Family Members Ebooks Catalog
What if the content of the play or screenplay supports a concept that is in opposition to your own moral or social or political beliefs Do you make the compromise and accept the job because your rent is due or your children's school tuition must be paid Can you make yourself believe in the project sufficiently to be able to bring the best of yourself to it Too often I see directors agreeing to do projects that contain material they can't support and then attempting to alter or rewrite in such a way as to be able to live with it. This is a dangerous route to travel, filled with traps and pitfalls along the way. To me, it is like trying to give a nose job to an elephant. The results can be disastrous, so I would advise that you wait for the right script or perhaps even write one yourself.
What distinguishes Von Trotta's films from those of other German filmmakers is that her social ethos has its roots in the German Lutheran Church, over the centuries perhaps the most durable home of bourgeois humanism and liberalism, with its own tradition of political nonconformism, social work, education, child care and, more recently, a principled anti-fascism and anti-nuclear militancy. This is the moral and ideological milieu in which her observations are
The popularity of cable had a direct impact on the major networks as three new stations, Fox, UPN, and the WB, reached audiences with improved cable technology and direct-broadcast satellite (DBS). As competition grew between cable and networks, the focus of television programming became increasingly unconventional. When talk show hosts, for example, explored raw topics with confrontational guests, their ratings soared. Cable sex shows and adult cartoons were in sharp contrast to a more sophisticated crop of made-for-TV movies dealing with mature issues like changing family values, gender bias, AIDS, homosexuality, and domestic abuse. In response to violence and sex on TV, the public and subsequently the government forced the broadcasting industry in 1996 to adopt a rating system for every show TV-Y, TV-Y7, TV-G, TV-PG, TV-14, and TV-MA. Newer television sets were equipped with a V-chip that could be programmed to block unsuitable programs.
When I made Mean Streets I put my mother in the picture. She also helped me out in my student films. My mother and father would show up sometimes and be in them or bring some food or whatever. My mother was in Taxi Driver but we cut her out. She gets out of a cab with lots of shopping bags, you know. But we didn't need it so we cut it out. They were both in Raging Bull. My fathers the other guy that's always with Tommy Como. They would show up on the set and bring food. It became more of a family thing, which is what it should have been because there's so much tension and so much anger when you're trying to make a schedule. When you're trying to deal with studio problems. Why should that come onto the set On the set it should be funny and warm and enjoyable, like being with family members. Especially when my mother and father hung around with the actors between takes and it became something quite, quite lively. And so they became a major part of that. They always talked to De Niro,...
To explore his director's idea we begin with an examination of Stevens' work in A Place in the Sun, where camera placement and art direction operate with considerable force. The set is the Eastman mansion. The camera is placed deep inside the house. In the far background is the door through which George Eastman enters his uncle's home. Doric columns define the middle of the frame and add even greater scale to the house. Charles Eastman and his family are seated and observing George's entry. He walks toward the camera, and it seems to be a very long walk. His uncle offers George a seat. The camera is now positioned not too close to the couch occupied by Charles Eastman's wife and daughter. George sits on a chair in the middle ground. The camera is far from the Eastmans and even farther from George. In this shot, we are not close to any party. The distance between the Eastmans and George is physical but it is also social. The conversation is not an easy one. Again we are very aware of...
Scorsese also cast his own family members in GoodFellas his mother Catherine Scorsese played Tommy's mum, while his father Charles played elderly gangster Vinnie, who oversees Tommy's murder. Comedian Henny Youngman appeared as himself, as did singer Jerry Vale (singing 'Pretend You Don't See Her') Robbie Vinton played his own father Bobby, miming in a Copacabana scene to Bobby's 'Roses are Red'. Real US attorney Edward McDonald played himself it is he who persuaded Henry that the Witness Protection Program was Henry's only option to prevent him and Karen going to prison.
Performer seeking roles, you must constantly provide it, along with certain personal information, to agents, managers and casting directors. But use caution. Unauthorized strangers with bad intentions can sometimes gain access to your image and information, then repurpose, digitally alter, or sell them on the black market without your knowledge. While SAG continues to work with auction giant eBay in an effort to thwart this activity, it wants to offer some fundamental tools that will help protect you and your family. Guard your reputation and keep your confidential information private
Starting off, especially when you're young and eager to get working in the industry, your personal life can become obliterated, he says. It can virtually disappear because all of your time is spent working on films. It doesn't have to be a major production to still require fifteen-hour days, day in and day out. Having family and friends is a process that takes a lifetime but the proximity of people that you work with on a production makes them start feeling like your family and friends, though more by circumstance than choice. It's definitely important to make that distinction and to find a place for family and friends that exist outside of the industry.
I mainly want to tell a story in a one-person show, rather than just have an actor showing his craft. With Spic-O-Rama, we created a family. John was still going to do different characters, but now there was an event, the marriage of one of the brothers. The precocious kid who opened the show introduced us to all of his family members. He provided the through-line. Each monologue reflected on the event.
At the national level but encouraged studios to make more films suitable for children, despite the fact that children still often preferred films aimed at adults. Then in 1925 the Motion Picture Producers and Distributors Association under Will Hays (1879-1954) began an effort to identify films suitable for children. By the fall of 1925, the MPPDA had arranged fifty-two matinee programs, with many films reedited and retitled for youngsters. These programs were shipped as a special block to theaters, and exhibitors were contracted to show only the selected program films during Saturday matinees. The MPPDA used this approach to promote the studios' sense of responsibility and at the same time to encourage children to be loyal movie customers.
When Mabo - Life of an Island Man was first screened at the 1997 Sydney International Film Festival, it received a standing ovation that lasted more than five minutes and was voted Best Documentary Film. Since then, it has won numerous other national and international film awards.iv It has also had a successful national theatrical release and has been screened on national television (ABC) in prime time on several occasions. Reviews indicate that this positive reception is largely due to the distinctive personal style of the film.v John Ryan, for example, writes 'Moving away from his earlier treatment of Mabo-the-case, Graham's film has brought Mabo-the-Man much closer to us'.vi The film uses first person narration, recounting throughout details about the making of the film and the relationship between the film-maker and its subject. It also uses testimonies by family members and friends, as well as several dramatisations of events in Mabo's life and other intimate knowledge, such as...
Factors such as its high quality of production, 'family values' and lack of violence were cited by numerous commentators as contributing to its success.24 In fact, such was the popularity of HAHK in Britain that it was adapted twice, once for BBC Radio Four and then later for the stage by Sudha Bhuchar and Prem's older brother Rajesh (Mohnish Bahl) to Nisha's elder sister Pooja (Renuka Shahane). The song simultaneously stages three rituals the first is one of pilgrimage through prayer and devotion to the idols of Ram, Sita and Laxman from the Ramayana the second is the performance of the engagement ceremony of Rajesh and Pooja and the third is the ritual of courtship and attraction between Prem and Nisha. The temple is transformed from a site of pilgrimage to an extension of the family home as the two households join together in celebration. The anonymous pilgrims in the background join in the singing and dancing, and thereby become extended family members. Through this invitation to...
Coworkers and family members discover that she has taken the money. We see her jumpy behavior as she is stopped by a policeman. He grills her, and we wince as she acts suspiciously nervous throughout this interrogation. We watch him shadow her, worried that her suspicious activities will result in her arrest. This repeated process of concentrated dialogue (imagined and real) uncovering the facts contributes to our fears for Marion as much as any other factor.
Far the most biographized contemporary figure is Princess Diana. But very few celebrities escape media treatment. There is an emphasis on their private lives, highlighting their troubled childhoods, struggles to succeed, fame, marriages and divorces, illnesses, and deaths. The televisual biopic proffers the lives of the famous and infamous by means of documentary footage of their lives and times, commentary by their biographers, family members, colleagues, and friends, and, in the case of film stars, clips from their films. The biographies benefit from controversial material, scandals, and conflicts with the law. Thus it seems that the biopic is alive and well the unabated flow of media biography is testimony to its continuing popularity, its profitability, and its responsiveness to changing cultural and social conditions.
1909), The New Minister or, The Drunkard's Daughter (Kalem, 1909), The Expiation (Biograph, 1909), The Honor of the Slums (Vitagraph, 1909), A Change of Heart (Biograph, 1909), The Rocky Road (Biograph, 1910), and A Slave to Drink (Kalem, 1910). Temperance films were closely linked to industry rhetoric about family values and the distinctions between nickel theaters and saloons. Likewise, What Drink Did and Ten Nights in a Barroom tell the story of the reformation of a father and family through the actions and sacrifice of a child. What Drink Did opens with a happy family seated around the breakfast table. The father plays with his two daughters and, when leaving for work, hugs them and his wife (figure 10). At lunch at work, kettles of beer are brought in, and he is coaxed into taking a drink. After work he is asked to go for a drink to a saloon with colleagues and, although evidently reluctant, joins them. Scenes of him drinking and increasingly enjoying himself are intercut with...
Among the latter, more distinctions are made with respect to skilled and unskilled ones, and then further distinctions operate, regarding whether the immigrants come from countries that have family values which make all the members economically productive and upwardly mobile, such as the Chinese and the Indians, and those that keep their women indoors and illiterate, and raise their male children in the patriarchal code of macho-masculinity. This vision of distinctions and differentiations, of filters and safeguards, appears as one of the ways the European Union is trying to steer towards a consensus, which it is hoped can lead to legislation or at least to a unified immigration policy.10
In 8 1I2, Fellini condenses four or five years in that school into one traumatic episode. Although Saraghina is a genuine figure from Fellini's past, he was never really punished by the priests for his association with her. But the fictional linking of Saraghina with the school contains an important emotional truth an overly strict Catholic upbringing, Fellini implies, can teach children to associate their natural impulses for freedom and sexual pleasure with guilt and punishment, and cause problems in their adult creative and sexual lives.
In his most recent solo play, Sexaholix, John Leguizamo creates a series of character monologues centered around memories of his high-school gang (the Sexaholix). This gang was always on the prowl, looking for sex. His play features stories about family members, his girlfriend, and friends from his past.
In both of these genres of reporting on terrorism the violence of the terrorist act is expressed most sensationally in and through close-ups of the bodies of victims. In the case of developing types of events, such as hostage taking, television cameras zoom in on the bodies and faces of the captives. As with Simonides, television also plays a role in identifying the often unrecognisable faces and bodies of victims of terrorist attacks. In 1979 American network television provided viewers with detailed profiles of the American hostages, along with interviews with family members and friends. But, of course, not all victims of terrorism are made recognisable. In his commentary on Euro-American television coverage of disasters in Africa, Kwame Karikari explains ' w hen there is mayhem in Africa or other places, CNN or BBC shows you the broken limbs, the dead bodies, and the vultures feeding on them, the gore and the blood. They show you human suffering. They show you helplessness. In...
In a front-page article in The New York Times on July 27, 1992, Maureen Dowd pointed to the similarities between the speeches of the Democratic candidates for President and Vice President at the Democratic Convention and the themes of daytime talk shows that dealt with ''dysfunctional relationships, marital troubles, addicted family members, self-help and recovery.''61 Bill Clinton told of the pain and agony of growing up with a father who was alcoholic and abusive. Al Gore told the story of his son's accident and subsequent recovery. These people seemed to belong on talk shows.
Of all Murrow's work on the air, it was the five programs Murrow did on Senator Joseph McCarthy that insured his place in television history. The first program in this series focused on the dismissal of Air Force lieutenant Milo Radulovich for the alleged ''Communist associations of family members, and aired October 20,1953.18 It was one of Murrow's finest programs, and it is worth reconsidering for two reasons. It shows the importance of the historical and social context of television talk, and demonstrates the power of the written word when, in the Murrow tradition, it takes on the force of the spoken word.
Put yourself in an investor's position. It doesn't matter if your potential investors are friends, family members, or people one step further removed (though with development, it should ideally be no more than four or five investors, and they should be people you know) They are going to carefully consider what they are being asked to do. And what you are asking of them is to invest money several months prior to, and outside the reality of, your project. Their five or ten thousand doesn't guarantee that you will get the film off the ground, merely that you will
It's a good idea to have a wide range of characters in mind when you begin assembling your family of half-face masks. For starters, here are four universal stock characters After you have completed building the masks and the Celluclay is dry, apply paint. Each member of your family should have distinctive shapes, features, and colors. Dynamic half-face masks use a variety of bright colors. Blue, red, purple, yellow, and green work well. Use secondary colors to blend or contrast.
Less reverent attitude to the meaning of land and home in the lives of young g Aboriginal women who have few reasons to believe in family values or the T republican's quest for a renewed sense of national identity. The return home of three sisters for their mother's funeral in Radiance tests the possibility 1 of unanchored, post-Indigenous identity by placing three daughters of an y Aboriginal mother centre stage to sort out the lies and fantasies about their shared past.
To be asked 'where are you from ' in Australia today is to imply not only that there is geographic mobility within the nation's borders but that your family's origins, within living memory, are elsewhere. Cultural commentators have long pointed to the problem of being at home in Australia as a recurring theme, usually articulated in terms of Australia's lack of self-confidence, maturity and independence. The difficulty of asserting an independent nationhood, particularly in relation to Britain and the United States, but also within the region, has often been linked to a set of national character traits including defensive brashness, cultural cringe, cutting down of tall poppies and a self-deprecating sense of humour. This set of traits appears to contradict those depicted in the national archetypes of the independent bushman, the courageous Anzac and the egalitarian fraternity of the white working class. A further contrast emerges in contemporary Australian cultural studies,...
As with any sense memory, the choice of what, or in this case whom, to work on is essential. The person that you choose to create should be someone with whom you have a relationship of substance. The best people are the ones from your primal relationships, primal meaning the first people with whom you come in contact in your life, that is, people from your family structure father, mother, sister, brother, etc. the people who make up your household. These relationships are loaded emotionally and filled with needs and desires that were left unmet. This can make for good acting material, because you have needs that need to be fulfilled. people who have been part of your family and friends. g
If you don't stand out, you'll get lost in the crowd. With all the thousands and thousands of people vying for the same positions, you have to figure out what it is that makes you special, and then capitalize on it. Why should someone choose to help or hire you instead of one of the others standing in the same long line waiting to get their feet in the same door Perhaps you have a distinguished background and can offer much needed experience you're fabulous at pitching and selling you're brilliant at making movies on a shoestring budget that look like they cost millions more you're a great writer, a creative genius, an inspired actor or musician, a whiz in the office you're more organized, a crackerjack deal maker, better at dealing with difficult people, will work harder, care more, will work for free or will be more fun to have around. If you don't know what it is that makes you unique, ask friends and family members, because sometimes they can see things in you that you might not...
The ability to live and raise your family in a smaller city or town has become more feasible than ever before, especially for those who can transmit their work (writing, visual effects, graphic design, etc.) over the Internet. Many others, besides being part of the local production community, make themselves available to travel and work on shows shooting in other locations. It's generally easier to do this once you're established and don't have to be in L.A. or New York for frequent interviews. So many feature films are being shot on locations around the globe anyway, it rarely matters anymore where someone lives, as long as they're willing to travel.
One of the great dichotomies in acting is that fully realized characters will often feel an emotion, but be doing everything to work against it. Think of a woman whose mother just died but must smile through her pain, or the love-struck young man who lost his virginity the night before and tries to keep a straight face at his parents' breakfast table. Or two family members who, while furious with each other, work with all their might to control their tempers until they finally explode. In all three examples, the actors must prepare for one emotion and then fight against expressing it until they have to get it out during the scene.
Although, arguably, the key independent film of that time (Return of the Secaucus Seven Sayles, 1980 ) was financed by the filmmaker's savings and with loans from family members, many of these independents were supported by funding from various non-profit organisations including
Between the two world wars, the BBFC was mainly concerned with horror and gangster films and those that dealt with sexuality. In 1932 the category 'H' was introduced to indicate potential unsuitability for children. By 1951, the emergence of the 'teenager' as an economic force and a major part of cinema audiences, coupled with fears of teenage gangs and crimes, prompted the introduction of a new category 'X' excluded children under 16. Rebel without a Cause (1955) was heavily cut so that it could be screened, and The Wild One (1954) was banned altogether, as it was seen as a threat to traditional family values. Over the next two decades, partly in response to growing numbers of serious 'adult' films with sexual themes from mainland Europe, the Board were obliged to accept directorial intention and artistic merit as valid criteria the standards changed once again partly also to incorporate teenagers' specific concerns 'X' was raised from 16 to 18, 'A' allowed the admission of 5 year...
Major Hollywood studios typically contract with ''independent producers'' to realize films which the studios can help finance and then distribute and market. If such a partnership is successful, the distributor can gain the right of first refusal for any project the ''independent producer'' develops. One example of this arrangement is producer Brian Grazer and director Ron Howard's Imagine Entertainment. After directing films for different distributors (Splash, 1984, for Touchstone and Gung Ho, 1986, for Paramount), Howard joined forces with producer Grazer to form their company. The first Imagine film was Willow (1988, for MGM) the following year, Imagine produced Parenthood for Universal distribution and inaugurated an association with Universal that continued through Apollo 13 (1995), the Academy Award -winning
In the U.S., these successful film cycles about the misbehavior of rebellious ''GI baby boomers sparked a wider controversy about the increase in juvenile crime, the failing educational system, and the loss of family values in American society. The movies only increased, as Thomas Doherty (51) notes, the ''anxious inquiries from concerned clergymen, baffled parents, tireless social scientists, and an alarmed Congress.'' What is so interesting about these 1950s juvenile delinquency movies is that they could stir up such a heated debate across various groups and organizations. Everyone from the average audience to the U.S. Senate including leading journalists, intellectuals, politicians, and religious leaders was moved to raise their voices about these movies' effects on ''endangered'' core social values. This situation, where various ''moral guardians'' express their concern over key values, often signals a societywide moral panic.
Confidential' was written by James Ellroy between 1988 and 1989, and was published in 1990. It was originally an 809-page manuscript, which he edited, chopping the sentences down to their bare minimum - some of the chapters are only one page long. Ellroy said of the book, even in its edited form, 'It was big, it was epic, it was huge' and described it as suitable for 'the whole family' if the name of your family was 'Manson'.
Born in 1945 in Philadelphia, Lathan didn't pursue medicine as many other family members before him. Instead, he attended Penn State Univer To the director's credit, Lathan manages to give the audience some enjoyable moments within the movie, even though it remains top-heavy with its cultural and moral messages. First, he provides an appreciative glimpse at two of the screen's oldest and most maligned black performers Lincoln ''Stepin Fetchit'' Perry and Butterfly McQueen. Perry portrays one of Grace's family members at the train station sequence. Later in the film, when Grace needs to find out who works in the mayor's office, she phones
Making a film tends to be an all-consuming operation, at least during the shooting. For many people, nothing else exists during that period except the film itself and the other members of the crew. Although this is particularly true for features, it also describes the conditions on many documentaries. During filming, whether for one week or seven, whether in New York or New Guinea, your crew tends to become your family. Therefore, when you choose your crew, it is worthwhile looking at their temperament as well as their skill. I always hope that the filming will be interesting and fun, and I want people who share that attitude to join me on the crew.
When you start your film, the odds are you don't know where you are going. You've decided to talk to members of your family about the past, about roots, about a few family secrets. You are intrigued by the problems your grandfather faced on coming to America. You wonder whether the family was happier before Joe died in Vietnam. You are curious about the branch of the family no one ever mentions. Intrigued, but without much direction, you plunge in without much direction. If you are Lilly Rivlin, you just start filming and talking to your aged parents as they lie sick in bed. If you are Amalie Rothschild, you start shooting your grandmother and only later do you realize the real focus is your mother.
You have to ask of yourself, Who benefits and who is liable to be harmed by your film Generally, your family trusts you. Because of that, they allow you access to their thoughts and feelings, which they would probably deny any other filmmaker. Be careful not to abuse that trust.
In the aftermath of September 11, however, US networks especially (but also others in the West) responded to the crisis of nothing to mourn by undertaking a different kind of memory work, namely the work of memorialisation. This is of course the work Simonides undertook when he employed his good memory of spatial arrangement to make the dead recognisable. The West is familiar with scenes of 'the missing' in reports of the aftermath of war and terrorist acts in places such as Central and South America and the Middle East. Such faces, mostly black or non-white faces, are, as I suggested in chapter four seen through a different lens than that applied to the white face. This difference is accentuated in the television network coverage of the aftermath of September 11. Here, we see how Americans employed a number of different modes of cultural memory to fill the space of oblivion, the spatial and temporal void known as Ground Zero. Within hours of the event families and friends of the...
Like I said, kids are often there to read for parts, too. They're there for a reason. But unless you've been called for a part that requires you to bring your child or baby with you, I highly recommend that you don't bring very young children to an audition. Cranky babies can be a major distraction. We've had moms bring kids inside the studio with them at the callback. Let me tell you, it's really hard for us to concentrate with a crying baby in the room. If you absolutely must bring your little one, see if you can arrange to have a friend come along to help babysit while you study your part and go in.
The 400 Blows, Truffaut's first feature film, was the first film in the Antoine Doinel series, which starred the same actor, Jean-Pierre Leaud, over a 20-year period. Through four films and a short, 206 Truffaut followed Antoine from troubled adolescent to confused adult. Through parenthood and sundry relations, the boy in the man defeats adult concerns and Antoine remains difficult and eccentric and boyish to the last. In The 400 Blows, we meet the adolescent Antoine. The film chronicles his difficulties at home and at school. Because of a petty theft he is sent to a juvenile evaluation center. The film ends with his running away from the center. The sequences we will discuss are the opening and the closing of the film. The film opens in the classroom. The strict teacher is irate when he discovers Antoine is focused on a pinup picture rather than the class work. He forces Antoine to stand behind the blackboard while the other students go out for recess. When the students return, the...
Consider the plot in hyperdrama as a lengthy journey wherein the main character will encounter many obstacles. The characters may succeed, or they may fail, but in one way or another, they will be transformed by the journey. In the Star Wars trilogy, the galaxy is the path that will take a son into a confrontation with his father. In Excalibur, the journey for Arthur is from a warring, barbaric origin (his birth) to an attempt to establish a just society (Camelot), where nobility and honor will supplant cruelty and betrayal. In Forrest Gump the journey is from childhood to parenthood, the twist here being the childlike (simple and pure) quality of the main character. In Kusturica's Underground, the journey is from the violence of World War II Yugoslavia to the violence and irrationality, even madness, of the dissolution of the country in the late 1980s a 40-year descent from hell to a deeper hell.
Selznick International Pictures' lawyers went to work preparing the brief. Lawsuits were common in Hollywood, and although historical films were often the target of libel suits by impoverished but indignant family members, historical subjects were also easy to defend. As producers were learning, to their delight, historical events were not under copyright jurisdiction. The lawyers, Joynson-Hicks & Co., hired another set of lawyers to prepare a report on A Star Is Born. That report quoted New York Times film critic Frank S. Nugent's review, emphasizing that Selznick's film was distinctly American and about Hollywood. But the report went even further, stating that A Star Is Born was based on real events in Hollywood's past. Although there are many Hollywood stories in real life which are very like A Star Is Born in enough ways to have suggested that picture to writers, I think that the three best known ones will suffice as illustrations.
There are a few specific questions that will often give you the kind of information you are seeking besides the obvious what have you done lately For example, What role have you played that gave you the most satisfaction or fulfillment What director did you enjoy working with the most What director did you not enjoy working with and why Granted these are general questions, but perhaps the actor will reveal something that will let you know he she is either ideal for you or entirely wrong for you. If, for instance, you are the kind of director who relies heavily on improvisation and the actor lets slip that he she loathes improvisation, or vice versa, you have learned something important about the potential of the relationship. If the interview seems to be going well, you might want to ask more specific questions based on demands in the script, such as do you have any siblings, have you ever lost a member of your family, or how is your relationship with your father
The emergence of the women's liberation movements in the late 1960s and early 1970s had a profound impact on scholarship as well as on society. Betty Friedan's The Feminine Mystique (1963) set the stage for liberation movements by detailing middle-class women's isolation, even oppression, within the suburban household. Women's roles in the antinuclear movements, such as the Aldermaston marches in the United Kingdom or SANE (Students Against Nuclear Energy) in the United States, further served as catalysts in the mid-1960s within diverse social sectors. For example, women within the male-dominated Students for a Democratic Society (SDS) began to resist their relegation to food preparation and child care, and to argue for women's rights to be included in the SDS agenda. In NUC (the New University Community), a faculty wing of SDS, pressure increased in regard to addressing women's issues, such as discriminatory employment practices, unfair divorce laws, and attention to medical and...
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