinocchio, singing in an onstage downpour in The Hollywood Revue of 1929. A Timeless Comedy Freed got Broadway's Betty Comden and Adolph Green to create a screenplay to provide a dramatic context for these songs. They also wrote the lyrics for a tongue twister called "Moses Supposes His Toeses Are Roses," for the scene in which Kelly is getting diction lessons for his new sound film. Some of the backstage lore is almost as good as the film itself. The plot of Singin' in the Rain hinges on Debbie Reynolds dubbing Jean Hagen's squeaky voice for a new sound movie. But in that movie's spoken dialogue, it's actually the lovely voice of the real Jean Hagen that we hear. And, although Debbie Reynolds' tap dancing looks terrific, Kelly evidently didn't like the way it sounded and dubbed in his own tapping for the soundtrack. Of course, the way Singin' in the Rain makes fun of silent movies has little to do with the masterpieces of silent film — some of the most profoundly moving and beautiful and intentionally hilarious films ever made. But as sheer comic entertainment, Singin' in the Rain doesn't have a dull moment. I went to a public screening, and on the big screen, the dazzling new print makes clearly visible little details I'd never noticed at home. It was great to be rolling in the aisles along with the rest of the audience, many of whom must have been discovering for the first time how much fun you can have at a 60-year-old movie.Copyright 2012 National Public Radio. To see more, visit http://www.npr.org/. Related Program: Fresh Air © 2016 Northeast Indiana Public Radio | 影视 |
2016-36/0815/en_head.json.gz/952 | Batista Joins Cast Of The RZA’s Movie “The Man With The Iron Fist” By Amish Patel -
October 9, 2010 Legendary hip hop star and Wu Tang Clan member The RZA has announced former WWE star Batista has joined the cast of his new movie, “The Man with the Iron Fist” starring Academy Award winner Russell Crowe.
RZA spoke to movie news site ComingSoon.net and had the following to say about Batista’s involvement:
“I would love to bring these worlds together. That’s what I’m striving to do. My budget is not as big as some of these movies, so I’ve got to pull a lot of favors. Another buddy who is on board is Dave Batista, the world wrestling champion who left and now he’s into Strikeforce and he’s going to be doing mixed martial arts. To have him come on as Glass Body, when I talked to him about it, he was like, “I always wanted to be The Toad in ‘Five Deadly Venoms,’” and I said, this isn’t The Toad but the character is very similar, and he said it would be his honor to do it. So to have him and Russell Crowe standing beside each other, two men, real men, is exciting. But I’m looking to make this an international thing that brings both worlds under one umbrella and get out a good piece of art.”
wtf does that have to do with this post?
effmenow
I just wanna say thank you to whoever posted that Justin Bieber story on here.
The amount of kids (and adults) who are crying about him is absolutely histerical! | 影视 |
2016-36/0815/en_head.json.gz/1088 | Looking for 'Super Fun' Actors
Sean J. Miller
| Posted Oct. 12, 2012, 5:58 p.m.
Nick at Nice
Payne/Ystrom Casting
Vickie Thomas
Photo Source: Getty Images
Actors looking for a good time should call Tim Payne and Lisa Ystrom. The duo at Payne/Ystrom Casting in Toluca Lake are the CDs for the new ABC pilot “Super Fun Night.”
The show was originally set to be a multi-camera sitcom developed for CBS and been cast by Julie Ashton. It didn’t make the cut, though, and instead found new life in a single-camera format at ABC.
The plot revolves around three friends, including Rebel Wilson (pictured) of “Bridesmaids” fame, who make a weekly Friday-night appointment to have the best-ever night on the town. It’s being produced by Conan O’Brien with John Riggi signed on as showrunner. It starts shooting in November.
Another comedy set to shoot in November is Nick at Nite’s “Instant Mom,” which will be cast by Vickie Thomas. The plot centers on a 20-something party girl—set to be Tia Mowry of BET’s “The Game”—who marries an older man with kids. The roles of the family are expected to be filled by African-American actors, according to Deadline.
Casting NewsABC Recasting Roles for Season Two of Tim Allen's 'Last Man Standing'
Backstage ExpertsWhy Your Appearance Matters at Auditions | 影视 |
2016-36/0815/en_head.json.gz/1161 | Home › Archives › Uma courts Bollywood in boom time! Uma courts Bollywood in boom time! By Hindustan Times
Hollywood actor Uma Thurman’s love for Indian films is well timed. Her statement on Thursday that she would love to work in a Bollywood film, coincided with the release of the industry’s box office report for the first six months (Jan-June) of 2011. It was the perfect icing on the cake for the
upbeat mood, as the scorecard revealed unprecedented profits, with as many as 19 films declared as hits.
“The register has been very good this year so far, especially compared to last year. Most mainstream commercial films did well. The ones that couldn’t rake in the moolah are art house films like Stanley Ka Dabba, Shaitan, etc. But still the overall losses have been minimal,” says trade analyst Taran Adarsh. Producer Bhushan Kumar, whose film, Ready, has been the top grosser of the year so far, says Thurman’s inclination to work here will add a further boost to the mood. “Earlier only our stars would get excited about Hollywood. But it is great that now even we have become that big that they want to come and work here,” he says. “Interest shown by a great international star such as Uma Thurman couldn’t have been at a better time. It’ll take Bollywood’s appeal worldwide,” adds Adarsh.
Trade analyst Joginder Tuteja says, “Overall this has been a very good year. The net losses have only been Rs 75 crore. There have been surprise hits like Ragini MMS and Pyaar Ka Punchnama. The biggest flops have been 7 Khoon Maaf and Game.”
While last year’s biggest hit Dabangg, was made on a budget of Rs 42 crore and ended up making Rs 212 crore, this year Ready, that cost Rs 40 crore, has been the highest grosser so far with Rs 118 crore. Even films with moderate budgets set the box office registers ringing. No One killed Jessica that took Rs 9 crore to produce, ended up getting revenues worth Rs 35 crore, while Yamla Pagla Deewana, which was made on a budget of Rs 20 crore had a gross revenue of Rs 55 crore. “Despite World Cup and IPL, we still managed to swim the tide, thanks to films like Ready, Yamla Pagla Deewana and Ragini MMS,” says trade analyst Atul Mohan.
The second half of 2011 has already begun with a bang this Friday with Bbuddah Hoga Terra Baap, Delhi Belly and Transformers opening with a bang to packed houses. Score card January to June, 2011
Ready: Budget: Rs 40 crore, Gross revenue: Rs 118 crore
No One Killed Jessica: Budget: Rs 40 crore, Gross revenue: Rs 118 crore
Yamla Pagla Deewana: Budget: Rs 20 crore Gross revenue: Rs 55 crore
Game: Budget: Rs 27 crore, Gross revenue: Rs 7 crore
7 Khoon Maaf: Budget: Rs 22 crore, Gross revenue: Rs 19 crore
Thank You: Budget: Rs 50 crore Gross revenue: Rs 45 crore | 影视 |
2016-36/0815/en_head.json.gz/1177 | Amy Sherman-Palladino Quotes
With a sitcom, everyday you do a run through, and people are judging you, and the scripts are being changed nightly, nightly, nightly.
Amy Sherman-Palladino
Judging,
Changed,
To me, crazy is not someone who has a creative vision and will fight for it.
Every pilot I've ever written, I've fallen deeply and madly in love with. It's the only way I work.
Families can be the most detrimental things to have in your life. They are sometimes the most poisonous relationships that people have. Sometimes family is the thing that keeps you from ever achieving what you want to achieve, and yet people hold it and hold it and grab it and try to fix it and twist it and turn it.
I like a certain style of show, I like a certain pace, I like a rhythm, I like a lot of comedy in with my drama.
People have nannies and big cars, and they want to go to Maui for Christmas. When there are those kind of stakes involved, people get ruthless.
I don't go on the Internet. I never go on the Internet. I don't go on Twitter. I'm not on Facebook. I've seen friends go into dark, dark holes of sadness because of that. Frankly, I don't have the time or the attention span for it.
Sadness,
If we based everything in Hollywood on who was a nice guy, holy moly, we would have no movies. No actors would work. This is not an industry that is ruled by kindness and generosity.
As a writer, all you want to do is write for great actors. That's all.
I grew up where my parents would literally shove me in the car rather than have to say hello to a neighbor.
I think I would be making a mistake to actively try and just do everything completely different from 'Gilmore Girls.'
Actively
I think music on television is just uniformly dreadful. It is mundane, it says nothing.
Mundane
No one in my writers' room can wear sweatpants.
Wear,
The dance world was a big part of my growing up.
Well, I have no time for therapy.
Well, I took ballet for many, many years, so my whole childhood really revolved around dance class. I grew up around dance; my mother was a dancer.
When you write for a show that's not yours, your job is to hear the voices of the characters and write as best you can for those voices.
I think every writer has got to direct. If you don't direct, you can't protect your work. The only way to ensure that it's going to be as close as possible to what you put down on paper - and what you see and hear in your head - is to do it yourself.
The thing about 'Gilmore Girls' is that it's such a specific voice, and I lived with it for so long before it got on the air It's a very specific rhythm and a very specific banter.
You simply cannot do a sitcom by committee. It will not work. You've got to have one or two clean, creative voices in charge, and there's got to be some faith by the studio and network in those people to make the right choices.
Denis Waitley | 影视 |
2016-36/0815/en_head.json.gz/1193 | Click Here for More Articles on MICHAEL CRAWFORD...
WALL-E Wins Oscar for Best Animated Film
WALL-E has won the Oscar for Best Animated Film.
"Wall-E" is described in press notes as "In a distant, but not so unrealistic future, where mankind has abandoned earth because it has become covered with trash from products sold by the powerful multi-national Buy N Large corporation, WALL-E, a garbage collecting robot has been left to clean up the mess.
Mesmerized with trinkets of earth's history and show tunes, WALL-E is alone on Earth except for a sprightly pet cockroach. One day, Eve, a sleek (and dangerous) reconnaissance robot, is sent to earth to find proof that life is once again sustainable. WALL-E falls in love with Eve".
He woos her during the film by sharing his love of the film Hello Dolly, he is mesmerized by Michael Crawford singing the show's classic songs "Put On Your Sunday Clothes" and "It Only Takes A Moment". The film opens with Crawford's voice happily singing out to the universe Jerry Herman's rich and emotional melodies.
Academy Awards for outstanding film achievements of 2008 will be presented on Sunday, February 22, 2009, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.
The Academy of Motion Picture Arts and Sciences is the world's preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards - in which the members vote to select the nominees and winners - the Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies. | 影视 |
2016-36/0815/en_head.json.gz/1262 | Blu-ray Review: TRON Legacy
Friday, April 1st, 2011 | Posted by Fernando Caire Genius often has its flaws, and while TRON: Legacy may be in 2010’s top ten, neither the movie nor Disney’s new five-disc Blu-ray release are entirely without their faults, says Fernando Caire.
TRON didn’t perform well at the box office on its release in 1982, but it still earned its place in movie history as one of the first films to make use of computer-generated effects.
Nearly 30 years on, TRON: Legacy attempts the same feat – the movie history part, at least – with its own ground-breaking effects work. This month, Disney releases both movies in a gargantuan five-disc set comprising Blu-ray, Blu-ray 3D, digital and good old-fashioned DVD.
TRON: Legacy is easily in my personal top ten for 2010. It’s fun without ever becoming mindless, and offers a visual spectacle you can find in few other films. As a movie, it isn’t flawless, but that doesn’t stop it from being a great science-fiction fantasy.
The film stars Garrett Hedlund as Sam Flynn, orphaned when his father Kevin Flynn (Jeff Bridges) disappeared 20 years earlier. His father’s company, Encom, a leading provider of computer software and hardware, was handed over to evil executives in suits. (Imagine Apple, but evil. Better still, think of Microsoft.) Through a series of events Sam is sucked into a digital realm known as The Grid: a hostile environment ran by a rogue program known as Clu (also Bridges). Along with a new ally named Quorra (Olivia Wilde), he finds his father but realizes getting out will not be as easy as getting in.
At its core, TRON: Legacy is an 80s film – a compliment, in my book – right down to Bowie-like club owner Castor (Michael Sheen). The 80s stars outshine the new blood, too, with Bridges nicely balancing wise mentor and laid-back hero as Kevin Flynn, while Hedlund, handicapped by his material, turns in a rather dry performance, although Wilde fares better as the headstrong Quorra.
It also feels like a bridge to something much grander. Several narrative choices – and it’s difficult to say which without spoilers, though I really wish the film-makers had explained where that roast pig came from – could have been handled more competently, although the strategic placement of a cameo for the villain in a possible sequel (you’ll know him when you see him) is ingenious.
The special effects are also breathtaking, but flawed. Digital Domain’s lightcycle chases, disc battles and environments look fantastic. But like its predecessor, TRON: Legacy attempts something technically unprecedented, and doesn’t quite pull it off.
I am referring to Clu, Kevin Flynn’s younger avatar and the movie’s villain. Many films have used digital effects to make older actors look young on screen, but none have had the actor look young the entire time. Half the time Clu is on screen, he looks unquestionably realistic; the other half, like a freaking videogame character.
This is a shame, since the rest of the effects are mind-blowing: lucid, varied and detailed. On Blu-ray, I was able to catch every detail of every hologram and background, and I fully recommend watching the movie in this format.
Clu in not-looking-like-a-videogame-character mode
The package itself comprises TRON: Legacy on Blu-ray, Blu-ray 3D – I don’t own a 3D TV, so I can’t comment on how much this adds – DVD and digital copy; and finally, the original TRON blu-ray. The thing is jam-packed with extras, too, with behind-the-scenes features that give you every inside look at the film imaginable.
My personal favorite is Visualizing TRON: Legacy, which reveals just how much effort went into creating a world detailed enough to get lost in. Artist Neville Page, who handled character, costume and prop design, gets some screen time, and it is amazing to see that he has not only deviated away from his usual creature designs, but even does some CG work now.
The other extras give a comparable insight into the casting and the origins of the film, and there is even a small feature called The Next Day which shows what happens after the movie.
Also included is the original cult classic, digitally remastered on Blu-ray. Without TRON’s huge fan base, Legacy would never have existed – but the movie hasn’t aged well, and anyone coming to it for the first time would be forgiven for finding it rather silly. It’s hard to say what the remaster adds, either: I own the original DVD as well, and I really cannot tell the difference, except that it is much easier to see the faint flickers and numerous other flaws of the film in the HD version.
Almost 30 years later and I still think this scene is awesome
Despite some plot hiccups, Tron: Legacy repays the fans’ faith in the original. Not only does it have top-notch visual effects, but an amazing Daft Punk soundtrack which I guarantee you will listen to on loop if you are a fan.
But do you need a box set this big? If you own a 3D-TV, yes. If not, you’re probably better off getting the two movies separately: you can get both two-disc Blu-ray sets for the same price, and that way, you get the original TRON on DVD as well. Either way, get TRON: Legacy. One of my favorite films of 2010 is now the prized possession in my Blu-ray collection, and I recommend you make it a part of yours too.
TRON: Legacy is released on Blu-ray by Walt Disney Pictures in the US on 5 April.
Buy the five-disc TRON: Legacy/TRON Blu-ray set on Amazon.com
Buy the two-disc TRON: Legacy set on Amazon.com
View the Digital Domain VFX reel for TRON: Legacy:
View a slideshow of TRON: Legacy concept art:
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Tron Legacy Trailer Go behind the scenes on Killzone 3 and TRON: Legacy Video: Digital Domain’s VFX work on Tron: Legacy Sign up for free making of Tron: Legacy event Tags: blu-ray, Disney, Review, tron, TRON: Legacy | 影视 |
2016-36/0815/en_head.json.gz/1293 | Hawaii Five-0 Lands Screen Legend Peter Fonda For A Guest Role
By Jesse Carp
When a series graduates from its freshman year into being a sophomore, there's a sense that the first major hurdle, certainly the most difficult one to jump, has been cleared... and now the fun begins. CBS' Hawaii Five-0 was one of those fortunate shows to get a second season order, and deservedly so since it was one of the more entertaining and well cast 'new' police procedurals. And with a second season, comes a little more clout when lining up your guest stars.
The Alex Kurtzman and Roberto Orci version of the 1980s series of the same name shrugged off the negative connotations that come with the terms reboot or re-imagining by delivering a solid hour (42 minutes) of entertainment each week and even nabbed Scott Caan a much deserved best supporting actor nomination at the Emmys. We've already discusses several of the big names (and small ones) that the show has managed to line up for its second season including recurring roles for Terry O'Quinn, Booker T. Jones, Laura German as well as guest arcs for William Baldwin and Tom Sizemore.
The newest guest spot has just been announced as TVGuide reports that, "Hawaii Five-0 is getting a visit from an Easy Rider. Peter Fonda, star of the 1969 counterculture classic, will appear on the CBS procedural this October as a salty treasure-hunting sea captain." Fonda is, of course, Hollywood royalty and I love seeing him pop up in random things (like his great turn in James Mangold's 3:10 to Yuma). This is truly a great catch for the series and one that will have tuning in for sure,
Hawaii Five-0 stars Alex O'Loughlin, Scott Caan, Daniel Dae Kim and Grace Park with Season 2 premiering Monday, September 19 at 10 p.m.
James Corden Apparently Thought He Was Going To Be On SNL
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Why Michael Weatherly Signed On For CBS' Bull | 影视 |
2016-36/0815/en_head.json.gz/1295 | TERMINATOR 3: RISE OF THE MACHINES
After an impressive feature film debut at the age of twelve
in The Man Without a Face, opposite Mel Gibson, NICK STAHL (John
Connor) continues to display a broad range of talent in a variety of films.
Perhaps most notable is his performance opposite Marisa Tomei in the critically
acclaimed, Academy Award-nominated film In the Bedroom. Also memorable
was his chilling performance in director Larry Clark's Bully, opposite
Brad Renfro and Bijou Phillips. His other film credits include The Thin Red
Line, directed by Terrence Malick and co-staring Sean Penn and George
Clooney, and Safe Passage, opposite Susan Sarandon and Sam Shepard.
Recently, Stahl was seen in the Sundance feature Bookies, opposite Rachel
Leigh Cook and Lucas Haas.
Currently, Stahl is shooting the HBO original series Carnivale.
Created by Daniel Knauf, Carnivale focuses on a charismatic, shadowy
radio evangelist and a mysterious 18-year-old fugitive (Stahl) who is taken in
by the carnival as it travels across the Oklahoma Dust Bowl in the 1930s.
Born in Harlington, Texas and raised in Dallas, Stahl
performed in children's plays at the age of four. His first professional role
was at the age of ten in the television movie Stranger at My Door with
Robert Urich. He followed with another movie of the week, A Woman With a Past,
opposite Pamela Reed. Shortly thereafter, he received the coveted role of the
young boy in The Man Without a Face who brings out the love in a
physically and emotionally scarred man (played by Mel Gibson). Gibson gave him
the role over thousands of others after being impressed by his screen test.
The following year he completed another movie for television,
Incident in a Small Town, with Walter Matthau, and the Disney feature Tall
Tale, in which he co-starred opposite Patrick Swayze. Stahl also
co-starred with Martha Plimpton in Tim Blake Nelson's directorial debut, Eye
of God, which premiered at the Sundance Film festival.
Stahl currently lives in Los Angeles. | 影视 |
2016-36/0815/en_head.json.gz/1339 | Check It Out: Reading up before the Oscars
Steven Short
On Feb. 24, the 85th Academy Awards ceremony will take place at the Dolby (formerly Kodak) Theatre in Hollywood. The show has grown considerably from its humble origins in 1929 as a private banquet for 270 guests at the Hollywood Roosevelt Hotel.This year's event is expected to draw around 40 million viewers in the U.S. and will be broadcast live in 200 countries. ABC has announced that commercial time has been sold out at an average price of $1.8 million for a 30-second spot. Film production companies are expecting a big payday also. By one estimate, ticket sales for nominated films in the Best Picture category will increase by an average of one third.
No clear front-runner has emerged in the Best Picture category. Academy voters have several highly acclaimed films from which to choose. "Lincoln," "Les Miserables" and "Zero Dark Thirty" have all garnered attention, although the smart, late money seems to be on "Argo." Dark-horse candidates include "Silver Linings Playbook" and "Life of Pi."Robert Kline, a film and television producer and longtime Academy member, will offer his perspective on this year's nominees during a special event hosted by the Newport Beach Public Library Foundation at the Port Theater in Corona del Mar at 7 p.m. Wednesday. For information about tickets, visit the foundation's website at http://www.nbplfoundation.org.
This past year has also seen the publication of several notable books on film history. A few of these are mentioned below. All are available to cardholders of the Newport Beach Public Library.In "The Big Screen: The Story of the Movies," film critic and historian David Thomson gives us a wide-ranging narrative about the role of film in modern life. He discusses the rise and global spread of motion pictures, the development of new technologies for creating movies, and the singular achievements of many influential figures from film history. Thomson poses a central question in this work: Should the purpose of film be to inform or to entertain?Jeanine Basinger, in "I Do and I Don't: A History of Marriage in the Movies," surveys how Hollywood has portrayed the subject of matrimony from silent films to the modern era. She finds that movies about marriage were rarely marketed as such. Films that end with weddings were more likely to be sold as romances or love stories. Good marriages lack a dramatic story arc, Basinger says, so films about married couples were more likely to feature scenes of domestic conflict than marital bliss.In "The Entertainer: Movies, Magic and My Father's Twentieth Century," Margaret Talbott, a staff writer for the New Yorker, reminisces about her father Lyle Talbot, a little-known actor whose work in film, and later, television, spanned several decades. Talbot's evocative memoir about her father's long career serves dual narrative purposes as both a biography and as a history of the rise of Hollywood and 20th-century mass entertainment."Conversations at the American Film Institute with the Great Moviemakers: The Next Generation" is a collection of interviews with some of the most prominent writers, directors and actors of the last 50 years. Compiled by George Stevens, Jr., this companion to an earlier volume includes dialogues with influential figures such as Charles Champlin, David Lynch, Francois Truffaut, Roger Corman, Meryl Streep, Morgan Freeman and more. Essential reading for anyone with an interest in film history.CHECK IT OUT is written by the staff of the Newport Beach Public Library. All titles may be reserved from home or office computers by accessing the catalog at http://www.newportbeachlibrary.org. For more information on the Central Library or any of the branches, please contact the Newport Beach Public Library at (949) 717-3800, option 2. | 影视 |
2016-36/0815/en_head.json.gz/1353 | [J-Autumn Drama 2012] MONSTERS Fei-erl 1309 cr points Send Message:
Posted 7/11/12 , edited 7/12/12 SMAP’s Katori Shingo and Yamashita Tomohisa to star in new TBS drama
It was announced that SMAP member Katori Shingo and actor/singer Yamashita Tomohisa will be starring in the new TBS drama “MONSTERS“! This is an exciting mystery drama which revolves around convexo-concave pair of detectives, and this will be the first time for both Katori and Yamashita to act as detectives.
Katori’s role will be a detective at the First Investigation Division of the Metropolitan Police Department, named ’Hiratsuka Heihachi’ who is cheap, makeshift, meticulous, and rude man, though he always puts a smile on his face and is an extremely civil-spoken person. Hiratsuka exposes a person’s hidden face and the true nature of human relations, and solves cases by brazenly getting to the core of the person. On the other hand, Yamashita’s role ‘Saionji Kosuke’ is a pure and honest rookie detective who is a son of noble family and filled with strong morals. Those two will team up, and make a convexo-concave combination.
For Katori and Yamashita, this will be the first time to co-star with each other. Katori commented about co-starring with his junior from Johnny’s Jimusho, “My image toward Yamapi is a quiet and earnest cool guy! I am looking forward to co-star with him. I can’t wait to clash passionately with the young ‘MONSTER’ (Yamashita)!“, and Yamashita showed his expectation as he said, “I would like to learn a lot from Katori-san.” Reportedly, the two are already congenial spirits though the filming has not even started yet.
“MONSTERS” will start airing in October on TBS (every Sunday at 9:00 pm).
TOKYOHIVE
Katori Shingo & Yamashita Tomohisa to star in TBS autumn drama "MONSTERS" SMAP's Katori Shingo and solo singer Yamashita Tomohisa will be starring together in the TBS autumn drama "MONSTERS" starting in October in the Sundays 9pm timeslot. This is the first time that the two who are from the same agency are working together.
Katori plays Hiratsuka Heihachi, a detective at the Metropolitan Police Department who has a keen eye on details and is very hung up on manners. He thinks nothing of overstepping boundaries in order to expose the truth about people and their interpersonal relationships. On the other hand, Yamashita plays Saionji Kosuke a newbie detective and rich man's son who becomes partners with Heihachi.
(Doramaworld)
Report to Moderator WonBinHoLiC 21411 cr points Send Message:
33 / F / UAE
Posted 7/16/12 Katori Shingo And Yamashita Tomohisa To Co-Star In Police Drama Mystery Series Katori Shingo, of the idol group SMAP, and singer/actor Yamashita Tomohisa will team up to co-star in a new police drama series scheduled for the fall season entitled "MONSTERS." The two will form an odd detective duo in which Katori plays the role of the biggest eccentric on the force who is an impolite stickler for detail yet talks to anyone no matter who they are with a smile and the utmost gentlemanly use of language, while Yamashita's part is that of a straight and honest greenhorn detective who is also the son of an extremely wealthy socialite and the possessor of an abounding sense of justice.
For both performers this will be their first time to play detective roles, of which Katori commented, "I'm really looking forward to it, as it feels like 'At last the time has come!'" Yamashita remarked, "It's my first detective role and I'm excited." Regarding performing with Katori Shingo he added, "I'm going to do my best not to hold him back while learning much from him." This will also mark the first time the two actors will perform together.
"MONSTERS" will begin airing in October during TBS's Sunday Theater time slot. Report to Moderator To The World You Are Someone, But To Someone You Are The World!!! WonBinHoLiC 21411 cr points Send Message:
Posted 9/12/12 SMAP's Shingo and Yamapi to release single under special unit "The MONSTERS"
Katori Shingo from SMAP and Yamashita Tomohisa will be forming a special unit "The MONSTERS". The two stars of TBS autumn drama "MONSTERS" will be singing the theme song for their drama, which they also co-wrote together. The song, also titled "MONSTERS", has already been included as track in SMAP's 20th album "GIFT of SMAP", but it will be released as a single by the "The MONSTERS".
The single is planned for release on 15th November, and will also include a remix version of "MONSTERS" and a cover of Pink Lady's "Monster" as coupling tracks.
Report to Moderator To The World You Are Someone, But To Someone You Are The World!!! WonBinHoLiC 21411 cr points Send Message:
Posted 9/22/12 Drama Teaser http://www.youtube.com/watch?v=qty469bO_ZU&feature=share Report to Moderator To The World You Are Someone, But To Someone You Are The World!!! Fei-erl 1309 cr points Send Message:
Posted 9/24/12 Yanagihara Kanako to play Yamapi’s girlfriend in her first heroine role!
Comedian Yanagihara Kanako has been granted her first heroine role in drama “MONSTERS” (Sun 9:00PM) to premiere on October 21st, detective drama that features, co-starring for the first time, SMAP’s Katori Shingo and Yamashita Tomohisa. When filming a dating scene with Yamashita, Yanagihara said “since the role was also addressed to different actresses seniors at the end it turned out to be me, I’m just glad is not a prank” with a tone of relief.
It was reported by the producers that Yanagihara thought it was a prank when she heard the news. Yamashita had this to say, ”we’re almost the same age so it was easy to establish conversation and get along well. Yanagihara-san is bright and wonderful, though this is the first time we meet, I think she’s really cute so I’m looking forward to filming together”.
When asked about a kiss scene for the two, Yamashita said “I’mlooking forward to find out what kind of lips she has!”, in a display of his “EroP” character.
aramatheydidnt
Posted 10/2/12 MONSTERS to re-shoot some scenes in Ep 1 due to loss of tape It was reported on 2 October that TBS has to re-shoot some scenes in the first episode of its upcoming autumn drama "MONSTERS" due to the loss of one tape which contained already-completed scenes. According to TBS, they only discovered the loss in late September when they were about to begin editing work for the first episode. As a result, the TV station had to explain the situation to the cast and re-shoot the scenes which were affected by this incident. Report to Moderator To The World You Are Someone, But To Someone You Are The World!!! WonBinHoLiC 21411 cr points Send Message:
Posted 10/17/12 Shingo & Yamapi’s new unit start with a surprise at SMAP concert Newly formed unit “The MONSTERS” with Katori Shingo (35) and Yamashita Tomohisa (27) as members, showed their first performance during SMAP’s Tokyo concert in Ajinomoto Stadium on October 14th. Yamashita appeared as a “surprise” mentioned during Katori Shingo’s solo corner, performing the theme song of TBS drama where they co-star, “MONSTERS” (Starting on October 21st, Sundays 9PM). They both sang while receiving cheers from an audience of more than 50,000 people.
The moment the two silhouettes appeared on stage, the whole stadium rumbled, wrapped in a great cheer from fans. Katori and Yamashita were wearing a blue and black costume. While exchanging fierce dance moves and matching their breathing, they sang their drama’s theme song “MONSTERS”. Usually, during the solo corner of this SMAP tour, Shingo had to dance this song always matching the images projected on the screen until they finally performed together for the first time, perfectly aligned and without prior notice to the 55,000 overjoyed fans. Yamashita talked about his first appearance in a SMAP live concert, “More than a usual live, I was double nervous, couldn’t even sleep yesterday and during rehearsal my mind just went blank”. Despite that, fans were beyond excited.
Composed by the 2 of them, Katori Shingo talked about the said song, “We had to put this idea into our own words and create a theme song. One of my favorite phrases is ‘aoi heart’, we kept thinking about what color comes to mind when you think of a monster? and the words just came out as ‘blue heart’, we both felt excited about the idea”.
Yamashita was inspired by Katori’s attitude, “I was really stuck when we had to finish the song and on top of that, I had to learn a lot of new things and kept thinking my own self so far wouldn’t be enough.” to which Katori said, “It’s not about expecting others to tell you what to do but you have to suggest your ideas and make it your own”. Before going up on stage Katori said “This is where The MONSTERS start”, performing like a scene out of a drama.
About the future, “If we can work together even after the end of the drama it would be great, I want to tour too, though it might be a little too early. We should just keep making music on our own and see where it takes us”, Katori said jokingly.
http://www.youtube.com/watch?feature=player_embedded&v=9NNr9C6N2Yg Report to Moderator To The World You Are Someone, But To Someone You Are The World!!! Quote Selected | 影视 |
2016-36/0815/en_head.json.gz/1416 | Doctor Who series 6 episode 11: The God Complex spoiler-free review
Simon Brew
13 Sep 2011 - 14:32 facebook
Being Human's Toby Whithouse returns to pen the next Doctor Who adventure, The God Complex. Here's our spoiler-free review...
You might get bored of reading it, but I’m certainly not getting bored of writing it: this weekend’s Doctor Who is really good. Again.
Entitled The God Complex, it’s written by Being Human creator Toby Whithouse. It’s up there with the quality of his first and best Who story, School Reunion, too, although I suspect that the praise for this one might not as unanimous as that enjoyed by The Girl Who Waited last weekend. Personally, I thought that The God Complex was excellent, though.
Kicking off with a terrific pre-title scene, The God Complex sees the Doctor, Amy and Rory land in the middle of a 1980s hotel. At least, they think it’s a 1980s hotel, but there’s quite a lot more to it than that. Behind the doors of the bedrooms lie things that would make you not open the doors to the bedrooms, and the corridors evoke such a feeling of The Shining at times that you expect freaky children to appear at any minute. Director Nick Hurran (who helmed underrated body swap comedy It's A Boy Girl Thing) damn well knows it, too.
Corridors have, of course, long been a staple of Doctor Who, and here, they’re used to really quite spooky effect at times. In fact, the whole episode might just be the creepiest of the series to date, skilfully tapping into a series of primal fears, and building the tension very well as it goes.
Whithouse’s script has more on its mind, though, as he explores religion and just what the Doctor is doing flying around the universe. It does this while throwing in a line from The Apprentice, too, as well as tipping its hat to Star Trek once more.
The episode works on a couple of levels, and it’s easy to overlook the fact that The God Complex is paying homage, in its direction and production design in particular, to various elements of good horror movies. There’s a touch of Sylvester McCoy’s later Who in this one, too, and it also has a little nod towards web nerds. Not that I’d have any interest in that.
Guest star of the week is David Walliams, and he’s thoroughly restrained, putting in a believable and important performance. He’s outshone by Amara Karan, though, who puts in sterling work here in another of the supporting roles.
Furthermore, the episode has some interesting lines and themes that are best left discussed once the credits have rolled on Saturday night. We'll have to leave that until then.
It’s an interesting and absorbing episode, though, that doesn’t vary the themes that Doctor Who has been exploring in recent weeks too much, but still finds things to say. Matt Smith, in particular, arguably puts in his strongest work of the series run to date, too.
Will The God Complex be to everyone’s liking? I’m pretty sure it won’t. But it’s a stylish, wonderfully realised and pretty much self-contained story, that leaves things in an interesting place for the week after.
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2016-36/0815/en_head.json.gz/1447 | It's all up to the audience now.The final four contestants on The X Factor sang their hearts out Wednesday night for a spot in next week's final, and audience votes alone will determine which act gets eliminated on Thursday night and which three will advance - with no sing-off or judges' votes to decide. Additionally, the show isn't going to reveal the rankings of the Top 3, meaning that viewers won't know who the frontrunner is heading into the finals.Who is the best TV actor of 2012?For the second week in a row, the acts each performed two songs - one of their choosing and one selected by them and their mentor (though Demi Lovato is the one judge with no contestants remaining). Here's a breakdown of each performance.Tate StevensFor his pick, the last man standing from L.A. Reid's Over 25s went full redneck with a boot-stompin', old-school country throwback rendition of Craig Morgan's "Bonfire," complete with pyrotechnics onstage. By this point, Stevens knows it's his country shtick that differentiates him from the rest of the field and it's clear he's going to milk it for all it's worth (as is Reid, who donned a cowboy hat for the performance). Not a bad move. Reid, Simon Cowell and Lovato said it was Stevens' best performance to date. Britney Spears was the only dissenter, but her lukewarm feedback drew boos from the crowd and a loud, high-pitched gasp from Reid.Stevens' second number was "Fall" by Clay Walker, which he dedicated to his wife (again). Another traditional country song, it was a more subdued performance than his first outing, but no less commendable. Spears called it a "direct hit," and Cowell put it even more bluntly. "There is about as much chance of you going back to your old job as me flying to the moon tomorrow night," he told Stevens. "Let's be clear. You've made your mark here. I think you've done enough to get into the final, and you thoroughly deserve it." Do you agree?Carly Rose SonenclarThe 13-year-old sensation from Britney Spears' Teens chose Elton John's "Your Song" for, um, her song and offered an expectedly polished take on the classic. Lovato called the choice of an adult contemporary ballad "predictable," but said she loved the performance anyway, and Reid also praised Sonenclar's "risky" decision. Cowell said it wasn't Sonenclar's best performance in the competition but said she'd likely redeem herself in her second outing of the night.Who was the best actress of 2012?For that, Spears selected John Lennon's "Imagine," and had Sonenclar both sing and play the piano for the introduction. It was a ... let's say "interesting" arrangement of the classic, one that attempted to give Sonenclar numerous opportunities to belt out notes on a song that doesn't really call for much belting. Reid and Lovato praised the rendition, but Simon had problems with it, calling the arrangement and staging (with Sonenclar leaving and then returning to the piano) "overcomplicated."Emblem 3Paying particular attention to Lovato's criticism that they were getting predictable and not working the stage enough in their performances, the first of Simon Cowell's two Groups made a point of spreading out and high-fiving members of the audience during Peter Frampton's "Baby, I Love Your Way." The strategy worked - with both Lovato and Cowell saying that the performance reminded them of the group's original audition, when they first showed the judges that they had something special. Reid called it the trio's "big 5 million dollar moment," and Spears told them, "It would be unfair to call you a boy band, because you're way more than that."On their second number, the guys paid tribute to the original boy band, taking on The Beatles' "Hey Jude," which, let's face it, could have been a disaster of a performance. But Emblem 3 pulled it off with aplomb, seriously working the crowd during the song's "na-na-na-na" outro. All of the judges had nothing but good things to say, even frequent criticizer Lovato. "I was prepared to just rip you to shreds, because doing a Beatles song is very presumptuous," Reid told them afterwards. "That was risky business ... but you did a great job."Fifth HarmonyTrying to show that they could both harmonize and perform a choreographed dance number, the second of Cowell's Groups first tackled Ellie Goulding's "Anything Could Happen." While their stage show was unconvincing at best, the girls again reinforced their individual and collective vocal talents. In fact, Reid told them it was "the very best vocal performance you've ever done." But will that be enough to keep them in the competition? Cowell seems to think so. Acknowledging the quintet had come into the semifinals as "underdogs" due to their fourth place ranking, he said after the song, "To get into the final is going to take a miracle ... but after that performance, like the lyric of that song just said, anything now can happen."The group next opted for Shontelle's "Impossible," which they previously performed during the judges' homes round, and decided to incorporate Spanish lyrics into the song to gain some more votes. (Somebody paid attention to post-presidential election analysis!) Reid called the song selection "lazy" since they had already done it once, and all the judges (except for Simon) agreed that the performance was good but not great. "I would be really surprised if you guys are here next week," Spears said flatly. "I'm a little worried too," Lovato agreed. But remember - the judges don't get a say in this week's elimination.So, who do you think will make it to the finals and who will be sent home Thursday? Weigh in below!View original The X Factor: Final Four Compete for the Finals at TVGuide.comOther Links From TVGuide.com Britney SpearsSimon CowellL.A. ReidDemi LovatoThe X FactorCarly Rose SonenclarEmblem 3Fifth HarmonyTate Stevens | 影视 |
2016-36/0815/en_head.json.gz/1461 | The Rite (US - DVD R1 | BD)
Warner reveals details on DVD & Blu-ray releases of the Anthony Hopkins film
Title: The Rite (IMDb)
Starring: Anthony Hopkins
Released: 17th May 2011
Warner Home Video has announced DVD and Blu-ray/DVD Combo releases of The Rite which stars Anthony Hopkins, Colin O'Donoghue, Alice Braga, Ciarán Hinds, and Rutger Hauer. Each will be available to own from May 17th. The only extra material on the DVD release will be additional scenes. The Blu-ray/DVD Combo release will include those scenes, plus a chilling alternate ending, a featurette ("The Rite: Soldier of God"), and a digital copy of the film. Package artwork is attached: Synopsis Quote: Inspired by true events, this supernatural thriller follows a seminary student (Colin O’Donoghue) sent to study exorcism at the Vatican in spite of his own doubts about the controversial practice and even his own faith. Only when sent to apprentice with legendary Father Lucas (Anthony Hopkins), who has performed thousand of exorcisms, does his armor of skepticism begin to fall. Drawn into a troubling case that transcends even Father Lucas’s skill, the young seminarian glimpses a phenomenon science can’t explain or control – and an evil so violent and terrifying that it forces him to question everything he believes. | 影视 |
2016-36/0815/en_head.json.gz/1463 | Modern Family: Season 2 (US - BD RA)
Gabe spends some time with an extended group of relatives and in-laws...
Series Meet the Modern Family. This family tree begins with Jay Pritchett (Ed O'Neill), a self-made wealthy man in his 60s. Jay is currently married to Gloria (Sofia Vergara), a boisterous, not to mention buxom Colombian native at least two decades his junior, and has adopted her son Manny (Rico Rodriguez), an 11-year-old with the soul and wisdom of a 50-year-old man. Jay also has two adult children from his previous marriage – Claire Dunphy (Julie Bowen) and Mitchell Pritchett (Jesse Tyler Ferguson). Claire is an overprotective, always productive housewife, and married to Phil Dunphy (Ty Burrell), a neurotic real estate broker that desperately tries to connect with his children as a peer rather than a parent, and who relentlessly dotes on Claire. Claire and Phil’s children are (in order of age) the pretty, popular and shallow Haley (Sarah Hyland), the smart, stressed out, and crafty Alex (Ariel Winter), and the simple, and easily amused Luke (Nolan Gould). Mitchell is an extremely uptight, awkward homosexual. He and his flamboyant, melodramatic partner Cameron (Eric Stonestreet) have an adopted Chinese daughter named Lily. The things I shouldn’t like about Modern Family outweigh the things I do like, and the series defies all my usual critical logic across the board. It’s frightfully politically correct (bo- ring), it’s family friendly (I’m a bachelor), it builds much of the comedy on awkward misunderstandings (I can’t watch The Office for this very reason), and an even larger section of the comedy is based on obvious, broad slapstick (la zy). The basic plots of each episode are recycled from Roseanne, The Cosby Show, Friends, and every other ‘90s sit-com that fed into the prime time sit-com machine that created modern atrocities like Everyone Loves Raymond and Two and a Half Men. It’s also sweet as saccharine, and ends almost every episode with some kind of, bleh, moral. But, dammit, those familiar sit-com clichés fill a warm void left by the brutality and melodrama of the unequivocally good stuff like Breaking Bad and Mad Men, the awkward stuff is offset with sweetness, and the sweetness is often as genuine and hard-earned as the sweetness found in a Pixar film. Something sharp flew right into my damn eye during the mother’s day episode. And the slapstick is expertly timed in pretty much the opposite manner of every terrible Kevin James film (that broken stair got me every time). Ugh, the creators even utilized the over-used mockumentary format. They utilize it to great effect. Those bastards. The highest hurdle I surmount with stupefying regularity is the fact that I don’t relate to any of the major characters on a basic, personal level. I don’t relate to their social standings, I don’t relate to their jobs, I don’t really have a similar relationship with my family, I didn’t have a similar childhood, and I don’t have any kids of my own. If they were real people I’d have zero interest in getting to know them. Yet after only a season’s worth of set-up I find myself genuinely liking them, and laughing in anticipation at their reactions to the situations the writers stick them in before they’ve had the time. The characters are made up of archetypes, which was initially another strike against the series, but they’re deceptive in their simplicity. Occasionally the stereotypes get the best of the writers, and the characters’ idiosyncrasies can grate, but there’s real life in these people, thanks in no small part to solid performances. And against the sit-com rule of obnoxiously cute children, the youngest members of the cast manage to steal scene after scene from under their more mature cast-mates’ feet. The show is at its best when mixing and matching characters, and widening the scope of the little family universe. Regrets Only makes especially unlikely pairings out of Cameron and little Luke (Cameron’s relationship with the kids is a constant source of subtle entertainment), Phil and Gloria, and Claire and Jay, none of whom interact all that often otherwise. There are some off episodes, or at least off thirds of episodes during this second season. Mother Trucker is a particularly unfunny episode, probably the weakest of the entire season, featuring a boring teenage break-up, a sub- Seinfeld health scare, and an embarrassing mother-in-law being too touchy C-story. Our Children, Ourselves is another off performance, running on a clumsy paternity scare for Mitchell and Cameron (that ends on an incredibly predictable punch-line), and an uncomfortable pretend Jay is senile gag that runs out of steam very quickly. A charming Dunphy story saves the episode from ruin, and strikes a little too close to home (Phil and Claire watch a stuffy French film instead of ‘Crocktopus 3D’ to impress Alex’s school rival). The second season is overall slightly weaker than the first thanks to these dips, but the first season didn’t feature anything as side-achingly funny as Chirp, which takes many of the more unattractive character traits to extremes without tipping into annoyance (Phil’s blow-up at the end is good for a hearty chuckle), Manny Get Your Gun, or Good Cop, Bad Dog. Slow Down Your Neighbors gets my vote as the best single episode in the series history thus far, and features my favourite storyline for all three family units. If any episode can turn opinions towards the show’s favour it’s this one (‘Teacher of the year.’) Video Modern Family is shot using high end digital HD cameras, and it’s lit with plenty of bright, soft lights, all of which equates a very good looking Blu-ray collection. The producers don’t do a lot to change things up, or to show off their cameras’ capabilities either, opting instead for a slightly stylized naturalistic palette. There are no lush Hawaiian jungles, neon bar lights, or bright pastel sets in the Modern Family universe, but the clarity and colour quality of the image is rather outstanding. The details are sharp, including lifelike textures, intricate wardrobe patterns, and busy backgrounds. The overall palette is coloured a bit by the generally yellow lighting schemes, which creates some appealing warm highlights that blend softly into the more reddened flesh tones, and cut nicely against the solid cool hues. Contrast levels aren’t excessive, but the basic hues and blacks are consistently solid, without more than basic digital grain to mess with the overall definition. Some of the darkest sequences feature some slightly harsher white lighting, and this leads to some minor edge haloes, and white blowouts, but overall there is very little to complain about. Audio Modern Family does little to overcome the basic aural expectations of an average television sit-com, and mostly embraces its mockumentary concept in terms of sound design – the majority of sound comes directly from the front center channel, as if it has been captured by the handheld camera’s microphone. A few instances stand apart from the average, and give the DTS-HD Master Audio 5.1 track a reason to employ the extra channels. During Our Children, Ourselves Phil watches a made-up, big-budget schlock-fest, and the surround channels come to life in a mock version of monster movie aural excess. Bixby's Back ends with a bit of live music that echoes effectively throughout the channels, and utilizes the LFE capabilities. Manny Get Your Gun has some effective ambient mall noise. Occasionally the establishing location shots feature a car or person moving across the stereo channels as well. Besides the main title theme, and any song that plays on screen where the characters can react to it, there isn’t really any score to the series, even during the establishing shots. Extras Each disc in this three disc collection comes fitted with its own set of extras, most of them pertaining to the episodes that correspond with the disc. Disc one features deleted/extended/alternate family interviews (4:00, HD), deleted/extended scenes (10:00, HD), footage from a public table reading for the episode Strangers on a Treadmill (37:40, HD), and a look behind the scenes of Mitch’s flash mob dance (2:40, HD). Disc two features more deleted/extended/alternate family interviews (4:50, HD), more deleted/extended scenes (10:50, HD), and an ‘Imagine Me Naked’ mock-music video (3:40, HD). Disc three features even more deleted/alternate family interviews (2:00, HD), even more deleted/extended scenes (1:00, HD), a gag reel (8:20, HD), ‘ Modern Family Holidays’ (13:00, HD), a look behind the scenes of the Valentine’s Day, Mother’s Day and Halloween episodes, ‘Waiting for Oprah’ (3:50, HD), behind the scenes on a cast interview with some talk show host, ‘Chatting with Steve Levitan’ (4:10, HD), and ‘At Home with Modern Family’ (6:10, HD), a look at the set that make up the various houses on the show, and bloopers. Overall It took some convincing, and the Community fan in me wants to be resentful, but I have to admit that I quite enjoy Modern Family. This second season collection is a bit of a mixed bag including some of the best and worst episodes in the series’ history, and not the best place for new fans to start (though there’s not a whole lot in the way of serialized elements), but still a generally great overall production, including top end digital HD video, clean DTS-HD MA sound, and a decent collection of extras. *Note: The images on this page are not representative of the Blu-ray image quality.
English SDH, French, Spanish
Modern Family Holidays, Strangers on a Treadmill Table Read, Imagine Me Naked Music Video, Chatting with Steve Levitan, Mitch's Flash Mob, At Home with Modern Family, Deleted/Extended/Alternate Famliy Interviews, Deleted Extended Scenes, Blooper Reel
Ed O'Neill, Sofía Vergara, Julie Bowen, Ty Burrell, Jesse Tyler Ferguson, Eric Stonestreet, Sarah Hyland, Ariel Winter, Nolan Gould, Rico Rodriguez, Aubrey Anderson-Emmons | 影视 |
2016-36/0815/en_head.json.gz/1472 | Print Email Font Resize'Life of Pi's' Ang Lee talks 3D, casting, and adapting the impossibleBy Lisa Kennedy, The Denver PostPosted:
11/17/2012 05:49:30 AM PSTClick photo to enlargeDirector Ang Lee (L) and actor Suraj Sharma (R) attend a special screening of the film "The Life of Pi" in Los Angeles November 16, 2012. REUTERS/Phil McCarten (UNITED STATES - Tags: ENTERTAINMENT)«12» In Theaters This Week
Opening Wednesday
Life of Pi 3D
Rise of the Guardians 3D
Interviews with the stars, hot new trailers
When director Ang Lee first read "Life of Pi" 10 years ago, his initial reaction was to share the best-selling novel with his wife and kids, much as it had been shared with him. He was not, however, in a hurry to turn Yann Martel's magical, philosophical tale of a teen named Piscine Molitor Patel set adrift in a lifeboat in the Pacific with a Bengal tiger into a movie."I thought it would be not only technically almost impossible but just the nature of the material. It should be made cheaply and it could not be. It was very hard to crack it," he said on the phone last month, shortly after the movie premiered to vigorous acclaim at the New York Film Festival. But, he added, "I have to say, the book haunted me for a long time." Wednesday, Lee's version of "Life of Pi" opens nationally. Shot in 3D, the vividly wrought jewel makes the best argument yet for the possibilities of digital technology and the art of storytelling. Not only does Pi's story of survival unfold to touching effect (newcomer Suraj Sharma plays the title character), but the saga's violent storms, beautiful beasts and unnatural wonders are radiantly rendered with digital cinema's finest tricks. Lee is certain he couldn't have made the movie if not for advances in technology. Though, he said, he "suspected that a new film language might open up the chances with this particular project."It is hard to imagine the intimate spectacle being so convincing even five years ago. Advertisement
Perhaps this achievement shouldn't come as a surprise. Lee is among the most versatile directors working today. While he hasn't always been fully successful, he's been consistently bold in his choices. Among his best works: the Jane Austen charmer "Sense and Sensibility"; "The Ice Storm," about life in suburban Connecticut in the 1970s; and the martial arts adventure "Crouching Tiger, Hidden Dragon," which elegantly brought the wonders of Hong Kong cinema to American screens. In 2006, Lee won the Oscar for best direction for his lean, rending story of closeted cowboy lovers, "BrokebackMountain," adapted from Annie Proulx's short story. Asked why producer Gil Netter and Fox 2000 president of production Elizabeth Gabler sought him out for "Life of Pi," Lee, who immigrated to the U.S. from the Taiwan, considers the question with his trademark modesty."This is what they said to me, I don't know what they really think. Of course, they say 'You're the only one who can do it,' " he says with a laugh. "But I do think I cross over, cross genre. With 'Crouching Tiger," I made something magical that has ideas but also moves people. I have a good track record. Not that everything works that way."Indeed, Lee was no stranger to a big-budget, technically demanding production. In 2003, he directed "Hulk." Not entirely successful with critics, that 2003's superhero flick nevertheless strived to be tender, to connect audiences to Bruce Banner's pain at his change into a rage monster.To write the screenplay for "Life of Pi," the director tapped David Magee who did such lovely work with "Finding Neverland," about Peter Pan creator J.M. Barrie. "He's a very intelligent writer easy to work with," Lee says of their dogged collaboration. "I've never been so diligent on a script. We worked on nearly 400 drafts. I lost track." It's a mind-boggling number. Yet the effort, reworking and tweaking aren't evident.In the foreword to the handsome movie book "The Making of Life of Pi: A Film, a Journey," the novel's author Martel writes that while he sequestered himself in a spare little office working on "Life of Pi," he wrote "the story in a state of near constant jubilation." For all the tumult and loss, this is the feeling Lee achieves. "At some point it does feel like we're drifting across the Pacific with a tiger," said Lee. Yes, it does and that turns out to be more exhilarating than scary. Lisa Kennedy: 303-954-1567, [email protected] or twitter.com/bylisakennedyPrint Email Font ResizeReturn to Top Judge allows higher developer fees for schools; Dublin, Fremont will benefitRoadshow: Can you hear me now? New streetlights double as cell receivers.Pleasanton: Costco foes dismiss report • Article commenting rules of the road | 影视 |
2016-36/0815/en_head.json.gz/1534 | The Girl
(NY; 3/15 LA)
Looking for movie tickets? Enter your location to see which movie theaters are playing The Girl near you.
Ashley (Abbie Cornish) is a twentysomething mother still reeling from losing her son to social services when a surprise visit from her truck-driver father presents an opportunity to make some quick cash as a coyote. Having recently lost her job at a big-box store in Austin, she quietly begins smuggling Mexicans over the border in the hope of staying afloat financially. Then, one night, she encounters a young girl whose mother vanished while crossing a river. Determined not to get involved, Ashley tries in vain to keep a distance from the girl, but eventually she finds her conscience stirred by the innocent child's plight. Over the next few days, she joins the frightened girl in an attempt to locate her missing mother. In time, Ashley discovers her untapped maternal instincts and gradually learns to take control of her own fate. ~ Jason Buchanan, Rovi
A scene from "The Girl."
Poster art for "The Girl." | 影视 |
2016-36/0815/en_head.json.gz/1566 | Print Close Al Pacino to play Joe Paterno in movie about Penn State coach
Published January 17, 2013 | FoxNews.com advertisement It seems Hollywood isn’t wasting any time turning last year’s Penn State scandal into box office bucks. A film, which has the working title “Happy Valley," is already in the works and movie icon Al Pacino has signed on to play Joe Paterno.
According to Deadline the flick will be based off of the best selling book “Paterno” by Joe Posnanski. “Wall Street” producer Edward Pressman has signed on to the project.
“'Happy Valley’ reunites the Scarface and ‘Carlito’s Way’ team of [director Brian] De Palma & Pacino for the third time and I can’t think of a better duo to tell this story of a complex, intensely righteous man who was brought down by his own tragic flaw,” Pressman told Deadline.
Paterno was successful, glorified head football coach at Penn State but his image was ruined when it was discovered that defensive coordinator Jerry Sandusky had been molesting children for years, and Paterno did little to stop it despite being aware of the situation.
Paterno was fired shortly after the Sandusky scandal was discovered and he died almost immediately after his firing. The NCAA has since stripped the Penn State football program of Paterno’s wins and a statue of Paterno on the Penn State campus has been removed.
Print Close URL http://www.foxnews.com/entertainment/2013/01/17/al-pacino-to-play-joe-paterno-in-movie-about-penn-state-coach/ | 影视 |
2016-36/0815/en_head.json.gz/1643 | Celebrity Search By First Name / Band / Event / Movies / TV Shows# a b c d e f g h i j k l m n o p q r s t u v w x y z James Franco Glams Up “Of Mice And Men” Opening Night Party
Posted Thursday April 17, 2014 1:48 PM GMT
He’s always up for a good time, and last night (April 16) James Franco cut loose at the opening night shindig for his Broadway revival of “Of Mice And Men.”
Joined by costar Chris O’Dowd, the “Spring Breakers” hunk smiled for the cameras outside the Plaza Hotel in Manhattan following a triumphant first run of the Steinbeck-based play.
And it sounds like James and his team are already killing it onstage, as Variety gushed, “Franco has the kind of storytelling voice that can make anyone believe in his dreams. Franco’s personal magnetism works perfectly for George, a charmer who quietly disarms the whole bunkhouse on the farm where he and Lennie find work.”
Furthermore, the Hollywood Reporter agreed, “Franco brings warmth and understated manliness to George in a performance that grows more assured as the play progresses.”
Enjoy the pictures of James Franco from the Broadway opening night of "Of Mice and Men" at The Plaza Hotel in New York City (April 16).
filed under James Franco, Broadway Stage Shows | 影视 |
2016-36/0815/en_head.json.gz/1701 | Executive Roundtable
6:00 AM PDT 10/30/2012
, Stephen Galloway FACEBOOK
Christopher Patey
THR brings six top movie moguls together to talk awards, how the business will change, what they'd do if not in Hollywood and how every call is either "your worst nightmare or greatest surprise."
As busy as it is for talent during awards season, they've got nothing on the top executives running the major studios and independent companies. More often than not, these execs have multiple movies to shepherd through the dizzying process and parade of events. To kick off our annual Awards Season Roundtable Series, THR invited six of them -- Sony Pictures Classics co-president Michael Barker, 58, Lionsgate Motion Picture Group co-chairman Rob Friedman, 62, Fox Filmed Entertainment chairman and CEO Jim Gianopulos, 60, DreamWorks Animation CEO Jeffrey Katzenberg, 61, Universal co-chairman Donna Langley, 44, and Paramount vice chairman Rob Moore, 50 -- to engage in a candid discussion about why Paramount passed on Moneyball, the big gambles behind Life of Pi and Les Miserables and how much awards, for better or worse, mean to them.
THE HOLLYWOOD REPORTER: What surprised you most about becoming a top film executive?
Rob Friedman: Getting my phone calls returned. (Laughter.)
Jeffrey Katzenberg: The passions and emotions in the movie business have always been pretty intense, and that's probably only gotten greater. Today the stakes seem to be so high, and so it really creates a tremendous amount of pressure on everybody involved.
THR: Is it different when you're directly responsible to stockholders?
Katzenberg: You mean as opposed to Rupert Murdoch? (Laughter.)
Jim Gianopulos: I think what Jeffrey referred to is an interesting aspect: The complexity, the nuance of it, the randomness of how movies come together, the collision of molecules that makes a movie, the surprising things that become easy and the things that become difficult. And on the other end of the ringing telephone is your worst nightmare or your greatest surprise. Somebody didn't come out of their trailer, or the tracking for the movie goes completely and totally wrong.
Katzenberg: Or your film opened to $12. (Laughter.)
Donna Langley: The best moment is when you have a film that exceeds your expectations. We've have had a couple along the way. Mamma Mia! was a great moment in the company's history. It is the company's most profitable film [$610 million worldwide gross on a $52 million budget], and it was a complete surprise. I mean, it went from being a, "Oh, maybe it will work internationally in Sweden," to being a huge worldwide hit. And then, of course, this year with Ted. The single worst moment is the all-around failure of any movie. This year, to air my dirty laundry, it's no secret that it was Battleship.
Rob Moore: With us, Paranormal Activity came out of nowhere. It was a movie that we had owned for several years and talked about whether to release or not, or to remake it. So there are times when you don't really know, but then you capture something. And then there are other times when you put all this time, energy and investment into something and nobody cares. That's when it's really hard.
THR: Do you get calls from Sumner Redstone saying, "What the hell were you thinking?"
Katzenberg: He's not that polite. (Laughter.)
Moore: He's been around the movie business his whole life, so he understands the volatility of it. I think the best moment is when you get a surprise like True Grit. It was a Western, and there hasn't been a Western that broke out to that kind of success [$251 million worldwide].
THR: How much do awards mean to you?
Katzenberg: When I came to Hollywood, I was 23 years old and from New York. The dream, as a young kid starting out in this business, is to own a house in Malibu Beach and win an Academy Award. (Laughter.) One was the fantasy of, you know, Beach Blanket Bingo or whatever, the good life. That was the representation of what [the late former Paramount owner] Charlie Bluhdorn used to call the "Bank of America award." And the other side of it was the achievement of something great in the eyes of your peers. And the Academy Awards were then and are today -- irrespective of anything else in terms of what they are to the outside world -- for our community, they are the pinnacles of success. That's always the yin-yang that you get so caught up in, which is, "Is this about the way our customers see our business, or is it about the way we see ourselves?"
Michael Barker: You wanted to live in Malibu and win an Academy Award … I wanted to live in New York, and my mom wanted to see me at the Academy Awards. (Laughter.)
THR: Are there times you don't agree with the best picture winner?
Katzenberg: Pretty much every time. (Laughter.)
Barker: Here's the thing: The Academy Awards, as far as the nominations are concerned, they've had a lot of integrity. They don't pay attention to commerce and so forth. Yes, there are many years when the best film doesn't win, but it's almost irrelevant. To be in that room means so much when you have to choose between five and 10 high-quality films. Someone's going to be left out. Sometimes it's a moment in time, and that moment in time is the only time that particular movie would win. If you look at the history of the Academy Awards, you can see when those instances occurred.
THR: What has been a "moment in time" for all of you?
Gianopulos: Which time? The time we waited for Sideways to win or the time waiting for Avatar? (Laughter.)
THR: It was a historic upset when Avatar lost to The Hurt Locker, which belonged to Rob.
Gianopulos: Well, we did win the Bank of America award that year.
Friedman: I did offer to trade our award. (Laughter and clapping.)
THR: Irving Thalberg would greenlight a movie just because it was a great movie, or so the myth goes. Is that still possible?
Katzenberg: That was a time when 40 percent of America went to the movies once a week. That was the reality in his day.
Friedman: I think the process always starts with the material. You fall in love with it, and then you start to do the analysis. Will people want to see it? How hard will it be to get them to see it? And what are the economics? So it's more about "how do we get this done" as opposed to "let's not do this."
Moore: We have Flight, a movie that was a very dark script on the page, but then Bob Zemeckis, who's one of the most successful directors of all time, sparked to it. But even with him, we're saying, "This is the level [at which] we're prepared to do this." So even though it's Bob Zemeckis, you're only giving him, in this case, $30 million. There's still the reality of saying, "It has to be perfect execution."
THR: Is there a particular project you loved but had to turn down because it wasn't economically viable?
Moore: The script for Moneyball was available, and I had read the book when it first came out. I found that story very inspirational. And then you get to the business of it, and you're saying: "It is a movie where much of the dialogue is a discussion about baseball statistics. How is this going to travel, even with Brad Pitt as part of it?" Somebody ultimately made the movie, and the movie got nominated. The movie was a great movie that ultimately didn't do a lot of business outside of the U.S. So it was a great movie that I was happy got made and got to see it, but ultimately it was one that you just couldn't find a way to make those economics work.
Gianopulos: That's why it took Elizabeth Gabler [president of Fox 2000] over 10 years to get Ang Lee on board and wear Tom [Rothman] and I down to saying yes to Life of Pi at a number that would normally scare anyone.
THR: And what was that?
Gianopulos: A substantial budget. [Reportedly $100 million.]
THR: Donna, you also took a bit of a gamble on Les Miserables. Why?
Langley: I know it sounds pat, but we really did love the material. Les Mis is a piece of material that has taken 27 years to come to the screen. And Cameron [Mackintosh, the producer], who is just an incredible theater impresario, understands the material inside and out. I mean, he birthed it. He knew that he had to wait until he had the right team around him. And so when the full package was presented to us -- I was involved with Working Title in persuading Tom Hooper to come on board and direct the movie after winning the Academy Award for The King's Speech -- it just all sort of made sense to us. From a business perspective, we looked at it as almost a tentpole, but it's not priced like a tentpole. It's actually priced very responsibly. But in terms of the IP value of it, this is a show that's played for 27 years in 50 countries around the world and has had hundreds of millions of viewers. So it just made us believe that we could present it as a real event, particularly in the holiday season.
THR: Jeffrey, how did you feel in 1999 when Saving Private Ryan lost best picture to Shakespeare in Love? You were running DreamWorks with Steven Spielberg and David Geffen.
Katzenberg: It's very hard. Shakespeare in Love was a wonderful movie, but for me, someone who grew up on movies and remembers seeing Spartacus as a kid on Broadway, Saving Private Ryan is one of the great movies of all time and will stand the test of time. How that happened will always be a mystery to me.
Barker: That's one I'd like to see the vote on. It could have been one vote; we don't know.
THR: Harvey Weinstein changed the game with his campaign for Shakespeare in Love. Did you realize it at the time?
Katzenberg: Most of these executives here have been in business with Steven Spielberg over the years, and one of the things I've always respected enormously about Steven is that there is no such thing as campaigning, even during our DreamWorks phase. It was like: "Forget it. I don't do this. This is not what the Academy is about. I don't believe in it." He forbade us from campaigning. Terry Press, who is as good at this as anybody, was shackled with duct tape over her mouth.
Barker: I personally think it is totally overdone. I'm a little bit on Mr. Spielberg's side. I think you have to spend on an Academy campaign to get the Academy members to see the film, but I don't think they're influenced beyond that.
Katzenberg: Unfortunately, that's not true. I mean, honestly, that's no longer the case.
Gianopulos: It's sort of like campaign reform legislation in the political arena. Unless everybody plays by the rules and agrees to them, it's not going to stop. Rob and I are both members of the board of the Academy, and the Academy has tried to put some lids on what people can do and some of the practices that have gotten out of hand.
Friedman: If it was left unbridled, it would get really bad.
Gianopulos: It would go nuts. (Laughter.)
Moore: Some of the spend is political. The pressure comes from the filmmakers and the talent when they start to ratchet things up because they see what someone else is doing and they're saying, "Why aren't you doing the same thing for my movie?"
Langley: To Rob's point, when you do vanity campaigns, you look at it like that.
THR: There are enormous changes occurring in the business. What will it look like in 10 years?
Katzenberg: They haven't even begun. I think that 10 years from now, almost everything changes. All the stakeholders are going to be rearranged. Movies are only growing in their popularity, and I think that the power of this is going to more than just transform the consumption of movies -- it's going to revolutionize them. Today, about 100 million people will see a movie and pay $10 on a blended basis. Ten years from now, 2 billion people will pay $1.50. Some people will watch it for 65 cents on this [holds up cell phone], some will watch it for $2 on a TV screen, some will go to state-of-the-art theaters where you'll have a meal and a great experience there. They'll pay $50. But it all changes. Now I don't know if that's 10 years or 15 years, but it's coming.
THR: Does that mean fewer people will go to an actual movie theater?
Katzenberg: Just the opposite. It's like sports. Sports have never been more popular than they are today. You go back 30 years ago, and if you lived in Los Angeles and you wanted to see the Lakers, you actually had to go to a Lakers game because they would black it out on television. And so in the same way that sports has been completely transformed and now is very broad, highly popularized and you can experience it on so many different levels and price points, that's what's going to happen to us. THR: Why do you think it hasn't happened with the music business?
Katzenberg: Because the music business did the opposite of what we've done in the movie business, which is that I think greed got the better of them.
Gianopulos: They also have a very different model. The first thing that happened was, one day there was no Napster, the next day the cataclysm was there. And so it caught them completely off guard. Jeffrey's right: They were greedy, and so every time that the sales of CDs went down, they took the price up because customers realized that it just didn't seem right. And apart from that, their business model is different in the sense that their first exposure of their creative content is free. It's on the radio. Our first exposure is in the best setting possible and at the highest price.
Friedman: From a psychology perspective, the consumer always felt they were getting it for free.
THR: Many of you are in favor of releasing films on premium VOD either day-and-date or shortly after they appear in theaters. Are theater owners softening to the idea?
Gianopulos: We've been having ongoing conversations with theater owners, and they're starting to come around. The average life of a movie in a multiplex is 3-1/2 weeks. The video window is about four months. So you have three months of darkness. We'll call it "the dark zone." Three months at the time when consumers and audiences know the most about a movie, but when there's no place to get it. So that doesn't mean that they don't get it. That means they either resort to piracy, or they stay home and watch something else. So how do you do something about that? We've started that process by moving the window of availability of the digital download up a little bit, but that was a small step. We're hoping that we can gradually get theaters around to that idea.
Moore: I have three teenage sons who are now in a place where they expect to be able to watch things when they want them on whatever device. And they are oddly as comfortable watching a movie on their iPhone as they are watching something on a big screen. They view them as not exclusive experiences, but they are different experiences. There are times when they want to go with a group of people out to a movie theater; there are times where they're hanging out and want to spend 20 minutes watching something on their phone.
THR: What is the one film that means the most to you?
Katzenberg: Here's the problem with that question: Everybody's going to answer the same movie -- Lawrence of Arabia.
Langley: Probably the most influential film for me -- sorry, because it's not necessarily my favorite film -- but the most influential film was The Red Shoes.
Gianopulos: I'd have to go back to the second Godfather. That's what I thought Jeffrey was going to say. (Laughter.)
Friedman: As a kid, I lived in an extraordinarily small town, and the film that I remember most vividly is The Ten Commandments. We got out of school and we went and watched it.
Moore: See, mine is The Godfather, so Jeffrey is right: Jim and I, at least, are on the same page. Mine actually was the first Godfather.
Katzenberg: I'm just older than all of you. That's all. (Laughter.)
Barker: I think Rear Window is it. It tells us why we do what we do as a viewer, as a practitioner, as a storyteller.
THR: If you weren't studio executives, what would you do?
Moore: Well, my dream when I was a kid was to become a sports announcer.
Friedman: As a kid I wanted to be a marine biologist, but then I realized you had to go to school, so that didn't really work out too well. But philanthropy is very exciting to me now, and I'm very active when I'm not 100 percent working. I also have four children, so that keeps me busy too.
Langley: My husband is an interior designer, so I think I would love to develop a high-end hotel with properties around the world. Sounds interesting. … I think I might even text him that now. (Laughter.)
Barker: I was one of those people that maybe strived to be an artist but knew there was no way I was going to pull that off. So what I would do is serve the artist. And that's always been fulfilling for me. But I think for a lot of us, when we were kids, the movies provided something for us. Maybe we didn't like ourselves so much, we found life a little boring, and these films kind of enlarged us and made us into bigger people. We didn't want to be diminutive or common, and to me that's how it all started when I was a little kid, when I went to see Rio Bravo when I was 5.
Gianopulos: Well, I started out wanting to be a musician at one point, and also a fireman at one point.
Katzenberg: I wanted to be a fireman! Honestly. I was 6 years old, and I had a fireman hat.
THE CONTENDERS
Michael Barker, Sony Pictures Classics
Rust and Bone, Amour, West of Memphis, Smashed
Rob Friedman, Lionsgate Motion Picture Group
The Impossible, The Perks of Being a Wallflower
Jim Gianopulos, Fox Filmed Entertainment
Jeffrey Katzenberg, DreamWorks Animation
Rise of the Guardians, Madagascar 3
Donna Langley, Universal Pictures
Rob Moore, Paramount
Flight, Not Fade Away, Rise of the Guardians, Madagascar 3
Stephen Galloway [email protected] | 影视 |
2016-36/0815/en_head.json.gz/1702 | Hong Kong Filmart: 5 Events Not to Miss
Clarence Tsui
"Beautiful 2013"
From Danny Boyle's latest to a glimpse inside the method of the enigmatic Wong Kar-Wai, the festival is as eclectic as the city it calls home.
This story first appeared in the March 29 issue of The Hollywood Reporter magazine.
1. Beautiful 2013 After the success of last year’s Beautiful 2012, which brought together four Asian directors to make short films about beauty (one of which, Ann Hui’s My Way, was watched 12 million times on China’s Youku, which hosted the films on its online portal), the Beautiful omni-bus returns with entries from Japan’s Kiyoshi Kurosawa, China’s Lu Yue, Taiwan’s Wu Nien-jen and Hong Kong’s own Mabel Cheung Yuen-ting. Produced by the HKIFF, the project has become one of the event’s signatures: Apart from its online presence, Beautiful 2012 was screened during the Critics’ Week sidebar at Cannes, followed by a North American premiere at the Toronto Film Festival.
2. A Complicated Story This examination of the increasing divide between mainland China and Hong Kong will give festivalgoers a glimpse of the future of Hong Kong cinema. Backed by two local industry heavyweights — superproducer Bill Kong (Crouching Tiger, Hidden Dragon) and auteur Johnnie To (Election) — first-time director Kiwi Chow teamed up with nine recent graduates from the film and TV school of the Hong Kong Academy for the Performing Arts to tell the story of a strug- gling mainland student hired as a surrogate mother by an affluent Hong Kong couple.
PHOTOS: China Box Office: 10 Highest-Grossing Movies of All Time
3. Nobody’s Child The 1960 drama by Bu Wancang about a young girl braving severe climates — the film was shot on the Japanese island Hokkaido during the frigid winter months — to search for her mother will be unveiled with a fresh print after a copy was discovered by Hong Kong archivists in Taiwan and sent to France’s L’Immagine Ritrovata for restoration last year. The clarity of the new print only can enhance the sterling performance by Josephine Siao Fong-fong, then just 11. The actress eventually would become one of the most acclaimed Chinese performers of her generation, winning a best actress award at the Berlin International Film Festival in 1995 for Summer Snow. She now is a psychologist and a dedicated campaigner against child abuse.
4. Trance Fresh from his duties as artistic director of the London Olympics opening ceremony, Slumdog Millionaire director Danny Boyle returns to the big screen with this thriller that will play in the HKIFF’s genre-focused Midnight Heat section. The film stars James McAvoy as an art auctioneer who links up with a mobster (Vincent Cassel) to steal a Goya but is forced to see a hypnotist (Rosario Dawson) when he forgets where he hid the painting. Given the tendency these days for English-language titles from A-list directors to make their debuts at high-profile European and North American festivals, the HKIFF has scored a coup of sorts by landing this film’s international premiere on March 29 — just days after it opens in Boyle’s home market in the U.K.
STORY: Does China Still Need Hong Kong? 5. Master Classes With Andy Lau and Wong Kar-Wai As part of the festival’s Jockey Club Cine Academy, two of Hong Kong’s most iconoclastic filmmakers will be discussing their work in free-admission master classes. Lau will reflect on his career as the festival hosts a retrospective of his work as a cinematographer, director and producer on March 28; Wong, whose first film (As Tears Go By, lensed by Lau) and latest (The Grandmaster) are both screening during the festival, also will meet his fans and followers March 21. | 影视 |
2016-36/0815/en_head.json.gz/1757 | Dennis Haysbert Talks Replacing Michael Clarke Duncan in ‘Sin City: A Dame To Kill For’
Dennis Haysbert Talks Replacing Michael Clarke Duncan in 'Sin City: A Dame To Kill For' Tambay A. Obenson
Dec 17, 2012 12:24 pm Share This Article Pin It
“I haven’t finished working out to the capacity that I need to, but he’s going to be different. This is playing as a prequel, so it should work out.. It’s going to be my character, but I’ve spoken extensively with Frank Miller and Robert (Rodriguez) about what they want with the character and yes, it has to have some feel of what Michael did, but I have to make it my own.”
I guess you could say he’s stating the obvious in that quote, but I thought it was worth sharing, since questions came up as to how Dennis Haysbert would fill the late Michael Clarke Duncan’s shoes, when it was announced that he would replace him.
Both are about the same age and height, but Clarke clearly has a lot more physical mass than Haysbert; he’s practically the incredible hulk, and can put on a far more menacing visage than Haysbert; But Haysbert will tackle the character in his own way, even though there likely will be comparisons to the two when the sequel/prequel is released.
In case you didn’t know, there’s a follow-up film to the 2005 Robert Rodriguez-directed hit, Sin City, based on the comic by Frank Miller, titled Sin City: A Dame to Kill For.
Much of the original cast (Mickey Rourke, Jessica Alba, Jaime King and Rosario Dawson) are returning for part 2; among those who won’t be returning for very obvious reasons is the late Michael Clarke Duncan, who passed away in September.
And as already noted, replacing Duncan in the role of Manute will be Dennis Haysbert. “Manute is a character that has been part of the heart of the Sin City tales, and the late Michael Clarke Duncan beautifully established that role onscreen… We could not tell the story of Sin City: A Dame to Kill For without Manute and are thrilled to welcome Dennis Haysbert to the cast,” said Rodriguez in a statement, adding that… “one of the storylines being adapted is A Dame to Kill For, originally published in 1993 and featuring a man named Dwight entangled in a complicated and deadly relationship with a femme fatale named Ava. Haysbert will play Manute, the brutal and seemingly unstoppable right-hand man of Ava’s husband.“
Also being replaced is Devon Aoki, whose role will be taken over by Jamie Chung in the sequel.
Shooting is on a short hiatus at the moment, and will return in January.
The above quote was lifted from an interview Haysbert recently gave to SuperheroHype.com, which you can read in full HERE.
This Article is related to: News and tagged Dennis Haysbert, Michael Clarke Duncan
More From IndieWireStep Into the Ring in Exclusive ‘The Challenger’ PosterDennis Haysbert Will Play Part Detective and Part Grand Inquisitor in Syfy Pilot ‘Incorporated’Watch: First Trailer For ‘Experimenter’ Starring Peter Sarsgaard And Winona Ryder Gets Into Your HeadSurprising Full Cast Revealed For Jason Reitman’s Live Read Of ‘Star Wars: Episode V – The Empire Strikes Back’ Comments
J Johnson May 13, 2016 3:31 pm Will be amazing! Dennis is always on top of his game!
Reply ALM May 13, 2016 3:31 pm Love him!
Reply Jesse May 13, 2016 3:31 pm And a excellent opportunity to learn about allstate insurance.
Reply D.C. Kirkwood May 13, 2016 3:31 pm Congrats to him!!! | 影视 |
2016-36/0815/en_head.json.gz/1838 | Moffat Receives Writing Nod for Sherlock
April 21, 2012 Sandwiched between nods for two star-studded BBC adaptations Steven Moffat has been nominated as Best Writer at this year’s British Academy Television Craft Awards for his work on Sherlock reports the Radio Times.
Great Expectations – with a stellar cast including Ray Winston, Gillian Anderson, and David Suchet received seven nominations while the Abi Morgan adaptation of Birdsong (The Iron Lady scribe is also nominated in the Best Writer category) earned five nominations. Sherlock is also up for gongs in both the editing and sound categories.
Doctor Who only received one nomination in the Visual Effects for The Mill.
The British Academy Television Craft Awards which recognises skills across 18 different categories, will take place at The Brewery, London on Sunday 13th May.
For a full list of nominations head over to the Radio Times site.
Tagged: British Academy Television Craft Awards, Doctor Who News, Sherlock, Steven Moffat, The Mill About Andrew Reynolds
Andrew has left Kasterborous. Any article that appears on the site past February 2016 claiming to be written by Andrew Reynolds has been done so maliciously and without the authors consent. The author does not condone gambling in any form and would not seek to publicise the industry through a children's television show. If you like Doctor Who articles without a hefty dose of identity theft and gambling spam, why not check out http://thedoctorwhocompanion.com/ | 影视 |
2016-36/0815/en_head.json.gz/1866 | Review: 'New Year's Eve' best forgotten
Director Marshall drops the ball
Author: Michelle Solomon, Contributing writer
Updated On: Dec 21 2011 01:12:51 PM PST
Renee Zellweger: There's nothing 'negative' about aging Mark Davis/Getty Images
David Becker/Getty Images
Alberto E. Rodriguez/Getty Images for CinemaCon
Intersecting lives clash and collide in "New Year's Eve" but the only sparks that fly in this "Love Boat-esque" Garry Marshall directed film are when the famous Times Square ball pops a bulb and almost misses its grand descent. Marshall effectively drops the ball on this one, too, a retread of his other holiday Hallmark card comedy "Valentine's Day," only that was semi-bearable. Filled with celebrity names to up the ante, "New Year's Eve" basically recycles the same formula as "V-Day" dicing up more plotlines than confetti. Hilary Swank is the newly promoted vice president of the Times Square Alliance; New Year's Eve could make or break her career. In a small and forgettable role in this storyline is Brendan (Chris "Ludacris" Bridges), a New York City police officer enlisted to assist her, although you'll never really know why that's his job when most of New York's finest are on the street. Michelle Pfeiffer is up next as Ingrid, a wallflower assistant to a record company executive, who picks New Year's Eve as the night to kick her bucket list. Pfeiffer's Ingrid isn't just dowdy she's downright dull. In another forced stretch to cross connect players in this Rubik's Cube, Ingrid enlists a courier (Zac Efron) who has been delivering her mail for years to help her realize her dreams. Efron as bicycle messenger Paul is the best thing about the film, which doesn't say much for the movie.Also part of the record company mix is Jensen, a rock star (played by real life rock star Jon Bon Jovi who should take note not to quit his day job). Jensen is suffering over his break up with Laura, a caterer (played predictably by Katherine Heigl). It just so happens she's in charge of the record company party where he is the featured performer. Sofia Vagara is one of the brightest lights in the film as Laura's sous chef, and has some of the best lines in the film, stealing every scene she is in. "In my country when a man gets down on one knee, it's for two reasons: because he is proposing marriage or because he's been shot."Josh Duhamel as Sam, the son of the record company's founder, is frantically trying to make it back to New York after attending a wedding in Connecticut. The wedding is non-essential since it only serves to put him in a predicament that he may not make it to New York in time for midnight, and there's someone from a serendipitous (that is the exact word used in the film to describe his plight) 2011 meeting who he has to meet at the stroke of midnight.You lost yet?Sarah Jessica Parker plays a costume dresser at Radio City Music Hall, and single mom to teen daughter, Hailey (Abigail Breslin). Hailey wants to spend New Year's Eve in Times Square puckered up for her first kiss, but doting mom wants the girl to spend the evening with her. Clichés anyone?Jessica Biel also returns for a second go 'round after her performance in "Valentine's Day." This time she's a pregnant woman trying to have her baby at the stroke of midnight so she and her husband (Seth Myers) can win $25,000 from a local hospital. (Parents of kids in the audience at the screening I saw were forced to have to explain the meaning of va-jay-jay after a nurse wishes Biel and her va-jay-jay good luck.)Ashton Kutcher returns from his star turn in "Valentine's Day," this time to play Randy, a comic book illustrator and holiday hater who gets stuck in an elevator with Elise, played by Lea Michele. "Glee" fans will be happy to note that Lea does sing in the movie, and more than once. Her updated rendition of "Auld Lang Syne" is sure to knock Mariah Carey's update of the old chestnut out of the pop holiday charts. For the senior element, Robert DeNiro is a dying man who wants to see the ball drop one last time. Makes you wonder what happened to cabby Travis Bickle roaming Times Square in "Taxi Driver." "I'm sorry for the bad things I've done," DeNiro says in "New Year's Eve." Is he apologizing for his latest string of bad movie parts? Halle Berry is mere eye candy as his nurse who wants to grant him his final wish, but redeems herself in one of the film's few touching moments when she reveals where she'll be when the clock strikes midnight.Screenwriter Katherine Fugate, who also wrote "Valentine's Day," did a much better job in the previous film of creating plot twists that yield some shred of surprise. Here, even cameo appearances bear no "wow" moments. Penny Marshall shows up in her brother's film as a partygoer demanding that a waitress fetch her more champagne. What, no beer? No Schlemiel? No Schlimazel? Ryan Seacrest plays himself as host of the Times Square televised events. No stretch there. New York's Mayor Mike Bloomberg puts in an appearance, and is sure to receive a different response from moviegoers than what would have been expected prior to Occupy Wall Street.Marshall's "New Year's Eve" should have been a cinematic postcard that brought all of the excitement of spending New Year's Eve in New York's Times Square to the big screen. Instead, this romp is best treated as an old acquaintance that should be forgotten and never brought to mind.
UP NEXT // Ryan Lochte 'in talks' to join 'Dancing With The Stars' | 影视 |
2016-36/0815/en_head.json.gz/1918 | Review: Jack the Giant Slayer
Stephen Browne
�Jack the Giant Slayer� did not do very well opening weekend, earning only $28 million of the $200 million they need to break even.
On the other hand, nothing else that weekend did either and �Jack� wound up on top anyway. There have been indications it�s been picking up, perhaps due to word of mouth advertising.
I went to see it with two very uncritical movie reviewers, my six-year-old daughter and her best friend. I was glad it was on the marquee because nothing else looked suitable.
Well that and the fact that I do want my children exposed to fairy tales. When I was growing up we had Andrew Lang�s Red and Blue fairy books in the house (there are 12 in all). These were themselves taken and translated from other collections of European folk tales and edited for children. So they are already at least second hand. �Jack� is like that, in that it is very loosely based on two stories involving guys named Jack who have a lot to do with giants. There�s �Jack and the Bean Stalk,� first published in 1807, and �Jack the Giant Killer,� earliest published version 1811.
Both of these, though they borrow heavily from mythology and the folk tales of Cornwall, are apparently early 19th century creations possibly written for a market that had already heard all the classical tales and wanted more.
Jack and the Beanstalk was first done on film in 1902, and has since been reinterpreted by Mickey Mouse (1947), Abbot and Costello (1952), Bugs Bunny (1955), The Three Stooges (1962) and Gene Kelly (1966) among others.
In 2001 Jim and Bryan Henson told �Jack and the Beanstalk: The Real Story� in a TV miniseries, revealing for the first time what a rotten scoundrel Jack was.�Jack the Giant Killer� however appears to have been done on film only once before, in 1962.
In this latest interpretation, farm boy Jack (Nicholas Hoult) goes to town to sell his uncle�s horse because they are seriously broke. However our Jack is no simpleton and acquires the magic beans from a monk who was doing something or other with them in his laboratory and is on the run from the king�s guard.
Jack also meets the beautiful Princess Isabelle (Eleanor Tomlinson) who is wandering around the marketplace incognito because she wants to get to know the people she�s going to rule.
Isabelle�s father King Brahmwell (Ian McShane), loves his daughter deeply, but is nonetheless going to marry her off to Rodrick (Stanley Tucci) the nogoodnik prime minister she doesn�t love to secure the future of the kingdom.
Coincidentally they meet again when the Princess seeks shelter during a rainstorm in Jack�s humble cottage, which is soon whisked off into the sky by the magic beanstalk that grows from one of the beans that�s slipped through a crack in the floor.
Enter the King and his guard, led by stalwart and faithful Elmont (Ewan McGregor). Jack volunteers to join the rescue party going up the beanstalk to the land in the sky where the legendary giants dwell.
Unfortunately Roderick and his henchman (Ewen Bremner) are going too. Roderick it seems has possession of the crown the kings of Albion once used to control the giants the last time they came to the kingdom to serve Man (roasted, toasted, or raw).
Roderick wants to rule the giants and use them to conquer the kingdom. Why would he want to do that? He�s going to get it anyway when he marries Isabelle?Roderick it seems, has wider ambitions.
The climbers meet the CGI giants. The giants want to know the way down. They find it. That�s how the war starts.
Of course you can guess how it�s going to wind up for Jack and the Princess, but there�s a lot of less predictable twists and turns before then.
Jack does in fact slay some giants. One in a manner right out of the tales, and one in a way which perfectly illustrates Chekov�s principle of hanging the gun on the wall in act one and using it by act four. Which of course I can�t tell you.
There�s something else in the ending I can�t tell you either, and this is truly original. Not to mention pretty funny. Probably even funnier if you�re English.
So hey, it�s really not bad and it doesn�t do serious damage to folklore. You could argue it adequately translates traditional stories into new media, thus showing it�s still a living tradition.
It�s not going to make film history but it�s not a bad way to spend an afternoon with the kids.
My junior partner in film criticism summed it up, �It was awesome!� | 影视 |
2016-36/0815/en_head.json.gz/1994 | Sudoku Published : July 29 2013 BlackStar Film Festival grows to 75 films exploring African diasporaChris JordanBlackStar Film Festival shines light on global culture "Merkato" explores the daily lives of four merchants who sell their wares in an open-air market in Ethiopia.Credit: BlackStar Film Festival
What’s the appeal of the BlackStar Film Festival?
It can provide an outlet for a young Philly filmmaker who saw the loss of a culture in Ethiopia and drew parallels. Sosena Solomon’s “Merkato” looks at the demise of a market in Ethiopia due to the construction of strip malls and parking lots, a situation not unlike the cultural erosion that happens here.
“I fell in love with this flea market and then I began to see the transition of the place, and things were happening rapidly,” Solomon says. “I began to see long, tall buildings that in my opinion didn’t really belong there. I really wanted to document this way of life before it actually deteriorated.”
“Merkato,” a 19-minute short, will have its Philadelphia premier Aug 2., along with the feature “Tey” at International House.
Solomon, 28, is a native of Kenya who now lives in Philly.
“In so many ways, it’s a universal story, and it’s important for us who have access to the stories to document the universal connections,” Solomon says. “These are challenges and problems that we’re all facing.”
The BlackStar Film Festival, now in its second year, seeks to draw out the global connections of the African diaspora. The fest, founded by Northern Liberties-based Maori Karmael Holmes, has doubled in size to about 75 films this year.
The home base is International House, but there are events in several other venues.
“Philadelphia is a great incubator for a festival like BlackStar,” says the festival’s Lauren Holland. “The city is so supportive of independent art.”
Film icon Spike Lee will be featured on the "By Any Means Necessary: Producing Independent Film" panel, moderated by Nzinga Kadalie Kemp, Friday morning at International House.
This year’s highlights also include the 1984 sci-fi cult hit “Brother From Another Planet” shown with a new live score by King Britt, Damon Bennett, Anthony Tidd and Marlo Reynolds, tomorrow at Johnny Brenda’s on Frankford Avenue, and a screening of “Yelling To The Sky” on Sunday with a Q&A featuring actor Tariq “Black Thought” Trotter of The Roots and composer Zakee Kuduro after the film at the International House.
“Part of the reason that sparked me is the idea of cultural preservation,” Solomon says. “The idea of capturing a culture before it evolves into something else.”
BlackStar Film FestivalAug. 1-4International House, 3701 Chestnut St.Drexel University, 33rd and Chestnut streetsBarnes Foundation, 2025 Ben Franklin Pkwy.Johnny Brenda's, 1201 Frankford Ave.$10/$7 students and seniors/$125 all-festival passwww.blackstarfest.org Celebrities join Native American pipeline protest in Washington, DCBy Ruthy Munoz WASHINGTON (Reuters) - Actors Susan Sarandon, Riley Keough and Shailene Woodley joined members of North Dakota's Standing Rock Sioux Tribe outside a courthouse in Washington, D.C., on Wednesday to protest against construction of a pipeline they say would pollute water and desecrate sacred land. About 100 members of the Native American group demonstrated outside the U.S. District Court for the District of Columbia while others filled a courtroom inside where a legal battle... | 影视 |
2016-36/0815/en_head.json.gz/2033 | New 'Downton' season likely to grip viewers
Michelle Dockery as Lady Mary in "Downton Abbey," which returns Sunday on PBS.
By ROB LOWMAN , Daily News, Los Angeles
Aew page is turned in the opening episode of the fourth season of "Downton Abbey." Six months after the car crash death of Matthew Crawley, the estate's heir who had survived World War I, Lady Mary (Michelle Dockery) continues to grieve the loss of her handsome husband. The warmth and vitality we saw her gain as she fell in love is gone, and she has retreated into the shadows, shrouded in black and leaving the care of her infant son, George, to a somewhat creepy nanny. Meanwhile, life goes on with the usual intrigue at Downton. Downstairs, the departure of Lady Cora's personal maid has created an unexpected opening, which will be filled by a dubious character from the past. The past is never far away in this Julian Fellowes drama, anyway. Chief butler Carson's old vaudeville buddy shows up out of the blue, and as usual, the proper servant keeps his feelings tamped down. But his concern for Mary's sorrow will unexpectedly lead him to speak out. Upstairs, Lord Crawley (Hugh Bonneville), seeing himself as his widowed daughter's protector, begins to make decisions about the estate's future, although he has already proved to be a bad businessman. Cora (Elizabeth McGovern) continues to be the nurturing wife and mother, trying to help everyone without being intrusive. The death of her daughter Sybil in childbirth last season has left Sybil's husband, Tom (Allen Leech), once a servant now elevated to chief caretaker, in the awkward position of trying to help with the running of the estate while having no real power. His daughter, too, is being cared for by the suspicious nanny. Mary's remaining sister, Edith (Laura Carmichael), has blossomed as an assertive woman, and her affair with a London newspaper editor is headed in an unexpected direction. The addition of young cousin Rose (Lily James), who's ready to take on the Jazz Age, is already proving to be intriguing and likely the source of numerous high jinks down the line. Penelope Wilton as Matthew's mother Isobel Crawley is lost in pain as she mourns for her son, while always displaying a British reserve. Maggie Smith as the Dowager Countess turns out to be the rock in all of this. In the past, the character would often be good for witty upper-crust utterances and little else, but this season Smith gets to add weight to the role. It's a pleasure watching the marvelous Smith pull out her full arsenal. There are numerous other changes ahead for this year, but it's best to let most of this unfold for fans. "Downton Abbey" is, of course, a highbrow soap opera. It was in danger of running out of steam, but from what has been seen of season four, with the Crawleys and their staff facing the changes of the 1920s, it seems like the series is ready to reinvent itself. Perhaps not too much — it doesn't want to lose all its elite British charm — but enough to keep viewers tuning in. | 影视 |
2016-36/0815/en_head.json.gz/2207 | Douglas, Damon dramatize steamy show-biz affair
By Frazier MooreAssociated Press
This image from HBO shows Michael Douglas, left, as Liberace, and Matt Damon as Scott Thorson in a scene from “Behind the Candelabra.” NEW YORK – The idea of Michael Douglas playing Liberace might seem nearly as outrageous as Liberace himself. Liberace, forever hailed as “Mr. Showmanship,” was the excess-to-the-max pianist-personality whose onstage and offstage extravagance were legendary, and who wowed audiences in Las Vegas and worldwide to become the best-paid entertainer on the planet during his heyday from the 1950s to the 1970s.
He was the forerunner of flashy, gender-bender entertainers like Elton John, David Bowie, Madonna and Lady Gaga even as he kept a tight lid on his gay private life, which he feared could have ended his career had it come out.
By contrast, Michael Douglas is a 68-year-old movie star known for he-man performances and morally ambiguous roles. And he was no piano player.
But Douglas now dazzles as Liberace in the new HBO film, “Behind the Candelabra,” including lavish musical numbers where he tinkles the ivories and flourishes his jewel-and-ermine finery. The film (executive produced by show-biz veteran Jerry Weintraub, a Liberace friend) premieres Sunday at 9 p.m.
Douglas’ co-star is Matt Damon, who, in a casting choice almost as counterintuitive, plays Scott Thorson, a dreamy, strapping teen who in 1977 met Liberace in his Vegas dressing room and almost instantly became his personal assistant, live-in companion and top-secret lover.
“Candelabra” (whose title cites the trademark prop ornamenting his onstage piano) also features Dan Aykroyd, Scott Bakula, Paul Reiser, Debbie Reynolds and a hilarious turn by Rob Lowe as Liberace’s on-call plastic surgeon.
It was the film’s director, Steven Soderbergh, who brought together the two lead actors, helped shape their splendid performances and masterminded this portrait of a loving but bizarre and tempestuous affair.
This show-biz saga may be over-the-top, but there’s plenty of depth and it dives deep.
“We played the script and tried not to wink at the audience,” said Douglas. “It’s a great love story. I watch it and I forget about Matt and myself. Then, pretty soon, I practically forget it’s two guys: The conversations and arguments sound like any ol’ couple.”
Adds Damon in a separate interview: “The question for us was, How do we make this look like a marriage that we recognize? Most of our scenes we could relate to because we’re both in long-term marriages. It was a male-female story with two guys.”
Well, maybe. But that doesn’t override the risk factor for Douglas and Damon as they tackled roles dramatically at odds with their images and past work.
“I looked at Matt and thought, `Man, this guy’s brave,”’ said Douglas. “It’s one thing for me at my age to stretch a little bit and try different characters. But ‘Bourne’! A man in the prime of his career going this route?! I was in awe of Matt’s courage.”
“He’s being nice,” laughed Damon, 42, when told what Douglas had said. “He would’ve done it in a second! He’d never turn down a great role.”
Why did Damon say yes to man-to-man pillow talk and sequined thongs?
“I’ve never said no to Steven,” he replied, noting he had worked with Soderbergh before in “The Informant!” and the “Ocean” trilogy. “It doesn’t get any more fun than working with Steven.”
Douglas, too, had been in Soderbergh films – including the 2000 thriller “Traffic,” during whose production the director first proposed Douglas playing Liberace.
Why did he agree?
“First of all, Lee was a nice guy,” Douglas began, calling Liberace by the given name he never used professionally. “He was a lovely, lovely guy. I don’t play many nice guys.”
Douglas nails Liberace’s velvety, nasal voice and almost-ever-present pearly smile.
“One of the things I enjoyed about this part was, I got to smile,” he said. “I don’t smile a lot in my pictures. I’m always so goddamn grim.”
Still, in “Candelabra,” there isn’t always lots to smile about.
Thorson, a child of foster care, falls sway to Liberace’s charm and support, but it comes with a price. He is subjected to plastic surgery to mold him into a young Liberace (one of the remarkable makeup transformations Damon undergoes). He also becomes hooked on drugs in his mission to stay slim for Liberace, and, after a few years, his addiction and Liberace’s philandering bring a cruel end to the relationship, after which Thorson unsuccessfully sues for palimony.
Douglas, too, sports a variety of looks. Liberace is seen before and after his own plastic-surgery refresher, and, in a final scene, gravely sick from an AIDS-related illness from which he died in 1987 at age 67.
This death scene is particularly haunting for anyone who followed Douglas’ recent near-death experience. “Candelabra” is his comeback performance after a brutal six-month regimen of radiation and chemotherapy for stage 4 throat cancer in 2010.
When he stepped in front of the cameras after his own brush with mortality, he seems to have embraced Liberace as a positive life force and a fitting way to get back in the game.
“Yeah, I did,” he nodded. “I was enraptured by the joy that Lee had. He was a bit of sunshine to me.”
But Liberace also had a dark side. This, Douglas also captures despite a refusal to acknowledge it.
“It sort of happened,” he said. “It was there in the story.”
And while he allowed that “Candelabra” viewers might see Liberace as tormented and self-destructive, among sunnier traits, “I didn’t see him that way. I didn’t see a dark side to him.
“My career has been more in the gray area, if not the dark area,” Douglas went on (needing to point no further than rapacious money man Gordon Gekko in the 1987 film “Wall Street,” a character for which he won a best-actor Oscar, then revived it in the 2010 sequel, “Wall Street: Money Never Sleeps”).
Playing Liberace “was so much fun!” he said. “You put on this mask and it allows you to do anything you want. I don’t get to do that very often. My movies are usually about stripping off the makeup, getting down to the skeleton.”
In “Candelabra,” Douglas certainly got to wear a lot of makeup, and subsequent projects should allow him to embody other colorful characters — such as President Ronald Reagan in the film he was about to start, “Reykjavik.”
“I’ve always been somebody who, when I started a picture, never knew what the next picture would be,” Douglas said. “But during this two-year-plus hiatus, a bunch of good material came my way.”
As he spoke, he had already wrapped a comedy called “Last Vegas.” Ahead is a Rob Reiner film with Diane Keaton, and a couple after that.
“I’m at an age where I can try different things, do much different stuff than I thought I could do,” he summed up, looking pleased at a career (and himself) unexpectedly reborn. “I’m starting over. What I went through with Liberace has given me the confidence for this.” | 影视 |
2016-36/0815/en_head.json.gz/2266 | It's a Girl for Rebecca Gayheart and Eric Dane!
Eric Dane and Rebecca Gayheart with their daughter Billie
Jerod Harris/WireImage
By Sara Hammel and Blaine Zuckerman
Rebecca Gayheart and her husband Eric Dane have welcomed their second child, a girl they've named Georgia Geraldine, the actress's rep tells PEOPLE.
Gayheart, 40, and Grey's Anatomy star Dane, 39, are already parents to daughter Billie Beatrice, who was born in March 2010.
"Rebecca Gayheart and husband Eric Dane welcomed Georgia Geraldine Dane on Dec. 28, just in time for the New Year!" the rep says. "Both mom and baby girl are happy and healthy, Billie is thrilled to be a big sister, and dad is getting ready to live in a house full of ladies!"
In August, an expectant Gayheart shared some details about her more relaxed second pregnancy.
"What’s made it different is that I’m very focused on Billie … so I’m not very focused on [the pregnancy]. I'm not as neurotic," she told PEOPLE.
She also confessed to readying herself for the obstacles that awaited the couple as they prepared to parent two kids under the age of 2.
"I've heard that's very challenging. But I think I'm up for it," she said. "Eventually it's going to be great because they're going to be very close in age and very close, hopefully."
The pair announced the pregnancy in July. The Latest | 影视 |
2016-36/0815/en_head.json.gz/2298 | 1500 cinemas to be upgraded to 3D in the States Amy-Mae Elliott21 May 2008Home Cinema
A major cinema chain in the States has revealed plans to upgrade 1500 of its screens with the ability to show 3D movies.
Regal Entertainment Group has reached a deal with RealD 3D in a move that's being described as the largest ever commitment to 3D by any cinema chain and will see the total number of screens running RealD's 3-D technology to over 3500.
This upgrade announcement follows the recent news that the movie industry is looking more towards 3D to grab consumer's attention with a raft of 3D films planned for the coming year or so.
Last month DreamWorks boss Jeffrey Katzenberg announced plans to make all of Dreamworks' future films in 3D. The company's latest animated movie, Monsters vs. Aliens, will open in the US in March 2009 and be shown in 3D where available.
In addition, Disney-Pixar's Toy Story 3, and Avatar from James Cameron are due to be in cinemas soon, all offering the movie-goer a 3D experience.
Sections Home Cinema | 影视 |
2016-36/0815/en_head.json.gz/2401 | as Louise
Kacey Mottet Klein
Martin Compston
as Kristin
Antoine Jaccoud
Simon, the 12-year-old boy at the center of Ursula Meier's chilly, austere “Sister,” enters without introduction. We don't even get a good look at him for the first few minutes of the movie, because he hides his face beneath a ski mask and helmet. We learn about him simply by following him around a busy Swiss ski resort, apparently unnoticed by everyone but Meier's camera, as he goes about his business, which involves furtively stealing ski equipment from vacationers, hauling it down the mountain in the lift and re-selling it for bargain prices below. Because he's a child (the original title of the film is “L'enfant d'en haut,” or “The Child From Above”), the boy is almost invisible. He can move freely among the well-off skiers without attracting much attention. So the mask, as it turns out, is a significant part of his identity. The one thing we know for sure about him is that he's not who he seems to be. And we spend the rest of the movie trying to figure him out.Simon (Kacey Mottet Klein), a boy whose face, once we do see it, seems to be quite a bit older than the rest of him, lives in a cheap, one-bedroom apartment with his listless twentysomething sister, Louise (Lea Seydoux of “Midnight in Paris,” “Mysteries of Lisbon”), who shuffles through low-paying jobs and has a habit of disappearing with lowlifes who don't treat her terribly well. Mike (former footballer and Ken Loach star Martin Compston), a Scottish chef working at the lift restaurant, responds to Simon's situation once he learns that the kid is an orphan hustling for grocery money and not a brat trying to scrape up some cash for DVDs and video games. When Mike asks him where he lives, Simon replies, in halting English, “Down … in a big tower.” We know exactly what he means. The movie is divided into two realms, above and below. The man-made architectural “mountain” Simon lives in is in the drab, muddy reality at the bottom of the lift, a world-spanning tram ride away from the glistening white vacationland at the top. The majestic spectacle of the snowy Alps looms over everything in the brown lowlands, making them appear even more shabby and insignificant. (Splendid work here by cinematographer Agnes Godard, known for her long association with Claire Denis.)The boy is equally adept at selling to adults and other kids. He even takes special orders for select customers. And the movie views Simon as just another entrepreneur, capitalizing on the resort economy the way an independent developer might make use of the Internet. Before long, he's in business with Mike and has made the acquaintance of Kristin Jansen (Gillian Anderson — yes, Agent Scully from “The X-Files”), a strikingly lovely blonde mother on holiday with her two boys, who are a few years younger than Simon. Starved for maternal affection but not wanting to come on too strong, he is attracted to and wary of her. But what became of Simon and Louise's parents? We know they don't actually run a big luxury hotel, the story Simon tells Kristin. But did they really perish in a car accident, as he claims to others? How long have he and Louise been living like this? Is she really just his sister, or is there some other dimension to their relationship? And what's going to become of them? “Sister” may answer some of those questions or it may not, depending on whom you believe and when. The movie takes a refreshingly low-key, observational approach to storytelling that will remind audiences not only of Loach, but of Francois Truffaut, the Belgian Dardenne brothers and countless other movies about scrappy, streetwise kids, living by their wits in a cold, indifferent world. Director Meier's first film, “Home” (2008), starred Isabelle Huppert and an even younger Kacey Mottet Klein. This one picked up the Silver Bear at the Berlin Film Festival and is on the short list for the best foreign language film Oscar as Switzerland's official submission.
Dearly Beloved: The RogerEbert.com Staff Remembers Prince | 影视 |
2016-36/0815/en_head.json.gz/2459 | John Green Reveals 4 Things You DIDN'T Already Know About TFIOS!
Kristin Harris
The Fault In Our Stars author John Green participated in his very own Ask Me Anything on Reddit today, giving fans the chance to ask him all their burning questions. As you'd expect, there were a bunch about his beloved book-turned-movie, which resulted in some mind-blowing new revelations about The Fault In The Stars, and further proof that John Green might be the coolest human to ever exist. Check out the four biggest TFIOS secrets revealed during Green's AMA.
Advertisement - Continue Reading BelowOn his favorite scene to see come to life in the movie version of TFIOS..."The cancer support group days with Mike Birbiglia and all the teens living with cancer were the coolest days for me to see come to life," John wrote. "But really, every day was wonderful. It really was just a dream movie experience—the opposite of what usually happens to authors—and while the movie is not mine in any way, I'm so proud of the people who made it."
Most PopularOn how he came up with the idea for Hazel and Gus to connect over a book..."With An Imperial Affliction, I was trying to create a mirror to the story in TFIOS, so that Hazel would feel a deep connection to that story. Her fascination with what happens to Anna's mother is, of course, really about what's going to happen to Hazel's own mother after she dies, and she sees in the ambiguity of the ending the ambiguity in her own life: Hazel will never be able to know for certain that her mom is going to be okay, because she'll be gone," John revealed."When I went back to the story (I'd been trying to write something similar off and on for ten years) in 2010, I started thinking that maybe Hazel and Gus could be joined by a book that Hazel found particularly powerful, and that maybe their Wish could be to meet the author of that book. I'm sure that was in my mind partly because I'd been part of my friend Esther's [who inspired TFIOS] wish."On coming up with the name for Hazel's character..."One of the benefits of naming characters that you don't have when, say, naming a baby, is that you actually know the person when you name them. So you can use the name to reflect stuff about them," John said."Like, take Hazel: Hazel is an in-between color, and she's in between a lot of things: In between healthy and sick, in between adulthood and childhood, in between breathing air and breathing water, etc. So that seemed like a small way of communicating the instability and fear (but also excitement) of that time of life."On coming up with the name for Augustus' character..."Augustus is the name of Roman emperors, right? It's a grand name associated with traditional notions of greatness. But Gus is a kid's name. It's short and cute. In the novel, he makes the journey from strength to weakness, which is the opposite of the usual hero's journey. He starts out this confident, pretentious kid who's extremely performative in his every action. And then he becomes vulnerable. He becomes cracked open," John explained."For Gus, this is a brutal process. (Remember that moment toward the end when he says to Hazel, "You used to call me Augustus?") But his ability to be in it with her, and to allow himself to love and be loved despite the loss of the self he so carefully cultivated, is to my mind way more heroic than those traditional notions of Great Men Doing Great Things."Are you surprised by any of John's TFIOS revelations? What's your fave part of the book? Sound off in the comments below!MORE: Juicy Behind-The-Scenes Scoop From The Fault In Our Stars Set3 Reasons The TFIOS Movie Will Be Just As Epic As The BookThe Bizarre TFIOS Ending That Almost WasRead Next:
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tfiosNat Wolff Talks About Playing Isaac In The Fault In Our Stars A Guide To Crying: How To Ration Your Tissues During The Fault In Our Stars What Do You Think Of The Disguise Shailene Woodley Wore To See TFIOS With Ansel Elgort?Proof That Misty Copeland Is The Most Badass BallerinaShailene Woodley's Amazing The Fault In Our Stars StyleIs Kendall Jenner Going To Be The Next Victoria's Secret Angel? | 影视 |
2016-36/0815/en_head.json.gz/2472 | Calendar Sign In Cart SIFF Cinema Egyptian Opening Celebration!
October 4, 2014 USA | 2000 | 106 Minutes | Joel Coen, Ethan Coen
Of all the Coen Brothers films that have been featured at the Egyptian over the years (which is almost all of them), their biggest opening week came with this strikingly original, hilariously funny, and Homer-inspired musical journey through the Depression-era South.
Advance Tickets | $5 General Admission Day of Tickets | $5 General Admission or FREE admission with a Capitol Hill business receipt Receipt must be dated between Oct 1-5, 2014. One ticket per receipt. Receipts may be redeemed at the box office starting 90 minutes before showtime. Seating is first come first served.
George Clooney, proving his comedy chops as well as his Clark Gable-style charisma, escapes from a chain gang along with fellow prisoners John Turturro and Tim Blake Nelson. His goal is to make it back to his family, but along the way the trio experience a series of magical, madcap adventures straight out of "The Odyssey": participating in a bank heist with a notorious gangster, barely escaping the wrath of a one-eyed Bible salesman (John Goodman), crashing a Ku Klux Klan rally, finding themselves musically seduced by a trio of sirens, meeting a young blues prodigy, and becoming unlikely stars after cutting a hit single as the Soggy Bottom Boys.
The film features a smash-hit bluegrass and country soundtrack from for producer T-Bone Burnett, one which not only won five Grammy awards, but also inspired a concert tour and documentary film.
Principal Cast:
George Clooney, John Turturro, Tim Blake Nelson, Holly Hunter, John Goodman
SIFF's mission is to create experiences that bring people together to discover extraordinary films from around the world. It is through the art of cinema that we foster a community that is more informed, aware, and alive! | 影视 |
2016-36/0815/en_head.json.gz/2527 | MOVIES: Fast & Furious 6 (AND 7) - New Character Poster & End Sequence (Villain Revealed)
First things first here is the new Character Poster:
WARNING: The following text reveals end sequence (After Credit Scene) of the Movie Fast & Furious 6 which also reveals who is the Main Villain in Fast and Furious 7. Continue at you own risk.
End Sequence (After Credits Scene), as was in Fast Five, we found out that Letty is Still Alive.The people behind the movies have chosen yet again the same way to reveal the Villain for the 7th installment of the series... which also clears how The Fast and The Furious: Tokyo Drift fits in the franchise..!!
If you are still reading this, This is your last chance to turn around.
Here it goes: "The crew has helped Hobbs (Dwayne "The Rock" Johnson) in dispatching of Owen Shaw, earning their full pardons, enabling them to return back home, with Dom (Vin Diesel), Brian (Paul Walker) and Letty (Michelle Rodriguez) all seemingly ready to live the rest of their lives free and happily ever after.
The following sequence was placed immediately after that peaceful ending, but it's entirely possible that it may be shifted to occur sometime during the end credits, much like the reveal of Letty still being alive was during FAST FIVE.
We then see a pair of hands on a steering wheel, with Japanese suddenly coming across a police scanner in the car. In addition, looking around the car, we see that the inside of this particular S-Class has been reinforced for some reason. The scanner puts out the call for all units to respond to a high-speed chase taking place between an orange and black Mazda RX-7 and a grey Nissan 350Z, and this suped-up Mercedes floors it, taking off from its parked position.
This mysterious driver monitors the chase from a parallel road before getting ahead of the pursuit. At this point, he heads down a street on his left at an incredibly high rate of speed. Upon seeing the RX-7 approaching the coming intersection, the driver floors it, timing his entry into the intersection to slam right into the side of the Mazda, sending it rolling over upside-down, as the S-Class appears only minimally damaged.
This mystery driver then steps out of the vehicle, and it is now that we finally learn who is behind the wheel.....
Statham, playing Owen Shaw's older brother Ian, walks up to the RX-7 and over towards the driver of the vehicle, which we now see is Han (Sung Kang). (We see that we right in the middle of Tokyo Drift)
Statham tosses his brother's SAS dog tags into the car, next to the trapped and helpless Han, and, as he walks away, he pulls out his cell and makes a call, calling Dom. Very briefly, as Han's car explodes in the background, much as it did in TOKYO DRIFT, Statham's Shaw warns Dom that he doesn't know him, but he's about to… and, as he walks into the gathering crowd unnoticed, FAST & FURIOUS 6 ends.
So what do you think of this unbelievable ending? | 影视 |
2016-36/0815/en_head.json.gz/2561 | �Do you want to see a movie tonight?� asked my husband.It was a perfectly reasonable question. It was a Saturday afternoon. We had no plans. But having been married to this guy for 20 years, I knew this question wasn�t as innocent as it seemed. There was a hidden meaning. It was actually code for, �Do you want to see that new action movie with lots of special effects, a huge body count and bad guys with fake foreign accents?� �What did you have in mind?� I asked innocently.�The new James Bond movie,� he responded.I snorted to myself. My husband and I have a lot of similar tastes, which is probably one of the reasons we have stayed married so long. But when it comes to movies, we are clearly divided along gender lines. He likes sports-themed films and big action movies, and I like chick flicks. This is not to say that I don�t like an occasional football film or action movie, too. I was actually sitting in an action movie when I went into labor with my son. Truthfully, it�s much easier to have contractions when things are blowing up on screen than when two people are discussing their relationship issues. But I like to mix it up and every once in a while see a good rom-com or foreign film or something that does not include zombies, intergalactic battles, Tom Cruise rappelling off a building, or men in tight spandex superhero costumes. Actually scratch that last one. I�m OK with that.On the flip side, my husband is not much of a fan of chick flicks. Although he admits that seeing one is a good opportunity for him to catch up on his sleep, most of the time, I have to drag him kicking and screaming with promises of large quantities of Twizzlers to get him to go. Then he will sit in his seat, chewing Twizzlers and looking wistfully at the wall separating the multiplex where sounds of extreme violence and things exploding come from the theater next door.This being the case, when he asked me to see another action film, he knew that it was going to be a tough sell, so he decided to take a different tack .��Skyfall� is an action movie, but at it�s heart it�s really a love story,� he said.�How do you figure?� I wondered.�The movie is about the unresolved relationship between Bond and Miss Moneypenny,� he explained. �It�s really a romance with some action thrown in.�Having seen a dozen or so other James Bond movies, I was fairly certain this description was about as fitting as calling �The Godfather� a comedy. Although I was impressed that he had obviously put a great deal of effort into this argument, I still wasn�t biting.�Actually, I had something else in mind,� I replied. �There�s this new baseball movie I think you�d really like that I�d be willing to see.��Baseball? Cool! What�s it called?��Pitch Perfect.�Tracy�s new book, �Lost in Suburbia: A Momoir. How I Got Pregnant, Lost Myself, and Got My Cool Back in the New Jersey Suburbs� is now available for PRE-ORDER! To reserve your copy, got to Amazon or any online bookseller. | 影视 |
2016-36/0815/en_head.json.gz/2562 | Actor Mark Ruffalo said on Twitter that a standalone Hulk movie is not in the works. He later clarified and said, “Just to be totally clear. I did not say there was not going to ever be a stand alone Hulk film. I said there wasn’t one in the works now.” Ruffalo earned praise for his portrayal of the big green creature in “Avengers,” and many people have wondered when a Hulk movie franchise reboot with Ruffalo would take place. Ruffalo said the next time we’d see him as Hulk would be in “Avengers 2.”
Michael Jordan is getting married again, CNN reported. The basketball legend applied for a marriage license in West Palm Beach, Fla., on Thursday. Jordan will marry Yvette Prieto. He divorced Juanita in 2006; they were married in 1989.
Caught on film - skiier escapes avalanche. | 影视 |
2016-36/0815/en_head.json.gz/2575 | / Showcase
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‘In the Red and Brown Water’ at Centre Stage
By JACK FELIX Sun-Gazette Correspondent ,
Save | UNIVERSITY PARK - "Sometimes tragedy is just a matter of bad timing." This is the reoccurring theme of "In the Red and Brown Water," Penn State Centre Stage's drama which, after a final preview tonight, opens tomorrow in The Playhouse with performances at 7:30 p.m. Friday and Saturday and Nov. 12 to 15 and a 2 p.m. matinee Nov. 10. This is the first in playwright Tarrell Alvina McCrancy's trilogy of "Brother/Sister Plays," which take place in the "distant present." Set in and about the boisterous projects of the fictional Louisiana town of San Pere, the tale follows an African-American teenager, Oya, who dreams of escaping the project's turmoil by getting a track scholarship at a nearby state college. But when it is offered, Oya is told to put off college and remain at home to care for her terminally ill mother. When Oya is ready to enroll, it is too late, as her scholarship has gone to another runner. Oya then recedes from her own potential when she fails to have a baby whom she desperately wants. "In the Red and Brown River" projects universal themes of love and loss, jealousy and betrayal, but mostly, the young runner's self sacrifices. The cast is composed of students from the music theater program and master of fine arts candidates and is directed by Steve Broadnax, associate professor of acting in Penn State's School of Theatre. This drama is not, however, without humor, which comes primarily from Aunt Elegua, the funny busybody. But throughout the two acts, the playwright's prickly focus is always upon Oya - aptly named for the goddess of wind and fertility. With simple setting and costuming, the drama has the unique and initially distracting distinction of having characters recite their own stage directions as if they were existing both in and outside the narrative of the lives. Relying upon Yoruba mythology, the bevy of memorable characters are a metaphor for Oya's diminishment after her failure to thrive and produce a child. After breaking up with a caring, simple man, Ogun Size, Oya gravitates to her first love, the flashy Shango - the smart-talking lover with bedroom eyes. But when he impregnates another woman, Oya is quietly broken, having failed to produce the least of which she expects of herself. The play's the thing and although "In the Red and Brown River" certainly doesn't have the box office draw of earlier shows, notably the recent sold out run of "Sweeney Todd," it is far more than a taunt acting exercise. McCrancy was the winner of the New York Times Distinguished Playwright Award and the trilogy was hailed as "the greatest piece of writing by an American playwright under 30." Although named for a goddess and able to run like the wind, Oya is never able to realize her dreams. As she is neither at the right stage nor at the right time, her story is a differently structured but decidedly compelling tragedy. For tickets, call 814-863-0255, (800) ARTS-TIX or visit www.theatre.psu.edu. © Copyright 2016 Williamsport Sun-Gazette. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
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2016-36/0815/en_head.json.gz/2594 | Murder on a Bridle Path(1936)
FOR Murder on a Bridle Path (1936) YOU CAN
The working title of this film was The Puzzle of the Briar Pipe, which was also the title of the British edition of Palmer's novel. Murder on a Bridle Path was the fourth production in the Hildegarde Withers-Oscar Piper series, and the first and only in which Helen Broderick played the "Hildegarde Withers" character. According to a Hollywood Reporter production chart, Dewey Robinson, Maxine Jennings and Barlowe Borland were cast members, but their participation in the final film has not been confirmed. For more information on the series, see entry for Penguin Pool Murder and consult the Series Index. | 影视 |
2016-36/0815/en_head.json.gz/2659 | [via press release from Sci Fi]
SCIFI.COM, THE WORLD'S BIGGEST GENRE ENTERTAINMENT WEB SITE, UNVEILS SLATE OF EXCLUSIVE ORIGINAL PROGRAMMING
'Farscape' Returns as Web Series!
Beverly Hills, CA � July 15, 2007 � Continuing SCI FI's commitment to providing viewers with a fully immersive, multi-platform entertainment experience, SCIFI.COM today announced a slate of online programming exclusive to SCI FI Pulse, the Channel's popular broadband channel. With over 34 million streams since its launch in April 2006, SCI FI Pulse is dedicated to providing users a dynamic and highly original lineup of online content. FARSCAPE WEB SERIES It's the return everyone's been frelling waiting for! SCIFI.COM has ordered a 10-part webisode series based on the multi-award-winning Farscape, the fan and critical darling that has been widely recognized as one of the greatest sci-fi series in television history. Executive produced by Brian Henson and Robert Halmi, Jr., and produced by The Jim Henson Company, in association with RHI Entertainment, the series will revive and expand the beloved Farscape universe. SCI FI TECH This hosted show is a companion to SCIFI.COM's successful technology blog, the ultimate online destination for updates and reviews on all the hottest new gadgets. SCI FI Tech, a live-action, weekly series will capture the edgy, unique tone of the blog and take it to the next level as the show's host tests these new gadgets in real-life � and often extreme � scenarios. SCI FI Tech is produced by Peacock Productions. INVENT THIS! In this informative yet lighthearted weekly original series, SCIFI.COM will set out to find the world's quirkiest inventions and reveal the secrets behind what brings these wacky contraptions to life. Invent This will also get into the minds of each of the brilliant and eccentric inventors behind each creation, and gets to the bottom of what makes them tick as well. The series is produced by Peacock Productions. SCIFI.COM is the world's largest sci-fi entertainment Web site with more than 3 million unique visitors each month. Its award-winning original content ranges from a renowned technology blog and a daily entertainment news service to the SCI FI Pulse broadband network, which serves millions of streams of original video each month. Its tie-ins to SCI FI Channel shows include the hit webisode series Battlestar Galactica: The Resistance, which has been seen nearly 7 million times, and the first ever TV network podcast. SCI FI Channel is a television network where "what if" is what's on. SCI FI fuels the imagination of viewers with original series and events, blockbuster movies and classic science fiction and fantasy programming, as well as a dynamic Web site (www.scifi.com ) and magazine. Launched in 1992, and currently in 89 million homes, SCI FI Channel is a network of NBC Universal, one of the world's leading media and entertainment companies. [july 2007] S
· FARSCAPE (SYFY) | 影视 |
2016-36/0815/en_head.json.gz/2680 | Comedy Perfect Days - I zeny maji sve dny "I don't get how I can be forty-five next year, when I still don't know what I want to do when I grow up!" The story begins with Erica's forty-fourth birthday where she fails to receive the biggest bouquet of flowers she can imagine, but she does get a nice good wish card from her ex-sister-in-law, an embarrassing message in a radio show from her ex-husband, cream for wrinkles from her gay friend Richard and a striptease artiste from her unfathomable mother. She places the good wish card on show and, even if she curses herself for it, she is moved to tears, and the present in the shape of the striptease-artiste is immediately bagged by Richard. Thus appears the successful life of Erica Miller, the star of the programme 'Before and After'. Erica has almost everything - her own TV programme, a renowned hairdressing salon, a large flat with a terrace, and freedom. But with each year that goes past she yearns more and more for the one thing she does not have - a child. And that is how our film starts... Rated No Rating .
Cast: Vojtech Kotek, Zuzana Bydzovská, Zuzana Krónerová, Ondrej Sokol, Ivana Chýlková Produced by: Directed by: Alice Nellis Written by: Alice Nellis Running time: 1hr 48min Opens: May 03, 2013 Limited Theaters for 04/22/14 Pick a day | 影视 |
2016-36/0815/en_head.json.gz/2691 | Sugar Girls
Ethel Alleyne
Lilian Tull
Gladys Taylor
Joan Cook
Posted By The Sugar Girls ~ 19th February 2012
Tonight’s Call The Midwife will be the final installment in the current series – and after only six episodes, it has become a weekly fixture that will be much missed. The BBC have confirmed a second series is in the pipeline, but how will we all cope in the meantime?
For us, watching Jennifer Worth’s gripping true-life stories come to life on screen has been particularly exciting. Her trilogy of memoirs about her time as a midwife in the East End was our inspiration in writing The Sugar Girls. Our aim was to capture a lost way of life, just as Jennifer Worth had done – in her case, that of poor expectant mothers and their families in 1950s Poplar, in ours the lives of factory workers a little further down the river in Silvertown. Call The Midwife was our touchstone as we wrote – and we kept a chapter of it pinned up on the wall at all times for inspiration.
We first heard that the BBC were producing a TV version from an actor friend, Robin Browne, who had been called to audition for a role in it. We were incredibly excited, although at the same time nervous about how the adaption would pan out. Would they capture the heart-stopping drama of the books, which are very upsetting and hard to read in places (not to mention pretty gory!) or would the stories end up being watered down for a cosy Sunday night audience?
When Robin revealed that he had got the part – you can see him in tonight’s episode as the Judge trying Sister Monica Joan for theft – we were anxious to hear all that he could tell us about the production. ‘Top quality British drama,’ was his unambiguous verdict – and from what he had seen on set he confidently predicted that the show would be a hit.
Tuning in to the first episode five weeks ago was a slightly uncanny experience – the adaptation felt so true to the books that there was an odd sort of déjà vu in watching it. It soon became clear, though, that Heidi Thomas – the screenwriter behind such previous hits as Cranford and the recent revival of Upstairs Downstairs – had pulled off an incredible feat. Not only had she captured the world of the books so exactly, but she had managed to marry up the two halves of the stories – the grim, gritty world of the poor East Enders, with the blood and gore of so many terrifying birthing scenes, and the lighter, more comedic world of Nonnatus House, where the eccentric band of nuns and nurses have their own escapades. Much as we loved Jennifer Worth’s memoirs, it always felt like they were alternating back and forth between one story of nail-biting drama, and another of light comedy. But somehow, the BBC adaptation makes the two feel interrelated, bridging the gap between the two halves of the story, and allowing the viewer to care as much for the nuns and nurses as they do for the mothers.
Not only that, but by playing up elements only hinted at in the books, the writers have fleshed out Worth’s own character, Jenny Lee. Although Jennifer Worth herself died just before filming began on the series, she had been in close contact with the Heidi Thomas – who promised her, for example, that she would always script Vanessa Redgrave’s heartbreaking authorial voiceovers herself – so presumably some of the extra details were sanctioned by the original author, and even based on things that happened in reality.
Elsewhere, the writers have made changes for dramatic reasons, and with powerful results – such as the scene in which Jenny tracks down the poor prostitute Mary, whose baby had been taken away from her in a previous episode, and who had resorted to stealing someone else’s bby as a result. In the book of Call The Midwife, this is presented almost as an aside – something Jennifer Worth found out about later in life – but the TV adaptation dramatizes it fully, with Jenny and Mary face to face as the baby is discovered.
Of course, despite its astonishingly high viewing figures, Call The Midwife does have a few detractors. In fact some of the former factory workers who we interviewed for The Sugar Girls were quite unhappy about the way the East End of the 1950s is represented in the show. Although the people in their neighbourhoods were poor, they told us, the strong sense of community and neighbourly goodwill in those days prevented anyone from really going under – and yet the drama of the TV show rests in part on families struggling to find the means to live, to eat and to clothe themselves, and living in desperate circumstances.
Some readers also objected to Jennifer Worth’s original books – feeling that as a ‘posh’ outsider merely visiting the East End, she never quite embraced her patients as equals, as much as she obviously felt pity for them. The TV adaption has brilliantly dramatized the struggle the young girl feels at dealing with one patient’s squalid living conditions – and her desire, despite her natural kindness, to get as far away from him as possible.
Perhaps it is true that both the books and, by extension, the adaptation offer a somewhat sensational glimpse of the worst aspects of life in 1950s Poplar, rather than showing the balanced whole. The stories that Jennifer Worth recorded in her memoirs are so heart-stopping, so gripping and tragic and yet at the same time so life-affirming, that perhaps we need to remind ourselves that she is recalling the most shocking or dramatic examples of her time as a midwife, rather than the mundane and everyday cases when everything went according to plan.
And what incredible stories they are. Watching them play out week after week, millions of people across the nation are reaching for their tissues. And the saddest thing of all is when we recall that these are not just scenarios dreamed up by a writer with her finger on our heartstrings, but true stories based on the account of someone who was actually there. With this in mind, some of the most moving tales are more than just upsetting – they are almost unbearable. But it is a testament to the skill of Heidi Thomas and the other writers – as well as to the excellent cast of actors, and everyone else involved – that the show manages to be not just a tear-jerker but uplifting as well. Out of true events more grim and miserable than one would expect to see on a cosy Sunday night in front of the TV, they have conjured something truly remarkable – and it’s hard to see how we’ll manage without it throughout the long wait for the next series to arrive.
* Call the Midwife is now available to pre-order on DVD. *
essexandrew Excellent write up, helps the understanding of Call the Midwife. http://www.bbc.co.uk/programmes/b01b2w74
Puts me in mind of my 1970’s Socal Work and Probation Experience’s firstly in Liverpool and then in 80’s in a relatively rural part of Essex where poverty was especially hard because of the comparative affluence of neighbours. Than into Tower Hamlets and Newham in late 80’s, 90’s and early 00’s where there was still immense poverty and deprivation in some pockets of places including in the Shadow of Thatcher’s Docklands developments.(Isle of Dogs)
The people, workers and residents are still there although most of us in ‘Comfortable Britain’ (Bishop David Shepppard’s term http://en.wikipedia.org/wiki/David_Sheppard in his ‘Faith in the City’ research http://en.wikipedia.org/wiki/Faith_in_the_city ) will find it hard to believe.
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More on Nurses – an excellent BBC TV movie, “Call the Midwife” | Iris sans frontières […] of the book give useful information as background for the movie. – here and here and here. For a midwife’s review of the book […]
Now a Sunday Times bestseller!
© Duncan Barrett and Nuala Calvi 2012
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2016-36/0815/en_head.json.gz/2697 | CONTACT US NEWS TIPS Print Email Font ResizeDavid Letterman offers touching Robin Williams tributeCompiled by Tony [email protected]:
08/19/2014 12:39:42 PM EDTDavid Letterman paid tribute Monday to his friend of 38 years, Robin Williams, who committed suicide last week at his Tiburon home.It was the first time "The Late Show" host taped a new episode since Williams died, and Letterman talked at length about his 38-year-friendship with the actor, whom he started out with in Los Angeles comedy clubs back in the '70s."Many things come to mind in a situation like this, and of course, more questions are raised than can possibly be answered," Letterman said. He talked about meeting Williams at The Comedy Store in L.A., saying, "In those days, we were working for free drinks -- some were working for more free drinks than others. What you would do is you would go on stage, you would do your little skits, and you would come offstage. And if there was a new guy coming on, you'd want to stick around and make fun of the new guy, because we were all worried that somebody else was coming in who was really funny."
In this Wednesday, Sept. 25, 2013 photo provided by CBS, actor Robin Williams, left, joins host David Letterman on the set of the “Late Show with David Letterman,” in New York. CBS says Letterman has signed a contract extension to remain host of the "Late Show" into 2015. (AP Photo/John Paul Filo) MANDATORY CREDIT; NO ARCHIVE; NO SALES; NORTH AMERICAN USE ONLY (John Paul Filo)
Letterman said Williams frightened the group of regular comedians, which included Jay Leno and Elayne Boosler."They introduced Robin Williams, and for some reason in the beginning, he was introduced as being from Scotland. They said he was Scottish," Letterman said. "So now we're stumped. All of a sudden he comes up on stage and you know what it is. It's like nothing we had ever seen before, nothing we had ever imagined before. We go home at night and are writing our little jokes about stuff, and this guy comes in and we're like morning dew -- this guy's like a hurricane. And now, the longer he's on stage, the worse we feel about ourselves. Because it's not stopping.Advertisement
"He finishes and I thought, 'Oh, that's it, they're gonna have to put an end to show business because what can happen after this?' We get to see this night after night after night and we didn't approach him because we were afraid of him. Honest to God, you thought, 'Holy crap, there goes my chance at show business because of this guy from Scotland!'" Soon after, the "Jumanji" actor scored a role on "Happy Days," then his own spinoff "Mork & Mindy," on which he gave Letterman a role in one episode. Then, of course, Williams became a huge movie star and appeared on Letterman's talk shows as many as 50 times, according to Letterman's estimation."He was always so gracious, and we would talk about the old times, and never did he act like, 'Oh, I knew you guys were scared because I was so good.' It was just pleasure to know the guy," Letterman said. "He was a gentleman and delightful ... People were drawn to him because of this electricity, this whatever it was that he radiated that propelled him and powered him."He then played a highlight reel of some of Williams' appearances over the years."Beyond being a very talented man and a good friend and a gentleman, I am sorry I -- like everybody else -- had no idea that the man was in pain and that the man was suffering," he said. "What a guy."Tony Hicks provides celebrity commentary for the Bay Area News Group. Contact him at Facebook.com/BayAreaNewsGroup.TonyHicks or Twitter.com/tonyhicks67.Print Email Font ResizeReturn to Top RELATED | 影视 |
2016-36/0815/en_head.json.gz/2702 | May 7, 2012 11:05AM ET
Letting 'Game of Thrones' Be Its Own Show
Richard Lawson
As HBO's wonderfully intricate Game of Thrones gets further and further into the dense and expansive world that George R.R. Martin has created, it's inevitably going to become harder to follow. Much like any great HBO series can get a bit tricky and knotty — The Wire took little time for exposition, so we just had to keep up as best we could; The Sopranos asked that we be able to differentiate between hundreds of characters with very similar names — the price of Game of Thrones' satisfyingly complex storytelling is that we might get a bit lost on occasion. Of course everything's a little easier to follow if you've already read Martin's books; single mention of a character name on the show brings to mind that character's entire arc in the book series, so you've some notion of where things are heading. But now, as the second season crosses the midway point and the story grows ever bigger, even those of us who have read the books are maybe starting to feel a little asea.
Meaning, some things happened last night that really did not happen in the books! Or at least they happened out of sequence or to the wrong characters. And while this was initially a little frustrating and confusing last night — there had been some smug, nerdy satisfaction in nodding our heads knowningly as things unfolded on screen — it now seems, well, almost exciting. We don't know what will happen on the show next week! Particularly: as far as we remember, Daernerys' dragons don't get stolen in the books, so we've no idea what's going to become of that plotline. And over at Harrenhall (that's where Arya's currently hanging out) the timelines and characters have all been swapped and rearranged so much that we're totally turned around. Again, this can be frustrating in relation to our knowledge of, and love for, the books, but as simply viewers of a TV show, it's beginning to feel pretty fun.
Much like the Harry Potter movies, Game of Thrones can often feel merely supplemental to the books. Sure these adaptations hit the important, action-packed, exciting beats, but all the depth of backstory and mythology is thinned or ignored in the interest of expediency and logical filmmaking. Really, there's no way to show pages and pages of historical reflection or subtle foreshadowing in a filmed version of a story. So while the adaptations are good, they don't feel as rich, as fully realized or immersive. But then sometimes they do, just in a different way. The second-to-last Harry Potter movie, The Deathly Hallows Part 1, was nothing less than a gorgeous movie, a melancholy yet suspenseful tale of three lost kids both trying to hide from and simultaneously save the world. And it had moments that just would not or could not be in the books, bits of visual and aural nuance and detail that wouldn't play well in text but were rather beautiful on screen. (Think: Harry and Hermione sharing a quiet little dance in their tent, all those pained, longing looks from Ron.) So a filmed version of some beloved and intricately detailed book does actually have the potential to enrich and maybe even improve upon the story.
Let's hope that Game of Thrones is able to do that. So far they are pretty closely hewing to the main track of the series — season one is book one, season two book two — though with increasing frequency, changes are occurring. We guess we're just trying to psych ourselves up to appreciate those narrative differences — it's great to see so much Tywin even though we really don't in the books, who cares if Robb Stark's ladyfriend isn't exactly who she is on the page — because there are going to have to be a hell of a lot more of these changes, omissions, elisions, etc. as the series continues. Book three alone, which will likely be tackled in some fashion over the next two or so seasons, is such a complex and interconnected series of Big Events, that the show's writers are going to have to perform some very delicate surgeries — amputations and transplants and grafts — to make it all work cohesively on television. So far we're confident that they're up to the task, we just now have to resign ourselves to the fact that we might not always be able to follow the story or exactly predict the next thing even though we're such geeks for the books. In the end we're glad for it, that HBO is forcing us to let go of our previous knowledge and just enjoy the series for the series. As Ygritte, who we met last night (in a different way than in the books, sort of!), might say: We know nothing. And that's probably OK.
'The River Wild' Twenty Years Later: Uncovering Gail's Rafting Journal
Phylicia Rashad's Tony Acceptance Speech Remains the Best Acceptance Speech
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2016-36/0815/en_head.json.gz/2828 | Daniel Tosh Tickets
There’s nothing quite like the provocative humor of comedian Daniel Tosh. From the hit TV show to his stand-up routine, there’s no telling who or what will become a part of the act, but you know you’ll be in for a show full of laughs with a purchase of Daniel Tosh tickets from the marketplace.
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Daniel Tosh Ticket Information
Although he may be most familiar as the face of Comedy Central’s “Tosh.0,” Daniel Tosh got his start in comedy on the stand-up circuit when he was fresh out of college. Tosh’s trademark sarcastic tone transfers easily from the screen to the stage where his line-crossing routines—highlighted in specials like “Happy Thoughts” and “Completely Serious”—have helped him become one of the most popular comedians on stage today. Make sure you don’t miss a single joke from his act by purchasing Daniel Tosh tickets from the Vivid Seats marketplace. Secure your spot in the audience for some Daniel Tosh stand up that is likely to touch on topics like dating, sports, and pop culture. Follow the steps below, or let a Vivid Seats agent help you when you call 866.848.8499 or connect to Live Chat.
Make use of the filters along the side of this page to minimize the list of dates for the Daniel Tosh tour. Once you find the date and city that corresponds with the show you want to attend, select that event’s “Tickets” button.
At the top of the next page, adjust the quantity filter and price range slider to reflect your needs. The list of Daniel Tosh tickets will automatically adjust to your preferences. Select “Tickets” next to the listing you want to purchase.
If you’ve shopped with us before, log into your account. Otherwise, register with a valid email address and click “Secure Sign In.” Make sure an appropriate delivery method is selected before you type in credit card or PayPal account information. Once you’re ready to finalize the transaction on your end, press “Place Order” and wait for email confirmation from the seller.
New Spring and Summer 2015 Tour Dates Announced for Daniel Tosh
Beginning in June 2015, comedian Daniel Tosh will be setting off on a regional tour of North America. Dubbed The Great Nor’Easter Tour of 2015, the upcoming venture from the “Tosh.0” host is set to include just over 15 cities along the east coast of the U.S. and Canada. The jaunt will start in Orono, Maine (June 9), and then continue with four shows north of the border in Halifax, Nova Scotia (June 11-12). Other sites featured on the summer Daniel Tosh tour will include Burlington, Vt. (June 15), Albany, N.Y. (June 17), Boston (June 19), and Wilkes Barre, Pa. (June 25), before the trek comes to a close with two shows on June 27 at Kings Theatre in Brooklyn, N.Y.
Ahead of his East Coast tour dates, Tosh has been booked for a handful of shows out west. The stand-up comic will perform two editions of “Tosh.show in the Snow” at the Wheeler Opera House in Aspen, Colo., on March 13. He’s also been tabbed for four spring performances at Las Vegas’ Terry Fator Theatre, on March 27-28 and April 24-25.
Brand New Blue Man Group Show to Debut at Hollywood Bowl
Comedy Central Announces New Anthony Jeselnik Tour Dates
Laugh Your Way Through 2013 with Some of the Best Comedians Around | 影视 |
2016-36/0815/en_head.json.gz/2877 | The Arts Your Balance +tax
Canadian actor August Schellenberg dies at 77
This article was published 16/8/2013 (1104 days ago), so information in it may no longer be current. DALLAS -- Canadian actor August Schellenberg, who starred in the Free Willy films, has died at his Dallas home after a fight with lung cancer. He was 77.The actor's agent, Jamie Levitt, says Schellenberg died Thursday surrounded by his family.
CPAugust Schellenberg
Schellenberg appeared in numerous television roles and was in all three Free Willy movies. In 2007, he was nominated for an Emmy for Best Supporting Actor in a Miniseries or Movie for his role as Chief Sitting Bull in Bury My Heart at Wounded Knee.Levitt says one of Schellenberg's last notable works was in 2012, playing the lead in Shakespeare's King Lear in an all-Canadian cast in at the National Arts Centre in Ottawa.She described Schellenberg as a loving family man and an iconic Canadian actor.-- The Associated Press | 影视 |
2016-36/0815/en_head.json.gz/2904 | Ashley Greene: "Twilight Has Ruined Me"
ShareTweetPinEmail Being in one of the most successful movie franchises of all time has spoiled Ashley Greene, who has played clairvoyant vampire Alice Cullen since 2008.
"Twilight has ruined me. When this is all over, flying internationally is going to be very hard for me," the 25-year-old actress says in the November issue of Marie Claire. "It is just not worth it to buy a first class ticket, because of the cost."
PHOTOS: Twilight Saga: Breaking Dawn - Part 1 wedding album
Says the star, "I'm lucky because my dad taught me to be frugal and save. And that's important because I want to know that I don't have to take an acting job for two or three years if I don't want to and that I'll still be able to make my house and car payments and buy food for my dogs."
Greene, whose other film credits include Apparition and Butter, admits there were some downsides to becoming an A-list star overnight. "It was a hard adjustment going from zero to 100 in a day. But it was also hard to talk to [friends], because you don't want to be a jerk. After [Twilight] came out, some people said, 'You changed.' And I said, 'I haven't changed, dude. Your opinion of me has changed because I'm working on this film.' Trust me, my parents would let me know."
VIDEO: Witness the star-packed Twilight Saga: Breaking Dawn - Part 1 premiere
Dating has also been problematic for the DKNY spokesperson, whose exes include "Love Slayer" singer Joe Jonas, 23, and Gossip Girl actor Chace Crawford, 27. "I'm always here and there -- everyone in my industry is -- and that's why a lot of relationships are fleeting," Greene tells Marie Claire. "I've gotten very good at detaching whenever I have to go away for three months, which I realize is hard on friends and kind of selfish."
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She explains, "You go on a couple of dates, and then someone ships off to do a movie. It's not like you're going to fly out and see them, because it's not serious enough for that."This article originally appeared on Usmagazine.com: Ashley Greene: "Twilight Has Ruined Me" ShareTweetPinEmail SpotlightWe Recommend | 影视 |
2016-36/0815/en_head.json.gz/2979 | JibJab Premieres 2007 Year in Review
From Lindsay Lohan to Larry Craig – No One is Safe in JibJab’s Third Annual Year in Review!
Venice, CA – December 19, 2007 – JibJab, the Internet comedy pioneers behind more viral video hits than any other independent or traditional entertainment studio, today premiered its third annual year in review entitled “In 2007”. The video summarizes the mad cap events of the past year in classic JibJab style, set to the tune of the Billy Joel hit “We Didn’t Start The Fire.”
The video can be seen for free at http://www.JibJab.com.
“This year was a doozy,” said JibJab co-founder Evan Spiridellis. “The toughest part wasn’t coming up with ideas, it was trying to squeeze them all in!”
“In 2007” is available not only on JibJab.com, but also exclusively on MSN for the first twenty-four hours after its release. Thereafter, it will continue to be featured on MSN and other JibJab partner sites such as Yahoo! Video, YouTube, Bebo, Daily Motion, CNN.com, and Verizon Wireless’ VCAST Video Service. JibJab has also partnered with PLYmedia to provide subtitles to its expanding international audience.
“We have made a concerted effort this year to broaden JibJab’s distribution footprint,” said co-founder Gregg Spiridellis. “Our goal is to push JibJab content wherever users want it, not only with our traditional satirical shorts, but also with our new Sendables greeting line.”
JibJab Sendables™ is the company’s digital greetings effort featuring ‘Starring You!™’ technology that enables users to upload photos of themselves and put their heads into JibJab movies. Since the company launched Starring You! in August 2007, people have uploaded and cut out over 4 million heads and made movies that have been seen over 20 million times. CNET’s News.com dubbed it “The Greatest Office Time-Waster in History”.
JibJab has been innovating digital programming and distribution for the past eight years. They have entered distribution partnerships with Yahoo! and MSN, produced branded entertainment for Pepsi, Anheuser-Busch and Verizon Wireless’ V CAST Video service, and premiered ten videos on “The Tonight Show with Jay Leno”. In March 2007, they premiered a media satire, entitled “What We Call the News”, in front of the President of the United States at the Radio and Television Correspondents Dinner in Washington, DC.
About JibJab Media
JibJab is an LA-based digital media studio that creates, produces and distributes original, comedic programming. In 2004, the company achieved international fame with an animated political parody entitled “This Land”. Since then, it has premiered ten videos on The Tonight Show with Jay Leno, formed distribution partnerships with Yahoo! and MSN, and secured branded entertainment sponsors including Pepsi, Anheuser-Busch and Verizon Wireless. For more information go to http://www.jibjab.com/about.
JibJab, Sendables, JibJab Sendables and Starring You! are trademarks of JibJab Media Inc. in the United States and other countries. The names of actual companies and products mentioned herein may be the trademarks of their respective owners. | 影视 |
2016-36/0815/en_head.json.gz/3210 | Tue 11th Feb at 6:30pm
@ The O2, London
Also appearing: The Vamps
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The Red Tour: Taylor Swift + The Vamps
Seven-time GRAMMY award winner Taylor Swift will be bringing her blockbuster show ‘The Red Tour’ to The O2 on the 1st, 2nd and 4th February 2014.
Taylor’s The Red Tour features two multi-level stages, elaborate costumes, dancers, aerialists and numerous changing sets, giving everyone in the venue an excellent seat. She plays electric guitar, banjo, piano and acoustic guitar during the show, and her set features numerous songs from her record breaking album, RED, in addition to new takes on several fan favourites.
This event takes place at The O2, which has achieved Gold Status for disabled access from Attitude Is Everything. Taylor Swift
Singer, songwriter and multi-instrumentalist, Taylor Swift, is a global superstar, seven-time GRAMMY winner and the youngest winner in history of the music industry's highest honour, the GRAMMY Award for Album of the Year. Taylor is the only artist in music history to have an album (2010's Speak Now, 2012's RED and 2014's 1989) hit the 1 million plus first-week sales figure three times in the US. She is the first artist since the Beatles (and the only female artist in history) to log six or more weeks at #1 in the U.S. with three consecutive studio albums. She’s a household name whose insanely catchy yet deeply personal self-penned songs transcend music genres, and a savvy businesswoman who has built a childhood dream into an empire.
Taylor Swift tour dates
The Vamps are without a doubt the new band on everyone’s lips. They have been causing a stir everywhere they go, with legions of fans following and pandemonium at every turn. A phenomenal live band with an electrifying set, the teenage four-piece - comprised of singer Bradley Will Simpson, guitarist James McVey, drummer Tristan Evans and bassist Connor Ball - have already picked up a phenomenal following online. Their debut single Can We Dance has clocked up over 10 million YouTube views, and second single Wild Heart has almost 4 million and their channel has already tipped 34.5 million total views.
The Vamps tour dates
16 people currently track this event
Peninsula Square
Greenwich London SE10 0DX 51.501740,
theo2.co.uk
020 8463 3359 Seating Plan:
→ North Greenwich 2 min walk
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Please note: requests should only be made by those officially affiliated to The O2. | 影视 |
2016-36/0815/en_head.json.gz/3318 | My Darling Clementine – review
Union Chapel, London
Robin Denselow
Sunday 13 May 2012 10.48 EDT
For the theatrical opening, at least, the setting is perfect. The Tammy Wynette and George Jones wedding song The Ceremony is playing as Michael Weston King and Lou Dalgleish walk up the Union Chapel aisle. She's wearing white and clutching a bouquet, and he's dressed in a hat and cheap blue suit. ("It's polyester", he later explains. "We suffer for our art.") Once they reach the stage, the mood changes as he picks up a guitar and they launch into By a Thread, the first of their pained duets about broken relationships, cheating and hurt. Behind them are a five-piece band, with organ, pedal steel, and twanging guitar work from Martin Belmont, famed for his work with Carlene Carter and Nick Lowe. By now they sound as if they should be to be playing in an American honky-tonk bar, back in the 60s or 70s.
My Darling Clementine is a bravely unfashionable British band who set out to pay tribute to those great country duos of that era – Tammy and George, or Johnny Cash and June Carter. And they do so remarkably well. Like our great veteran purveyor of country misery, the bleakly humorous Hank Wangford, they mix gloom with excellent musicianship and some fine songs. It's clear that this is no spoof band when they can write powerful weepies like Departure Lounge or the stomping 100,000 Words.
All that's lacking is variety. They switch between slow gloomy ballads and medium-paced sad country rockers, but performing almost every song from their album How Do You Plead? is not quite enough. A few more country classics like A Good Year for the Roses – made famous by George Jones and Elvis Costello, and finely sung here by the duo with solo keyboard backing from Dalgleish – would have helped an original and entertaining set. | 影视 |
2016-36/0815/en_head.json.gz/3372 | Monday MCM ...
Posted August 19th, 2013 @ 6:30am Photo: Capitol Records
Luke Bryan’s new album, Crash My Party, is predicted to be the #1 country album after one week in stores. First day sales numbers nearly tripled those of his 2011 album, Tailgates and Tanlines. We'll get more exact figures tomorrow.
The Band Perry will head out on their first worldwide headlining arena tour. They’re calling it the We Are Pioneers tour and their first show is November 8th in Sweden. They’ll start playing shows in the states starting in February.
Chris Young has been released from the intensive care unit of a Denver-area hospital and he’s on the mend after being treated for a mysterious leg infection. Chris is expected to resume his tour dates this week.
After Kellie Pickler brought home the mirror-ball trophy last season on ABC’s Dancing with the Stars, another country star may be next. Jo Dee Messina is considering taking on the challenge. Jo Dee has already met with the folks at ABC and is hoping to get on the show for the fall season.
The Grand Ole Opry has invited bluegrass group, Old Crow Medicine Show, to become its newest members. Keep in mind…they are the original singers of the song (Bob Dylan wrote it) that Darius Rucker covered this past year. Old Crow Medicine Show will officially be inducted during a ceremony at the Grand Ole Opry on September 17th.
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2016-36/0815/en_head.json.gz/3527 | http://blogs.wsj.com/speakeasy/2013/05/23/the-accidental-film-franchise/
The Accidental Film Franchise
Rachel Dodes
BiographyRachel Dodes
@racheldodes
racheldodes
[email protected]
A scene from Richard Linklater’s “Before Midnight.”
This weekend, the third installments of the summer’s most anticipated trilogies will go head to head: the guys-gone-wild extravaganza “The Hangover Part III,” the highest grossing R-rated comedy franchise of all time, and the indie romance “Before Midnight,” perhaps the lowest-grossing (but critically beloved) franchise in cinematic history.
The “Before” series, which director Richard Linklater calls his “accidental trilogy,” has become over the past 19 years a longitudinal study of relationships: the films bring together actors Julie Delpy and Ethan Hawke as Jesse and Celine, the young lovers who met on a train in “Before Sunrise,” and rekindled their romance in Paris nine years later in “Before Sunset.” In the latest installment, the couple—married now, and with kids—is on holiday in Greece, struggling to keep their flame alive as once-charming quirks start to grate on each other’s nerves.
At a Greek restaurant in Midtown Manhattan, Linklater talked with Speakeasy about the challenges of long-term relationships, shooting long scenes, and the pressures that come with releasing an indie trilogy:
Speakeasy: When did the discussions start to do a third movie?
Richard Linklater: About three years ago it seemed like Jesse and Celine were asserting themselves. It’s like, we work for them. With the second one, Julie and Ethan came to Austin about five years after the first film—they did a little scene in my [2001] film “Waking Life”—and that’s when we looked at each other, and were like, “That wasn’t just happenstance. We do work well together.” That put us on the path. This time, it was easier to make that leap, but harder to do what we were digging into.
Is that because in the first two films, Celine and Jesse are under these enormous time constraints, and now they’ve got their whole lives together?
Yes, it made it that much more difficult, structurally. It’s a harder story to tell. It’s not as romantic sounding, is it?
How did you figure out what the story would be? It was a blank canvas – we could’ve done anything, really. We could have had another encounter, if they were married to other people. We started from when “Before Sunset” fades out. We started thinking, what’s different at their age now? You don’t just take two weeks off and go to Europe and ride around on a train. You can’t do that once you have dependents or a certain place in life, most people. It would have been not as believable. So we felt we had to dive into the domestic. We had an early idea of just a typical Wednesday in their life, they’re both working and there are kids to pick up. We were on that for like six months. Then we thought what if they’re on holiday? But all that domestic stuff still works.
Richard Linklater on May 21, 2013 in Los Angeles, California.
Could you talk about what you were trying to show about relationships?
Inevitably, what attracts you to someone isn’t what makes a great long-term partner. Couples get over each other. There are a lot of relationships where it’s like “We used to camp all the time!” And then, the other person says “I hate camping! I only did that because you did.” You realize you’re bending to what you think they need. We’re all trying to fit, to make it work. That’s the endlessly fascinating subject, how people negotiate their time and space around each other in life.
Did you go back and watch the other two before you started writing the third one?
I do, because I’m analytical that way. It’s harder for Ethan and Julie, because it’s them and they think they know it. But they’ll be talking about the script and suggest something, and I’ll say “That’s in the first movie! We did that already! Watch the movies!” Once we all got to Greece, 10 weeks before shooting, we did sit down and watch both films back to back. It helps you dial in, because they aren’t really those two characters. They have personal relationships with them, but there’s a difference between Julie and Celine, and there’s a difference between Ethan and Jesse.
When you met with them in Greece, was the script finished? No, we were still writing. We just sat down and did the hard work, in the room all day and night. It’s a very writerly process that segues into workshopping then rehearsing. Then there’s the moment when it’s like, “I’m making a movie and they’re acting in the movie.” We’ll be rewriting on the day [of shooting]. I’ll drop a line in between takes. But they have a lot of dialog to memorize and a lot of rehearsal.
These films aren’t at all improvised, which often surprises people.
It’s a huge compliment to them as actors. I mean, have you ever seen a 10-minute improvised scene that fit into the rest of the movie? No, you haven’t. Because it’s impossible. People who know performing know that’s impossible. With a long single take, people have this belief that the audience will see it as kind of real on some level, but it discounts the enormous effort required, not to mention ability. Not all actors can do that, or would even want to.
It’s almost like a stage production. The stage lends itself to real-time acting. Film doesn’t really support that in the same way—with where the light falls, all these people walking, the sound boom. Flaws can happen. You have to bend the film apparatus to support it, and it drives everybody crazy, but it’s worth it. I think Ethan and Julie have been under-credited as actors. But “2001: A Space Odyssey” didn’t get nominated for best costume design for the apes at the beginning, because everybody thought they were real apes.
What you’re saying is that Julie and Ethan are so natural, it’s hard to appreciate that they’re acting? When you play the deformed person, people go “Oh, what great acting!” Any actor will tell you that’s kind of easier because it’s out of the ordinary. To get that familiar is just hard to do. That’s our row to hoe.
How did you decide what city to set this in? It becomes the third character, the co-lead. It comes late. Paris [the setting of “Before Sunset”] was obvious. [Celine] lived there. It made sense. But the first and third films were harder. This one, it could have been Greece, Italy, Spain, could have been Maine. Greece just worked. It just felt like the right place. That writer’s house [where they stay while on vacation], I visited that place. I was in Greece two days last May and I found that and so many of the other locations—that, the hotel room, the little town. I was like “This is pretty good. Yeah.”
Did any of you ever think in 1994 that this would become a trilogy? We’re the accidental trilogy. You’d never been that presumptuous to think that way. As we started talking about the second one, I remember Ethan being like “What about this kinda life project?” It was just theoretical. There was never any long-term thinking. Every movie you could theoretically do a sequel to. Like an old friend you haven’t seen in a while, you figure, they’re having their life. But it’s rare that it physically manifests, “Oh here’s Jesse and Celine, nine years older!”
Julie has joked that the last one is going to be “Amour.”
I made that joke at Sundance. I am glad she’s internalized that. I said, “We are going to skip the next three or four, and then do a comedic remake of ‘Amour.’” That would make me really old, because I’m older than them.
Since there’s been such a long gap between these films, there must be lot of pressure to live up to people’s expectations. There are no victory lap sequels here. You can’t take that much time and not dig in. I think people forgive economic sequels that give people more of what they liked. Most sequels get worse and worse, and they reboot franchises and that’s its own world. This trilogy has so nothing to do with that. There’s no real economics involved. Nobody’s clamoring for us to do this. We’re always at the same barely make-able budget.
What was the budget? About $3 million, which is just a little more than the other two. It’s funny—from ’94 to ’03 it was the exact same budget.
Both “Before Sunrise” and “Before Sunset” became cult hits long after they made it to theaters. What do you think of day-and-date releases? I am not against it theoretically, especially if you live in a place where you have to drive three hours to get to an independent type theater. I grew up in that place, where you’d hear about stuff and it never came to town. So you are left with this resentment about elites—these 20 places that have the culture. The day people combine theatrical and VOD [and publicly release the results] you’ll see more of it, but I don’t think anyone wants the stigma of a film that only did well on VOD. You can’t blame Hollywood for making films for 13 year olds, because that’s who goes to the movies. I keep telling people who have kids, “You’re out of the demographic.” They say, “I can’t even go to a movie anymore” and I say “That’s why Hollywood makes films not for you.”
Follow Rachel Dodes on Twitter at @racheldodes
Before Sunrise
Julie Delpy
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Jennifer Aniston's 'We're the Millers' Trailer Hits the Web | 影视 |
2016-36/0815/en_head.json.gz/3672 | South Park Creators Launch Their Own Company, Important Studios
Trey Parker and Matt Stone are set to launch their own studio. Get ready for 'The Book of Mormon' movie By Samantha Grossman @sam_grossmanJan. 15, 2013 Share
Stephen Lovekin / WireImage / Getty ImagesMatt Stone and Trey Parker of 'Book of Mormon' attend 66th Annual Tony Awards after-party at the Plaza Hotel on June 10, 2012 in New York City. Related‘South Park’ Creators to Start Company, Important Studios New York Times'South Park' Creators to Launch Their Own Company Rolling Stone Email
Apparently, once you’ve already created a wildly successful animated series and an equally successful Broadway musical, the only logical next step is to form your very own production company. That way, you can continue with your creative endeavors, but with total control over everything.
At least, that’s what Matt Stone and Trey Parker have done. The duo behind South Park, now in its 16th season on Comedy Central, and The Book of Mormon, still a hot Broadway ticket, have launched their very own company, appropriately dubbed Important Studios. They’ve built the new biz with revenue from their show and musical, along with support from various investors, the New York Times reports. The company is already sitting comfortably at an estimated value of $300 million.
(MORE: 10 Questions for Matt Stone and Trey Parker)
“Having worked with several different studios over the years, we came to realize that our favorite people in the world are ourselves,” the pair joked in a statement. And thus, Important Studios was born. The company will oversee television, movie and theater projects. The first major project? A film version of The Book of Mormon. The mega-hit, which won nine Tony Aways in 2011, has already grossed more than $200 million. Stone and Parker are betting it will do pretty well on the silver screen too.
The comedy duo has been toying with the idea of launching a production studio for two years now. “At first we thought we’d get some money from a hedge fund or a Russian oligarch or something,” Stone told the New York Times. But alas, it turns out that the help they needed came not from Russian oligarchs but from some Hollywood insiders. Investors include a boutique merchant bank whose head they met through Ari Emanuel, the co-CEO of William Morris Endeavor.
Book of Mormon fans are probably pretty excited about the move, as it means the notoriously hilarious show will eventually hit movie theaters. But hey, now that Stone and Parker will maintain total control over content, production and distribution, maybe we’ll even see a South Park/Book of Mormon hybrid. Cartman and Kyle as Mormon missionaries? Stranger things have happened.
MORE: The Book of Mormon on Broadway: Is It Really That Controversial?
@sam_grossman Samantha is a reporter for TIME.com and a graduate of Northwestern University's Medill School of Journalism. Home | 影视 |
2016-36/0815/en_head.json.gz/3716 | The Lavabit case »
« Why are people so uptight about science-religion debates?
Season finale of Sherlock (no spoilers)
I watched the third and final episode of Sherlock last night. Like the others, it was entertaining and kept me engaged. It also ended with a two teasers (one major and one minor) that suggest that a fourth season is in the works. The way the major teaser was presented, like the previous episode, seemed to be drawn from the film V for Vendetta. It has been two years since the previous season so one does not know how long it will be until the next one is released, especially since the two lead actors are now in high demand for other work.
While I am enjoying the series, the stories are getting a little wild and over-the-top in terms of plotting. I am also not a big fan of arch-villains with grandiose plans, which seems to be the direction in which the series is headed. Much of the appeal of the original Conan Doyle stories (for me at least) was in the smaller crimes, sometimes not even crimes at all but merely puzzles. I used to prefer them to the stories involving the evil genius Moriarty or international espionage. But perhaps those stories, often taking place in small towns involving ordinary people, lack the potential for action and glamor and exotic settings that modern TV seems to require.
There are a couple of amusing touches in the casting that reflect reality. The two people who play Sherlock’s parents are the real-life actor parents of Benedict Cumberbatch. The actor who plays Mary Marston is the real-life partner of Martin Freeman. You almost expect to learn that series co-creator Mark Gatiss, who plays Mycroft Holmes, is Cumberbatch’s real life brother under a stage name, though they don’t look at all alike.
Many of the best British TV series tend to contain very few episodes per season. I think that this enables them to be tighter and have higher production values but it also means much longer waits for fans. But if the quality is good, then people are willing to wait and then come back. I myself tend not to watch normal TV series because I don’t like to commit myself to watch a show for 22 weeks, which is what a normal US TV season consists of. But setting aside three Sunday nights to watch Sherlock was not a problem. I am not sure I would watch as faithfully if it went on and on.
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Tabby Lavalamp says February 3, 2014 at 12:21 pm Are you sure about Mark Gatiss being Benedict Cumberbatch’s brother? I’m not finding anything about it online…
wtfwhateverd00d says February 3, 2014 at 12:33 pm I am also not a big fan of arch-villains with grandiose plans, which seems to be the direction in which the series is headed. Much of the appeal of the original Conan Doyle stories (for me at least) was in the smaller crimes, sometimes not even crimes at all but merely puzzles.
Agreed, but I do think the short 3 episode season structure of the series lends itself more to arch-villains than standalone shows, especially if you want the audience to stick around during the 18 month gaps.
WIRED has had two now, maybe three in the next week, pretty decent articles explaining the original Sherlock references embedded in the series which is good, it’s been decades since I read the originals.
http://www.wired.com/underwire/2014/01/sherlock-fandom/
flex says February 3, 2014 at 12:45 pm I agree that the episodes are starting to get a little over the top. Which is a shame because there is so much good material which could have been used from Doyle which was only used as throw-away gags in the first season. I’m thinking that the mystery of the Geek Interpreter could have been a fun episode, but it was used for a laugh.
There appears to also be a tendency, and I’ve noticed it in many other films/television shows, that as sequels are made, a certain amount of, well, incestuousness, forms around the characters. The writers entangle the characters in ways that maybe make the earlier episodes somewhat,… disturbing. Rarely is it more obvious than in the Star Wars films, where Luke’s passionate kiss to Leia in the first film becomes a bit squinky when we learn that they are siblings. I’m not certain why writers would do such things. It may not be lazy writing, it may be related to contractual agreements with actors/actresses for a specific amount of screen time. It may be that the writers really think it is an amazingly great idea which will surprise audiences, and then becomes poorly executed because much of the script justifying the twist was left on the cutting room floor. But I do deplore the path which seems to be developing with the Holmes boys basically being the head and heart of the British government. I much preferred the first season and the Doyle interpretation where Mycroft may be the de-facto British government, but only because he was a middle-level bureaucrat who insinuated himself into the position where all the government paperwork converged, allowing him to see trends and advise other government agencies as to what was going on. Not to establish policy or direct activities, but simply to know everything. I think this season’s middle episode was still the best one of the nine, it was tightly scripted. If everything was a little too pat and interconnected, from a story standpoint these are usually good traits. Leaving loose ends hangings makes most stories less satisfying. Sure, it doesn’t model reality very well, but it doesn’t need to in order to be a good story.
This last episode had it’s moments, but was not nearly as satisfying as some of the previous episodes. The main cliff-hanger was trite, and I felt it was more about popularity than good writing. The best part of the episode, as far as I felt, was the sequence in the middle where Sherlock has what could be described as a lengthy introspective experience which in real time lasts 3 seconds. That writing was good and the depiction of the process was both interesting and reflected my own experience in a similar (albeit not nearly as dramatic) situation. Then, of course, the sequence with Sherlock’s parents was a nice touch as well. And, of course, Billy Wiggens was the leader of the Baker Street Irregulars in the Doyle series. That was quite an enjoyable call-out. But there was one thing which did puzzle me. There was obvious cigarette smoking in this episode, and I thought that Britain had forbidden the depiction of cigarette smoking on television. Was I wrong, or have the rules changed?
wtfwhateverd00d says February 3, 2014 at 12:51 pm FWIW, I felt this season was the best so far in terms of my own enjoyment, but also that the stories were less over the top and actually puzzle oriented rather than devoted to an arch-villain.
First episode was there to bring Sherlock back with two puzzles (how he faked his death being one) , second episode was a puzzle (how the murderer murdered) and mainly devoted to celebrate Watson’s story, and the third episode a puzzle adventure (defang the blackmailer).
Season 4 certainly seems to be an arch-villain season. Maybe in the long run we’ll be able to figure out which seasons worked best.
It’s been sometime since I read the stories, while I enjoy this series and I certainly enjoy Sherlock, I don’t recall reading the stories as a kid and having such an urge to paste Sherlock’s face with a grapefruit. Was Doyle’s Sherlock as clearly sociopathic as Moffat’s?
The evidence appears to me that Mark Gatiss is a better writer than Steven Moffat. Have you seen Gatiss as a huge hulking alien (Viking)?
https://www.youtube.com/watch?v=po1sh_umOmI
http://tardis.wikia.com/wiki/Gantok
colnago80 says February 3, 2014 at 12:52 pm Actually, only 2 of the Doyle authored stories featured Moriarty, a short story, The Final Problem and a novelette, The Valley of Fear and one featured his right hand man, Colonel Sebastian Moran, The Adventure of the Empty House.
Three of the Rathbone movies featured Moriarty, in all of which he died, played by 3 different actors, George Zucco, Lionel Atwell, and Henry Daniell.
Nick Gotts says February 3, 2014 at 1:20 pm Was Doyle’s Sherlock as clearly sociopathic as Moffat’s? – wtfwhateverd00d
No: he was described as unemotional, but was clearly shown as capable of empathy with clients, and had had friends other than Watson (Victor Trevor, as recounted in The Adventure of the Gloria Scott was one). He also gets on well with Mycroft. However, Stamford, who introduces Holmes and Watson, does say he can imagine Holmes giving a friend “a pinch of the latest vegetable alkaloid” in order to observe the effect.
I think this season’s middle episode was still the best one of the nine – flex
I thought it was complete crap! The bromantic theme is present, but subtley so, in the original, not blared from the rooftops; and watching drunken people make fools of themselves, as in the “stag night” sequence, is just boring – my wife and I gave up in the course of that.
colnago80 says February 3, 2014 at 2:50 pm Re Nick Gotts @ #6
Another friend from his university days was Sir Reginald Musgrave of The Musgrave Ritual, which occurred before he met Watson.
Nathaniel Frein says February 3, 2014 at 2:51 pm Another show where the short seasons with three ninety minute episodes works very well is Foyle’s War. There’s plenty of time for solid pacing and building an interesting story. In fact, I think the longer showtime gives any mystery/detective show a much nicer framework than the 40ish minutes normally available. It worked for Broadchurch because Broadchurch focused on one mystery for the entire 9 episode series. But between Foyle’s War, Prime Suspect and Sherlock, I haven’t been able to watch American crime drama at all.
flex says February 3, 2014 at 3:27 pm Nick Gotts wrote, @6,
I thought it was complete crap!
Different tastes I guess. I thought it was tightly written, didn’t involved the fate of the free-world (i.e. the crime was personal and small), and the antagonist showed good sense in planning and execution. I thought Sherlock was a bit slow in catching on, but we are viewers, not caught up in the action. Although I agree that the stag night sequence was a bit over the top, even with the punch line that they were only on the town for 2 hours. The sequel to that sequence was also unnecessary, there was no reason why they couldn’t have asked the client to return when they were sober. No reason other than narrative rule of funny (which didn’t work for me at least). But I still thought it was the best episode to date.
I would second the recommendation of Foyle’s War as well. I started watching them a few weeks ago on streaming Netflix and have thought they have been really well done. None of the crimes are earth-shattering, or even particularly villainous (at least as far as I’ve gotten in the series). Most of them are simply people taking advantage of other people on a small scale or using the backdrop of the war to justify a certain disregard for law.
Mano Singham says February 3, 2014 at 4:03 pm And don’t forget that in US commercial TV, a ’60 minute’ episode is only about 40 minutes which forces writers to compress even more.
dysomniak, darwinian socialist says February 3, 2014 at 8:18 pm Much like recent series of Doctor Who I find myself rather rapidly torn back and forth between “wow, that cool!” and “but it doesn’t make any sense…” with the latter almost inevitably outweighing the former. As with the first two seasons I thought Gatiss’ episode was the best written of the three and I wish that Moffat could get over his obsession with JJ Abrams style plot twists and just tell a good story.
moarscienceplz says February 3, 2014 at 8:53 pm Mano, I can’t disagree with anything you posted. However, I would like to recommend that you check out Elementary which is on CBS and has the usual number of episodes per season. (However many that is nowadays; years ago it used to be about 24 e.p.s., but now it is down to, I think, as few as 13.) I find it just as much fun as Sherlock. If you do this though, I recommend you get the DVDs to start at the beginning.
hyphenman says February 4, 2014 at 7:35 am Good morning Mano,
I must say that the writing on this final episode was disappointing.
Without risking any spoilers I will simply saw that: (1) Professional killers who hesitate to pull the trigger are not credible.
(2) Covering up the murder, with multiple witnesses, of a very wealthy individual is difficult at best.
(3) Resorting to murder is the action of a failed mind.
Do all you can to make today a good day,
Jeff Hess
Have Coffee Will Write
colnago80 says February 4, 2014 at 12:53 pm Re Singham @ #10
This becomes obvious if one watches reruns of the Rockford Files where, in order to accommodate current commercial time and stick to 1 hour, at least 5 minutes worth is cut out. E. G. there are at least 5 minutes more allotted to commercials per hour today then there were back in the 1970s when the program aired. Rather then watching reruns, I suggest downloading the full versions, which are about 50 minutes long from the Internet which are not only uncut but commercial free. | 影视 |
2016-36/0815/en_head.json.gz/3721 | Trailer for DARK BLOOD, River Phoenix's Last Performance Movieabout 4 years agoby Ben Pearson
When River Phoenix overdosed and died in 1993, it was a big loss to Hollywood. The actor had a ton of potential, as seen in early roles in Stand By Me (podcast), Sneakers (podcast), and my personal favorite, Indiana Jones and the Last Crusade. But there was one final project he was working on before he died that never saw the light of day.
Movies.com (via Slashfilm) has the trailer for Dark Blood, directed by George Sluizer. It's about a couple (Judy Davis and Jonathan Pryce) whose car breaks down in the desert and they encounter a young man (Phoenix) who develops a...complicated relationship with the wife. Take a look at the trailer below.
Sluizer is raising money through a Dutch crowdfunding site and trying to attain enough to finish the film and release it this fall, but the surviving members of the Phoenix family didn't want anything to do with the project when they heard about his efforts. What do you think of the trailer? Think a polished version could be any good? What's your favorite River Phoenix performance?
Ben Pearson — Editor/Writer Lives his life a quarter mile at a time. //@benpears // [email protected]
Seth MacFarlane's TED Takes G.I. JOE's Release DateThe NJNM Podcast: Ep. 90 - The Karate Kid (Guest: Vince Mancini from Filmdrunk) | 影视 |
2016-36/0815/en_head.json.gz/3776 | Watch Joseph Gordon-Levitt and Bruce Willis face off in a new Looper clip!
Log in / Sign upFollow io9Following io9Related blogsGizmodoSploidPaleofutureToylandBlogs you may likeDeadspinGawkerGizmodoJalopnikJezebelKotakuLifehackerFollowFollowingWatch Joseph Gordon-Levitt and Bruce Willis face off in a new Looper clip!Alasdair Wilkins9/03/12 9:00amFiled to: morning spoilersAvengers 2Iron man 3Star Trek 2LooperdreddResident evil retributionhobbitdoctor whoshieldRevolutionAmerican Horror StoryAlphasWarehouse 13HavenBeauty and the BeastTopFb231EditPromoteDismissUndismissHideShare to KinjaToggle Conversation toolsGo to permalink
Chris Pine explains why the Star Trek sequel isn't The Dark Knight. The Hobbit has new titles and dates for all three films. Joss Whedon reveals his plans for S.H.I.E.L.D., and the Marvel universe. Plus tons of Doctor Who news!
Spoilers from here on out! Top image from Looper.
Iron Man 3Guy Pearce, whose work in Memento and L.A. Confidential earned him about twenty lifetime passes as far as I'm concerned, discusses his small role as the villainous Aldrich Killian in the new Iron Man movie:...I still don't know that I would want to play the superhero myself, since I'm playing a different kind of character in this film. And I think that, based on the first two movies, there's a great chemistry between Robert [Downey Jr.] and Gwyneth [Paltrow], and I just think the films have a fun, joyful sort of quality about them. I've just enjoyed them. So I just felt like I wanted to be a part of this...Prometheus and Iron Man are really kind of cameo stuff, so the experience of shooting them — I mean, on some level, it's tricky because you feel like a bit of an outsider. You don't really live the experience that you do when you're there all day every day with everybody. But at the same time, it can be more fun sometimes because you're just working in concentrated spurts.[Vulture]
The Avengers 2Writer-director Joss Whedon discusses what his long-term deal with Marvel Studios means for the next few years:It was part of what made it attractive to me. I loved the idea of being a consigliere. Every writer loves the idea of being able to go in and fix a problem and then leave without obligation. It's fun! I also love these characters and the Marvel universe, and I grew up reading the books, and I've been going back and reading the old books and realizing that they shaped my storytelling way more than I give them credit for. Now I'm starting up a TV show, which is something I really wanted to do, but I thought it wasn't going to be a part of my life for the next several years. It's like a tapas menu of projects that excite me, in addition to the Avengers sequel, which I'm excited for because I'm incredibly excited about the next story that I'm going to tell. For me, it's a huge win... What's great is that the deal with Marvel is nonspecific, so I will give all I can, but the moment I can't, I just walk away. The moment I say, "You know, I'd like to help more on this project, but I need this time for The Avengers," there's no obligation. It's not like, "You must spend this amount of time on this movie." It's as much as it needs to be.[Vulture]Star Trek 2Star Chris Pine says that the Star Trek sequel won't darken the tone of the series like, say, The Dark Knight did for the Batman franchise:"We're not making Batman. That's not our deal. There's comedy, which I think J.J. does a great job of, but, like the first one, there's some serious issues being dealt with. And I'd say the threat is even greater in this one. The force [the Enterprise crew] are met with is much more frightening. It's relentlessly action-packed and in terms of character development it goes places you'd never expect. The arc is huge for all the characters. It's a really big story - I can't hype it enough!"[Total Film]
LooperHere's a new sneak peek clip from Brick director Rian Johnson's time travel thriller. The scene is part of the big confrontation between star Joseph Gordon-Levitt and himself thirty years in the future, otherwise known as Bruce Willis. [MTV Movies Blog]
[gallery 5939994] And here are some accompanying behind-the-scenes photos.Dredd Here's the latest batch of promo photos. You can also listen to the soundtrack here. [IGN]The HobbitWarner Bros. and MGM have now revealed all the titles and release dates for the now three Hobbit movies. The first movie is still The Hobbit: An Unexpected Journey and will be released on December 14, 2012. The second movie is now The Hobbit: The Desolation of Smaug and stays in the December 13, 2013 release slot. The third movie is taking the original title of the second movie, The Hobbit: There And Back Again, and will take the summer release slot of July 18, 2014. [Coming Soon]Resident Evil: RetributionHere's a new sneak peek clip for the fifth installment in the clearly eternal franchise. [Coming Soon]
And here are two TV spots. [Coming Soon]
Doctor WhoTo get you properly prepared for this Saturday's episode, "Dinosaurs on a Spaceship", here's the next time trailer from the end of "Asylum of the Daleks", another trailer, and an introduction to the episode from stars Karen Gillan and Arthur Darvill.
The comedy duo David Mitchell and Robert Webb, who between Peep Show and That Mitchell and Webb Look have been behind some of the best comedy in recent memory, will voice a pair of robots in "Dinosaurs on a Spaceship." You can hear a bit of Mitchell's robot in the second trailer up above. [Blogtor Who]Here's another hint from Matt Smith about the Ponds' big farewell episode, "The Angels Take Manhattan":"Fans can expect a gut-wrenching, heart-wrenching time saying goodbye to the Ponds. But also we've got dinosaurs, we've got Daleks, we've got Weeping Angels, we've got New York. I mean, it feels in scale as big and bold as it ever has. As we near toward the end of Amy and Rory's time, it becomes very sad hopefully. Go back and revisit 'The Eleventh Hour' and study it closely — it's all I will say."[TV Guide]Ten-year-old actor Cameron Strefford, who also has a small part in Hugh Jackman and Russell Crowe's upcoming Les Miserables adaptation, will reportedly appear in this year's Christmas special as "a young boy in Victorian times and he has a scene with his screen parents and other children [whose]character as an adult is played by a well-known actor, but to say whom it is would be to give away too much of the plot." Strefford also reportedly doesn't share any scenes with Matt Smith. The most obvious well-known actor would be the main guest star, Richard E. Grant, although it's also possible this could refer to Silent Witness actor Tom Ward, who is the other male guest star we know about so far (not counting Dan Starkey's return as the Sontaran Strax). [This Is Wiltshire]S.H.I.E.L.D.Joss Whedon discusses what it's like to be putting together a show for ABC that actually is being set up to be a big hit, rather than airing in the Friday low-rated genre slot:The important thing to me is that we know what the show is. We love what it is. It came together very organically, so when we went in to pitch [to Marvel], it wasn't like, We're trying to find this because you want a TV show, it was, Check this out. And that's a good way to walk in a room. Good support is wonderful, but it's not a hill of beans, because they may give us all this support and then decide, "Eh. Yeah, it's Friday." They might give us all the support and then not do that, but then audiences might go, "Yeahhh … no." You just can't be sure. What I do know is that it's the show it should be, and we've got some really dope notions. It's going to work very well for people who either love the Marvel universe or for people who've never dipped a toe in the Marvel universe.[Vulture]RevolutionHere's NBC's official description and full cast list for the series premiere, which airs September 17:09/17/2012 (10:00PM - 11:00PM) (Monday) : SEASON PREMIERE-AN EPIC ADVENTURE FROM J.J. ABRAMS, ERIC KRIPKE AND JON FAVREAU - What would you do without it all? In this epic adventure from J.J. Abrams' Bad Robot Productions and "Supernatural's" Eric Kripke, a family struggles to reunite in an American landscape void of electricity: a world of empty cities, local militias and heroic freedom fighters, where every single piece of technology — computers, planes, cars, phones, even lights — has mysteriously blacked out forever.The series stars Billy Burke, Tracy Spiridakos, Graham Rogers, Anna Lise Phillips, Zak Orth, JD Pardo, Giancarlo Esposito, David Lyons, Maria Howell, Daniealla Alonso, Tim Guinee and Elizabeth Mitchell. Kripke, Abrams and Bryan Burk ("Lost," "Star Trek") serve as executive producers, and Jon Favreau ("Iron Man," "Iron Man 2") serves as co-executive producer. "Revolution" is produced by Bonanza Productions Inc. in association with Bad Robot Productions, Kripke Enterprises and Warner Bros. Television. The pilot was directed by Favreau.[SpoilerTV]Philip Devona, whose past work includes guest spots on The Walking Dead and The Vampire Diaries, will reportedly play Dr. Vidal in episode six. [SpoilerTV]American Horror Story: AsylumHere's the latest cryptic teaser.
And here's a look at one of the only promos so far that actually shows members of the cast. [Fangoria]
Here are some set photos and other behind-the-scenes shot from the latest Entertainment Weekly article. [SpoilerTV]AlphasHere are short descriptions for the next three episodes:Episode 2.07 - Gods and Monsters
The team is confronted with evidence of Parish's evil agenda; a young Alpha reveals a deadly ability.Episode 2.08 - Falling
Rosen discovers the identity of the mole; Kat tracks a mysterious new street drug that makes users temporarily invincible.Episode 2.09 - The Devil Will Drag You Under
Hicks turns defector and begins working for Parish; the team uncovers a plot to cause a massive, deadly blackout.[SpoilerTV]Warehouse 13And here's the same for the next three Warehouse 13 episodes:Ep 4.07 – Endless Wonder
Pete and Myka cross paths with an inquisitive drug company exec; a pill is making people taller; Artie, Steve and Claudia track Brother Adrian to his hideout.Episode 4.08 - Second Chance
Pete and Myka investigate a case of people rusting away; Steve and Claudia visit Steve's hometown to end his dependence on the Metronome; Artie tells the truth about Brother Adrian and his use of the Astrolabe.Episode 4.09 - The Ones You Love
Brother Adrian sends deadly artifacts to the agents loved ones; Mrs. Frederic and Steve discover the truth about Artie and Adrian.[SpoilerTV]HavenAnd finally here are descriptions for the first two episodes of season three, the currently untitled season premiere and episode two, "Stay":Episode 3.01 - TBA
Nathan and Duke search for Audrey, who was abducted at the end of last season.Episode 3.02 - Stay
Raving barbarians run loose in Haven's streets; Audrey and Nathan try figure out how to stop them.[SpoilerTV]Beauty and the Beast Here are some promo photos of the cast. [SpoilerTV]Additional reporting by Amanda Yesilbas and Charlie Jane Anders.Reply23 repliesLeave a reply | 影视 |
2016-36/0815/en_head.json.gz/3777 | Benedict Cumberbatch says you might root for his Star Trek villain
Log in / Sign upFollow io9Following io9Related blogsGizmodoSploidPaleofutureToylandBlogs you may likeDeadspinGawkerGizmodoJalopnikJezebelKotakuLifehackerFollowFollowingBenedict Cumberbatch says you might root for his Star Trek villainAlasdair Wilkins5/06/13 9:00amFiled to: morning spoilersstar trek into darknessavengers 2captain america the winter soldierguardians of the galaxyant-manx-men days of future pastbeauty and the beastonce upon a timerevolutiondefiancewarehouse 13orphan blackfalling skiesgame of thronestrue bloodagents of shieldinterstellar1271EditPromoteDismissUndismissHideShare to KinjaToggle Conversation toolsGo to permalink
Kevin Feige reveals why Captain America can't necessarily trust his own allies in The Winter Soldier and whether new superheroes will show up in S.H.I.E.L.D. Michael Caine joins Christopher Nolan's Interstellar, because obviously. A familiar mutant is seen on the X-Men: Days of Future Past set. Spoilers right now!
Top image from Star Trek Into Darkness.Star Trek Into DarknessBenedict Cumberbatch discusses the complexities of his villainous character:
Well I describe him as a ‘home-grown terrorist.’ He’s somebody who has the most extraordinary proficient ability as a warrior with close hand combat and weaponry. But also with psychological warfare – like a master chessman he can… or I should say chess player, chessman could be a piece I guess! He’s a tactician with the most extraordinary kind of mind and ability to manipulate a situation and get people to trust him and do his bidding almost actually, a Hannibal Lecterish quality I guess. There’s no tricks involved, it is purely about knowing the person and the dynamic that they’re part of. And that means that within the range of acting I got to do I had the great boy/man thrill running around and doing a lot of live action stunts, with wire work and carefully choreographed and rehearsed fight scenes and chases. And that’s the great thing about the film – there’s lots of live action and stuff that is not CG. It’s very much real and gravitationally bound in some parts as well, and earthbound. And then on top of that, the icing of the cake and the real treat and meat of it as well was to have really juicy acting scenes as well.He expands on just why his character has his sympathetic aspects:But there will be a reveal in the… piece – I was about to say play! But it’s interesting that I was going to say play because there is an aspect of it where it is much more of a morality play, the kind of depth of story is much more in tune with the original series I think than had previously been the case in this type of genre film. But anyway that’s detracting from what I was saying which was… what I said about being a terrorist. I think I definitely touched on this in front of you guys this morning [a press conference]... Well basically I believe like modern terrorism, and there sadly a lot of parallels that make this very relevant. It’s not that the means may be disgusting, the level of violence and death and destruction and distress caused. But often the intentions are noble – and I mean that in the broadest sense. It’s an underdog fighting a superpower. It’s a minority. And elements of that superpower can get corrupted; in this case it’s Starfleet. And he believes in what he is doing and hopefully at the point where that’s explained it might garner some sympathy.Be sure to check out the rest of the interview, as Cumberbatch comes out swinging throughout the entire piece. [Click Online]
Here's an interview with Bones actor Karl Urban.Captain America: The Winter SoldierMarvel Studios head honcho Kevin Feige offers some hints about the sequel's character dynamics in the print edition of Entertainment Weekly:"With the Greatest Generation and World War II, there's a tendency to reflect on that period and say, 'Things were black and white back then, and now it's hard to know who the bad guys are. We wanted to play on that a little with Cap being uncomfortable with the way SHIELD, and in particular Nick Fury, operates."Also, Feige offers some general praise for the sequel, particularly its directors Chris and Anthony Russo:We always like to break and up until people started seeing the new “Iron Man” movie, people were accusing us of going “All Dark Knight” with it and I kept saying, “That’s not what we’re doing.” It’s sort of how we were advertising it, but in the same way, we really believe that humor is necessary and to have a whole range of emotions over the course of a movie. You can get frightened, you can get deeply emotionally attached, but all those things happen more if you’re laughing and engaged throughout the journey.That being said, the Russos are incredibly talented filmmakers and have that full range. You don’t get Robert Redford if you don’t have a vision that can explain to him before he signs up to your movie. This is on top of Scarlett Johansson and Sam Jackson and Chris Evans. Everyone now as we’re in the middle of our fifth week of production and it’s going extremely well, they’re bringing a lot to the table. I like that our unconventional choices, they’re only unconventional until the movie comes out and then every studio in town hires our filmmakers and they go onto bigger tentpoles from there. I’m very happy when that happens. Kenneth Branagh is starting his second post-“Thor” franchise at Disney now with “Cinderella” and he finished “Jack Ryan” for Paramount and when we were hiring him, people were wondering what was going on. The Russos I think will surprise a lot of people but they’re just incredibly hard-working, incredibly talented and keeping their heads down five weeks into making a great movie.There's plenty more at the link. [Superhero Hype]
Ant-ManFrom the same interview, Kevin Feige delves into the genesis of Edgar Wright's planned Ant-Man movie, hinting it could be a real departure from anything else Marvel Studios has done:Well, it’s for a couple of reasons. The primary reason is because I met a very talented filmmaker who was about my age almost ten years ago, we got along very well. He had a movie called “Shaun of the Dead” which hadn’t come out yet and he said he really wanted to meet to talk about “Ant-Man”… and this was even before we were on the studio. This was just at the dawn of us even discussing becoming our own studio. But we met with him, he had a cool idea and when we became our own studio, we hired him and Joe Cornish, who as you know, went on to do “Attack the Block” and become a very talented filmmaker in his own right. At the time he hadn’t done much at all but we really believed in him and we believed in Edgar and they delivered a draft that was sort of unlike anything we’d done before that was sort of wholly Edgar and wholly Marvel and a very fun spin on the Ant-Man mythology. And if you’ve seen the in-progress test we showed at Comic-Con last year and there’s been some clips of it we’ve released. People go like, “Ant-Man, is that a joke? What happens? He talks to ants?” And Edgar and his team put together this test of basically just Ant-Man going down the hallway and it is so kick-ass and so bad-ass, people instantly go, “Oh, I get it! Now we see what it can be.” And that of course is only 1% of what the movie is, but it’s certainly enough to get people to realize, “Oh, that’s why you’ve been thinking about this for so long.”Check out the link for more. [Superhero Hype]Guardians of the GalaxyHere's a video interview with Star Trek actress Zoe Saldana, in which she confirms she will physically portray her Guardians role of Gamora with green makeup, rather than with motion capture. [Total Film]The Avengers 2Kevin Feige offers this hint about the franchise's future in the latest print edition of Entertainment Weekly:"All of the Avengers from the first movie will be back and they will be the core team, but what's fun is that the roster shifts. It was always the intention to have a story line that brought in, obviously, new bad guys and potentially new heroes."X-Men: Days of Future PastDirector Bryan Singer tweeted a photo of Ellen Page back on set as Kitty Pryde. Check it out here.InterstellarIn what has to be just about the least surprising news imaginable, Michael Caine will reportedly appear in Christopher Nolan's upcoming science fiction epic. This will be the sixth straight Nolan film in which Caine appears, following on from the Dark Knight trilogy, The Prestige, and Inception. Caine will appear alongside Matthew McConaughey, Anne Hathaway, and the recently reported Jessica Chastain. [Deadline]Agents of S.H.I.E.L.D.Marvel Studios president Kevin Feige says the show could potentially be used to introduce previously unseen superheroes, but it doesn't sound like a major priority:“If that works the way everyone expects it to work I think that would open up another avenue, another outlet for some of those characters. Maybe they guest star, I don’t know. I think they’re avoiding the cameo of the week on that show, which is very smart.”[EW]Game of ThronesHere are synopses for the last two episodes of the season, which air June 2 and June 9. [SpoilerTV]Episode 3.09 - The Rains of Castamere Robb presents himself to Walder Frey, and Edmure meets his bride. Jon faces his harshest test yet. Bran discovers a new gift. Daario and Jorah debate how to take Yunkai. House Frey joins with House Tully.Episode 3.10 - Mhysa Joffrey challenges Tywin. Bran tells a ghost story. In Dragonstone, mercy comes from strange quarters. Dany waits to see if she is a conqueror or a liberator.True BloodHere's a trailer for the sixth season.Here are brief synopses for the first three episodes, which will air June 16, June 23, and June 30 respectively:Episode 6.01 - “Who Are You, Really?” Bill’s bloody reincarnation ushers in a new era for vampires, faeries and humans alike.Episode 6.02 - The Sun Sookie meets a handsome stranger; Eric takes on the governor; Bill contemplates his new powers.Episode 6.03 - You’re No Good Bill looks for a solution to an impending catastrophe; Eric takes a hostage, while Sam tries to recover one.RevolutionHere's a sneak peek at the next episode, "Love Boat." Once Upon a TimeMichael Raymond-James discusses whether Neal will learn the truth about Tamara before season's end:Emma continues down the road of trying to wake Neal up. She has suspicions that are clearly founded — but she doesn't have hard facts yet — and she'll continue to try to convince Neal. Neal's going to struggle with being able to accept that.What's the likelihood of Neal and Emma getting back together? My take is that nothing is off the table. What I mean by that is that it's all on the table, anything can happen. These are two people who care deeply about each other and they have a complex history but they also share a child and they have those unresolved feelings and issues that they haven't been begun to address. Anything can happen. They could end up together or they could end up friends who co-parent together or not. It could go any number of directions. I would get in a lot of trouble if I narrowed it down.[Live Feed]Elsewhere, Raymond-James discusses whether Neal still feels guilty about what he did to Emma all those years ago:Yes. I think he does, but Neal feels that he really didn’t have a choice in the mater. It was a matter of her fulfilling her destiny and for the greater good. I mean, we’re talking about her saving a town full of people that I grew up with, people from Fairytale Land, so these aren’t total strangers where I can be like, “Screw them. This is about me and my love.” So, in Neal’s mind he was sort of jumping on the grenade for the greater good. But of course there’s guilt. Of course there’s pain for having inflicted pain on someone you care about. I don’t know how you get beyond that.[TV Line]Orphan BlackCreator Graeme Manson discusses what's ahead on the show, starting with Paul and Sarah's relationship:Paul’s got some surprises up his sleeve, for sure, and Sarah’s been playing pretty fast and loose with Paul. But she’s probably denying a certain amount of attraction with Paul. And certainly, Paul has been knocked off kilter as he was falling back for Beth only to discover that it was Sarah. So he’s got a whole pack of worms on his hands with her and his emotions with her, as well as they’re under the eye, apparently, of a larger conspiracy.
We’ve met so many clones already. Are there more that you hope to introduce? There’s always the chance of another clone, but we’re very [cautious about] overdosing. It’s not a clone-of-the-week show. It’s a character drama. It’s a sci-fi character drama that happens to be populated by clones. They’re not cannon fodder. We don’t have a lot of red shirts — but maybe a few.You brought up the idea of monitors watching them. How’s that going to influence the other clones’ storylines? We’ve seen Sarah’s monitor, Paul, but obviously there’s others… We’ll see who all has a monitor. The first thing they have to do is find that out, so I don’t want to go too far into that. But it’s an onion, and there’s layers to peel back. So whether or not they all have one, that’s certainly a first step into our mystery.There's more at the link. [TV Line]Falling SkiesHere are a couple teasers from stars Noah Wyle and Moon Bloodgood:Wyle: I wanted to make sure there was a bit of a learning curve to his ability to lead and to be an orator. He’s gonna get stronger as the season goes on. He’s gonna get more comfortable in the role. [At the beginning of the season] he’s sort of acting presidential, rather than being presidential, but he gets better.Bloodgood: Something’s very wrong [with the baby]. Anne doesn’t know what it is. She starts to investigate. People start to think it’s postpartum depression on my part. Everyone thinks I’m kind of nuts. But the baby is only acting peculiar around me. So what I do in my own mind is think, ‘Is something wrong with me or is something wrong with the child?’[EW]DefianceStars Jaime Murray and Tony Curran discuss how the relationship between their characters, Stahma and Datak, develops:Murray: I feel like it’s a period piece even though it’s 35 years in the future. It’s a very patriarchal society. Stahma is repressed. It’s a society in which “her role is as a breeder and a bleeder.” It’s complicated by coming from a strict caste system. Datak would almost have been an untouchable and Stahma is almost royalty. They would never have been together on their home world. It’s a bit of a power struggle. She is more highly educated and she sees the longer game. He’s shrewd and sharp. He’s had to live on his wits. She has to suggest ways of dealing with things. He’s sometimes more at the whim of his emotions. She has to avoid hurting his pride.Curran: As the season progresses, you see interesting dynamics develop. Stahma and Datak are coming from a different planet and very different ends of a cultural spectrum. They’re trying to re-invent themselves. Stahma wouldn’t have had as much power in their home world. She keeps his temper in check. Datak begins to wisen up to Stahma’s cunning. She’s a refined tool while he’s a blunt instrument.Murray: We all wear masks, but Stahma wears the mask all of the time. She loves him but she never takes it off. It just “slips” slightly at times.There's a bunch more at the link. [SpoilerTV]Warehouse 13Here's a sneak peek at tonight's episode, "Parks and Rehabilitation." Beauty and the BeastHere's a preview for the next episode, "Date Night." [KSiteTV] Additional reporting by Katharine Trendacosta and Charlie Jane Anders.Reply127 repliesLeave a reply | 影视 |
2016-36/0815/en_head.json.gz/4305 | NPR for the Treasure Coast Site Menu
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Please Support WQCS! Click here to donate online David Bianculli
David Bianculli is a guest host and TV critic on NPR's Fresh Air with Terry Gross. A contributor to the show since its inception, he has been a TV critic since 1975. From 1993 to 2007, Bianculli was a TV critic for the New York Daily News. Bianculli has written three books: Dangerously Funny: The Uncensored Story of 'The Smothers Brothers Comedy Hour (Simon & Schuster/Touchstone, 2009), Teleliteracy: Taking Television Seriously (1992), and Dictionary of Teleliteracy (1996). An associate professor of TV and film at Rowan University in New Jersey, Bianculli is also the founder and editor of the online magazine, TVWorthWatching.com. 'The Maya Rudolph Show' And What It'll Take To Bring Back Variety
May 20, 2014 On Monday night, NBC presented The Maya Rudolph Show, a one-hour prime-time variety special executive produced by Lorne Michaels and featuring many of their mutual Saturday Night Live cohorts, including Fred Armisen, Andy Samberg and Chris Parnell. It also co-starred Kristen Bell, Sean Hayes and singer Janelle Monae. The Maya Rudolph Show was an intentional effort to bring back the old-school TV variety show, but with a new-school slant that bathed most of the show in a distancing self-awareness. 'Penny Dreadful' Is Wonderful, But 'Rosemary's Baby' Is Dreadful
May 9, 2014 Transcript DAVID BIANCULLI, HOST: This is FRESH AIR. I'm TV critic David Bianculli. This weekend two very different TV productions attempt to do much the same thing - revisit old works of literature in the horror and suspense genre and adapt them with new approaches for a new generation. NBC's four hour miniseries version of Ira Levin's "Rosemary's Baby" barely justifies the attempt. 'Hill Street Blues' Created Two Eras For TV Drama: Before And After
May 7, 2014 It's very easy, and not at all inaccurate, to divide dramatic series television into two eras: before Hill Street Blues — which has just been released on DVD in its entirety for the first time -- and after. Before NBC televised Hill Street in 1981, most continuing drama series were presented as stand-alone, interchangeable hours starring the same characters. Every week, TV detectives Joe Mannix or Theo Kojak or Tony Baretta would investigate a crime, catch the villains and wait for next week to do it again. FX's 'Fargo' Is Neither Remake Nor Sequel
Apr 15, 2014 Transcript TERRY GROSS, HOST: This is FRESH AIR. The FX cable network premieres a new drama series tonight. It's called "Fargo" and has the same title as the 1996 Coen brothers movie. Our TV critic David Bianculli says it's a wonderful show in that same wacky spirit, but he says it's just as important to note what this new "Fargo" is not. It's not a remake, and it's not a sequel. Without Giving Too Much Away, Here's What We Can Say About 'Mad Men'
Apr 11, 2014 This review discusses the plotline of Mad Men, up through the end of Season 6. Matthew Weiner's Mad Men begins its seventh season Sunday on AMC. Every season, as this outstanding period drama has made its way through the 1960s, Weiner has been increasingly insistent about the things he doesn't want critics to reveal in advance. This year, that confidentiality wish list is almost laughably long, and includes not only the year in which the story resumes, but also specifics about certain relationships — both professional and personal. 'Parenthood' Is Hard, But NBC Gets This Family Drama Right
Apr 8, 2014 During a recent Fresh Air review of the CBS series The Good Wife, I referred to it as one of my "go-to" shows whenever anyone asks me to name a drama series on broadcast TV that's as good as the ones on cable these days. Ever since, I've wanted to give equal time to my other go-to choice. That show, now winding up its fifth season, is NBC's Parenthood. HBO Fills Sunday Night Lineup With Entertaining Power Struggles
Apr 3, 2014 Transcript TERRY GROSS, HOST: This is FRESH AIR. This Sunday HBO presents the season premiers of two returning series - "Game of Thrones" and "VEEP" - and launches a new series, a Mike Judge comedy called "Silicon Valley." Our TV critic David Bianculli has seen them all. 'The Good Wife' Delivers A Game-Changing Stunner
Mar 28, 2014 Transcript DAVID BIANCULLI, HOST: When Your Best Friend Is A Star — And You're Her Minion
Mar 19, 2014 HBO has done very well in the past with comedy series that explore and expose the inner workings of show business, from Garry Shandling in The Larry Sanders Show to Ricky Gervais in Extras. Wednesday night, the network presents its newest entry in that self-obsessed Hollywood genre: Doll & Em, a British comedy series that's a vanity production in the most literal sense of the word. NBC Hostage Drama 'Crisis' Takes Viewers On A Rare TV Trip
Mar 14, 2014 When I slipped in the preview DVD to watch the opening episodes of NBC's new drama series Crisis, which premieres Sunday, I have to admit I wasn't expecting much. Oh, there was some anticipation in seeing Gillian Anderson of The X-Files in a series lead again; but I wasn't sure whether we'd be getting the demand-your-attention actress from such marvelous British imports as Great Expectations and Bleak House, or the underused supporting actress from NBC's Hannibal. Pages« first
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2016-36/0815/en_head.json.gz/4314 | Jacket Jockeys… Sofia Coppola Goes Commercial… Julia Frakes’ Paris Pop-Up…
Filmmaker and writer Sofia Coppola confirmed she has directed the latest advert for Parfums Christian Dior?s Miss Dior Ch?rie fragrance.
JACKET JOCKEYS: Black Balmain jackets were de rigueur among the VIPs at the Paris brand’s show Sunday. Actress and model Milla Jovovich wore a black horsehair blazer, while Emmanuelle Seigner, the French actress and wife of filmmaker Roman Polanski, sported a black studded number. Jovovich, in town for a slew of shows with fiancé Paul Anderson, joked that she was looking forward to “Chanel, YSL, anything ending in L.” Seigner, meanwhile, has just finished designing a line of boots for Celine. Adding a touch of royalty to proceedings was Princess Sirivannavari Nariratana, designer and daughter of the crown prince of Thailand, who presented her second eponymous collection Saturday night “to great success,” she said. This story first appeared in the September 29, 2008 issue of WWD. Subscribe Today.
LIGHTS, CAMERA, FASHION: Filmmaker and writer Sofia Coppola confirmed she has directed the latest advert for Parfums Christian Dior’s Miss Dior Chérie fragrance. The ad, scheduled to bow worldwide early next year, stars Byelorussian model Maryna Linchuk. “It’s about a young woman in Paris,” Coppola said at the Nina Ricci show Sunday, adding that she’s writing a new film, but that “it’s too early to say any more.” Róisin Murphy, meanwhile, feeling all partied out from Milan Fashion Week, said she was ready to hit the sack. The singer said Rolling Stone photographed her last week decked out in Moschino.
PAPER ROUTE: Though discreetly dressed at Kris Van Assche’s show on Saturday, Paper magazine’s girl in Paris, Julia Frakes, who caused a stir when she wore an $8,000 Balenciaga dress to Christian Lacroix’s July couture show, said she has a few attention-grabbing designer numbers in hand for the coming week. The 18-year-old, who’s enrolled in art history and journalism at The New School, has also turned her hand to styling. French actress and singer Julie Gayet, meanwhile, has just wrapped up filming “8xDebout” by up-and-coming Basque director Xabi Molin. Gayet, who put her album on hold for the filming, also sings a couple of songs in the movie. Beauté Prestige International’s president Remy Gomez made a surprising front-row appearance, but insisted eau de Kris isn’t in the cards.
CASABLANCA BOUND: Galeries Lafayette, the French department store chain, is planning to open a franchise in Casablanca, Morocco. A spokeswoman said the deal would be unveiled in mid-November, but declined to identify its partner. Galeries has been exploring international expansion possibilities and has a deal to open in Dubai and is also eyeing a store in China.
FIRST SERVE: German label Talbot Runhof may count Angelina Jolie and Darryl Hannah among its fans, but the guest expected to attend their show next Saturday is a whole different breed of smasher. Word has it veteran tennis star Boris Becker will take a front row seat, accompanied by his fiancée Alessandra Meyer-Wolden.
CURIOUS CREATURES: There’s no taming Lou Doillon’s creative energies. At the Anne Valérie Hash show Sunday, the Parisian “It” girl disclosed she’s designing a G-Shock watch for the Japanese department store Isetan.
“I want it to look like a curiosity cabinet, but I’m learning a lot about production limitations,” said Doillon, who has also been commissioned to design a siphon for Glenmorangie, the LVMH-owned whisky brand.
Sitting next to her, the Misshapes’ Leigh Lezark said she would be spinning at the Sophia Kokosalaki show and Jeremy Scott’s after party. Meanwhile, Hash is to be the next guest designer at the French catalogue giant 3 Suisses. Hash’s line, that will include a bolero tuxedo jacket, accessories and a black crepe jumpsuit, will feature in the catalogue’s spring edition.
BAPTISTA BAGS: Felipe Oliveira Baptista is branching out into bags. Ladylike chain handbags and clutches figure among the line, that is being presented to buyers in Paris this week, rendered in playful hues such as candy-floss pink and mint green. Prices range from 250 to 450 euros wholesale, or around $360 to $650 at current exchange.
HEADING WAY UPTOWN: Macy’s is eyeing Harlem to open its first uptown store, although no deal has been signed. “We are always looking for opportunities but we never say where we are looking or where we may not be looking,” said Jim Sluzewski, Macy’s Inc. spokesman. One possibility is a 31,000-square-foot vacant lot on the southwest corner of Lenox Avenue and 125th Street, which stretches the entire block from 124th to 125th Streets. Macy’s reportedly checked it out but had no luck securing some adjacent buildings, which would have provided a bigger footprint for a store. Macy’s is said to be continuing to search the area, however. There is also a smaller empty lot next to the Apollo Theater and a vacant lot on Park Avenue and 125th Street where there is less pedestrian traffic. The 125th Street corridor is filled with small, moderately priced independent shops, discounters and street vendors. But in the past few years there has been an influx of chains, notably H&M, Body Shop, MAC, Old Navy and Aerosoles, and big boxes will sweep in next year with the opening of East River Plaza, under construction off the FDR Drive between 116th and 119th streets. Best Buy, Target, Home Depot and Marshalls have signed on. Want to check out all of our exclusive content? Activate your WWD.com FREE PREVIEW now. View Slideshow | 影视 |
2016-36/0815/en_head.json.gz/4364 | How Paul Walker’s Role In FAST 7 Will Be Completed!? WETA…$50 Million...And More!!
Published at: May 22, 2014, 11 a.m. CST by merrick
Paul Walker’s passing late last year famously posed a gargantuan challenge to Universal and its seasoned FAST AND THE FURIOUS team: how to address the death of a lead actor while production was in mid-stream.
There’s an interesting article over in THR which sheds some light on the matter (to date we’ve heard scant indications about how The Powers That Be were going to tackle the matter). The piece provides some insight into the amount money required to suspend production while new plans were laid and old plans were re-worked ($50 million) - but we now have a clearer sense of exactly how director James Wan and scripture Chris Morgan are going about creating a film in which Walker played a significant role, without the actor himself.
Pera a THR source: "They are finishing the film more or less as scripted, replacing Paul with [computer-generated] face replacement," says this person. "They have two of Paul's brothers as well as an actor to 'play' Paul when needed." (The Walker brothers, 25-year-old Cody and 36-year-old Caleb, both are helping fill in for their brother physically -- Caleb primarily for body size and mannerisms and Cody for the eyes. But the filmmakers need to create a character that not only looks like Paul but also performs like him. That's the actor's job.) Peter Jackson's Weta is tackling the effects work using three cameras (in addition to the main-unit cameras) to capture Walker's stand-ins for face replacement. "There is a massive amount of gear," reports the source. "Everything they want with Paul gets done three times over. Three [actors] times seven cameras per shot is a clusterf--- of money being spent."
Director James Wan also will come up with new scenes from unused footage Walker had shot for the previous two Fast & Furious films. …says THIS piece at THR. So there you have it. A great deal of movie magic is being brought to bear in to confront a truly incomprehensible tragedy - and to realize a FAST AND THE FURIOUS film purported to cost upwards of $250 million, all included. Replacing actors digitally is nothing new: I seem to recall Oliver Reed being briefly digitized for GLADIATOR when he died during filming. Marlon Brando was brought back via technology for SUPERMAN RETURNS (video), Laurence Olivier for SKY CAPTAIN, etc. Although, I don’t recall any effort of this magnitude being previously attempted. We’ll see how it all plays out when FF7 releases April 2015. —————
Glen Oliver
"Merrick"
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2016-36/0815/en_head.json.gz/4434 | The Classic B&W Look
Elias Stimac
| Posted Sept. 21, 2005, midnight
Even though color headshots are very popular right now, it doesn't mean you can't still get attention with the more traditional black-and-white version.
Our panel of experts has a few more general comments to make about headshots. Carol Hanzel Casting assistant Jessica Kelly is "not a fan of the 'this is me with glasses, this is me with a beard' type of shots. I like to just know who the person is as much as I can from a photograph." Agent Bill Duey prefers to find real people who are good actors, so touching up photos is not necessary. His agency, Hanns Wolters International, is currently seeking mature French and Asian actors with strong credits, and by mature he says he means "between 40 and death."
Casting director Elsie Stark thinks actors should work with agents, managers, and other people in the industry to help choose a headshot from a proof sheet or photo CD: "Actors should never pick their own pictures, ever." And agent Dave Bennett of Talent House looks at actors as potential clients "on an individual, personal basis," so a good headshot may catch his eye despite the actor's type. Of course, opinions on any headshot may vary, as you will see from the feedback on the following actor submissions.
Pearl Taylor
Elsie Stark: Overall, a pretty good picture. Nice energy. She looks great.
And her résumé looks fine, too -- it has all the necessities. A résumé just needs to be laid out so it's easy to read, and she has everything categorized properly: She has all her film credits together, all her stage credits together, and her statistics at the top, where I can find them easily.
Dave Bennett: It's a good general picture for initial mailings, for people to get to know who she is. She looks open and personable. As far as being specific for projects, it may be a little too general.
The résumé is well set up.
Jessica Kelly: The picture looks a little fuzzy -- it doesn't pop out at me. It's sort of all muted, like it's all going together.
And then on the back, the résumé is slanted and not put together correctly. So right away I think she's newer to the business.
Bill Duey: I like Pearl's headshot because I think it shows her personality and she's very open in it. Also, for film and TV work, an actor's eyes are important, and her eyes are vivid -- they invite you in. I like it that she hasn't tried to disguise that she doesn't have perfect teeth. I like it that she's confident enough not to have to try to fit into the societal norm, because that's boring and there's too much of that already.
For her résumé, I don't like it when actors put their telephone numbers and email on it, because we have to cover that with the sticker from the agency. When we begin working with an actor, we ask them to either put our information on there or leave it blank.
Robert Sarnoff
Stark: Interesting picture. The black background is not my favorite, but it's a great picture. This is a very strong, masculine photo. It shows he's a mature man, looking very dapper. He could play a judge or a district attorney or a CEO; he could be a doctor or a congressman. Immediately you react and can see him in all these different roles. You can look at it from any angle and his eyes seem to be making contact -- his stare is right there. That's how I test a picture.
His résumé is very good. I'm just surprised he doesn't have any unions. Some of the credits seem like union jobs, so if he is union, he needs to put that at the top.
Bennett: Robert's photo is great, but it may be a bit too specific. I would bet there are other shots from this shoot that might even be a little stronger. The eyes are fairly connected but could be even more connected. But it's a good, strong presence. He looks like a strong person from this shot. And for the roles that this shot is indicating, people will have confidence that he would fit in.
The résumé is well set up. Just be careful how you format and what you're really trying to highlight. The commercials on this, unless they're well known, you might not need to list those all for everybody. If he's going after commercial agents or commercial casting directors, then fantastic, but otherwise he may want to make the theatre and TV credits stand out. He has a lot of different font sizes as well, which isn't as clean as it could be, so he should try to be consistent.
Kelly: I like Robert's photo because he's a mixture of things to me. There's something intelligent going on in the eyes. In this case I like the black background because the lighting highlights his shirt and his face. He definitely looks like he's communicating something, which is what actors need to do.
His résumé says that, too. I see he plays the dad, the psychiatrist, the mobster. He's sort of ethnically ambiguous, which is helpful -- he could be Russian, he could be Jewish. He's very European-looking, which is great. And he looks like he's commanding -- there are a lot of roles for him. But what's clued me in to him, what's made me want to look at the back, is his picture.
Duey: He's a good type.
But when you're nonunion, you should not have 5,000 things on your résumé. He also has a lot of extra things on his résumé. I wouldn't call him in for that reason.
Adam Hardin
Stark: The photo doesn't thrill me. I'm not sure what that expression is. To me, a picture has to say something about the person. It has to be an interesting photo that says there's an interesting actor or actress there. Something in their eye or facial expression should reflect who they are. Either a serious, introspective mood for legit shots or a relaxed, smiling moment for commercial shots.
Bennett: This is a nice, clean, natural shot -- a good introduction to Adam. He looks like he's probably going to look when he walks into the room.
The résumé is fine. I would probably just reformat it slightly so that it's easier to pick out the roles and where each was done. He should use the three-column format instead of two.
Kelly: It's a nice photograph. He's wearing black and there's a lot of gray in the background -- usually it's all about popping out. But his eyes are nice in the shot; they're welcoming. He looks like a warm person to me.
It doesn't bother me that he wrote his new information on his résumé, but the cutting of the résumé is a bit off. And he needs to have the résumé stapled evenly, not just two in opposite corners. If all I notice about the résumé is how it's attached, then it's not as compelling.
Duey: Very nice picture. Since he wrote in new information, it gives me a sense that he just moved to New York. He has an out-of-town cell number and a new New York number. That's a good thing, believe it or not, because it makes me think this is an actor who's not already with 500 different talent agencies. It really annoys me to push for an actor only to have the casting director tell me, "Oh, he's coming in already from another agency." I don't like actors who tell me they're not working with anybody, and then I find out they are working with other agencies. Every actor should do what they need to do to get a job, but they should be honest, as I try to be honest with them.
Adam did his résumé very nicely. My sense is this is a very smart young actor.
Victoria Lauzun
Stark: Perfectly fine, nice, easy picture to look at. I like body shots and three-quarter shots sometimes because they give me a little bit more to work with: They show personality, how the person stands, and their body type.
As for the résumé, it seems laid out pretty well.
Bennett: Victoria's shot might be good commercially. It's a little bit too staged for my taste. It sort of looks like those old commercial comp-card shots. Her personality doesn't come through. If it looked a little more relaxed and natural, it'd be great. But everything else about it is fine.
And the résumé is well set up. This is a personal thing with me, but I would probably suggest that she add directors' names after these shows. It's great that she has mentioned where she's done them, but it's probably best to add the director's name. You never know -- we may recognize the name. We all like to have some sort of connection, so put the names in just in case there is a connection.
Kelly: She has a nice smile, looks like a very warm presence. But in order to really know what kind of person or actress she is, I'd have to see what she's played.
When I look on the back at Victoria's résumé, I see a lot of ingénues, which makes sense. There are a lot of tours on here as well. She's a singer, so it seems like she would have a big presence.
Duey: I like her headshot very much. I think this is a commercial headshot. She looks very savvy and, unfortunately, not enough actors are savvy enough. She looks likeable and like she has very positive energy. She is probably slightly too commercial-looking for this agency, but I like her headshot.
On the résumé, it's always smart to have their vocal range if they're musical theatre actors, but I do find that when they also want to do film and TV and break out of musicals, then I suggest they take that off their résumé. She does play the clarinet, and a lot of producers are looking for actors who double as musicians. It's like the colorblind casting of 2005. So that was a good detail to include.
Kevin Michael Kennedy
Stark: Actually, Kevin has a fun picture. This would definitely be his commercial shot and nothing else, but honestly, there is a fun quality there, and his expression is certainly genuine.
And he has a nice résumé. He included staged readings and workshops, which is fine to put on there at the beginning. Just decide which ones are important. He has enough here that he can leave the staged readings off.
Bennett: Kevin's headshot is good, but in headshots -- for men or women -- always try to avoid jewelry. [He's wearing an earring.] He also doesn't look as relaxed as he could. I would say there are probably other shots from the shoot that would better demonstrate what he's trying to demonstrate here. But his eyes are big -- it doesn't look relaxed.
His résumé is well set up, and he included workshops. If the workshops are with groups or directors that people would know, then it's worthwhile to include them.
Kelly: I'm not sure why he's wearing words on his shirt -- that's a bit distracting to me. Really, all that says to me is he could play a gym trainer. He looks like a big, thick guy, which is great. He's also friendly, so maybe if I needed a gym trainer type, I could call him in. If this is him, then that's what he is.
Then I have to look at the résumé to see what he wants to be, what he's out for, what he's gifted at. He was a backup vocalist for Diana Ross, so he obviously can sing, which is needed for a lot of things. He's had some interesting projects. I don't know what he's right for, but it's not a definite no. There's something compelling about him and his résumé. I would bring him in, then I could place him after that.
Duey: He definitely gives a sense from his picture and his résumé what type of performer he is. You could cast him as a backup vocalist or a murdered singer on a "Law & Order" episode. He's very likeable in his picture, looks like he has a lot of positive energy and that he'd be easy to work with. I don't have to meet him to know exactly what he would be like. But he's a very specific type. And for all types, agencies can only have a certain amount of them. It is a very limited type, unfortunately, and I already have several of his type.
Bonita Hope
Stark: Not even knowing her, it seems like it's not a very flattering picture. It's pretty washed out. Her head looks like it's floating in front of her body -- the angle of the shot is pretty bad. I don't think it flatters her in the least.
The résumé is laid out pretty well.
Bennett: Her picture is fine. It's not a big thing, but the shirt and the background sort of blend in together, so she might not stand out as much as she could. But a nice general shot. She looks like somebody you would like, someone you would want to call in for a reading or an audition.
The résumé is well set up. It's usually better to put the strongest credit first, because people may not look down the whole list, but for me it's a matter of being honest with what the role was, if it's extra or principal.
Kelly: She looks like a character type. I don't mind white outfits; they don't bother me. But in this particular photo, I don't think it does enough for her. She's probably a much cuter woman than this picture indicates.
The résumé is messy. It's hard to understand.
Duey: I like this shot very much because she didn't have it airbrushed to death. I hate airbrushed photographs. I always tell actors, "You're in New York; you're not in L.A." They don't come here looking for Linda Evans; they come here looking for real people. If you have this look and can play the bitter landlady on an episode of "Law & Order," then use it, because they're trying to find that look, too.
Her résumé is very light for a woman of her age. Being a nonunion actress at her age, you just naturally wonder why she didn't start booking union roles at some point. But I always give people the benefit of the doubt. Perhaps this actress took time off to raise a family. I will try to find out about them if there's some reason I called them in. Actors shouldn't assume that if they're nonunion that we won't call them in, because I have some actors who make a lot of money doing nonunion commercials.
Cherish Monique Duke
Stark: I'm half and half on these types of pictures. While it's an okay photo, it doesn't say much. First of all, it's very dark. She has dark hair. She's an African-American girl with a black background and a dark piece of clothing on. All she is is a head floating. While I can see that she's somewhat pretty, it says nothing, gives me nothing. It's so close up -- I don't see shoulders or anything else.
The second photo on the résumé doesn't work either, since it's distorted.
Bennett: It's a good general shot, which is good for sending out mailings for meetings and setting up general auditions. She tends to meld into the background, but a good photographer or reproduction company can play with those levels, so not a big deal.
And her résumé is fine. I often suggest they take their vocal range off once I start working with them, but at the beginning it's good for my reference. If I take on an actor, I'll help them format their résumé, and I keep them on the computer in the office as well so I can print them off myself and constantly update them.
Kelly: I don't like how it's all black on the left side, because it blends in with her shirt. It's hard to see what her body looks like. Vertical or horizontal framing does not matter to me at all.
And the photo on the résumé looks like the same shot only stretched out, which doesn't help.
Duey: I like her headshot. I think it does everything it's supposed to do. And it's very contemporaneous at the same time. A lot of headshots look like you could have found them in a trash bin from an agency that went out of business in 1982, so I like seeing headshots that look like they were shot recently. I actually tell my actors to go for color digital shots so that people know it's a recent headshot.
When actors put the email address at the top, it's not a smart place to put it if she's working with an agent, because the agency sticker will cover it. Cherish has too many things on her résumé: She's a nonunion actress and she has 5,000 credits. Unless you've been in so many important things that I have to know that it's important, then there's no need to put everything she ever had a part in. No casting director is going to sit and read all the actor's credits. If they look at two of the credits, the actor should sing "Hallelujah!" The actress looks like she's trying to prove something, but she's not being smart about getting what they want.
Debi Gallo
Stark: It's an old-fashioned picture. Very icy, cold. I don't think it says anything spectacular about her. The look is outdated.
Much better picture on the résumé. She should use that one rather than the one she's using on the front. I like the fact that her information is along the side, which is a little bit different.
Bennett: It's a lovely shot of her, but it doesn't say anything to me about her. There's no personality coming through in the smile or the eyes, so it's just a nice representation of her and not necessarily a great sales tool.
The photo on the back is better, although I'm not big on the head-held-up-by-the-hand pose. But it shows a lot more personality. It's a lot more open and inviting. Lines are fine on the résumé to break sections up.
Kelly: It looks like a good reporter shot to me. She's obviously very pretty. Her features are very symmetrical, which is good for film.
The picture on the résumé shows she can play a nice housewife or mom, so it's good to show a contrast like that. Sometimes putting a second photo on the back helps, but sometimes it goes against the actor. If it's a really great shot on the front and then they're doing something really weird on the back, that could hurt them.
Duey: This is the kind of headshot that I don't like. It looks very airbrushed. It doesn't look real under her eyes or in her jowl area -- it looks like it's retouched to me. She looks like a Stepford wife; she doesn't look real. Every now and then they look for those types. I don't represent that type. It doesn't appeal to me because it's not real, and the whole idea about good acting is that what you're supposed to capture is reality, so what's the point? It's not like it's 1935 and we're looking to book actors into MGM musicals. It's a whole different time now. She's obviously a very savvy lady; she's trying to control the way everything looks.
She has a more sophisticated picture and résumé than some of these others, but she's controlled it to the point that we've entered "Prince of Tides"-dom. When actors do give a second look on their résumé, it's very helpful, but a lot of times it looks like the first one.
Hank Eulau
Stark: Hank probably does a lot of extra work. This picture is only going to get him exactly that: background extra work. The photo looks very dated, and the two photos side by side tend to look like what they used to do with composites in California in the good old days. He needs to update himself if he wants to get out of extra work.
Bennett: I'm not a big fan of the comp-card look. Also, the two pictures aren't that different except for the costumes and the props, so there's no real reason for it. I would say have one nice, relaxed shot. If he wears the glasses the entire time, great; if he's able to go without them, have a second shot without the glasses.
The résumé doesn't sell him as well as it could, either. Everything is just jumbled in together as one big, long file almost, so I would separate each of those to a separate line. It's good that background and principal is noted, but again, it's hard to read in a paragraph format. People aren't necessarily going to read through all that.
Kelly: It's the exact same shot with different outfits. So I really don't know what that's saying to me. I'm not the biggest fan of this style of headshot. I just need to know who you are, through your eyes or what you're communicating. You see a picture in a magazine and it affects you, you wonder about that person -- that's all it needs to be. Then we can put you in the cop suit.
His résumé has a lot of background roles, but they're all films everyone knows. He also worked on "Law & Order" as a stand-in for the mayor. Interesting things. He's usable. It's nice to know that people are going to be reliable and responsible. Good, interesting credits -- put them in a normal format and a bigger font so we can read them.
Duey: He's a great type. He's wearing a police badge in the picture and they just announced that actors are not supposed to do that kind of thing in the post-Sept. 11 era. If you have two pictures and they're exactly the same, one would tend to think this is not the most versatile of actors. I haven't discovered the new Laurence Olivier here.
His résumé is awful, very unprofessional looking. It's nice to know he was in the choir of Temple Beth Shalom, but that's not going to get him a job.
Brandon deSpain
Stark: Cheap photographer, cheap picture. His face is all shiny: He looks like a car salesman that I don't want to buy a car from.
Bennett: He doesn't look relaxed at all, and that's a big thing you want -- to be relaxed. He's gritting his teeth, his face looks tight, and even his clothes have his collar done up all the way to the top. He doesn't look like he's at ease. He does look like he's showing his natural self -- and that's what we want to see.
The résumé is well set up. He might even have other pictures in that shoot, but even the paper and the finish is not presented as strongly as he might wish.
Kelly: This looks like it was shot a long time ago.
Much better on the résumé, although the placement of the name is mixed in with the credits and sort of confusing. Looks like the name was cut off. And a bigger font is needed for the numbers; not everyone can see that small. He has a lot of credits and he studied with a lot of people. And he knows Russian -- that's good; he should make that big. If you can speak a language, put it in bold, or somewhere that is definitely highlighted. Sometimes we don't have time to read every word, so if actors want to use a highlighter to point out certain things, that's a good idea, especially languages. I would keep Brandon's contact info.
Duey: It looks like a very old headshot, but for all we know, it could have been taken six months ago. It's his job to make it look up to date, because I don't want the casting director to think that he's going to look 10 years older than his headshot.
It's good that he's a Russian speaker and that he put that on his résumé. He was specific that he's a native Russian speaker.
Emily Parker
Stark: She needs to get her money back. The entire picture is out of focus. I want to see what she looks like. Why would I want to look at it out of focus? It doesn't give me any definition.
The résumé is okay. But what actors send us -- what they've decided to pick as a picture -- tells us a lot about their personalities and how detail-oriented they are. I love actors that are detail-oriented.
Bennett: I like the shot. My worry is it's washed out, and it's hard to tell whether something is being hidden, like age. Maybe this shot is airbrushed or maybe it's just the lighting -- I'm not sure why it appears that way. I find, especially for New York, you want to show everything. If you're going for pilots and beautiful sitcom characters, great, but people tend to film here because they want real people. So let anything show. And we don't know if anything's being hidden in Emily's photo or not, but it just makes you question that. Some people don't like the top of the head cut off; for me it's fine, because it's showing the face and there's a real connection with the eyes.
The résumé is fine. She has all the directors for film and TV; I would add the names for stage. Especially for university and fringe productions, because there are so many different levels of those. Having the name there can be beneficial.
Kelly: I like her photo a lot. It's very ethereal. There's something mysterious about it that makes me want to know more about this person. This is my favorite so far.
Looking at the résumé, I'd like to know more about the things she did at NYU. On films, I'd like to know what kind of film it was or what network it was on. Directors' names usually mean nothing to me.
Duey: She's a very good type. The headshot is a little too artsy, a little too Bennington College for me, like she went to an exclusive girls school and this is her artsy way of thinking how a headshot should look. Emily's typed herself very upscale WASP, I would presume. That's a really good type, actually. The WASP types are almost a minority now and I do look for that every now and then. I would be intrigued to turn over the picture and look at the résumé.
She has a very smart résumé. I see she's very athletic. I think she would be a very good nonunion type to try to build up first nonunion work and then convert to union.
George Von Thaden
Stark: Old-fashioned, but it serves its purpose.
Basically, I can tell immediately from his résumé that he does extra work. He has no unions, so he does a lot of nonunion extra work. He's probably somebody who has another career, or had another career, and has now started to do this for a living.
Bennett: It depends what George is going for. If he's going for newscaster, it's a great shot. Even for a lawyer, it may be okay. But it's kind of flat. It may be a good representation of him, but the eyes aren't connecting -- there's not really anything behind them. Suits are fine; it's just a matter of looking as if you live in them. If you are comfortable in a suit, it's great, but you need to make sure you look like you'd live in a suit and that when you go to an audition in a suit, you're still you. It just doesn't say much extra about George, which it could.
Some of the things on his résumé, like commercial pilot, are fine, but his photo needs to be a little more alive.
Kelly: It's a very large picture, so I have to pull it away from me to see it all. He looks like a very all-American kind of father figure to me, or a lawyer. A very classic look in a suit says that to me. But the picture doesn't seem alive to me.
As for what kind of actor he is or what kind of roles he could play, I would have to turn to the back and look at his credits. He's played a lieutenant, court clerk, TV executive -- a lot of background things happening there, which is good. He's sort of an everyman. I don't think he should list the extra work first. List what is most recent or your biggest role.
Duey: It looks like he did a print ad in the 1970s for Grecian Formula, and this is the before picture. And it's airbrushed to the point that he doesn't even look human anymore. His skin looks better than mine did when I graduated high school, and the man is in his 50s.
Lenny Gallo
Stark: I hate headshots where actors wear black or dark clothing. I have no idea if he's thin, if he's average, or his body language. He also looks very angry, and I don't know if I want to meet someone who's very angry.
Bennett: Lenny looks too much like he's acting in his headshot. He looks like a good-looking guy; he should just relax. When people do their serious shots, sometimes they think they have to look serious. It's just a matter of being natural and being who you are and letting it come through.
The résumé is fine. It's well set up, it's clean, it's clear. I would just add the directors' names.
Kelly: He just looks as if he has giant shoulders. You don't really know where his arms start or end. And especially with this shirt, you can't see his neck, so he just looks covered in black. He probably has a nice stature about him and a nice chiseled face. That could work for him as a leading man. But he needs to show what's going on all around him. He needs to have a longer shot or not wear black all the way up to his chin.
The résumé is printed on colored paper, which I like, and the font is nice and clear as well. I see Columbia college theatre credits, and he's a tenor, which is nice. So he's interesting to me as to what he can do. So the résumé is good.
Duey: It's too posed. He says he sings in Latin and Italian, so my natural question is "Do you also speak it?" So I don't know. I'd like to know without having to call him. The picture looks like a sidekick of Dieter from "Saturday Night Live."
Whitney Delbridge
Stark: I can see she's a very pretty girl, but I don't like the photography. The print quality doesn't help. This is like a prom picture.
If they're new people, their résumés are going to be sparse. That's fine; everybody starts off that way. As they accumulate experience, they should start dropping the smaller roles. But she should put her credits in the standard résumé format. If you're going to be working in this industry, you should work within the industry standards. And it's very easy to find books that show résumé style. It's also become easier for actors to do their résumés, because they can now print them at home on their computers.
Bennett: I like the actual photo itself, the image. The finish of the photo looks like it was from a laser printer, which doesn't quite have the same impact as better-reproduced versions. Pictures are an expensive thing and in the beginning it's tough to afford them, but gradually you want to get better shots. The inexpensive ones just don't have the same effect. It often looks like someone who's just come out of school or who is in school.
When I look at the résumé, I find that in this case, that's true.
Kelly: The actual photograph isn't very telling. She has really nice skin and nice features and could work commercially -- she would probably benefit from a color photo.
Even though she's a teenager and doesn't have many credits, she should definitely follow the format of the standard résumé. She should put her skills and everything she has in the right format -- it will be so much more helpful for her. This résumé is just hard to read.
Duey: I think her headshot is pretty, it's flattering, but I'm not in love with it. It's a little vague, and I'm sure she can get a shot with a little more personality in it. I would try to find a headshot that exuded some more of her spirit.
And I would show her a prototypical résumé that she could copy and then use her own credits for.
Edward Harding
Stark: This is just too busy, and I don't know if anyone's ever used this format. I understand he's trying to show diversity, but he can do that through his résumé. Once he gets into an office to meet a casting director, he might have a portfolio of pictures in different roles that he's done.
And at his age, there are no unions listed, so it says to me that this is someone who's not doing it full-time.
Bennett: It depends what he's going after. If he's really looking to act, this would probably backfire as a headshot. If you want to do a press piece with these pictures, fine, but even then it doesn't look fully professional, which could frighten people instead of entice them. The picture almost looks like he's in character as well -- we don't see who he is. It's almost as if he's trying to play Orson Welles or something in the headshot.
And then the résumé is not necessarily well set up, but all he would have to do is tab the columns. Everything is all pushed together to the left, so nothing stands out whatsoever. Make sure it's easy to read and easy to pick out roles and theatres.
Kelly: There is no need to put all these photos on one shot. It's incredibly distracting. We can see that he has an intense look and that he's probably good for a lot of character roles.
The résumé tells us he's played Jud Fry and Lazar Wolf. It's very clear from the résumé, so he doesn't need to show us all those characters. He has a great look, and it's not an everyday look, so it's interesting and it's needed.
Duey: This is way over the top. I sometimes get pictures like this, like a guy with a lot of cats in his lap, and you can use an offbeat picture for specific parts. I don't have a prejudice against them, because I think there should be room for creativity. If you're going to use a very extreme character shot, it should be balanced with a very traditional shot so they can get used to seeing that you can be many things.
And the résumé is very unprofessional looking. This is someone I feel I would have to educate too much on how to work with an agent. He may be a very nice guy, but it just looks like it's going to be too much work for me to educate him about what he needs to do to get the appointments.
Michele Lawson
Stark: Very bad picture. It's grainy; it's uninteresting. The positioning of the hand underneath the chin doesn't do a thing for her, doesn't give me any personality.
Bennett: The head on the hand ends up looking too staged and not relaxed and natural. It's a fine first shot, but if she's been working for a little while, she should switch it. It's not speaking enough for her. It would be a fine first introduction, but it looks like a beginner.
Kelly: I feel like Michele is not a suit person -- that's the feeling I'm getting. I think she's trying to be a suit person but in actuality she's not.
Nice résumé. I don't have a preference about whether theatre or film and television should go first on a résumé. It depends on what I'm casting, but you can just have one version and the casting people will look for what they need to find.
Duey: My immediate reaction to this is she is not savvy at all. She sells herself as a corporate type, and she's not a corporate type. She doesn't have the Omarosa look.
Her résumé is done nicely for the type that she is, but she's also limited herself by listing all her uniforms. It makes her sound like a day player or that she works as an extra a lot, and as an agency we're not really into bringing under-five players here. We want to get the guest stars: Not only do the actors want that for themselves, but we also make more money that way.
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2016-36/0815/en_head.json.gz/4437 | Badmovies.org Forum | Information Exchange | What Was That Film? | Solved | Comedy. Many people trying to kill each other to take the heredity
Topic: Comedy. Many people trying to kill each other to take the heredity (Read 1884 times)
nikito
Comedy. Many people trying to kill each other to take the heredity
One of the initial scenes, many people around a table, listening to the opening of the heredity of a very rich relative.One of the presents dies from eating too much in the place and they are now 1 less to share the heredity. While the whole movie, everybody is trying to kill each other and only one of them is innocent and don't want to kill nobody. Only he survives and takes all the heredity alone.
zelmo73
Eater of Hobbits
Bad day at the construction site
Re: Comedy. Many people trying to kill each other to take the heredity
House of 9 (2005), maybe? It's not billed as a comedy, but I've read that the acting was so horribly bad that it was easy to mistake it for one.http://www.imdb.com/title/tt0395585/
First rule is, 'The laws of Germany'Second rule is, 'Be nice to mommy'Third rule is, 'Don't talk to commies'Fourth rule is, 'Eat kosher salamis'------------------The Dalai Lama walks into a pizza shop and says "Make me one with everything!"
Nop! I think it's not the same from reading the plot.In one of the scenes, one of the hereditary which was a scientific too, was piloting a radio-controlled plane with explosives and the innocent guy hided below the truck where the scientific was and the plane exploded in the truck and the scientific died.In another scene, the good and innocent guy was holding by the pants other of the hereditary on the roof of a building and trying to pull it. but the pants of the hereditary broke and the bad guy felt and died. Actually the bad guy that felt, just nailed in the floor. Only the but and the legs was visible. That makes me think it has to be a british comedy.
Sounds like one of the many adaptations of TEN LITTLE INDIANS though it also sounds like a comedy version of TWITCH OF THE DEATH NERVE (aka BAY OF BLOOD) http://www.imdb.com/title/tt0067656/
closer, but not the same movie.thanks anyway, @zelmo, @rayo
I was going to say that this sounds a little like SCAVENGER HUNT but after reading the Wikipedia entry, it doesn't sound like it. Logged
"I'm a big boy now, Johnny."
Sounds a lot like a German comedy from the 80s starring Dieter ("Didi") Hallervorden. German title is "Didi und die Rache der Enterbten" (Didi and the revenge of the disinherited). Here is a link to the imdb site (you can also google the title and will find some videos):http://www.imdb.com/title/tt0087148/I am pretty sure that especially the scientist/plane and hangig from the roof thing is in this movie. However, it may be based on some other movies.
......"Now toddle off and fly your flying machine."
Thank you for the effort, Trevor!I think it is, frank!I think you solved this one!It looks different from the way I remember it but the same was with Robot Jox. Inside my memories Robot Jox was looking like Pacific Rim, but when I watched it again it was stop-motion. Ok, thank you again, frank! I don't see anywhere a way to give you karma or something. I guess somebody else would change the name of the post to SOLVED or something.Thanks! Bye! | 影视 |
2016-36/0815/en_head.json.gz/4438 | Antaeus Company doubles up 'King Lear'
Mike Boehm, Los Angeles Times
If "King Lear" has a moral, it's that if you're lucky enough to have a kingdom, it's probably not a good idea to divide it in two.The Antaeus Company production that just opened in a 49-seat house in North Hollywood turns that wisdom upside down: Lucky enough to have a distinguished actor as Shakespeare's tragic king, it has divided the role in two.
Dakin Matthews, one of L.A.'s most accomplished stage actors — with particularly lofty credentials in Shakespeare — is splitting what's widely considered a career-crowning role with Harry Groener, whose three Tony nominations suggest he's no slouch himself.The doubling extends throughout the cast. Gregory Itzin, the scheming U.S. President Charles Logan on the television show "24," plays the Earl of Kent, a steadfast and resourceful mensch — trading off nights with Morlan Higgins, known for his work at the Fountain Theatre in plays by Arthur Miller and Athol Fugard and as a mysterious thug in a Matrix Theatre production of Harold Pinter's "The Birthday Party" — a part he also split with Itzin.
The director, Bart DeLorenzo, ran the inventive L.A. company the Evidence Room before jumping to major regional stages at South Coast Repertory, the Geffen Playhouse and the Cleveland Play House. He's tasked with making a very large ensemble — 18 members, times two — fit on a small stage at the Deaf West Theatre.Directing in this format could turn into a nightmare for a director given to control freakdom, says Matthews, who was Antaeus' artistic director for its first 13 years. But DeLorenzo, jumping into Shakespeare for the first time since his graduate school days at Harvard, says he's not the autocratic type, and the abundance of talent in this "Lear" (running through August 8) made it too juicy to pass up.Groener was among the charter members who launched Antaeus in 1991 to provide a home for film and television actors who want to stay in touch with classic plays. It's named after a giant in Greek mythology who was unbeatable as long as he kept his feet on the ground — an apt metaphor for a company of actors convinced that, whatever else they might do in their professional lives, they need to stay rooted in rich dramatic soil.Doubling each role has been Antaeus' policy from the start. It accommodates the realities of acting life in L.A. by taking guilt and anxiety out of the equation for stage performers who are in demand for well-paid screen roles and don't want to sacrifice those opportunities to be in plays that pay next to nothing. Absenses and defections can become chronic for small L.A. companies as screen opportunities arise; Antaeus' innovation of having two first-string casts as insurance made so much sense that it was subsequently adopted by the Matrix Theatre Company in West Hollywood.But it's not for everybody. Actors don't want to think of themselves as replaceable, says Jeanie Hackett, Antaeus' artistic director since 2004, "and as soon as you get a double, you're replaceable." A few company members dislike sharing a role, says Groener, but they put up with it to stay immersed in classic plays.Antaeus has struggled economically since a mid-1990s bid to be adopted as the in-house classical wing of L.A.'s top producer, Center Theatre Group, didn't pan out. Until this year it had mounted just 13 productions in 18 years, although members stayed busy offstage, gathering to read and rehearse plays for as long as a year. This year marks the first time it has mounted a full season — three plays,plus Classicfest 2010, a summer series of public workshops and readings of a dozen plays. The leap was made possible by Antaeus' first major fundraising push, which generated about $200,000."We need to do well this season to have another season," Hackett says, and "doing our first Shakespeare is huge for us" — as if carrying the dead Cordelia in what may be the most heartbreaking scene ever written weren't enough weight already for Antaeus' two kings.Although it hasn't staged the Bard until now, Shakespeare has been a regular subject for Antaeus' in-house explorations. One benefit, Hackett says, has been unlearning rigid rules about Shakespearean acting that she absorbed as a student at New York University and London's Royal Academy of Dramatic Art and in subsequent professional productions. "Dakin teaches actors to make this language their own. I thought, 'Oh, my God, this is what I always thought in my heart it was supposed to be.'"One orthodoxy that Matthews and Groener don't subscribe to is that playing Lear is an awe-inducing pinnacle, a mountain to be climbed in the footsteps of such eminences as Laurence Olivier, Orson Welles, John Gielgud, Ian Holm and Ian McKellen."It's not helpful at all to think of it that way, and it's not true," Matthews says, seated recently beside Groener and DeLorenzo at a reading table in the Antaeus Company's library, across the hall from the Deaf West stage.The part is rich but straightforward, Matthews says, and thus not as difficult as such "knotty" roles as Macbeth and Brutus in "Julius Caesar." One is inclined to take his word for it. Until two years ago, he was the in-house Shakespearean dramaturge and scholar of the Old Globe in San Diego, which produces Shakespeare every summer. Matthews' work included adapting the two parts of "Henry IV" as a single play; its Broadway staging by Jack O'Brien starred Kevin Kline, Ethan Hawke and Audra McDonald (with Matthews in two supporting roles) won 2004 Tony Awards for best revival and best direction of a play.
Groener says that singing, dancing and acting his way through "Crazy for You," a high-energy 1992 Broadway hit that recycled Gershwin tunes, "was much harder" than Lear, despite the Shakespearean role's status. "The tradition is there, and so many brilliant actors have played the part. But I can't think of it that way. I think of it as just another part I'm playing." In addition to his Tony-nominated turns in "Crazy for You," " Oklahoma!" and "Cats," Groener's Broadway credits include another legendary monarch, King Arthur, in the far different context of "Monty Python's Spamalot."Matthews and Groener say that double-teaming Lear means they get to steal from each other. In a recent rehearsal, when Matthews' team, dubbed the Fools, played a scene, Groener watched from theater seats with his fellow Madmen. Then DeLorenzo would say "switch," and it was their turn.
Matthews, 69, played Lear in 2008 at the Pittsburgh Irish & Classical Theatre. But watching the 58-year-old Groener rehearse, he said, has suggested fresh possibilities.When Groener's Lear started to curse one of his daughters, then seemed to forget what he wanted to say, Matthews made mental notes. His counterpart's approach had reminded him that, by that point in the play, the king is not only in a state of shock and outrage but famished and sleep-deprived as well. So playing him as drawing momentary blanks could be worth a try. Says Matthews: "There are things you forget while creating your own part, then somebody else comes on and you go, 'Oh, of course! Yeah! Why didn't I think of that?'"Other Groener inventions that he's tried to borrow haven't suited him so well. After one such attempt, Matthews recalled, "I came over and apologized to Harry: 'Sorry what I did to your Lear there.'"Although the two casts are meant to perform as separate units, Fools and Madmen are apt to intermingle during the show's run as the conflicting screen jobs come up. But the two leads don't expect to give up any of their half-share in Lear. Groener says he has asked his agent not to book any jobs on show nights, and Matthews says it's unlikely conflicts will arise with his recurring TV parts as a judge on "General Hospital" and a gynecologist to vampires on "True Blood."Initially, Jonathan Lynn, a film director ("My Cousin Vinny") and Anteaus board member, was lined up to direct "King Lear," but Hackett says he had to step aside in February, when he learned that work on a film would make him unavailable. With the cast already set, she invited DeLorenzo to take over.Matthews says that Antaeus actors develop a strong interpretive grip on their parts, given the extensive woodshedding they do. But they still need a director who can decide how to stage less clear-cut moments. For directors used to being auteurial and exerting strict control, he says, "it would be hell, a nightmare, and it would bring out the beast in them."DeLorenzo says he was curious to experience double-casting and figured his low-key approach would work in a delicate setting where blunt criticism of one actor could be taken as favoritism toward another. "I'm a lot less willful than many directors are. I find you can do a lot with a soft nudge and a well-timed laugh."It makes sense, the director says, to heed actors who have pored over "King Lear" together for a year. To come up with those ideas, he says, "it took some time and a special group of people."[email protected]
Audra McDonald
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2016-36/0815/en_head.json.gz/4462 | The Angels of Easter
What supporting role did angels have in the story of Easter?
In movies, the performance of a leading character often overshadows the performance of characters in supporting roles. In particular, for movies where the resurrection story is told, Jesus would win an award for the leading character while angels would receive an award for the best supporting roles. Since the resurrection is an important event in the Christian faith, most churches often center sermons on Jesus. Angels are rarely mentioned, although they are prominent in the Scriptures about Easter. Angels are not only a major part in the Easter story, but one angel in particular (let’s call him the “first angel”) also makes a dramatic entrance worthy of a Hollywood script. This is the way the Gospel writer Matthew recorded the event: “After the Sabbath, at dawn on the first day of the week, Mary Magdalene and the other Mary went to look at the tomb. There was a violent earthquake, for an angel of the Lord came down from heaven and, going to the tomb, rolled back the stone and sat on it. His appearance was like lightning, and his clothes were white as snow. The guards were so afraid of him that they shook and became like dead men” (Matthew 18:1-5). The scene above would certainly be a challenge for George Lucas and his Industrial Light and Magic Studio. Picture this first angel with an ethereal brightness that could only be described “like lightning” (was it the Shekinah glory?). It was a sight so startling that the Roman soldiers guarding the tomb fell in dread and “became as dead men.” This angel also single-handedly, with super-human strength, rolled the stone away from the entrance to Jesus’ tomb. Scholars estimate the stone may have weighed as much as twelve tons. Theologians point out that the angel did not roll the stone away to let Jesus out. Rather, the stone was removed to reveal that the tomb was empty. The resurrection had already occurred. Amazingly, this angel and other angels in the rest of the story are careful to play a supporting role. Notice that even in this great moment, the first angel is never named. This particular angel deflects attention from himself and, instead, points to the resurrection of Jesus. How easy it would have been for the angel to perch atop the massive stone and become the major tourist attraction of the Passover season. Crowds from Jerusalem would have flocked to see the angel. Instead, the angel focused attention on the empty tomb and the resurrection of Jesus. In all the Gospel accounts of the Easter story, the angels appeared only when necessary and then disappeared from sight. Other angels appear as the story progresses that first Easter morning. These angels did not have the blazing glory of the first angel, but they were immediately recognizable as angels. John 20:12 reports that Mary Magdalene saw “two angels in white” inside the tomb. Mark 16:5 describes an angel as “a young man dressed in a long white robe.” Luke 24:4 describes “two men…dressed in dazzling robes.” The angels were not dressed in ordinary clothes, but they were “shining men” immediately recognizable as angels. An angel’s primary role is to be a messenger. After the first angel makes his spectacular entrance and rolls away the stone, he gives the first message of Easter to Mary Magdalene and the other Mary. The angel said, "Do not be afraid, for I know that you are looking for Jesus, who was crucified. He is not here; he has risen, just as he said. Come and see the place where he lay. Then go quickly and tell his disciples: 'He has risen from the dead and is going ahead of you into Galilee. There you will see him.' Now I have told you." (Matthew 28:6-8) In Mark 16:6-7, the angel spoke to Mary Magdalene, Mary the mother of James, and Salome: "Don't be alarmed. You are looking for Jesus the Nazarene, who was crucified. He has risen! He is not here. See the place where they laid him. But go, tell his disciples and Peter, 'He is going ahead of you into Galilee. There you will see him, just as he told you.'” Luke tells how Mary Magdalene, Mary the mother of James, Joanna, and others were puzzled when they found the tomb empty. Suddenly, two angels dressed in dazzling robes appeared and said, “Why do you look for the living among the dead? He is not here; he has risen!” (Luke 24:5-7) Certainly, the “Easter angels” performed their supporting roles well. They rolled the stone away from the tomb’s entrance, invited the faithful to witness the empty tomb, explained the significance of the resurrection, and gave instructions from Jesus about what his followers were to do next. Then, the angels disappeared after accomplishing their supporting roles. They had pointed to the mighty God in the resurrection, so their work was done. How like the angels! Read More: Lent AngelsTimeline for the Appearance of Angels on Easter Morning We find the events of Easter and the involvement of angels in the Gospels of Matthew, Mark, Luke, and John. Continued on next page...
Leading Character
Supporting Roles
Be An Angel
Angels Of Easter
Empty Tomb
Jesus John 20
Angel Faqs
Dramatic Entrance Worthy
Angel Questions
William Webber
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2016-36/0815/en_head.json.gz/4528 | The Real Housewives of Orange County About
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Lauri And Josh: Part II
After an emotional year, Lauri Waring Peterson and her son Josh speak candidly about his battle with drug addiction. by Lauri Peterson
January 29, 2008 • 6:13 PM ET Facebook Twitter Pinterest Email More EDITOR'S NOTE: This week, we conclude our two-part conversation with Lauri and Josh.
Bravotv.com: [Talk about Josh moving out ....] Lauri: ...That's when I think parents have most difficult time raising children: when we have wisdom, and try to spare our children from hurt, and they refuse to listen to that wisdom. And I think that was a perfect example. And, what happened was Josh did move over there immediately. And, yeah, my perception from it all, in hindsight, looking back on it, was that I think he did do it to hurt me. And I think Josh had voiced that he thought that George had replaced him in my heart, and I think that was a way just to hurt me, and maybe even to hurt George too. And then also I think that he was lured in with free rent in lieu of being a weapon to hurt my relationship with George. Josh: I don't feel like I tried to hurt her...
Bravotv.com: ...Going back to the therapist...iit seemed like what you see from tonight's episode that a big part of the argument was your thought that all drugs are bad, and Josh not necessarily thinking that - that he had gotten off the harder stuff, but not all are bad necessarily. I didn't know if you guys had come to an agreement or if Josh feels differently now.
Josh: Since I was in 7th grade, I wrote an article on the Constitution and how marijuana should be legal. ...I put it together and it was amazing. I made points that people were stunned. They were in awe. ...There were so many facts that I put together about marijuana...The government is very lenient on marijuana. It's a slap on the wrist; it's a ticket now. Especially in California, all my friends [have]their cards. I have my card too [for the] Cannibus Club, where you go into a dispensary and you can buy marijuana legally. My mom's perspective is drugs are drugs period. I would have a very bad opiate addiction, and getting off of it was very difficult. I told my mom that I still smoked pot. She was just not happy about that. Her perspective was, "Drugs are bad. While you're using them you won't be talking or associating yourself with me.
Lauri: That is the way it is. Josh summed it up perfectly. Drugs are drugs, ...Well, statistics say that it's the gateway drug. Josh was the perfect statistic — it was for him. We have young children living in our home. That was my rule: Josh, you know, if you're using, you cannot come around the family. I'll meet you out for lunch or whatever, but you cannot associate with the family. And that is still how I feel. I'll never change that. I'll never be accepting of it.
Bravotv.com: Josh, do you go over to the house a lot? Josh: I mean we do stuff. I love my mom. Family isn't blood to me, that determines your family. It's who you love, the people close to you that you share that platonic love with that make you feel good — that's what family is to me. I love my family. I love them so much, and I would do anything just to make them, make them accept me for who I am, not [because] I'm my mom's son. Sometimes I feel like I'm the black sheep, and sometimes I just wish that they had never even known about the negative things that I've done in my past.
Bravotv.com: Lauri, what do you tell the younger girls? Do they know everything?
Lauri: Through the guidance of psychologists, we've had to discuss drugs with our younger kids simply because it's impossible to keep everything from them. So, we made them very aware, I mean, even just through Josh's actions, it's clear to even a young child that something's not right. When he's using, it's clear that there's a problem. And so, for us, to actually identify it, have the opportunity to discuss drug use with the children, it's opened up all sorts of conversations. So, yes, our kids are aware of it. We don't discuss it in detail. There's much that they don't know, but they know enough. Hopefully, they've seen the path that Josh took — that it wasn't a productive path, that it was nearly deadly, and hopefully towards staying away from drugs in the future.
Bravotv.com: Josh, you're working at the restaurant now, are you thinking about going back to school?
Josh: Oh, I am. I'm enrolled in Internet classes. I start two classes Feb. 2nd.
Lauri: Going back to the family real quick, Josh ... we had a big Christmas Eve dinner and he spent Christmas day with us. We try to do family meals, with everybody's schedule it's kinda hard .... We try to get everybody together.
Bravotv.com: Josh, where are you living now? You live by yourself?
Josh: Yeah.
Lauri: No you don't! You don't live by yourself. Josh: I took in my mom. [Editor's Note: Josh was kidding.]
Lauri: He's back in my [town]house again. Once he went through his drug rehab, I moved him into the house, so he's got his original room back, and Ashley is his roommate. Josh: We have so much fun, yeah!
Bravotv.com: Good thing you didn't get rid of the house.
Lauri: I actually took my house off the market because I can justify it now that there's two bodies living there. When it was just Ashley, it was a huge mortgage for one person. Now that Josh is here. He's trying to get himself back on his feet, and college is really important for me. So, basically if he's going to school, he's got a roof over his head. Staying clean, going to school, he's got a roof. And that's the way it's been. Knock on wood...that's the way it will be.
Bravotv.com: Is there anything else you guys want to clear up?
Lauri: Um, I think we covered everything. I just think as far as, the thing that I would actually like to address is that some people have attacked me saying I exploited Josh for my fame, which I think is hilarious because when I agreed to do this series three years ago, I sat down with the kids and laid it all out on the line and said, "Do you want to be a part of this?" And the kids were all over it. They really wanted to do it. Even that infamous newspaper article that came out where Josh said I forced him and exploited him, again I think those were all things that I think he may have just said to hurt me. Josh, do you feel exploited? Josh: I wouldn't say that, not at all...
Lauri: Were you ever forced into doing the show?
Josh: The way I felt that...just the way things are put together, just manipulated with the media.
Lauri: You feel exploited that way. Well, I agree with that. I think that even in Season 3, I specifically wouldn't allow Josh to be a part of the filming because he wasn't healthy; he wasn't in the right frame of mind. And it was only at the very, very ... end of filming that he was pulling it together, and he really wanted to be a part of it. I think probably in watching Season Three, he probably feels left out. But that was his own doing with the situation he was in. I think that's a huge misperception. You know, my kids love being part of this show. Sophie's just enjoying it so much, and it's been such a positive experience, and it's put her places that she would never have been. And the same with Ashley. It's really opening up doors, and it's really exciting for all of us. ...IIt is important for me to have all the kids on the same wavelength as far as the show's concerned, but I don't know...That's really it.
Bravotv.com: Thank you so much. We can't thank you enough for being so open.
Lauri: I would like for [people to know] how courageous he was in exposing his life and his problems. And I think that because a young person goes through these types of trials and tribulations at a young age, that doesn't necessarily label them for life. People can change. People can move on. People can accept change and do better in life. And I think that they can reach success .... Josh: They say that the first step to getting what you want out of life is deciding what you want out of life. So, that's where I'm at right now, so all the viewers know, that's where I'm at right now - I'm deciding what I want to do, where I want to be. I fell in love and [Hannah] got me to take a second look at my life because as far as I was concerned I was so happy making the money I was making, even though it was dirty money. ...She made me look twice, and she said, "I would love you if you were dirt poor." So that made me look at my life and go...that made me look at my life and see that it wasn't wrong and the second step was finding out what I needed to do to be clean and sober, clear-headed. I did that, and now I'm trying to find out what I want. You May Also Like...
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2016-36/0815/en_head.json.gz/4532 | Click Here for More Articles on ENCORES!
Photo Coverage: Former Congressman Barney Frank Makes Stage Debut in FIORELLO!
February 3 10:37 AM
by Walter McBride
Former congressman Barney Frank assumed the role of a conservative senator when he made his stage debut yesterday, February 2, in Fiorello!, the opening musical of New York City Center's Encores!20th Anniversary season. BroadwayWorld was there and brings you photos below!
A member of the Democratic Party, Barney Frank served as chairman of the House Financial Services Committee (2007-2011) and was a leading co-sponsor of the 2010 Dodd-Frank Act, a sweeping reform of the U.S. financial industry. Frank did not seek re-election in 2012 and retired from Congress at the end of his term in January 2013. Frank has expressed interest in serving temporarily in the United States Senate should John Kerry be confirmed Secretary of State. His role in Fiorello! could be a dress-rehearsal of sorts for a senator role.
Perhaps to prepare for his possible role as United States Senator, Frank made his stage debut in the Pulitzer Prize-winning musical Fiorello!, the story of New York City's Mayor Fiorello LaGuardia's rise from an immigrant's son to the feisty congressman whose guts and determination to fight corruption brought down the crooked Tammany Hall political machine. Frank played an outspoken senator who disagrees with LaGuardia's policies.
Frank joined cast members Kate Baldwin, Jeremy Bobb, Ray DeMattis, Erin Dilly, Jenn Gambatese, Adam Heller, Shuler Hensley, Richard Ruiz, Danny Rutigliano, Andrew Samonsky, Emily Skinner and Cheryl Stern as Fiorello LaGuardia. Fiorello! is directed by Gary Griffin with choreography by Alex Sanchez and music direction by Rob Berman. The show will run for seven performances through today, February 3 at New York City Center.
Fiorello! has a book by Jerome Weidman and George Abbott, music by Jerry Bock and lyrics by Sheldon Harnick. It is one of only eight musicals to win the Pulitzer Prize for Drama, and it also won the Tony Award for Best Musical.
Photo Credit: Walter McBride
Former congressman Barney Frank plays the role of a conservative senator as he makes his stage debut in 'Fiorello!', the opening musical of New York City Center's Encores! 20th Anniversary season on 2/2/2013
Danny Rutigliano & Barney Frank
As a 14 year old youth, Walter was transfixed by his first Broadway Show, the original production of 'GREASE'. His Journey to celebrity photojournalism began
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2016-36/0815/en_head.json.gz/4534 | Holly Hunter to Star in BBC's TOP OF THE LAKE Miniseries
As first reported on TVLine.com, actress Holly Hunter will join Lucy Lawless and Elisabeth Moss in a BBC Worldwide seven-part miniseries to be called TOP OF THE LAKE. The series will be broadcast in the U.S. on the Sundance Channel.
Jane Campion wil co-direct and co-write the series which follows the life of a detective (Moss) as she tiredlessly searches for a missing 12-year-old pregnant girl who is the daughter of a local drug lord, to be played by actor Peter Mullan. Emile Sherman and Iain Canning, who earned Oscar awards for last year's 'The King’s Speech' are set to produce the series.
Holly Hunter starred on stage in THE WAKE OF JAMEY FOSTER and CRIMES OF THE HEART. She starred in The Piano for which she won the Academy Award for Best Actress. She has also been nominated for an Oscar for her roles in Broadcast News, The Firm, and Thirteen. Hunter has also won two Emmy Awards with seven nominations and has won a Golden Globe Award with another six nominations. | 影视 |
2016-36/0815/en_head.json.gz/4571 | For about two decades, there wasn�t anyone much bigger in Hollywood than Arnold Schwarzenegger. Although to be fair, the hits in his resume � the �Conan� films, the �Terminator� films, �Twins,� �True Lies� � were accompanied by some real duds � �Last Action Hero� and �Jingle all the Way.� But the Austrian muscleman persevered, becoming an international box office star. Then, in 2003, he left acting for politics, with a two-term run as governor of California, which ended in 2011. He made one cameo, in �The Expendables,� during his time in office. But his new film, �The Last Stand,� in which he plays a small-town sheriff trying to hold off a small army of bad guys, marks his return to leading man status. Last week in Los Angeles, he spoke about acting, politics and what kind of shape he�s in.Why did you leave acting, and why did you return to it?When I got into the governorship in 2003 I said I would only run the state for seven years, and then I would be back in the movie business. So now I�m back again. The only thing is that when you�ve left the movie business for seven years, it�s kind of scary to come back because you don�t know if you�ll be accepted. So I was very pleasantly surprise when I did the cameo in �The Expendables� that there was such a positive reaction to my appearance, and that there was an even bigger reaction when I did the second one.You look great. How do you feel about aging and doing action scenes?I�m no different than you. We all go through the same traumas. We look in the mirror and see what happened (laughs). But the great thing is that if you work out every day, you stay in shape. This movie required a lot of stunts and action and physical work. The director was a fanatic about seeing as much as possible done by me and the other actors, unless it got really dangerous. We all practiced and rehearsed our stunts, but when you�re 65 it�s different than when you�re 35.First you were a bodybuilder, and you�ve always done at least some stunts. Does it hurt to get up in the morning?I feel good right now, but I think that when you lift as many tons of weights as I have, inevitably there�s wear and tear, and you have injuries. When you do stunts you have your share of injuries there, and I�ve been stitched up in movies and had broken or dislocated shoulders. I�ve had a lot of surgeries and a lot of things that had to be fixed on my body. But the medical technology has really advanced, and I�m sitting here today and can do everything.What is your strategy going forward in making films?A lot of it has to do with timing. I would have chosen to do another �Conan� first if it would have been ready. And that will probably be ready later this year. The same thing with �Triplets,� a sequel to �Twins.� I�ve been trying to get that made for 10 years. Now the new leadership at Universal sees the value of it, so they�ve hired writers and are going full blast ahead. I would say in general, decisions are based on what movie would be interesting for people to see, what does the audience out there want to see me do. That�s how I make decisions.�The Last Stand� opens on Jan. 18.Ed Symkus is a movie writer for GateHouse Media. | 影视 |
2016-36/0815/en_head.json.gz/4629 | BEN CHAPLIN plays a cynical writer who finds himself forced to believe he is
the target of a supernatural conspiracy. Chaplin most recently starred in
Terence Malick's Academy Award nominated The Thin Red Line, with Sean Penn, Nick
Nolte and John Cusack. The British actor has been sought after by Hollywood
since his American debut in the romantic comedy The Truth About Cats and
starring opposite Uma Thurman and Jeaneane Garafolo. He also brought his leading
man charisma to his next starring role opposite Jennifer Jason Leight in
Agnieszka Holland's version of Henry James' classic novel Washington Square. He
will next be seen in Jez Butterworth's Birthday Girl, opposite Nicole Kidman.
Born and raised in England, Chaplin is a graduate of Guildhall School of
Music & Drama. He has worked extensively in theatre and television in
Britain, and has been featured in two Merchant/Ivory films, Remains of the Day
and the much praised Feast of July.
His credits for the BBC include "Casualty," "A Fatal
Inversion," "After the Dance" "Between the Lines,"
"Tuesday," "The Borrowers," "A Few Short Journeys of
the Heart" and "Game On," a wry, offbeat series that debuted in
Chaplins' theatre work includes productions of "The Grand
Meulnes,"
"The Neighbor and Peaches," as well as the highly acclaimed production
of "The Glass Menagerie," opposite Zoe Wanamaker and directed by Sam
Mendes in London's West End for which he received an Olivier Award nomination.
� 2016 New Line Cinema�, All Rights Reserved. | 影视 |
2016-36/0815/en_head.json.gz/4631 | PATRICK WARBURTON (Kronk) puts
muscle and laughter into the role of Yzma's easily distracted "right hand
man" who usually gets things wrong. Well-intentioned but often oblivious to
the big picture, this muscle-bound manservant aims to please but often misses
the mark by a mile.
"He's about as sharp as a
marble," observes Warburton. "He's a big sort of lovable guy who
likes to cook spinach puffs and converse with the animals. He really is a savant
of sorts. He also happens to be Yzma's whipping boy and she's not exactly
the easiest woman to please. Kronk has no malice. He's just taken the wrong
path. I think the audience is rooting for him to get out because he's
basically a real sweetheart.
"What's fun about doing this
role is that Kronk is not traditionally bad; he's just working for the wrong
team. There's a lot of hope for him and he resonates goodness of heart. He
also seems to be very adaptable to whatever is going on around him.
"I think Yzma is destined to be
one of the great villainesses," says Warburton. "Although she is
wretched, there is something humorous about her and she is pretty silly looking.
Playing Kronk was a lot of fun and it really gave me a chance to create a
character using my vocal intonations and inflections. You get a character in
your head and you just know when it feels right and when it doesn't. My kids
are thrilled that I'm a character in a Disney film and so am I."
Warburton is well known to television
viewers of the hit NBC comedy "Seinfeld," where he played Elaine's
on-again, off-again boyfriend Puddy, the laconic, enigmatic, quirky Saab
salesman. After a two-year stint on the CBS sitcom "Dave's World,"
Warburton received the call for a one-episode appearance as the painted-faced
New Jersey Devils fan. His role grew from there, and he became one of the show's
funniest fixtures. With his role on the television series "Family Guy"
as the voice of Joe, recurring roles on several television series (including
"NewsRadio"), and memorable commercial spots for Cadillac, M&Ms,
and American Express (as the voice of Superman alongside Seinfeld), Warburton
has become one of the country's favorite character actors.
Warburton's resume is expanding to
roles on the silver screen as well. He is the star of "The Woman
Chaser," which received critical acclaim at the New York and Sundance film
festivals, and recently won the Audience Choice Award at the Austin Film
Festival. The actor was also recently seen in Showtime's "The Apartment
Complex" and had a cameo in the box-office hit "Scream 3."
Warburton can currently be heard on
television in the title role of "Buzz Lightyear of Star Command,"
which premiered last October on ABC and in syndication. He will also be seen in
Fox's "The Tick," a live-action series based on the popular comic,
produced by Barry Levinson. Among his upcoming films are roles in
"Camouflage," "The Dish," and Touchstone Pictures'
live-action comedy "Big Trouble."
� 2016 Disney Pictures Inc.�, All Rights Reserved. | 影视 |
2016-36/0815/en_head.json.gz/4653 | Sci-Fi Home
NOAH Actor Douglas Booth Joins The Cast Of The Wachowskis' JUPITER ASCENDING
Booth, who will soon be seen in Darren Aronofsky's Biblical epic/graphic novel adaptation Noah, is the latest addition to the cast of The Wachowskis' upcoming sci-fi film Jupiter Ascending. Read on for more.
According to Variety, young actor Douglas Booth has signed on to join the already impressive cast for Andy and Lana Wachowski's (The Matrix) upcoming sci-fi film Jupiter Ascending. Channing Tatum, Mila Kunis, Eddie Redmayne and Sean Bean (who was announced earlier this week) are also on board to star in the Warner Bros.-distributed movie, which will also be written by The Wachowskis. Booth will soon be seen in Paramount Pictures and Darren Aronofsky's Biblical epic Noah, and he (as well as Redmayne, coincidentally) was reportedly up for the Harry Osborn role in The Amazing Spider-Man 2. Specifics on his character in the film are currently unknown. Jupiter Ascending "is set in a time where humans are at the bottom of the evolutionary ladder, and it follows a woman who has been targeted for assassination by the queen of the universe." No release date has been set yet, and the film is set to be released in 3D.
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Filed Under "Sci-Fi" 2/8/2013 | 影视 |
2016-36/0815/en_head.json.gz/4661 | > The Phil Silvers Show
> Phil Silvers Show Voted Best Sitcom
Phil Silvers Show Voted Best SitcomBy WENN on 30 September 2003
Follow The Phil Silvers ...
The Phil Silvers Show Seinfeld FAWLTY TOWERS Frasier
Classic American comedy The Phil Silvers Show has been named the best TV sit-com ever in a poll by influential British magazine THE RADIO TIMES.
The show, which saw Silvers play renegade Army SERGEANT BILKO, originally aired between 1955 and 1959, but is still regularly reshown.
Modern comedian JERRY Seinfeld secured the number two spot with his seminal sit-com SEINFELD, which ended in 1998 after an eight year run.
FAWLTY TOWERS, which starred and was written by MONTY PYTHON star JOHN CLEESE, came third, despite only lasting a dozen episodes.
Shows including PORRIDGE, Frasier, M*A*S*H and HANCOCK'S HALF HOUR all featured further down the top ten. 30/09/2003 13:59Contactmusic
Phil Silvers Show Voted Best Sitcom | 影视 |
2016-36/0815/en_head.json.gz/4671 | Stage Notes
Entertainment Stage Notes "Smash:" It's Not a Documentary But Still...
Creating a Broadway Musical Handout Christian Borle, Debra Messing and Angelica Huston in NBC's "Smash" Christian Borle, Debra Messing and Angelica Huston in NBC's "Smash" (Handout) FRANK RIZZOHartford Courant
Watching the first four episodes of the much-hyped TV series “Smash,” one may ask, “Whose Broadway is it anyway?”Theater geeks and chat room obsessives will no doubt have lots to celebrate and carp about as the 15 episodes roll out during the upcoming season. But musical theater aficionados may find it useful to chant the mantra: “This is not a documentary. This is not a documentary.”
It is, after all, a prime time soap series, a melodrama with a song and dance, “Glee” by way of broadwaystars.com.Regrettably, for most of the early episodes it’s not particularly fresh or compelling, just familiar tropes trotted out with terrific production values.
But patience may be rewarded. The good news is that by Episode Four, its writing takes a turn for the better, the characters deepen, at least somewhat, and there are emotions of genuine -- as opposed to faux -- feeling.But during the first few episodes, the show doesn’t meet a theatrical cliche it doesn’t like: The brilliant cad of a director, the hustling producer, the innocent actress from the Midwest, the seasoned pro who sleeps her way to the top, the outsider spouse.Well, there are archetypes in the theater -- and elsewhere (see “Downton Abbey”). It’s what one does with them that makes the difference between a riveting drama and tired retreads.The show’s creators often refer to “The West Wing” as its behind-closed-doors workplace template. But the characters in that lauded series were offbeat, complex, intriguing and always on the move. Energy abounded in that D.C. series but there was also time for extended scenes that paused for nuance. And the things they came out of the characters’ mouths were some of the best dialogue on TV. In the early episodes, jhe dialogue is eye-rolling: "Nothing is bigger than Broadway!" "She's a star!" "Even crazy dreams come true!" “Smash” also has a visually brighter tone than “The West Wing,” with a retro palette that evokes the saturated colors of MGM musicals. In this well-lit, heightened world there’s little room for shadings, at least not for the first few episodes.What the series needs to do is relax and get some scenes with real grit, emotion and surprise -- and plot twists that can’t be seen from satellites. It also needs some show doctors quick, a Paul Rudnick or a Douglas Carter Beane could add some humor and zing, funny lines and surprising situations that can be talked about the next day at the water cooler.As for verisimilitude, I’ll give the show a general pass for now because, again, this is not a documentary and it takes time to roll out the populated world of Broadway players.But let’s take a moment to talk about a few of the most obvious points theater insiders might raise: Who produces a show single-handedly any more? In an era of when corporations and teams of investors that equal the populationm of Guam produce kazillion-dollar musicals, there are still a few brave folks who fly solo, or close to it. Think of Angelica Huston‘s divorcing producer character in "Smash" as a Fran splitting from a Barry Weissler (not that they are -- and I wish their long marriage the best). Or a Scott Rudin, who can start -- or stop-- a show in a New York minute. The point being, though it’s not the norm these days, it’s still possible to have a strong solo producer ruunning the show. Who takes a show out of town anymore, much less to Boston? Though musicals are mostly developed at regional theaters, by New York not-for-profits or off-Broadway, there are some productions that still take an out-of-town spin in San Francisco, Seattle and Chicago. Alas, New Haven's Shubert Theater was once the home of Broadway musicals during the Gold Age -- and is now the home of Non-Equity bus-and-truck shows. As for Boston, I reviewed the musical “High Fidelity” in Beantown for Variety as it headed to Broadway. (That show coincidentally starred Will Chase, who is the leading man in “Smash”’s “Marilyn” musical.) So, indeed, it can happen. Who invests in a major Broadway musical in the near-absence of a book? OK, things aren’t perfect by the time the first workshop gets rolling but there’s at least there's an outline of how things will play out and the answer to the question: What are we trying to say about this show? I understand that writing non-musical scenes aren’t inherently dramatic, but no one in"Smash" is asking some fundamental questions of why will their Marilyn musical work when that other one in 1983 flopped?Where are the rest of the colorful theater characters? Casting king Bernie Telsey’s teeth must be grinding as he watches the early episodes as the actors are chosen for the musical minus casting directors. “Where the hell am I?” he must be thinking. And by not involving any theatrical agents, the show missing some juicy, funny, wheeling and dealing.I know, I know. It takes time to roll out all the myriad characters and dynamics and at least for the early episodes, there needs to be a bit of shorthand to hook the viewer. But I cant help feel there’s a bit of network rush in all of this, that if things don’t land by the end of the pilot, all is lost. I can’t help wondering if this was on HBO or cable there would be more patience more trust, more attention to detail.
But like a musical that’s in trouble out of town, you do what you’ve got to do -- and do it fast. Get it up, get it running and fix it later.I am rooting for the show to succeed and am somewhat encouraged as the series goes on. But I just wish it wasn’t so desperate to be a smash at any costs and settle instead to be simply great. | 影视 |
2016-36/0815/en_head.json.gz/4718 | 'Man of Steel' soars! Netflix and DreamWorks Animation make deal
"Man of Steel" Warner Bros. "Man of Steel" got off to a strong start at the box office. "Man of Steel" got off to a strong start at the box office. (Warner Bros.) Joe Flint
After the coffee. Before reassessing my priorities. The Skinny: I'm going to try to take a quick look at CNN's new morning show (which aired at 3 a.m out here) so I can at least see the opening. Monday's headlines include the incredible performance of "Man of Steel" and Netflix's new programming deal with DreamWorks Animation. Daily Dose: President Obama was left on the cutting-room floor of CBS' new summer series "Under the Dome." Based on a Stephen King book, the end of the first episode featured audio from Obama seeming to address the events of the series — which is about a town that finds itself one day mysteriously trapped under a dome. The audio was actually from the president's remarks on the devastation of Hurricane Sandy. CBS and producer Amblin Television decided it felt inappropriate and edited it out of the episode, which is set to air June 24.Super box office. Warner Bros. "Man of Steel" soared sky-high, taking in $113.1 million in its opening weekend. The opening is the second biggest of the year behind "Iron Man 3." About 56% of the audience's movie was male and more than 60% were over the age of 25. Also opening was "This Is the End," the quirky comedy starring James Franco, Jonah Hill and Seth Rogen, which took in a respectable $20.5 million. Weekend box-office recaps from the Los Angeles Times and Hollywood Reporter.
PHOTOS: 'Man of Steel'SpongeBob who? Netflix, which recently lost access to content from Viacom's kids cable channel Nickelodeon, has struck a deal for new shows from DreamWorks Animation. For Netflix, the agreement can potentially provide a steady stream of kids shows for its streaming service. For DreamWorks Animation, creating content for Netflix will give it another outlet besides theatrical movies for its content. Coverage of the pact from the Los Angeles Times and Variety.Here we go again. John Malone built an empire by gobbling up cable systems in the 1970s and 1980s. Then he got rid of his cable systems and focused his efforts on programming investments through Liberty Media. Now Liberty is again looking at cable. The company recently acquired a stake in Charter Communications and Liberty is now kicking the door at Time Warner Cable to see if there is any interest there in a possible deal. However, for now Time Warner Cable doesn't appear to be interested. Details from the Wall Street Journal and CNBC.PHOTOS: Superman at 75 - 10 key comic coversLet the jockeying begin. With Hawk Koch having to step down as president of the Academy of Motion Picture Arts and Sciences because of term limits, Hollywood insiders are starting to jockey for position to replace him. But there may also be a rethinking of the role of president and whether or not it needs to be a full-time gig. The New York Times looks at the contenders and the issues in the next AMPAS race.Inside the Los Angeles Times: Mary McNamara on HBO's "Love, Marilyn." Randall Roberts on Kanye West's new release "Yeezus."
Follow me Twitter. I'm like a stand-alone entertainment news channel. @JBFlint.MORE ON LOCATION: People and places behind what's onscreen
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2016-36/0815/en_head.json.gz/4767 | Callis 'joined Eureka for a change'James Callis reveals that he decided to join Eureka because it offered him a different kind of role.
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James Callis has revealed that he decided to join Eureka because he wanted a different kind of role.Callis, who plays Dr. Trevor Grant, told Blastr that he was impressed with the series."The show is very funny," he said. "It's kind of smart, and it's light and is good-natured. I felt like, just, I needed a change, wanted to be a different person, and this character is American, and it's a chance to be somebody else. The character is clean-shaved. God, that makes a difference to me!"Advertisement - Continue Reading BelowCallis also revealed that he liked playing a different kind of person to his Battlestar Galactica character Gaius Baltar.
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"Not that [Grant's] heroic on any level, but he's not the kind of back-sliding scoundrel that Gaius Baltar was," he said. "I just want to explore as many avenues as are possible. I read the first episode of this and I really thought it was rather great, to be honest. It takes the show in a place the show's never been."Meanwhile, executive producer Jaime Paglia explained that Callis's character will be an important part of the season."His particular backstory and history will come to light in a way that will illuminate many questions about the town, even going back to some of the mythology from season one," he said.Eureka continues on Fridays at 9/8c on Syfy.
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James Callis | 影视 |
2016-36/0815/en_head.json.gz/4796 | Postal (UK - DVD R2)
Reviewer Leigh Riding checks out Uwe Boll's first (intentional) comedy feature...
Feature (Very) loosely based on the PC video game franchise of the same name, Postal tells the story of the Postal Dude (Zach Ward), a loser eking out an unfulfilling and unpleasant life in the town of Paradise. On one particularly trying day, the Postal Dude concedes defeat and hooks up with his Uncle Dave (Dave Foley), a local cult leader, and plans a scheme to steal thousands of the currently trendy Krotchy toys to sell on the black market. Sadly, the plan manages to get the pair tangled up with the Taliban, hidden away in the local mini-mart. Osama Bin Laden (Larry Thomas) also plans to steal the Krotchy toys for his own ends, and with help from Bin Laden's golf buddy George W. Bush, end up battling Uncle Dave's cult. How will the lowly Postal Dude get out of this one alive? After several attempts to bring video games to the silver screen, Uwe Boll returns with Postal. Each time a new release stumbles into cinemas, they are instantly treated with utter derision from both cinema audiences and the internet gaming community, who blog until their fingers bleed about how the much loathed director has destroyed their favourite games. Aside from the technical aspects of Boll's films, the main complaint is that the director regularly veers away from the original plots and themes (For instance, the Bloodrayne game involves a vampire huntress in WW2 Germany, in Boll's version the story is set in medieval Romania). Even by Boll's standards, fans of the Postal game will be outraged by this film, as it bears almost no resemblance to the source material. In fact, there is a scene where the creator of the game appears and attempts to kill Boll for screwing up his game. Instead, the director uses the anarchic source material as a frame to hang his version of social satire on. Although there are elements of action that are evident in all of Boll's work (and are arguably his strongest chops), the film is primarily a comedy. Sitting somewhere between Team America and Troma style filmmaking, Boll goes to places that even Trey Parker and Matt Stone feared to tread. There are some scenes that push the boundaries of taste and acceptability, most notably the now infamous 'twin towers' pre-credits sequence. Although understandably taboo, particularly for American viewers, there is no denying that the opening scene is well written, surprisingly sharp and above all, funny. I was more surprised than most that the satirical elements of Boll's script were mostly on the money. There are some genuinely funny sequences in the film that appealed to my admittedly morbid humour, such as the welfare office massacre, which sees the newly fired Postal Dude crawling through the dead bodies amid the gunfire, and searching the corpses for a better line ticket. Boll himself appears, and pokes fun at himself accordingly. There is also more broad humour evident that still amuses, such as Postal Dude using a wheelchair-bound disabled man as a makeshift ladder, and a sequence involving a cat being used as a silencer for a gun. However, there are as many jokes that miss disastrously. There is far too much time wasted on very poor toilet humour that almost always fails miserably, with actors skidding around on dog leavings, and more fart jokes than one film can handle. Boll seems to be unable to contain his frustration of his American viewers, and it results in quite a lot of jibes at his critics that show him as self indulgent, and as a result those jabs also miss. Although the cheap laughs are a hard sell, the characters commit gamely. Zack Ward is a solid lead, and puts in far more effort into the main role than previous, higher profile Boll stars. Dave Foley, from the much-loved Kids in the Hall ensemble, also goes the extra mile for the film; let's just say I've seen more of him than was necessary. Surprisingly respectable actors such as J.K Simmons and Erick Avari also appear and make the effort. Of course there are also some horrendous performances to cancel things out, such as Chris Coppola, who is so far over the top it's a wonder he doesn't suffer from vertigo as a result. After the poor box office showings of Boll's previous outings, the budget appears to have been slashed for Postal. Missing the sheen of Alone in the Dark and In the Name of the King, this film feels rather cheap and flat. At times resembling a DTV film, even the action sequences seem small. Although well shot and edited, the shootouts are set in alleyways and trailer parks, and seem very low key. For instance, as incoherent as Alone in the Dark is, there are some very slick visuals and action that catch the eye. That flair is missing from Postal, and the film seems like less enticing viewing. It doesn't take a genius to figure out why US studios were reluctant to distribute Postal theatrically. It generally pokes fun at American culture, and contains scenes that may always be taboo in a comedy. However, for those with a less inhibited sense of humour, the film may score a few comedic home runs. Although a little too scattershot to be a truly recommended comedy, people with a low expectation looking for a film in the same ballpark as the (still scathing) political satire of Team America: World Police may find something of interest, although they won't be watching the greatest film ever made by a long stretch. Video Postal arrives with a 1.78:1 anamorphic transfer, and the results are a mixed bag. Mostly clean, there is some evidence of grain and varying levels of sharpness, however that appears to be more down to the various deficiencies of the production than a problem with Metrodome's disc. Having said that, it's a perfectly acceptable transfer from what is basically a low budget film. Audio Metrodome offers a solitary Dolby Digital 5.1 track for Postal. Much like the video transfer, the audio track is perfectly serviceable, just unspectacular. Dialogue is well represented, although the occasional poor ADR and on-set bangs and scuffs are quite noticeable as a result. The action sequences kick things up a little more, with decent use of the surrounds for the gunfire. Unfortunately the sound FX are so poorly laid over the original audio, it doesn't really matter. Again, this is more down to sloppy post production than it is with the DVD. Extras Extra content for Postal is a little thin on the ground. Boll's Audio commentary is rather dry compared to most of his previous talk tracks, with quite a lot of talk on Boll's critics (the film was made around the time of the notorious 'critic boxing match' scenario). The director strangely skirts around the more controversial content in the film, which is a shame. What Boll does talk about is the number of actors who shied away from appearing in Postal, such as Jamie Kennedy and Rob Schneider, who allegedly found the film offensive and racist (he subsequently appeared in You Don't Mess With The Zohan). The obligatory theatrical trailer also makes an appearance. The only other extra is a Making of, which is more of a B-roll type of affair, and serves little purpose. Considering the region one version is a features packed affair including a copy of the Postal PC game, this edition is a letdown. Overall Despite the general ineptitude of the filmmaking in evidence and the hit and miss nature of some of the more off-colour humour, Postal emerges as one of the more competent Boll films. Although crippled a little more than most of his films by a reduced budget, it would appear that Boll is finally hitting some strange approximation of the word 'stride'. I would say that it is probably too uncomfortably close to home for our American cousins, but with the benefit of geographical distance the occasional laughs warrant at least a rent. Hardly recommended material, but watchable all the same.
Alone in the Dark (UK - DVD R2)
Bloodrayne II: Deliverance (UK - DVD R2)
In the Name of the King: A Dungeon Siege Tale (UK - DVD R2)
Team America: World Police (UK - DVD R2)
Review by Leigh Riding
Advertisements Comments 5th November 2008 19:56
Tweety_LTWG
Join Date: October 2008
Pure comedy. I like the game Postal 2, and there was one chase scene in this movie that brought me right back to the game. I agree with the overall review, this is to my idea Uwe Boll's finest. My cousin said "I just love this movie, maybe the best action comedy I seen in a long time" (those were his words). I would also say, rent this movie and judge for yourself.
Dolby Digital 5.1 English
Commentary by Uwe Boll, Behind the scenes, theatrical trailer
Zack Ward, Dave Foley, Verne Troyer, Ralf Moeller | 影视 |
2016-36/0815/en_head.json.gz/4799 | Sony Pictures // PG-13 // December 20, 2013
Review by Jamie S. Rich | posted January 30, 2014
One of the best film's of 2011 was Asghar Farhadi's A Separation, a complicated and emotionally turbulent drama about all the circumstances surrounding a crumbling marriage in Iran. In addition to the genuinely felt interpersonal dynamics, Farhadi used the labyrinthine Iranian legal system and the types of grievances it allows to craft a story full of secrets and lies, challenging the audience's perceptions and sympathies. It was often hard to know whom to believe.
The director pulls a similar trick in his new film, The Past, which plays like a long line of dominoes tumbling toward an unseen denouement. Each scene bangs into the other, exposing another hidden truth, altering the shape of all that came before.
Farhadi has now relocated to France. The film opens in an airport, playing wordlessly as two people attempt to communicate through a glass partition. Ahmad (Ali Mossafa) is returning to France from his native Iran after four years to get a divorce from his estranged wife Marie (B�r�nice Bejo, The Artist). They are at once familiar and separated, close enough to understand the basic communication that passes between them, but with something fundamentally, irrevocably keeping them apart.
Marie has two daughters from a previous union, both of whom see Ahmad as a father figure at least as much, if not more, than their own dad. Young L�a (Jeanne Jestin) is still, for the most part, blissfully outside of the adult problems that burden her family, but sixteen-year-old Lucie (Pauline Burlet, who played the younger Edith Piaf in La vie en rose) is heading toward adulthood herself, and she's not happy with her mother's new boyfriend. Samir (Tahar Rahim, A Prophet) owns a dry-cleaning business and has a son closer to L�a's age, Foaud (Elyes Aguis). The young boy is immediately put out of sorts by his father's rival, sensing trouble brewing in a way only a child can. Foaud's life has already been full of more tumultuous upheavals than one kid should have to experience: his mother has been in a coma following a suicide attempt nearly a year prior.
This backstory sets the stage for the lengthy dance to follow. The participants will circle one another, rooting out concealed motivations and airing petty jealousies. Samir will wonder if there is still anything between Marie and Ahmad, while Marie asks Ahmad to find out why Lucie is acting up. As audience members, we will be given cause to wonder why Ahmad left and returned to Iran in the first place, and also grapple with whom we should pledge our allegiance to. Marie seems so put-upon at first, but she also has a quick temper and can be manipulative. Ahmad comes off as reasonable, but he can also be petty and preachy. Lucie's perceptions of Samir hold a lot of sway, he seems a bit off right from the start. Everyone is put in a difficult position, but how they deal with the arising problems will make all the difference.
Farhadi takes his time with the story, letting conversations run naturally and never hurrying a scene along to get to a resolution before it's time. His cast is remarkable, inhabiting their individual spaces with confidence and complexity. These are roles that are above distinctions of "good" or "bad." The characters live and breathe by their choices, most of which tend to skew toward self-preservation. The actual narrative of The Past grows more tangled the more we learn. There is more to each individual history than anyone knows. This can feel a bit strained at times. Farhadi's technique tends to show. He likes scenes that seemingly end with a character walking away from something, only for him or her to change their mind, turn around, and go back to confront whatever it was they attempted to leave. Sometimes you might find yourself wishing they'd just go and be done with it.
Yet, the upside of this method is that it's never easy to guess where The Past is heading, nor do you really see the end coming. Not that the final scenes necessarily hold a shocking revelation, it's more that the structure of the piece doesn't lend itself to an easy wrap-up. There are multiple stopping points Farhadi could take and chooses to ignore. It's like watching an interpersonal relay race, with each sprint taking us once more around the track, we just don't yet know where the finish line is.
By the time the marathon is over, you may find yourself as exhausted as the people running it, but the effort is worth it. The Past is a rich, textured drama, one that raises a lot of issues about how people treat one another. Asghar Farhadi may ask for a lot, but he gives plenty for his audience to take with them in return. | 影视 |