Paul Newman had a storied career in Hollywood, often playing rebellious characters with a devil-may-care attitude. He starred in films such as The Hustler, Cool Hand Luke, Butch Cassidy and the Sundance Kid, and The Color of Money. His performances earned him seven Academy Award nominations and led to him receiving an honorary Academy Award in 1986.
Paul Newman. Depostiphotos
But Paul Newman’s legacy extends further than just his work on the big screen. He was an active philanthropist who donated millions of dollars to charities such as the Hole in the Wall Gang Camps that served children with serious illnesses. He was also an avid race car driver and co-founded several race teams that competed all over the world.
In this article, we will be celebrating the life of Paul Newman and paying tribute to the man, the myth, and the legend that he was.
Early Life and Career...
Paul Newman. Depostiphotos
But Paul Newman’s legacy extends further than just his work on the big screen. He was an active philanthropist who donated millions of dollars to charities such as the Hole in the Wall Gang Camps that served children with serious illnesses. He was also an avid race car driver and co-founded several race teams that competed all over the world.
In this article, we will be celebrating the life of Paul Newman and paying tribute to the man, the myth, and the legend that he was.
Early Life and Career...
- 3/1/2023
- by Martin Cid Magazine
- Martin Cid Magazine - Movies
"Butch Cassidy and the Sundance Kid" can't outrun the posse of remakes in Hollywood, where everything old is new again. The Oscar-winning 1969 Western, starring Paul Newman and Robert Redford, is in the National Film Registry, and the American Film Institute has recognized it as one of the 100 greatest American movies of all time. It's a bona fide classic, and at first glance, the idea of redoing it as a TV series seems as iffy as the scene in Robert Altman's industry satire "The Player," where a screenwriter pitches "The Graduate, Part II." But executive producers Joe and Anthony Russo, the duo who directed two of the top five highest-grossing films of all time ("Avengers: Endgame" and "Avengers: Infinity War"), are going to give it the old college try, anyway — and they're bringing Regé-Jean Page and Glen Powell along for the ride.
According to The Hollywood Reporter, an as-yet-untitled "Butch...
According to The Hollywood Reporter, an as-yet-untitled "Butch...
- 9/16/2022
- by Joshua Meyer
- Slash Film
Like nearly every other film festival in this wild year, NewFest, New York’s leading LGBTQ+ film festival, is going virtual for its 2020 edition. Running October 16 through 27, the event boasts more than 120 new movies you can watch at home from anywhere the United States, plus plenty of scintillating conversations, virtual soirees, and more in celebration of this year’s festival storytellers. Below, IndieWire rounds up 12 must-see films to get your NewFest journey started.
In additional to the virtual offerings, a few in-person events can be enjoyed from the convenience of your car. The opening night film this year is a special drive-in presentation of Francis Lee’s “Ammonite,” starring Kate Winslet and Saoirse Ronan, taking place at the Queens Drive-In in Corona Park. For New Yorkers, this is your chance to catch the buzzy romantic drama before it opens theatrically on November 13 from Neon.
Also receiving drive-in screenings throughout the...
In additional to the virtual offerings, a few in-person events can be enjoyed from the convenience of your car. The opening night film this year is a special drive-in presentation of Francis Lee’s “Ammonite,” starring Kate Winslet and Saoirse Ronan, taking place at the Queens Drive-In in Corona Park. For New Yorkers, this is your chance to catch the buzzy romantic drama before it opens theatrically on November 13 from Neon.
Also receiving drive-in screenings throughout the...
- 10/16/2020
- by Ryan Lattanzio and Jude Dry
- Indiewire
Yo La Tengo have shared a rendition of the Byrds’ “Wasn’t Born to Follow.” The cover is set to appear on Sleepless Night, a new EP out October 9th via Matador.
Featuring Dave Schramm on lead guitar, the cover stays fairly close to the folk-tinged original. “No I’d rather go and journey/Where the diamond crescent’s glowing,” they sing. “And run across the valley/Beneath the sacred mountain.”
Written by Gerry Goffin and Carole King, “Wasn’t Born to Follow” originally appeared on the Byrds’ 1968 album The...
Featuring Dave Schramm on lead guitar, the cover stays fairly close to the folk-tinged original. “No I’d rather go and journey/Where the diamond crescent’s glowing,” they sing. “And run across the valley/Beneath the sacred mountain.”
Written by Gerry Goffin and Carole King, “Wasn’t Born to Follow” originally appeared on the Byrds’ 1968 album The...
- 8/26/2020
- by Angie Martoccio
- Rollingstone.com
While independent filmmakers have taken a hit with all the festival postponements, cancelations, and re-imaginings, there is a silver lining to upending business as usual. In the past, LGBTQ cinephiles hungry for quality films that represent the breadth and depth of queer life would have to go to a queer film festival to see the international titles or small comedies that may never make their way to Netflix. This year, they can stream some of the freshest films from all across the globe at home.
Which is why the 2020 Outfest Film Festival is more exciting than ever, with drive-ins, a streaming platform, and plenty of world premieres. In this year’s lineup, 70 percent of the films are directed by women or filmmakers of color. Beginning August 20 and lasting for 11 days, the films will be available to stream via Vimeo’s Ott platform. In addition, the festival will host six nights...
Which is why the 2020 Outfest Film Festival is more exciting than ever, with drive-ins, a streaming platform, and plenty of world premieres. In this year’s lineup, 70 percent of the films are directed by women or filmmakers of color. Beginning August 20 and lasting for 11 days, the films will be available to stream via Vimeo’s Ott platform. In addition, the festival will host six nights...
- 8/21/2020
- by Jude Dry
- Indiewire
The lockdown has been a good excuse for many of us to venture into our personal archives and dredge up some gems from the past. Quentin Tarantino has been doing just that, unearthing a 1982 interview he, then a 20-year-old on the fringes of the industry, conducted with the filmmaker John Milius.
Tarantino says he approached Milius via his assistant under the pretence of writing a book, and was granted access twice for some lengthy chats, initially at the filmmaker’s office on the Paramount lot and then on the set of war pic Uncommon Valor.
More from DeadlineCannes Film Festival Won't Happen In June Admit Organizers, But Fest Still Hoping To Stage A Version Of The Event In 2020Cinemark: 17,500 Layoffs, Pay Cuts, $42M Dividend Suspension, $20M Tax Refund Part Of Covid-19 Cash-Preserve MethodsAmazing Stories, Mythic...
Tarantino says he approached Milius via his assistant under the pretence of writing a book, and was granted access twice for some lengthy chats, initially at the filmmaker’s office on the Paramount lot and then on the set of war pic Uncommon Valor.
More from DeadlineCannes Film Festival Won't Happen In June Admit Organizers, But Fest Still Hoping To Stage A Version Of The Event In 2020Cinemark: 17,500 Layoffs, Pay Cuts, $42M Dividend Suspension, $20M Tax Refund Part Of Covid-19 Cash-Preserve MethodsAmazing Stories, Mythic...
- 4/14/2020
- by Tom Grater
- Deadline Film + TV
Current Best Picture nominee “Once Upon a Time in Hollywood” dramatizes a time of transformation in the entertainment capital. Quentin Tarantino‘s take on those changes in 1969 is reflected in the 42nd Academy Awards ceremony that was held on April 7, 1970. That night exactly 50 years ago was a blend of celebrating the newer, innovative filmmakers as well as honoring the pioneers of the business.
Throughout the 1960s, Academy members favored showy epics or musicals, with four Best Picture winners from that decade being musicals. In fact the last year of the 1960s saw a win for “Oliver!,” which also became the only G-rated film to win the the top prize. One year later Oscar history was made again when “Midnight Cowboy” won that same award, becoming the only picture with a “X” rating to win Best Picture. Its win over the historic biopic “Anne of the Thousand Days,” the lavish musical...
Throughout the 1960s, Academy members favored showy epics or musicals, with four Best Picture winners from that decade being musicals. In fact the last year of the 1960s saw a win for “Oliver!,” which also became the only G-rated film to win the the top prize. One year later Oscar history was made again when “Midnight Cowboy” won that same award, becoming the only picture with a “X” rating to win Best Picture. Its win over the historic biopic “Anne of the Thousand Days,” the lavish musical...
- 2/4/2020
- by Susan Pennington
- Gold Derby
Nestled in the Santa Monica Mountains, the 6,000-acre Malibu Creek State Park has served as a backdrop for thousands of movie and TV scenes reaching all the way back to 1927, when it stood in as the Scottish Highlands for a Lillian Gish movie called Annie Laurie. Planet of the Apes (1968) and Butch Cassidy and the Sundance Kid (1969) also shot there. But for visitors, it’s only M*A*S*H that matters.
The CBS series, coming on the heels of the 1970 Robert Altman film, filmed there from 1972-83. The location remains open to the public, as long as you pay the $12 park ...
The CBS series, coming on the heels of the 1970 Robert Altman film, filmed there from 1972-83. The location remains open to the public, as long as you pay the $12 park ...
- 11/8/2019
- The Hollywood Reporter - Film + TV
The 1969 western paired Paul Newman and Robert Redford to magical effect and remains one of the most undeniably entertaining westerns to date
“The horse is dead.”
It’s the middle of a tense scene in the 1969 smash Butch Cassidy and the Sundance Kid. The town sheriff is attempting to round up a posse to track down Butch and Sundance, leaders of the Hole-In-The-Wall Gang, which has been robbing banks and trains with such impunity that they’ve become an embarrassment for lawman across the frontier. Unbeknown to everyone, these celebrity outlaws are watching the scene unfold from a perch across the street, where they’re blowing their loot on liquor and whores, but the sheriff’s recruitment efforts were doomed to run aground regardless. There just isn’t much appetite for going after an elusive and dangerous pair that seem to be generous in spreading their stolen loot around.
Continue reading.
“The horse is dead.”
It’s the middle of a tense scene in the 1969 smash Butch Cassidy and the Sundance Kid. The town sheriff is attempting to round up a posse to track down Butch and Sundance, leaders of the Hole-In-The-Wall Gang, which has been robbing banks and trains with such impunity that they’ve become an embarrassment for lawman across the frontier. Unbeknown to everyone, these celebrity outlaws are watching the scene unfold from a perch across the street, where they’re blowing their loot on liquor and whores, but the sheriff’s recruitment efforts were doomed to run aground regardless. There just isn’t much appetite for going after an elusive and dangerous pair that seem to be generous in spreading their stolen loot around.
Continue reading.
- 9/23/2019
- by Scott Tobias
- The Guardian - Film News
While a remake of “The Princess Bride” hasn’t actually been announced, any plans for one are already sparking serious backlash.
Stars and public figures like Jamie Lee Curtis, Mia Farrow, Ted Cruz and even the star of the 1987 classic “The Princess Bride” Cary Elwes formed their own Brute Squad in opposition to the idea after rumors started circulating about a remake on Tuesday evening.
“There’s a shortage of perfect movies in this world. It would be a pity to damage this one,” Elwes, who plays Westley in the film, said on Twitter in a reference to just one of his many famous lines.
Also Read: How André the Giant Was Cast in 'The Princess Bride'
The backlash was sparked following a comment by Sony Pictures Entertainment CEO Tony Vinciquerra in Variety’s profile of Norman Lear. Lear is a producer on “The Princess Bride,” which was...
Stars and public figures like Jamie Lee Curtis, Mia Farrow, Ted Cruz and even the star of the 1987 classic “The Princess Bride” Cary Elwes formed their own Brute Squad in opposition to the idea after rumors started circulating about a remake on Tuesday evening.
“There’s a shortage of perfect movies in this world. It would be a pity to damage this one,” Elwes, who plays Westley in the film, said on Twitter in a reference to just one of his many famous lines.
Also Read: How André the Giant Was Cast in 'The Princess Bride'
The backlash was sparked following a comment by Sony Pictures Entertainment CEO Tony Vinciquerra in Variety’s profile of Norman Lear. Lear is a producer on “The Princess Bride,” which was...
- 9/18/2019
- by Brian Welk
- The Wrap
Ford v Ferrari will mark director James Mangold’s fifth collaboration with Academy Award-nominated cinematographer Phedon Papamichael. The two have worked together frequently over the last 15 years, including such acclaimed films as Walk the Line and 3:10 to Yuma.
We Got This Covered had the opportunity to speak with Mr. Papamichael right before the movie had its international premiere at the Toronto International Film Festival last week. Be sure to check out our conversation down below and enjoy.
This is your sixth collaboration with James Man-
(Mr. Papamichael raises his hand to correct me, with all five fingers pressed out)
Fifth?
Phedon Papamichael: Logan I did – we did the ending; I didn’t do Logan. I didn’t do Wolverine’s because I try to stay away from superhero [films]. That’s why I’m attracted to Mangold, Alexander Payne, and the filmmakers I choose. Not that I snob those films,...
We Got This Covered had the opportunity to speak with Mr. Papamichael right before the movie had its international premiere at the Toronto International Film Festival last week. Be sure to check out our conversation down below and enjoy.
This is your sixth collaboration with James Man-
(Mr. Papamichael raises his hand to correct me, with all five fingers pressed out)
Fifth?
Phedon Papamichael: Logan I did – we did the ending; I didn’t do Logan. I didn’t do Wolverine’s because I try to stay away from superhero [films]. That’s why I’m attracted to Mangold, Alexander Payne, and the filmmakers I choose. Not that I snob those films,...
- 9/12/2019
- by Luke Parker
- We Got This Covered
The 46th annual Telluride Film Festival got underway Friday afternoon in roaring fashion with the world premiere of director James Mangold’s supercharged, terrifically entertaining Ford v Ferrari. It’s the tale of two combative, distinctly different but eccentric car artists and car makers, played by Matt Damon and Christian Bale, who take on the task of bringing supremacy to Ford Motor Co. with the fastest car on the tracks at the biggest race of the year, the 24 hours of Le Mans.
If ever there was one this is a true movie movie — a muscular, fast-paced, character-driven, bigger-than-life true story that has all the stuff I love about the craft of moviemaking. It is Butch Cassidy and the Sundance Kid on the race track.
Like Once Upon a Time in Hollywood, it pits two big male movie stars against each other and delivers on every cylinder, an old fashioned example of a pure crowd-pleaser that in my opinion should appeal just as much to moviegoers as it will to Academy members who appreciate the craft of movies on a large scale, those that only belong on the biggest screen possible. That’s Ford v Ferrari.
I predict not only will this become a huge word-of-mouth box office hit for Fox and Disney (which now owns the studio and will be distributing in November in time for the holdiay season), it should also handily figure in numerous categories at the Oscars including Best Picture, Director, Screenplay, Film Editing, Cinematography, both Sound categories, and a few acting nods.
The big question is whether strategists try to split the two leading actors into two categories — a likely scenario with Damon in lead, and Bale just great again in a meaty supporting role as the wildcat, hugely talented driver Ford hates but Damon knows can bring home a win if anyone can in the seemingly impossible race to beat Ferrari at its own game, this after being spurned by the Italian automaker when the Detroit giant tried to take them over. The head of Ford then, in the mid 1960s when this all happened, was Henry Ford II, and he is played to the hilt by Tracy Letts, another cast member deserving of a supporting actor nomination if you ask me.
This ought to be catnip for the Academy because it represents big screen moviemaking at its best. Jon Bernthal is also excellent as a younger Lee Iacocca and Josh Lucas is the guy you love to hate as a goody two-shoes corporate suit trying to impress his boss. Catriona Balfe is also very fine as Bale’s wife, and their scenes together with their son (Noah Jupe) have a real poignancy to them.
A project that has been kicking around for the better part of a decade, Mangold and his writers cracked it and make it work on all levels, from the sensational edge-of-the-seat driving sequences to the human factor of which it never loses sight. With every film, this writer-director reminds me more of one of the greats like Howard Hawks, who could excel in just about every genre and always changed things up knowing the story was king, not genre. Mangold seems to do it all, from drama (Girl Interrupted) to thriller (Identity), musical biopic (Walk the Line), action comedy (Knight and Day), Westerns (3:10 to Yuma) and sci-fi Western elegies like the Oscar-nominated Logan which was the perfect finale for Wolverine which he also directed.
In brief remarks before the film screened for the first time at the festival’s “Patrons Screening” today (which also included media members). Mangold explained this was the first time he had been to the Telluride festival since Walk the Line in 2004. He recalled seeing Philip Seymour Hoffman, who touched his hand and simply said “Beautiful, beautiful” after seeing that movie here. Then he went to a restaurant and sat with Roger Ebert, who had championed his first film, the indie Heavy. It all just reminded him of past friendships — in these cases two people now gone.
“I’m saying all this to get around to the fact that they have race cars playing in the promos making it look like the film might be all about race cars,” he said. “But to me this movie is all about friendship, and friends who we meet as we make things. And that’s how I connected to it more than anything.”
Indeed, even though they were sometimes at loggerheads, Damon’s character Carroll Shelby and Bale’s British race car driver Ken Miles were above all friends, ultimately united in this unique and challenging quest to show off the fastest car in the world and fight all the corporate suits along the way. It is a story that really has it all in so many ways. The Telluride audience seemed to be with it all the way too, and word among those exiting was clearly two thumbs up — a great start to the festival.
Disney which now controls Fox and their movies (recently reportedly tearing up most of the development slate) knows not to mess with this one and has kept the same November 15 release date always planned. The Mouse House knows they have a winner, even if it is a Fox movie all the way. In fact, former Fox distribution president Chris Aronson told me months ago when he was still at the studio and before the merger was finaized that Ford v Ferrari was a winner.
He was right. It is.
If ever there was one this is a true movie movie — a muscular, fast-paced, character-driven, bigger-than-life true story that has all the stuff I love about the craft of moviemaking. It is Butch Cassidy and the Sundance Kid on the race track.
Like Once Upon a Time in Hollywood, it pits two big male movie stars against each other and delivers on every cylinder, an old fashioned example of a pure crowd-pleaser that in my opinion should appeal just as much to moviegoers as it will to Academy members who appreciate the craft of movies on a large scale, those that only belong on the biggest screen possible. That’s Ford v Ferrari.
I predict not only will this become a huge word-of-mouth box office hit for Fox and Disney (which now owns the studio and will be distributing in November in time for the holdiay season), it should also handily figure in numerous categories at the Oscars including Best Picture, Director, Screenplay, Film Editing, Cinematography, both Sound categories, and a few acting nods.
The big question is whether strategists try to split the two leading actors into two categories — a likely scenario with Damon in lead, and Bale just great again in a meaty supporting role as the wildcat, hugely talented driver Ford hates but Damon knows can bring home a win if anyone can in the seemingly impossible race to beat Ferrari at its own game, this after being spurned by the Italian automaker when the Detroit giant tried to take them over. The head of Ford then, in the mid 1960s when this all happened, was Henry Ford II, and he is played to the hilt by Tracy Letts, another cast member deserving of a supporting actor nomination if you ask me.
This ought to be catnip for the Academy because it represents big screen moviemaking at its best. Jon Bernthal is also excellent as a younger Lee Iacocca and Josh Lucas is the guy you love to hate as a goody two-shoes corporate suit trying to impress his boss. Catriona Balfe is also very fine as Bale’s wife, and their scenes together with their son (Noah Jupe) have a real poignancy to them.
A project that has been kicking around for the better part of a decade, Mangold and his writers cracked it and make it work on all levels, from the sensational edge-of-the-seat driving sequences to the human factor of which it never loses sight. With every film, this writer-director reminds me more of one of the greats like Howard Hawks, who could excel in just about every genre and always changed things up knowing the story was king, not genre. Mangold seems to do it all, from drama (Girl Interrupted) to thriller (Identity), musical biopic (Walk the Line), action comedy (Knight and Day), Westerns (3:10 to Yuma) and sci-fi Western elegies like the Oscar-nominated Logan which was the perfect finale for Wolverine which he also directed.
In brief remarks before the film screened for the first time at the festival’s “Patrons Screening” today (which also included media members). Mangold explained this was the first time he had been to the Telluride festival since Walk the Line in 2004. He recalled seeing Philip Seymour Hoffman, who touched his hand and simply said “Beautiful, beautiful” after seeing that movie here. Then he went to a restaurant and sat with Roger Ebert, who had championed his first film, the indie Heavy. It all just reminded him of past friendships — in these cases two people now gone.
“I’m saying all this to get around to the fact that they have race cars playing in the promos making it look like the film might be all about race cars,” he said. “But to me this movie is all about friendship, and friends who we meet as we make things. And that’s how I connected to it more than anything.”
Indeed, even though they were sometimes at loggerheads, Damon’s character Carroll Shelby and Bale’s British race car driver Ken Miles were above all friends, ultimately united in this unique and challenging quest to show off the fastest car in the world and fight all the corporate suits along the way. It is a story that really has it all in so many ways. The Telluride audience seemed to be with it all the way too, and word among those exiting was clearly two thumbs up — a great start to the festival.
Disney which now controls Fox and their movies (recently reportedly tearing up most of the development slate) knows not to mess with this one and has kept the same November 15 release date always planned. The Mouse House knows they have a winner, even if it is a Fox movie all the way. In fact, former Fox distribution president Chris Aronson told me months ago when he was still at the studio and before the merger was finaized that Ford v Ferrari was a winner.
He was right. It is.
- 8/31/2019
- by Pete Hammond
- Deadline Film + TV
Among the true legends of Hollywood’s stunt profession, Mickey Gilbert has always performed a notch above the rest. The stunt double for Robert Redford from 1969’s “Butch Cassidy and the Sundance Kid” through 2018’s “The Old Man & the Gun,” Gilbert has more than 100 film and TV credits as a stunt coordinator and a second-unit director — all of which sprang from Western stunt work dating back more than half a century.
Born April 17, 1936, in Hollywood to Genevieve and Frank Gilbert, he learned to rope and ride amid the alfalfa fields of Van Nuys. Mentored by his father and an old cowboy named Buff Brady from Buffalo Bill’s Wild West show, Gilbert quickly mastered all things equestrian. “Training in gymnastics with my dad when I was a kid gave me a vertical leap from the saddle that made the horse-to-horse transfer a sure thing,” he says.
Excelling at local...
Born April 17, 1936, in Hollywood to Genevieve and Frank Gilbert, he learned to rope and ride amid the alfalfa fields of Van Nuys. Mentored by his father and an old cowboy named Buff Brady from Buffalo Bill’s Wild West show, Gilbert quickly mastered all things equestrian. “Training in gymnastics with my dad when I was a kid gave me a vertical leap from the saddle that made the horse-to-horse transfer a sure thing,” he says.
Excelling at local...
- 8/29/2019
- by James C. Udel
- Variety Film + TV
Tony Sokol Aug 16, 2019
Peter Fonda was a counterculture film icon who gave John Lennon a bad trip but a great song.
Actor and director Peter Fonda died of respiratory failure due to lung cancer at his Los Angeles home on Friday, Aug. 16, his manager, Alan Somers, announced via Variety. The Oscar-nominated screenwriter and star of Easy Rider was 79.
“It is with deep sorrow that we share the news that Peter Fonda has passed away at his home in Los Angeles surrounded by family,” the Fonda family said in a statement. “In one of the saddest moments of our lives, we are not able to find the appropriate words to express the pain in our hearts. And, while we mourn the loss of this sweet and gracious man, we also wish for all to celebrate his indomitable spirit and love of life. In honor of Peter, please raise a glass to freedom.
Peter Fonda was a counterculture film icon who gave John Lennon a bad trip but a great song.
Actor and director Peter Fonda died of respiratory failure due to lung cancer at his Los Angeles home on Friday, Aug. 16, his manager, Alan Somers, announced via Variety. The Oscar-nominated screenwriter and star of Easy Rider was 79.
“It is with deep sorrow that we share the news that Peter Fonda has passed away at his home in Los Angeles surrounded by family,” the Fonda family said in a statement. “In one of the saddest moments of our lives, we are not able to find the appropriate words to express the pain in our hearts. And, while we mourn the loss of this sweet and gracious man, we also wish for all to celebrate his indomitable spirit and love of life. In honor of Peter, please raise a glass to freedom.
- 8/17/2019
- Den of Geek
If Ghost Town Anthologies and A Skin So Soft were emblematic of the two strains of Canadian auteur Denis Côté’s recent work then his latest could be viewed as something of a hybrid. A Skin So Soft, in which he strived to show the sensitive side of male bodybuilding, was the most recent of his stylized ethnographic documentaries. Anthologies, the story of a small, dying Quebecois town that is visited by the ghosts of its deceased locals, was typical of his work in fiction: undefinable genre; isolated locales; people under duress and so on. This mixing of genres–as well as fact and fiction–has always been synonymous with the Côté brand and Wilcox, a new crossbreed, comfortably fits both bills.
A medium-length, experimental fiction film shot as a fly on the wall documentary, Wilcox follows a drifter–eponymously named–as he goes about his day-to-day. Côté shoots from...
A medium-length, experimental fiction film shot as a fly on the wall documentary, Wilcox follows a drifter–eponymously named–as he goes about his day-to-day. Côté shoots from...
- 8/15/2019
- by Rory O'Connor
- The Film Stage
In 1969, summer releases Midnight Cowboy and Easy Rider were the two top-grossing films of the year behind Butch Cassidy and the Sundance Kid. Both signaled a changing Hollywood trying to mirror the cultural revolution sweeping the country, with Midnight Cowboy going on to win the Oscar for best picture despite its X rating.
Fifty years later, writer-director Quentin Tarantino tries to capture that moment in Once Upon a Time in Hollywood, starring Leonardo DiCaprio as a once-successful Western star trying to keep his faltering career alive and Brad Pitt as his stuntman-turned-gofer. But whether the original adult tentpole can succeed as an antidote to ...
Fifty years later, writer-director Quentin Tarantino tries to capture that moment in Once Upon a Time in Hollywood, starring Leonardo DiCaprio as a once-successful Western star trying to keep his faltering career alive and Brad Pitt as his stuntman-turned-gofer. But whether the original adult tentpole can succeed as an antidote to ...
- 7/29/2019
- The Hollywood Reporter - Film + TV
In 1969, the movie business was starting to transition from old, proven formulas to more daring and original films that spoke to a younger demographic. Quentin Tarantino’s Once Upon A Time…In Hollywood sets out capture the spirit of that year and the way the movies and their stars reflected the attitudes of the time.
Here’s a clip from The Jimmy Kimmel show where Quentin talks about the premiere of his new movie Once Upon a Time in Hollywood, attending a screening with Jimmy, shooting with Leonardo DiCaprio, Brad Pitt & Margot Robbie, Inglourious Basterds, naming his own Mad Magazine parody, asking actors to be in his movies, why he is close to ending his filmmaking career. Margot Robbie stops by with an announcement:
There were plenty of great movies made in 1969 celebrating their golden anniversaries this year. Here are 17 of them that the writers here at We Are Movie Geeks...
Here’s a clip from The Jimmy Kimmel show where Quentin talks about the premiere of his new movie Once Upon a Time in Hollywood, attending a screening with Jimmy, shooting with Leonardo DiCaprio, Brad Pitt & Margot Robbie, Inglourious Basterds, naming his own Mad Magazine parody, asking actors to be in his movies, why he is close to ending his filmmaking career. Margot Robbie stops by with an announcement:
There were plenty of great movies made in 1969 celebrating their golden anniversaries this year. Here are 17 of them that the writers here at We Are Movie Geeks...
- 7/25/2019
- by Movie Geeks
- WeAreMovieGeeks.com
Quentin Tarantino’s “Once Upon a Time in Hollywood” marks the director’s summary statement about the importance of the dream factory in countering life’s failure and disappointment. And, without hesitation, his go-to cinematographer, Robert Richardson, thinks that it’s Tarantino’s most emotional movie. The challenge was finding the right look for depicting 1969 at the end of the golden age and the rise of the counter culture in Hollywood.
“When Quentin goes, ‘I want to feel retro but I want to be contemporary,’ I tried to weave time periods,” said Richardson, the three-time Oscar winner who’s made half a dozen movies with Tarantino. That meant shooting in Kodak 35mm (mostly anamorphic) with Panavision cameras and lenses (including the new T Series for extreme close-ups and greater contrast and resolution). They discussed 65mm but that proved too difficult and costly with the use of zooms; they also shot...
“When Quentin goes, ‘I want to feel retro but I want to be contemporary,’ I tried to weave time periods,” said Richardson, the three-time Oscar winner who’s made half a dozen movies with Tarantino. That meant shooting in Kodak 35mm (mostly anamorphic) with Panavision cameras and lenses (including the new T Series for extreme close-ups and greater contrast and resolution). They discussed 65mm but that proved too difficult and costly with the use of zooms; they also shot...
- 7/22/2019
- by Bill Desowitz
- Indiewire
The Sundance Film Festival is taking exception to those who thought legendary actor Robert Redford — the festival’s co-founder — isn’t the bearded figure in the nodding mountain man meme.
“When you don’t get credit for being a meme… (Robert Redford),” the caption from the official Sundance Twitter account reads, accompanying a Gif of a disapproving Redford from the 1982 sports film “The National.”
The nodding man meme that resurfaced on social media earlier this week is a Gif of a scene in the 1972 film “Jeremiah Johnson.” In the Gif, Redford’s character, a Mexican-American War veteran, is casting for fish when he looks up and nods approvingly at on-looking natives.
Also Read: Norah O'Donnell Says She Wouldn't Be 'CBS Evening News' Anchor Without Network's Recent Upheaval (Video)
According to the website Know Your Meme, the meme first began circulating on social media as early as 2012, with users...
“When you don’t get credit for being a meme… (Robert Redford),” the caption from the official Sundance Twitter account reads, accompanying a Gif of a disapproving Redford from the 1982 sports film “The National.”
The nodding man meme that resurfaced on social media earlier this week is a Gif of a scene in the 1972 film “Jeremiah Johnson.” In the Gif, Redford’s character, a Mexican-American War veteran, is casting for fish when he looks up and nods approvingly at on-looking natives.
Also Read: Norah O'Donnell Says She Wouldn't Be 'CBS Evening News' Anchor Without Network's Recent Upheaval (Video)
According to the website Know Your Meme, the meme first began circulating on social media as early as 2012, with users...
- 7/11/2019
- by Omar Sanchez
- The Wrap
Released in the same year as The Wild Bunch and Butch Cassidy and the Sundance Kid, Henry Hathaway’s western was defiantly old-fashioned in comparison
The year 1969 was a true inflection point for the American western, a once-dominant genre that had become a casualty of the culture, particularly when Vietnam had rendered the moral clarity of white hats and black hats obsolete. A handful of westerns were released by major studios that year, including forgettable or regrettable star vehicles for Burt Reynolds (Sam Whiskey) and Clint Eastwood (Paint Your Wagon), who were trying to revitalize the genre with a touch of whimsy. But 50 years later, three very different films have endured: Butch Cassidy and the Sundance Kid, The Wild Bunch and True Grit. Together, they represented the past, present and future of the western.
Related: Midnight Cowboy at 50: why the X-rated best picture winner endures...
The year 1969 was a true inflection point for the American western, a once-dominant genre that had become a casualty of the culture, particularly when Vietnam had rendered the moral clarity of white hats and black hats obsolete. A handful of westerns were released by major studios that year, including forgettable or regrettable star vehicles for Burt Reynolds (Sam Whiskey) and Clint Eastwood (Paint Your Wagon), who were trying to revitalize the genre with a touch of whimsy. But 50 years later, three very different films have endured: Butch Cassidy and the Sundance Kid, The Wild Bunch and True Grit. Together, they represented the past, present and future of the western.
Related: Midnight Cowboy at 50: why the X-rated best picture winner endures...
- 6/11/2019
- by Scott Tobias
- The Guardian - Film News
Sony Pictures Entertainment Group Motion Pictures Chairman Tom Rothman was understandably in a very good mood after Tuesday night’s smash Cannes Film Festival world premiere of Once Upon a Time in Hollywood, one of his studio’s key hopes not only for this summer (July 26 domestic release) but also for Oscar season. In fact, when I caught up with him at the J.W. Marriott rooftop party at Terrasse by Albane, he already had changed into a T shirt under his tux jacket that figures into part of the film’s costume design (!).
Rothman told me the key reason Sony Pictures (after previous Tarantino film distributor Harvey Weinstein’s downfall) won the rights from writer-director-producer Quentin Tarantino, a fierce believer in the big-screen experience and a theater owner himself was his studio’s shared belief. “We are very, very committed to the theatrical experience,...
Rothman told me the key reason Sony Pictures (after previous Tarantino film distributor Harvey Weinstein’s downfall) won the rights from writer-director-producer Quentin Tarantino, a fierce believer in the big-screen experience and a theater owner himself was his studio’s shared belief. “We are very, very committed to the theatrical experience,...
- 5/22/2019
- by Pete Hammond
- Deadline Film + TV
The dust in “Dreamland” is so thick, it makes your eyeballs itch. Clouds of the stuff billow up from dirt roads with every car that passes, swarming dark and angry as a massive bee horde when the winds pick up. And when the air is still, it smudges the cheeks of the film’s characters — poor, small-town Texas farmers with faces as desiccated as their fields — rendering them haunted, like the Depression-era sharecroppers Walker Evans photographed in “Let Us Now Praise Famous Men.” Dreams, it seems, are all these opportunity-strapped Americans have going for them: dreams nourished by pulp crime magazines and, maybe, by the movies, although it’s doubtful this bedraggled settlement can support a cinema.
From its opening lines of narration, Miles Joris-Peyrafitte’s revisionist outlaw saga endeavors to set the record straight about one Eugene Evans, a naïve Texas teen who ran off with on-the-law beauty Allison...
From its opening lines of narration, Miles Joris-Peyrafitte’s revisionist outlaw saga endeavors to set the record straight about one Eugene Evans, a naïve Texas teen who ran off with on-the-law beauty Allison...
- 5/13/2019
- by Peter Debruge
- Variety Film + TV
Netflix and Mark Millar have announced a new comic series called Space Bandits and it actually sounds like it could be a lot of fun! It’s a female-led sci-fi story that is described as “a female Butch Cassidy and the Sundance Kid set in space with a massive and exciting cast of characters.”
The story will revolve around two characters named Thena Khole and Cody Blue. They are “outlaw queens who lead notorious heist gangs that hop from starship to starship taking whatever they want whenever they want it. But when both Khole and Blue are betrayed by mutineers in their own crews, the two bandits are united in their thirst for revenge.”
When talking about the new comic series to Deadline, Millar said:
“I love writing female-led stories in everything from Reborn to Empress to Hit-Girl to Jupiter’s Legacy and, of course, our recent Magic Order at Netflix also love writing big,...
The story will revolve around two characters named Thena Khole and Cody Blue. They are “outlaw queens who lead notorious heist gangs that hop from starship to starship taking whatever they want whenever they want it. But when both Khole and Blue are betrayed by mutineers in their own crews, the two bandits are united in their thirst for revenge.”
When talking about the new comic series to Deadline, Millar said:
“I love writing female-led stories in everything from Reborn to Empress to Hit-Girl to Jupiter’s Legacy and, of course, our recent Magic Order at Netflix also love writing big,...
- 4/16/2019
- by Joey Paur
- GeekTyrant
Announced by Deadline this afternoon, the next collaboration between Netflix and Mark Millar (Wanted, Kick-Ass, Kingsman) will be Space Bandits, a female-led sci-fi story that Millar describes as follows: “a female Butch Cassidy and the Sundance Kid set in space with a massive and exciting cast of characters.” Matteo Scalera is illustrating the Netflix/Millar comic, being published by Image Comics. […]...
- 4/15/2019
- by John Squires
- bloody-disgusting.com
Exclusive: Netflix and Mark Millar announce their latest in-house creation, Space Bandits, a female-led sci-fi story, described by Millar as “a female Butch Cassidy and the Sundance Kid set in space with a massive and exciting cast of characters.” Image Comics, publisher of The Walking Dead, Happy! and Saga, will handle the tie-in comic book iteration of the Netflix property and artist Matteo Scalera will illustrate the space-faring adventures on the page.
Thena Khole and Cody Blue are outlaw queens who lead notorious heist gangs that hop from starship to starship taking whatever they want whenever they want it. But when both Khole and Blue are betrayed by mutineers in their own crews, the two bandits are united in their thirst for revenge.
“I love writing female-led stories in everything from Reborn to Empress to Hit-Girl to Jupiter’s Legacy and, of course, our recent Magic Order at Netflix,” Millar...
Thena Khole and Cody Blue are outlaw queens who lead notorious heist gangs that hop from starship to starship taking whatever they want whenever they want it. But when both Khole and Blue are betrayed by mutineers in their own crews, the two bandits are united in their thirst for revenge.
“I love writing female-led stories in everything from Reborn to Empress to Hit-Girl to Jupiter’s Legacy and, of course, our recent Magic Order at Netflix,” Millar...
- 4/15/2019
- by Geoff Boucher
- Deadline Film + TV
Will there ever be another great journalism film? Given the chaos in both movies and the news media—audiences polarized, anonymous sourcing resurgent, Twitter rampant, prevailing narratives debunked (or not)—the temptation is to say, no, probably not.
But common sense says the next great media movie is bound to happen, sooner or later. And when it does, that film will probably look a lot more like Absence Of Malice than All The President’s Men.
Other films—Broadcast News, Network, The Insider, Shattered Glass, Truth, to name a few—have taken a serious cut at journalism in the years since classics like The Front Page, Citizen Kane, and The Sweet Smell Of Success put a framework around the genre.
But no movies in the last half-century have better defined inherent polarities in journalism—good reporter/bad reporter, fearless investigator/flawed newshound, bearer of truth/purveyor of damaging falsehood—than those two dramas,...
But common sense says the next great media movie is bound to happen, sooner or later. And when it does, that film will probably look a lot more like Absence Of Malice than All The President’s Men.
Other films—Broadcast News, Network, The Insider, Shattered Glass, Truth, to name a few—have taken a serious cut at journalism in the years since classics like The Front Page, Citizen Kane, and The Sweet Smell Of Success put a framework around the genre.
But no movies in the last half-century have better defined inherent polarities in journalism—good reporter/bad reporter, fearless investigator/flawed newshound, bearer of truth/purveyor of damaging falsehood—than those two dramas,...
- 3/29/2019
- by Michael Cieply
- Deadline Film + TV
Now that one of Hollywood’s great studios, 20th Century Fox, has merged into another named Disney, let’s reflect, as a form of final tribute to a proud former stand-alone major, on one of Fox’s great legacies: its Oscars. Its track record with the Academy is far better than the studio that just swallowed it up.
Since 1937, when the fabled Pico Boulevard studio got its first-ever Best Picture nomination for In Old Chicago (a movie that also won Alice Brady only the second Best Supporting Actress Oscar ever given), there have been a remarkable 78 Best Picture nominations overall (by my count) and 12 wins beginning with the studio’s first Best Picture triumph in 1941 for How Green Was My Valley, a decision that still causes controversy even today since that venerable John Ford classic beat Orson Welles’ Citizen Kane, considered now by many to be the greatest movie of all time.
Since 1937, when the fabled Pico Boulevard studio got its first-ever Best Picture nomination for In Old Chicago (a movie that also won Alice Brady only the second Best Supporting Actress Oscar ever given), there have been a remarkable 78 Best Picture nominations overall (by my count) and 12 wins beginning with the studio’s first Best Picture triumph in 1941 for How Green Was My Valley, a decision that still causes controversy even today since that venerable John Ford classic beat Orson Welles’ Citizen Kane, considered now by many to be the greatest movie of all time.
- 3/20/2019
- by Pete Hammond
- Deadline Film + TV
Ghostbusters: the next generation Photo: Ingrid Mur
Sunday at the Glasgow Film Festival was busy right from the start, with film fans – some of whom admitted to never having seen it before – packing into the free screening of Butch Cassidy And The Sundance Kid. Argentinean family drama The Quietude proved heady stuff that early in the day but for people looking for something there kids could enjoy, a special child-focused screening of the original Ghostbusters amply delivered. It was an event that would be repeated with less drawing and sliming, more swearing and cocktails to entertain adults in the evening. Of course, everyone loved the Staypuft marshmallows.
Heike Bachelier and Andy Heathcote talk about Of Fish And Foe Photo: Pete Copeland
The animated story of a reporter’s experiences in Angola, Another Day Of Life, screened in the afternoon, Michael Winterbottom’s Pakistan-set thriller The Wedding Guest seemed to...
Sunday at the Glasgow Film Festival was busy right from the start, with film fans – some of whom admitted to never having seen it before – packing into the free screening of Butch Cassidy And The Sundance Kid. Argentinean family drama The Quietude proved heady stuff that early in the day but for people looking for something there kids could enjoy, a special child-focused screening of the original Ghostbusters amply delivered. It was an event that would be repeated with less drawing and sliming, more swearing and cocktails to entertain adults in the evening. Of course, everyone loved the Staypuft marshmallows.
Heike Bachelier and Andy Heathcote talk about Of Fish And Foe Photo: Pete Copeland
The animated story of a reporter’s experiences in Angola, Another Day Of Life, screened in the afternoon, Michael Winterbottom’s Pakistan-set thriller The Wedding Guest seemed to...
- 2/26/2019
- by Jennie Kermode
- eyeforfilm.co.uk
There are plenty of pejoratives you can hurl at the Oscars — self-important, overlong, old-fashioned, out-of-touch — but in recent years, you can’t complain that they’ve lacked for drama. With the adoption of the preferential ballot in 2009, which asks Academy members to vote for Best Picture with a ranked list, the show’s biggest prize has become far more suspenseful, resulting in several splits between Director and Picture, and a few outright upsets, with Spotlight besting The Revenant and, memorably, Moonlight triumphing over La La Land. Last year, The Shape of Water,...
- 2/20/2019
- by Tim Grierson
- Rollingstone.com
Originally, Focus Features was set to make the Peter Farrelly-directed feature Green Book, but ultimately passed on the project.
Then Participant Media stepped up to finance the $23M dramedy about American pianist Don Shirley’s tour through 1960s American South, and the male-bonding that forms with his Italian American chauffeur, Tony Lip. But Participant had a distribution deal with Focus. That concerned Farrelly a bit because he knew Focus wasn’t wowed by the project.
Knowing Steven Spielberg and DreamWorks’ influence at Universal, Farrelly told us at a recent Awardsline screening for Green Book that he called his CAA agent Richard Lovett, “who is the greatest agent on the planet by the way; I’ve been with him my entire career. I knew he represents Spielberg.” He asked his rep “‘Any chance you can get this to Spielberg? I think he’s going to flip if he sees this.
Then Participant Media stepped up to finance the $23M dramedy about American pianist Don Shirley’s tour through 1960s American South, and the male-bonding that forms with his Italian American chauffeur, Tony Lip. But Participant had a distribution deal with Focus. That concerned Farrelly a bit because he knew Focus wasn’t wowed by the project.
Knowing Steven Spielberg and DreamWorks’ influence at Universal, Farrelly told us at a recent Awardsline screening for Green Book that he called his CAA agent Richard Lovett, “who is the greatest agent on the planet by the way; I’ve been with him my entire career. I knew he represents Spielberg.” He asked his rep “‘Any chance you can get this to Spielberg? I think he’s going to flip if he sees this.
- 2/15/2019
- by Anthony D'Alessandro
- Deadline Film + TV
There are a lot of Oscar firsts surrounding Alfonso Cuaron’s acclaimed Mexican drama, “Roma.” History will be made if it wins Best Picture and Best Foreign Language Film, as well as being the first movie in Spanish and Mixtec languages to take home the top Academy Award.
With history “Roma” on the cusp of rewriting the Oscar history book, let’s look back at some foreign language Oscar firsts.
The first foreign film to earn an Oscar nomination was Rene Clair’s delightful French satire “A Nous La Liberte” for Best Art Drection in the ceremony’s fifth year.
It was 80 years ago that the academy nominated a foreign-language film for the Best Picture Oscar when Jean Renoir’s anti-war masterpiece “Grand Illusion,” was one of 10 nominees for the top prize. Though the film lost to Frank Capra’s “You Can’t Take It With you,” the French drama...
With history “Roma” on the cusp of rewriting the Oscar history book, let’s look back at some foreign language Oscar firsts.
The first foreign film to earn an Oscar nomination was Rene Clair’s delightful French satire “A Nous La Liberte” for Best Art Drection in the ceremony’s fifth year.
It was 80 years ago that the academy nominated a foreign-language film for the Best Picture Oscar when Jean Renoir’s anti-war masterpiece “Grand Illusion,” was one of 10 nominees for the top prize. Though the film lost to Frank Capra’s “You Can’t Take It With you,” the French drama...
- 2/4/2019
- by Susan King
- Gold Derby
Alfonso Cuaron’s “Roma” has tied “Crouching Tiger, Hidden Dragon” with 10 Oscar nominations, the most ever for a non-English language contender. This comes on the heels of wins from the New York and Los Angeles critics’ groups, along with multiple guild nominations, and a best director Golden Globes award. What once looked like a streaming-service outlier is now a serious, if not leading, contender to win the industry’s top award.
In the nine-decade history of the Academy, no foreign-language film has ever won. Nine foreign-language films received five or more nominations among all categories (some — but not all — included Foreign Language Film). Of these, perhaps two — “Z” and “Crouching Tiger, Hidden Dragon” — had a legitimate shot at winning Best Picture.
The ascension of “Roma” isn’t certain. It’s receiving limited theatrical play, and is streaming worldwide on Netflix — although that’s something that didn’t dissuade the Academy in its nominations.
In the nine-decade history of the Academy, no foreign-language film has ever won. Nine foreign-language films received five or more nominations among all categories (some — but not all — included Foreign Language Film). Of these, perhaps two — “Z” and “Crouching Tiger, Hidden Dragon” — had a legitimate shot at winning Best Picture.
The ascension of “Roma” isn’t certain. It’s receiving limited theatrical play, and is streaming worldwide on Netflix — although that’s something that didn’t dissuade the Academy in its nominations.
- 1/22/2019
- by Tom Brueggemann
- Indiewire
“I think the thing off the top of my head might be, ‘It’s about f*cking time,'” jokes Sam Elliott, in the wake of his first ever Oscar nomination this morning for his supporting role in Warner Bros’ A Star Is Born. “Beyond that, it’s really about the work; it’s just about the creative process. It’s great to be recognized for that, that’s really all it’s about.”
Joking aside, Elliott has a point about the timing. Since beginning his career in 1969 with Butch Cassidy and the Sundance Kid, he’s gained somewhat iconic status as a mainstay of both the big and small screens, most recently having received critical acclaim for Lee Hayden’s The Hero. And yet in 50 years, he had not been nominated.
Elliott’s Best Supporting nod is one of a slew from the Academy for Bradley Cooper’s directorial debut A Star is Born.
Joking aside, Elliott has a point about the timing. Since beginning his career in 1969 with Butch Cassidy and the Sundance Kid, he’s gained somewhat iconic status as a mainstay of both the big and small screens, most recently having received critical acclaim for Lee Hayden’s The Hero. And yet in 50 years, he had not been nominated.
Elliott’s Best Supporting nod is one of a slew from the Academy for Bradley Cooper’s directorial debut A Star is Born.
- 1/22/2019
- by Antonia Blyth
- Deadline Film + TV
Exclusive: There are dozens of dialogue lines that made William Goldman an iconic screenwriter — “Follow the money” from All the President’s Men, and “Is it safe?” from Marathon Man among them — but to a legion of top screenwriters whom Goldman helped find their voices, here’s a lesser-known signature line just as memorable: “I’m in the book.”
That is what Goldman said to many young screenwriters who dared ask a legend for help, back when people actually thumbed through the white pages of the New York City phone book. That’s where Goldman left his Manhattan number, which led to tutorials over lunches at places like The Carlyle Hotel, where Goldman held court and spread the gospel of good writing to so many. Even though he wrote many a withering column about movies he didn’t love — the manipulative bookend-ed start and end of Spielberg’s Saving Private Ryan...
That is what Goldman said to many young screenwriters who dared ask a legend for help, back when people actually thumbed through the white pages of the New York City phone book. That’s where Goldman left his Manhattan number, which led to tutorials over lunches at places like The Carlyle Hotel, where Goldman held court and spread the gospel of good writing to so many. Even though he wrote many a withering column about movies he didn’t love — the manipulative bookend-ed start and end of Spielberg’s Saving Private Ryan...
- 1/21/2019
- by Mike Fleming Jr
- Deadline Film + TV
Dan Striepeke, Oscar-Nominated Makeup Artist on 'Forrest Gump' and 'Saving Private Ryan,' Dies at 88
Dan Striepeke, who served as Tom Hanks' "cosmetic consigliere" on 16 films, including Forrest Gump and Saving Private Ryan, for which the makeup artist earned his two Oscar nominations, has died. He was 88.
Striepeke's death was reported on Facebook by Michael Key, an Emmy-winning makeup artist and founder of Make-Up Artist magazine. No details of his death were immediately available.
The former head of the makeup department at 20th Century Fox, Striepeke at the studio worked on the original Planet of the Apes movies; on other films like Butch Cassidy and the Sundance Kid (1969) and the Oscar best picture winner ...
Striepeke's death was reported on Facebook by Michael Key, an Emmy-winning makeup artist and founder of Make-Up Artist magazine. No details of his death were immediately available.
The former head of the makeup department at 20th Century Fox, Striepeke at the studio worked on the original Planet of the Apes movies; on other films like Butch Cassidy and the Sundance Kid (1969) and the Oscar best picture winner ...
- 1/19/2019
- The Hollywood Reporter - Film + TV
Dan Striepeke, Oscar-Nominated Makeup Artist on 'Forrest Gump' and 'Saving Private Ryan,' Dies at 88
Dan Striepeke, who served as Tom Hanks' "cosmetic consigliere" on 16 films, including Forrest Gump and Saving Private Ryan, for which the makeup artist earned his two Oscar nominations, died Thursday, his family announced. He was 88.
The former head of the makeup department at 20th Century Fox, Striepeke at the studio worked on the original Planet of the Apes movies; on other films like Butch Cassidy and the Sundance Kid (1969) and the best picture Oscar winner Patton (1970); and on the CBS series Mission: Impossible, where he helped design the spy series' famous latex "peel off" masks.
In addition to the best ...
The former head of the makeup department at 20th Century Fox, Striepeke at the studio worked on the original Planet of the Apes movies; on other films like Butch Cassidy and the Sundance Kid (1969) and the best picture Oscar winner Patton (1970); and on the CBS series Mission: Impossible, where he helped design the spy series' famous latex "peel off" masks.
In addition to the best ...
- 1/19/2019
- The Hollywood Reporter - Movie News
Legendary American actor and director Robert Redford is set to receive an honorary Cesar award, France’s equivalent of the Oscars, at the 44th annual Cesar ceremony, which will take place Feb. 22 in Paris.
“An iconic actor, an exceptional director, a passionate producer, founder and president of Sundance, the most revered festival of independent films in the world, Robert Redford has left his mark through all his endeavors in the film world,” said Alain Terzian, the president of France’s Academy of Arts and Techniques of Cinema.
In the statement announcing Redford’s honorary Cesar, Terzian praised Redford’s career as an actor, filmmaker and philanthropist.
“Robert Redford is definitely a monument. Many of his films, in front or behind the camera, have now become classics. Rare are the careers which have had such a lasting impact on the history of cinema,” said Terzian, citing Redford’s Oscar- and Golden Globe-winning film “Ordinary People,...
“An iconic actor, an exceptional director, a passionate producer, founder and president of Sundance, the most revered festival of independent films in the world, Robert Redford has left his mark through all his endeavors in the film world,” said Alain Terzian, the president of France’s Academy of Arts and Techniques of Cinema.
In the statement announcing Redford’s honorary Cesar, Terzian praised Redford’s career as an actor, filmmaker and philanthropist.
“Robert Redford is definitely a monument. Many of his films, in front or behind the camera, have now become classics. Rare are the careers which have had such a lasting impact on the history of cinema,” said Terzian, citing Redford’s Oscar- and Golden Globe-winning film “Ordinary People,...
- 1/18/2019
- by Elsa Keslassy
- Variety Film + TV
Robert Redford in The Old Man & The Gun Photo: Fox Searchlight The Academy of the French Oscars, the Césars, will award their honorary career achievement accolade this year to Robert Redford (in the wake of last year’s recipient Penelope Cruz) at the 44th awards ceremony on 22 February.
Robert Redford at Karlovy Vary Film Festival Photo: Richard Mowe Making the announcement in Paris Alain Terzian, the president of the Academy, said of Redford: “As an iconic actor, exceptional director, enthusiastic producer and founder of the Sundance Film Festival with a global reputation for promoting independent cinema, Redford has left his mark on each and every one of his activities.”
Terzian noted that Redford, 81, brought the same integrity and grace to roles as varied as Butch Cassidy And The Sundance Kid, Jeremiah Johnson, Three Days of the Condor, Out of Africa, The Great Gatsby and The Horse Whisperer and flagged...
Robert Redford at Karlovy Vary Film Festival Photo: Richard Mowe Making the announcement in Paris Alain Terzian, the president of the Academy, said of Redford: “As an iconic actor, exceptional director, enthusiastic producer and founder of the Sundance Film Festival with a global reputation for promoting independent cinema, Redford has left his mark on each and every one of his activities.”
Terzian noted that Redford, 81, brought the same integrity and grace to roles as varied as Butch Cassidy And The Sundance Kid, Jeremiah Johnson, Three Days of the Condor, Out of Africa, The Great Gatsby and The Horse Whisperer and flagged...
- 1/18/2019
- by Richard Mowe
- eyeforfilm.co.uk
"I've had the good fortune over the years to work with some really talented people, both in front and behind the camera, and I've had nice notices over the years," says Sam Elliott, one of Hollywood’s all-time greatest character actors, as we sit down at the offices of The Hollywood Reporter to record an episode of THR's 'Awards Chatter' podcast. Indeed, the 74-year-old, who has been acting on the big screen for 52 years, counts among his credits fine work in 1969’s Butch Cassidy and the Sundance Kid, 1971’s The Lifeguard, 1985’s Mask, 1993’s ...
- 1/16/2019
- The Hollywood Reporter - Movie News
"I've had the good fortune over the years to work with some really talented people, both in front and behind the camera, and I've had nice notices over the years," says Sam Elliott, one of Hollywood’s all-time greatest character actors, as we sit down at the offices of The Hollywood Reporter to record an episode of THR's 'Awards Chatter' podcast. Indeed, the 74-year-old, who has been acting on the big screen for 52 years, counts among his credits fine work in 1969’s Butch Cassidy and the Sundance Kid, 1971’s The Lifeguard, 1985’s Mask, 1993’s ...
- 1/16/2019
- The Hollywood Reporter - Film + TV
As the gravel-voiced king of the all-American character, Sam Elliott has reverberated with onscreen charisma ever since 1969 when he landed a bit part in that ultimate piece of Americana, Butch Cassidy and the Sundance Kid. So it’s not entirely surprising that Bradley Cooper famously ‘stole’ Elliott’s iconic voice for the role of hat-wearing, hard-drinking country singer Jackson Maine in A Star is Born. Then it only made sense that Cooper would lobby hard to get Elliott on board in the role of his brother.
Over a cappuccino in a Venice beach cafe, just days after taking home Best Supporting Actor at The National Board of Review Awards and having his hand and footprints added to the star-studded collection outside the Tcl Chinese Theater in Hollywood, Elliott tells how a scheduling conflict almost forced him to drop out of A Star is Born, that he doesn’t see himself personally winning more awards,...
Over a cappuccino in a Venice beach cafe, just days after taking home Best Supporting Actor at The National Board of Review Awards and having his hand and footprints added to the star-studded collection outside the Tcl Chinese Theater in Hollywood, Elliott tells how a scheduling conflict almost forced him to drop out of A Star is Born, that he doesn’t see himself personally winning more awards,...
- 1/11/2019
- by Antonia Blyth
- Deadline Film + TV
In celebration of its 100th anniversary, the American Society of Cinematographers has released a list of the 100 best shot films of the 20th century.
This list was released to "showcase the best of cinematography as selected by professional cinematographers.” Here's how the list was put together:
The process of cultivating the 100 films began with Asc members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the Asc, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles.
Here's a little sizzle reel that was cut together showcasing some of the films on the list:
It's hard to argue with the Top 10 films,...
This list was released to "showcase the best of cinematography as selected by professional cinematographers.” Here's how the list was put together:
The process of cultivating the 100 films began with Asc members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the Asc, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles.
Here's a little sizzle reel that was cut together showcasing some of the films on the list:
It's hard to argue with the Top 10 films,...
- 1/9/2019
- by Joey Paur
- GeekTyrant
To celebrate the 100th anniversary of the American Society of Cinematographers (Asc) this year, they’ve polled their members to determine 100 milestone films in the art and craft of cinematography of the 20th century. Topping the list is David Lean’s epic Lawrence of Arabia, shot by Freddie Young. Also in the top ten is Blade Runner (Jordan Cronenweth), The Conformist (Vittorio Storaro), Days of Heaven (Néstor Almendros), and more.
Organized by Steven Fierberg, he said “Asc members wanted to call attention to the most significant achievements of the cinematographer’s art but not refer to one achievement as ‘better’ than another. The selected films represent a range of styles, eras and visual artistry, but most importantly, it commemorates films that are inspirational or influential to Asc members and have exhibited enduring influence on generations of filmmakers.”
See the top 10 below, along with the full list.
1. Lawrence of Arabia (1962), Freddie Young,...
Organized by Steven Fierberg, he said “Asc members wanted to call attention to the most significant achievements of the cinematographer’s art but not refer to one achievement as ‘better’ than another. The selected films represent a range of styles, eras and visual artistry, but most importantly, it commemorates films that are inspirational or influential to Asc members and have exhibited enduring influence on generations of filmmakers.”
See the top 10 below, along with the full list.
1. Lawrence of Arabia (1962), Freddie Young,...
- 1/9/2019
- by Jordan Raup
- The Film Stage
The American Society of Cinematographers, in celebration of the organization’s 100th anniversary, has revealed its list of 100 milestone films in the art and craft of cinematography from the 20th century. The list culminates with a top 10, topped by Freddie Young’s lensing of David Lean’s Oscar-winning 1962 epic “Lawrence of Arabia.”
Jordan Cronenweth’s work on Ridley Scott’s 1982 sci-fi standard “Blade Runner” came in at number two. Celebrated cinematographer Roger Deakins finally won an Oscar last year for the film’s sequel, “Blade Runner 2049.”
Vittorio Storaro rounded out the top three for Francis Ford Coppola’s 1979 Vietnam odyssey “Apocalypse Now.” He, Conrad Hall and Gordon Willis each appeared on the overall list five times, leading the pack. John Alcott, Caleb Deschanel and Haskell Wexler each lensed four.
Organized by Steven Fierberg, Asc (“The Affair”) and voted on by Asc members, the milestones list is the first of...
Jordan Cronenweth’s work on Ridley Scott’s 1982 sci-fi standard “Blade Runner” came in at number two. Celebrated cinematographer Roger Deakins finally won an Oscar last year for the film’s sequel, “Blade Runner 2049.”
Vittorio Storaro rounded out the top three for Francis Ford Coppola’s 1979 Vietnam odyssey “Apocalypse Now.” He, Conrad Hall and Gordon Willis each appeared on the overall list five times, leading the pack. John Alcott, Caleb Deschanel and Haskell Wexler each lensed four.
Organized by Steven Fierberg, Asc (“The Affair”) and voted on by Asc members, the milestones list is the first of...
- 1/8/2019
- by Kristopher Tapley
- Variety Film + TV
Fresh off their night at the Golden Globes, Lady Gaga and Bradley Cooper were front and center at Sam Elliott's hand and footprint ceremony in Hollywood on Monday afternoon. The trio - who all worked together on A Star Is Born - proved that their bond goes far beyond the big screen as they hugged and Gaga and Bradley proudly cheered Sam on.
During the ceremony, Bradley took the stage and gave a heartfelt speech, referring to Sam as "one of the most talented, generous, humble actors" he's ever worked with. "Acting alongside him was a dream fulfilled for me," Bradley said. "Directing Sam was and will remain one of the highest points of my career." Gaga also shared photos from the event on her Instagram stories, including one of her receiving a kiss from Sam on her forehead. "So excited to be here for Sam Elliott's hand and footprint ceremony,...
During the ceremony, Bradley took the stage and gave a heartfelt speech, referring to Sam as "one of the most talented, generous, humble actors" he's ever worked with. "Acting alongside him was a dream fulfilled for me," Bradley said. "Directing Sam was and will remain one of the highest points of my career." Gaga also shared photos from the event on her Instagram stories, including one of her receiving a kiss from Sam on her forehead. "So excited to be here for Sam Elliott's hand and footprint ceremony,...
- 1/8/2019
- by Monica Sisavat
- Popsugar.com
It’s the end of another fine year in cinema, with stalwart blockbusters continuing to dominate much of the popular discussion alongside the bold new voices in filmmaking. Our annual Best Movies of the Year results give us a good indication of what’s what in movieland. It’s no surprise that Mission: Impossible Fallout, the latest in a film series which has honed its execution while building on a two decade history, came up trumps. It’s hugely likeable cast, astonishing technical and stunt work, and a massive fan base made it a sure box office winner.
But this isn’t to discount the many original films we saw. Indeed, some of my personal favourites stood out because, unlike many of the sequels, reboots and franchise riders, I was able to go in and be surprised. And man, were there some surprises.
It was a year in which Hereditary sat alongside Halloween,...
But this isn’t to discount the many original films we saw. Indeed, some of my personal favourites stood out because, unlike many of the sequels, reboots and franchise riders, I was able to go in and be surprised. And man, were there some surprises.
It was a year in which Hereditary sat alongside Halloween,...
- 12/21/2018
- by Jon Lyus
- HeyUGuys.co.uk
(Welcome to The Movies That Made Star Wars, a series where we explore the films and television properties that inspired (or in this case help us better understand) George Lucas’s iconic universe. In this edition:Butch Cassidy and the Sundance Kid.) Losing the screenwriter William Goldman was a blow to the world of cineastes last month. […]
The post How ‘Star Wars’ Borrows From ‘Butch Cassidy and the Sundance Kid’ appeared first on /Film.
The post How ‘Star Wars’ Borrows From ‘Butch Cassidy and the Sundance Kid’ appeared first on /Film.
- 12/14/2018
- by Bryan Young
- Slash Film
This article marks Part 14 of the Gold Derby series analyzing 84 years of Best Original Song at the Oscars. Join us as we look back at the timeless tunes recognized in this category, the results of each race and the overall rankings of the winners.
The 1977 Oscar nominees in Best Original Song were:
“Candle on the Water” from “Pete’s Dragon”
“Someone’s Waiting for You” from “The Rescuers”
“The Slipper and the Rose Waltz (He Danced with Me/She Danced with Me)” from “The Slipper and the Rose”
“Nobody Does It Better” from “The Spy Who Loved Me”
“You Light Up My Life” from “You Light Up My Life”
Won: “You Light Up My Life” from “You Light Up My Life”
Should’ve won: “Nobody Does It Better” from “The Spy Who Loved Me”
1977 is a tough year to take very seriously in Best Original Song, and not just because of the winner – the sleepy,...
The 1977 Oscar nominees in Best Original Song were:
“Candle on the Water” from “Pete’s Dragon”
“Someone’s Waiting for You” from “The Rescuers”
“The Slipper and the Rose Waltz (He Danced with Me/She Danced with Me)” from “The Slipper and the Rose”
“Nobody Does It Better” from “The Spy Who Loved Me”
“You Light Up My Life” from “You Light Up My Life”
Won: “You Light Up My Life” from “You Light Up My Life”
Should’ve won: “Nobody Does It Better” from “The Spy Who Loved Me”
1977 is a tough year to take very seriously in Best Original Song, and not just because of the winner – the sleepy,...
- 12/8/2018
- by Andrew Carden
- Gold Derby
“And I’m gonna be 40!” Meg Ryan says between sobs. “When?” Billy Crystal asks. “Someday.” When Harry Met Sally … is only turning 30 next year, actually, but the king of the modern rom-com will get an opening-night anniversary screening at the 10th annual TCM Classic Film Festival, organizers said today.
Ryan, Crystal and director Rob Reiner will be on hand April 11 at the Tcl Chinese Theatre to kick off fest, which runs through April 14.
“There are romantic comedies – and then there’s When Harry Met Sally…” said Ben Mankiewicz, TCM primetime anchor and host of the festival. “The chemistry between Billy Crystal and Meg Ryan makes them part of a legacy that includes the greats of classic movies: Spencer Tracy and Katherine Hepburn; Cary Grant and Rosalind Russell; and Jack Lemmon and Shirley MacLaine. And Rob Reiner — utilizing Nora Ephron’s word-perfect screenplay – follows in the rarefied air of the filmmaking...
Ryan, Crystal and director Rob Reiner will be on hand April 11 at the Tcl Chinese Theatre to kick off fest, which runs through April 14.
“There are romantic comedies – and then there’s When Harry Met Sally…” said Ben Mankiewicz, TCM primetime anchor and host of the festival. “The chemistry between Billy Crystal and Meg Ryan makes them part of a legacy that includes the greats of classic movies: Spencer Tracy and Katherine Hepburn; Cary Grant and Rosalind Russell; and Jack Lemmon and Shirley MacLaine. And Rob Reiner — utilizing Nora Ephron’s word-perfect screenplay – follows in the rarefied air of the filmmaking...
- 11/29/2018
- by Erik Pedersen
- Deadline Film + TV
As promised back in June, Quentin Tarantino’s New Beverly Cinema revival house is throwing its doors open again December 1.
The theater was closed back in January for near-year long enhancements and upgrades.
First pics scheduled to play on the marquee is Tim Burton’s 1992 sequel Batman Returns, Richard Linklater’s 1993 comedy Dazed and Confused, and during the evening it’s Richard Lester’s Oscar-nominated 1979 title Butch and Sundance: The Early Years starring Tom Berenger as Butch Cassidy and William Katt as the Sundance Kid, and George Roy Hill’s 1969 four-time Oscar winner Butch Cassidy and the Sundance Kid.
On Christmas Day: The March of the Wooden Soldiers, the Marx Brothers’ Horse Feathers and Tarantino’s own The Hateful Eight is scheduled to play.
The 300-seat theater opened in 1929 at Beverly Boulevard near Labrea Boulevard in Los Angeles. The two-time Oscar winner Tarantino subsidized New Beverly owner Sherman Torgan to...
The theater was closed back in January for near-year long enhancements and upgrades.
First pics scheduled to play on the marquee is Tim Burton’s 1992 sequel Batman Returns, Richard Linklater’s 1993 comedy Dazed and Confused, and during the evening it’s Richard Lester’s Oscar-nominated 1979 title Butch and Sundance: The Early Years starring Tom Berenger as Butch Cassidy and William Katt as the Sundance Kid, and George Roy Hill’s 1969 four-time Oscar winner Butch Cassidy and the Sundance Kid.
On Christmas Day: The March of the Wooden Soldiers, the Marx Brothers’ Horse Feathers and Tarantino’s own The Hateful Eight is scheduled to play.
The 300-seat theater opened in 1929 at Beverly Boulevard near Labrea Boulevard in Los Angeles. The two-time Oscar winner Tarantino subsidized New Beverly owner Sherman Torgan to...
- 11/20/2018
- by Anthony D'Alessandro
- Deadline Film + TV
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