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Points in your life, and you discover that what you thought was certain has turned into something else entirely. Is this a movie that exposes the despair beneath the glitter of Tinsel Town', or does it merely use Hollywood as a metaphor for deeper questions about human aspirations and needs Is it big, splashy and romantic, or is it bitterly cynical For first-time viewers, only one thing can be said for sure this great Billy Wilder masterpiece is a film noir, where all the characters are detectives, trying to solve the mystery of themselves. The rest is up to you, or who you are, or who you think you are. it was Gillis's fault. He was like the prince who enters the tangled forest, discovers the princess and wakens her to new life. I knew as soon as you scanned him with your eyes - and, just then, you were not thinking of that new suit, my dearest - that the sleep we had shared was over. What did he want If it had only been your money, I would have understood. Yet that New Year's Eve...
The tendency for formerly industrial cities to try and re-launch themselves as capitals of culture is, of course, a much broader trend. It exceeds the phenomenon of film festivals and the continent of Europe. But precisely because of the forces at work all over the developed world to renew inner cities and to infuse new life into the urban fabric (often neglected over the previous half century, or victim of the private motor car, the suburbs and centralized planning), the strategic importance of cultural events in general, and of film festivals in particular for city-branding can scarcely be overestimated. At least two distinct developments overlap and intersect to re-valorize location and emplacement (the neighborhood factor) in urban culture. Firstly, there is the phenomenon of cultural clustering. Following Jane Jacobs' studies of neighborhoods and Sharon Zukin's work on the interplay of cultural and economic factors around New York's loft culture in the 1980s, economists, urban...
Hopefully, you are one of the few who has been ruined by the movies, just as Holden Caufield described himself in the quote in the beginning of this book. Ruined enough that you love them so much that you want to make them your life's work. In that case, dream big and use this book to guide you through the adventures of those who chose the same career before you. Learn from their mistakes and from their triumphs. They are
It was a chance to do a short film that doesn't necessarily take three years of your life to do. This story was set in Paris, and I was basically told by HBO that this was sort of a director's medium. There's not a lot of money for the director, but you get to make the film that you
If you are serious about pursuing a career, then you must accept the enormous obligation that is in front of you. It is a great burden that you are taking on. It is my opinion that when you decide you want to pursue an acting career, you have an obligation to hold up your end of the bargain. Your end is the commitment. You must promise yourself that you will work hard and study hard, while remaining humble and eager. You must promise to make every effort to strive for the level of success and commitment that every successful actor before you has strived for, and at the same time raise the bar of your own standards for yourself and for every other actor who follows you. You must make a commitment to keep studying and learning and observing. You must promise to read the great plays by the great writers (Chekhov, Williams, and O'Neill, to name a few), and you promise to read as much about the craft by the great teachers (Stanislavski, Hagen, Adler, and Meisner, to name a few). You must...
The 20 percent know that in order to work work work they've got to be prepared. Even if you've never been on a commercial audition in your life, if you're prepared, you'll be more focused and less nervous. At the least, you'll look like you're ready to go to work when you walk into the room.
Familial and gang loyalty is paramount in Scorsese's films and in this respect, GoodFellas is the middle film of his 'New York Gangs' trilogy bracketed by Mean Streets (1973) and Gangs of New York (2002). When Henry is convinced he is about to become the target of his own kind, he recalls 'They never tell you that they're going to kill you .so your murderers come with smiles. They come as friends, the people who have cared for you all your life, and they always seem to come at a time when you're at your weakest and most in need of their help.'
Good stories emanate from strong characterization and compelling plots. They also resonate with the ambitions of the writer. John Steinbeck, the author of East of Eden, earlier in his career wrote The Grapes of Wrath. In both of these novels, Steinbeck told family sagas set at particular points in U.S. history. He was also trying to say something about America. In The Grapes of Wrath, he linked the land and its future to the fate of its farmers, in this case the Joad family. Because of the Midwest drought and the Great Depression, the Joads were forced to abandon their family home in Oklahoma and head to California to begin a new life. Are the Joads victims of history or simply lumpen proletariats to be used up by capitalism's endless appetite for cheap labor This question is core to The Grapes of Wrath, as is the centrality of the Joads as the salt of the earth, America's real strength.
Elements of your vision What are the key qualities Sit quietly for a few moments and think about some of those same questions posed to you earlier in this chapter. Think about what excites you, what inspires you, what would give your life meaning, in which direction you see yourself moving. Record your ideas and combine them into a single statement. That's your vision.
Nihilism, as we have already seen, is the rejection of any ultimate or overarching purpose in life. While discussing his problems with his bedridden grandmother, Livia, A.J. once again ponders the overall purpose of life. Livia, the ruthless matriarch of the series, expresses her own deeply nihilistic view of human existence, concluding with It's all a big nothing. What makes you think you're so special ( D-Girl ) Livia's statement of utter negativity is echoed by a line from the rap song World Destruction by Afrika Bambaata and Johnny Lydon, used in the first episode of season 4 This is a world destruction, your life ain't nothing ( For All Debts Public and Private ).
Undermine or spoof the codes of the more traditional Western, they are still situated within the genre. John Cawelti supports this idea with his argument that parodies are an inevitable part of the life cycle of any genre One can almost make out a life cycle characteristic of genres as they move from an initial period of articulation and discovery, through a phase of conscious self-awareness on the part of both creators and audiences, to a time when the generic patterns have become so well-known that people become tired of their predictability. It is at this point that parodic and satiric treatments proliferate and new genres gradually arise (244). Here Cawelti suggests that as genres eventually become stale, new ones arise to take their places. Dan Harries, in a slightly different take on the subject, believes that parodies renew the genre by breathing new life into worn-out canons without specifically burying that tradition (123). The continued popularity ofboth the Western and the...
Almost as long as the Western has existed as a genre in film there has been a subgenre ofWestern parodies from as far back as the 1920s with Buster Keaton, continuing down to the present with Jackie Chan, the Western has been a target of parody and a rich source for comedy. Comedy relies, to a large extent, on the reversal of expectations because of the familiarity of the highly codified conventions of the Western, it becomes a prime target. Parodies subvert the conventions of the Western in ways that breathe new life into the genre. While the Western parody mocks established formulas of the genre, it ultimately reinforces them through its acceptance of a shared set of codes. Moreover, as a survey of representative parodies will demonstrate, Western parodies also reflect the periods in which they are made.
The notoriety from Welles's broadcasting disaster brought him to the attention of the new president of RKO, George Schaefer, who needed someone to put new life into his stagnating studio. At the time, Welles was not particularly interested in cinema. He claimed he was going to Hollywood in order to get enough money to finance future theater projects. Not surprisingly, Welles was received in Hollywood with great bitterness because of his youth, his beard, and his contract. Nor did Welles improve his popularity when he exclaimed on his first tour of RKO This is the biggest electric train a boy ever had 2
Networking is not just about meeting other professionals in the same field. I have received writing and production assignments from the most unlikely sources who had no connection to the film industry whatsoever. Everyone in your life should be considered part of your network, each person having their own skills, talents, and contacts that could prove useful to you, and vice versa.
I did not deal sufficiently with the issue of emotional connection that identifying involves, and which came up in admitting that Stella Dallas continues to make me cry. The tears happen because I identify with Stella's loss of her daughter at the end of the film - her inability to share in the wedding, her self-denying self-relegation to a sphere outsider her daughter's new life. I would now argue that, along with desiring identity via identifying, we also desire emotional connectedness. Identity is constructed in the process of establishing emotional connection. We respond to being hailed because the process of subject-formation offers both identity and emotional connectedness.44
It is this image of the unrequited lover that leads us back to Chaplin's City Lights. Earlier I mentioned how the blind flower girl mistakenly took the tramp to be a wealthy gentleman. Throughout the film the tramp works hard to maintain the charade. In order to do this he must obtain a large sum of money to pay for an operation to restore the flower girl's sight. But the cost of this act of love is separation the police mistakenly assume that the tramp stole the money given to him by the millionaire and he is sent to prison. Not knowing where her lover has gone, the newly sighted flower girl starts a new life, becoming a thoroughly modern business woman a proprietor of a smart, new flower shop in a busy city centre. Yet, despite this successful assimilation into modern life, the flower girl continues to search for her lost love, until one day when, quite by chance, they cross paths.
The new Olivier seems happy, eccentric, but not poorly adjusted given his trauma. He wants to be part of this family. But one day he discovers the neighbor molesting a young boy and when the police are called, Olivier confesses that he is not the original Olivier and the killer admits to killing the original Olivier. What is to happen to this family who have already endured so much tragedy Will they relive the original tragedy with all its profound loss Or will the mother deny again the loss and try for a new life with the new Olivier
Exactly how many times do you think you'd be able to pull that off How many close potential investors do you have Remember, you can't reach out too far for development money. So you might be able to do it once, or even twice if they're soft touches, but not for a lifetime. And besides, is that how you plan to write your life in stone By scamming development money and never making films Good luck.
Somewhere in the middle of these two extremes is the scene from America, America about how Stavros could improve his bleak situation by marrying into a wealthy family however, Stavros is really trying to secure the money he needs for passage to America. His cousin hopes that if Stavros does well it might save his own impoverished carpet business. Thomna is torn between the past (life with her father) and a new life with another man (Stavros), and the prospective father-in-law wants grandsons to preserve his name. Everyone in the scene wants something different consequently, the scene is rife with drama.
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.
Close your eyes and allow the movie in your mind to travel through the land of your favorite film images. Don't try to remember a title or a specific movie and then search for the image. Allow your mind's eye a free hand, and sit back and enjoy the show. Films from childhood, cartoons, adventures, love scenes, swells of music, and magnificent landscapes will dance in your imagination, but more than anything, there will be faces. Faces looking out at you telling you their stories through their expressions. Faces of famous actors, and faces of unknowns. Faces in the crowd. Faces of children, of old people, of nymphs and heroes. Whatever they look like, whoever they are, they will all have one thing in common. They will all be beautiful. They are beautiful because they have touched you in a special way that has become part of the fabric of your identity. This relationship you have with the movie images in your mind is a very intimate one. It is, in fact, a love relationship, and being...
If it's rejection you're worried about, you just have to take the risk. The first step to taking control of your career is to venture out of your comfort zone. Easy to say, hard to do at first, but once you start, you'll see. It'll get easier, and it'll be well worth the effort. If it's a case of learning proper social skills, this chapter should help but there are also countless numbers of easy-to-find books and resources devoted solely to the topic. If you're fundamentally shy, do as my brother Peter suggests when facing something difficult, and that is to merely put one foot in front of the other and start walking in the right direction. No matter what the reason, in this business, interacting with others is a necessity so there's no hiding in a corner behind the huge palm plant and refusing to come out. It'll get easier with time, and opening yourself up to new people and new experiences will truly make a difference in your career, as well as in your life. To help you get over...
If this business is going to be your life's work, then learn as much about it as you can. You should be reading the trade papers (Daily Variety and The Hollywood Reporter) and other industry publications and websites whenever possible. Know who's who, who's popular, who just started his own production company, what types of movies are currently the rage, who are the newest up-and-coming actors on the scene, what television shows are getting the best ratings. Know the vocabulary, who the power players are and what the latest trends are. If someone should ask you what your favorite movie is, who your favorite director is, your favorite actor, composer or cine-matographer have an answer and know why. Have an opinion. And see as many current releases as you can, whether they're your favorite genres or not.
Writing is kind of like talking to yourself. Writers get to re-experience and even rethink moments of their lives. Writing is a way of understanding incidents and memories. By doing this, you quite often get a new perspective, a new point of view of where you've been and what you've experienced. When you reveal different parts of your life in your work, your audience may learn something about their own lives. Writing is a form of communication, sharing, informing, and enlightening.
As my work progressed, there were lots of An Evening with Shelly Mars kinds of shows. Then came Invasion from Mars Whiplash Tale of a Tomboy and Mars Behind Bars, some of my more recent shows. In Whiplash Tale of a Tomboy, I play my mother, my father, my therapist, and myself. It's the story of how I got to where I'm at. Mars Behind Bars evolved from that show. That was about your dreams, how you think your life is going to be. It starts out how I grew up in Ohio in a small town, being the only Jewish kid. And how I got the hell out of there when I was seventeen and hitchhiked to South America. Part of the show was about my hitchhiking experiences, how I was raped, then later fell in love with this French girl, Briget. I act all of this out, including the rape.
I personally feel that anyone can write, tell stories, create monologues. If you've lived and had experiences, then you have stories like no one else. Your stories are unique, yours and yours alone. How you'll tell your stories is as individual as you are. No one else has lived your life or knows the things that you've seen or felt.
Unlike fictional monologues, autobiographical ones require a somewhat different preparation. Since your life is the main source for the material, you'll need to access pertinent information from your past. Reviewing parts or all of your life for material will not only be informative to you, but can also be a source of inspiration and illumination to your audience. Sometimes the things that we consider to be the most private are in fact quite universal and can be understood by everyone in the audience. Many people have a turning point in their life. Did you Think about what your life was like before that event. How did it change afterward Think about an important job you once had. What was important about it How did it change you Recall, as painful as it might be, the death of someone you really cared about. How did that affect you then How does it affect you now Think about a relative, friend, or teacher who somehow influenced you, changed your life in some dramatic way. What was so...
Sometimes the most ordinary events become extremely important and determine the development of the rest of your life. For me, such an event was meeting Raissa Nemchinskaya, the circus gymnast, in 1970. I met her at her son's house. He was my good friend, Max Nemchinsky, a theater director. Raissa was lively, witty, and charming and spent the evening enchanting us with tales of her circus life. She was the center of attention, and it was obvious that she was used to it and expected it. She looked around thirty-five or thirty-eight, but simple math showed that she was older than that Max was almost thirty.
Many Hollywood stars extended their careers on radio, some of them also moving into television in its early years. Groucho Marx made frequent appearances not only on comedy-variety programs but on the rising genre of humorous quiz shows. In 1947 he became the host of ABC radio's popular You Bet Your Life, which made the transition to television in 1950 and ran until 1957. Ed Wynn started out in film, moved to radio and television, then played comic parts in a series of films in the 1950s and 1960s. Robert Young became established as a reliable second leading man in the 1930s and 1940s, then debuted the long-running Father Knows Best franchise on radio, before moving to television. Especially for Hollywood's extensive B-list starts, radio in the late 1940s became a springboard both to television fame and, less frequently, back toward greater eminence in the film business.
Your film relationships are your most vital resource. The maxim, You're only as good as your last job must have originated in Hollywood. From what I've seen, people are hired primarily for attitude, especially newcomers whose skill level is questionable. So, be prepared to do whatever it takes, even if it means erasing your personal life for the duration of a project. Eve Light Honthaner, author of The Complete Film Production Handbook, reinforces this point The trick is to be the very best production assistant, runner, apprentice, or secretary that ever existed. Short of being totally abused and terribly exploited, don't whine or groan when asked to do something you don't want to do. Accept tasks willingly. No one is asking you to do anything just to make your life miserable. If it has to be done and falls within your sphere of responsibility, you don't have much choice. Do not complain. Everyone is busy, and no one wants to hear it. Be a pleasure to have
Working with Gene Hackman was an absolute pleasure. I remember him as probably the most professional actor I've ever worked with. I think he really understands how to cut to the absolute heart of a scene. It makes your life very easy as a director. There's no way you're going to pull the wool over his eyes and get him to do something that he doesn't want to do. That some-
Well, I always think that it's odd, because I did different things to begin with. I've continued to do different work. It always seems that I react against the film I just finished in order to do the new film. It makes it difficult. It makes the choosing of the films that much more difficult each time, which is a drag, because you don't want to get too precious about it. Making a film these days takes at least two years of your life. So, you've got to be sure that
The second one starts thinking about doing or not doing a project because of money or fame, you're in trouble. Doing a small play in the boondocks could lead to a movie. You never know. I always say, take any work offered to you, because it's meant to bring you to the next place, not only in your acting career, but in your life.
The Discovery Channel is very specific about the information it requires from you when making a submission. First, before doing anything, you must sign a release letter for the network, absolving it from any future claim that it stole or copied your ideas. Having signed your life away, you then submit a one- or two-page treatment that outlines your idea and, in addition, includes the following
I would have these conversations with Jim, and I'd pitch ideas for things I was thinking about. He'd kind of listen, and then he'd say, How's your wife doing, man My wife's a musician, and I'd say, Well, there's this roadie who's in love with her, and the way he looks at me, I know what he's thinking. Jim's like, That's what you should write about. That's your life. That, you know. Write that. And so Say Anything was the result of years of this great kind of life-enriching conversations with Jim. I found that crews are like sweet little brothers, in a way. Show them some love, and they'll never forget you. They'll work their ass off for you if you just recognize them as people. It's shocking to me how few directors really acknowledge and bond with their crew. It's like one of the great relationships you can have in your life, knowing everybody and them knowing you, and it seeps into the movie.
One day, I was in the middle of London, and I was in the back of a Dump-ster, because I was teaching film to students. I noticed this Dumpster was full of old reel-to-reel tapes, and they all seemed virtually new. It was outside a TV commercials house, so they'd obviously just thrown out stuff that had been used once. I thought, well, this is a criminal act to throw this out. I backed my car up to the Dumpster, and I actually got in the Dumpster, and I was unloading all the tapes. Suddenly, I heard someone say, Mike. Hello. I looked up, and it was this guy Nigel, who had produced my first film, The House. He said, What are you up to How are things I said, Well, I got this one idea. To cut a long story short, he said, Well, let me read it, so I sent it to him. He rang me up the next day and said, Look. I think it's a good idea, but there are far too many ideas in this. I had fallen into what I call the first-film syndrome, where you're paranoid and you think you might never, ever,...
Most people around you have not gone through the process of starting a company and never will, says Joni Brander of Brander Broadcast Consulting. When I'd tell my Mom about a new client, she would say, 'Maybe they'll offer you a real job.' It was funny but very upsetting to me at the time. After twelve years she's learned not to say that, because we didn't speak for a week the first time, but she still doesn't get it. I think there's also a certain amount of jealousy from some people, wanting you to feel bad or lazy. One of the shifts you have to make is that sometimes you'll be working a ton and sometimes you don't have to. And that's a good thing. That's why you do it. So it's important not to let other people put their stuff on you about how you should be living your life.
Those who spend years in staff jobs often long to freelance, and freelancers often crave the stability of a staff position. Sometimes the decision is made for you based on which type of job you can find first. Whether it's deliberate or happenstance, honestly look at where you are in your life and the lifestyle you think you can best adapt to before deciding which direction to follow. Like mine, your career may become a combination of staff and freelance work.
If you view networking as just something you have to do to get ahead and to get other people to help you with your career, you're in the wrong game. It needs to be a two-way street and become part of your life, a part that freely gives to, shares with, helps and supports others. Think of the film, Field of Dreams, where Kevin Costner's character keeps hearing the voice say, If you build it, they will come. Apply the same theory to networking If you build the right foundation, are willing to give of yourself and are patient, good things will come back to you. It's kind of like the old what-goes-around-comes-around theory.
Figure 1.2 At the zenith of independence. James Cagney and his sister Jeanne Cagney in a scene from Cagney Productions' The Time of Your Life. Johnny Come Lately (W. K. Howards, 1943, 93 min.) Blood on the Sun (F. Lloyd, 1945, 98 min.) The Time of Your Life (H. C. Potter, 1948, 105 min.) - produced by Cagney Productions distributed by United Artists. It would take three more years for the company to deliver a third film to United Artists. The film was an adaptation of William Saroyan's Pulitzer Prize-winning play The Time of Your Life. The film focuses on people from all walks of life who frequent a saloon in San Francisco. Cagney plays 'Joe . . . whose hobby is people', a well-off street philosopher and permanent patron of the saloon who helps the other patrons with their problems, ambitions and desires. The film is organised in a series of episodes that involve Joe and one or more patrons each time, but despite the episodic structure it presents a number of similarities with Johnny...
The film follows the conservative Elisabeth as she tries to adjust to her new life. Anna pursues her as does her husband, Rolf. Her children try to adjust, Eva finding a male friend next door. They are 279 alike because of the thickness of their eyeglasses and their eccentric tastes in music. Stefan wants his father back. Lasse wants Anna back. Klas wants Lasse. Lena wants Eric, and so it goes. In the course of the story the collective characters become more individualistic, and the individualistic or conservative characters become more collective. Elisabeth and Rolf get back together and leave the commune. Lasse and Anna get back together. Goran throws the self-serving Lena out. The collective falls apart. The sequence we will focus on is the opening, which energetically introduces all the characters, their agendas, and their conflicts. As in Fucking Amal, Moodysson quickly focuses on his characters and juggles multiple story lines. Rather than confusing us, the multiple story lines...
Besides libel and slander, one also has to be aware of the right of privacy and the right to the commercial exploitation of one's own life. Whereas the right of privacy issue has been around for some while, the issue of one's right to the commercial exploitation of his or her life argues that your life belongs to you alone, and no one else can benefit from it commercially without your permission. If such a right is upheld, biographical films will become very difficult to do. Both areas of law are, however, in a state of flux, and hardly anyone will venture a committed opinion on the outcome of future cases.
Actors put too much pressure on themselves when auditioning. Is this the audition that changes your life Is this the role that will allow you to quit your restaurant job Leave your temp job Is this the role that will make you famous Those pressures and anxieties are all negative influences on an actor. These pressures create an aura that is readable in the audition room. Negative elements create negative auditions. When a positive result is not accomplished, actors get down on themselves and take it personally. I am suggesting that you learn to free yourself from those overly hopeful expectations that result in negative feelings and face the inevitable that you are not going to book this job. That information, that knowledge, is powerful for you. To clarify, I am referring to the lead roles on television shows the series regular roles on a primetime series and the contract roles in daytime television. I am not discussing the smaller roles in those productions, for which there is less...
Moving Picture World had a report in June on the theater that, significantly, quoted children disaffected with the show 'Bet your life its pretty, all right, and it lasts good and long and dat Cinderella show was swell, but its slow to make a go of it on dis street,' he said. 'Things has got ter have some hustle. I dont say its right, but people like to see fights 'n' fellows getting hurt, 'n' love makin', 'n' robbers, and all that stuff. This show here ain't even funny, unless those big lizards from Java was funny. 156 Even supposedly malleable children voted with their feet. The uplift theater itself was seemingly not immune to the industry's commercial aesthetic, and it sat uneasily next door to Sorenson's tawdry nickel theater as the films shown failed to compete with the excitement of The Unwritten Law. Commercial and regulatory strategies interacted in complex ways, necessitating compromise strategies by reformers and by the film industry.
For some, there is an event in our lives after which nothing will ever be the same. The ground shifts beneath your feet and you find yourself adrift on an ice floe . . . gazing at that other part of your life as it recedes into the distance. You contemplate the wreckage and realize that the original blueprint is lost forever.
So far, you have probably only discussed money in very vague terms. But now that you are going to sign your life away in a formal agreement, you must carefully budget the film otherwise, your contract may not provide sufficient money to make a decent film according to the approved script.
The Grapes of Wrath tells the story of the Joad family, who had to abandon their share-cropped land in Oklahoma to migrate to California to seek a new life. Muley's story focuses on the displacement of the Joads' neighbor. Tom Joad (Henry Fonda) has returned from prison only to find his parents gone, preparing to leave for California. His neighbor Muley tells him of their eviction by the bank in Tulsa. Foreclosures and displacement have accompanied the drought in the region, a drought that coincides with the Great 137 Depression and its nationwide unemployment. In this scene, the bulldozers level Muley's home, which has been in his family for several generations.
Jean-Pierre Jeunet's work in Delicatessen and City of Lost Children is a tribute to the power of art direction. These post-apocalyptic fables are frightening and exciting as they capture an imaginative world where humans have either come to their end or in the darkness have found a new beginning.
Furthermore, I want link the coverage of 9 11 with the news presentation of more recent events. The prevalence of 'amateur' video footage in much of what now stands for 9 11 certainly influenced how the invasion of Iraq was subsequently presented in 2003. The emphasis on 'real life' confusion as conveyed in the jerky, vertiginous sequences, dirty lenses and hysterical commentary that came through in the camcorder tapes of the World Trade Center collapse gave new life to the old form of the eye-witness account. The introduction of embedded journalists in Iraq and the excessive focus on 24 7 coverage also emphasized real-time information and appeared 'unedited'. CNN's web-site, for example, was called 'Baghdad Live' and featured a panoramic view of the aerial bombardment of Baghdad. The similarity between news presentation and reality media in the last few years has led some commentators to pronounce the arrival of a new 'military-entertainment' complex. Just as the military-industrial...
The journey that Arthur Hamilton, 55-year-old banker, will take is to be transformed into a 35-year-old artist, Tony Wilson (Rock Hudson), living in Malibu. Much effort is put into acclimatizing Arthur Tony to his new life. Many company employees and other reborns participate. When Arthur Tony finally feels comfortable in his new life (he has the love of a woman, a relationship), a drunken indiscretion about who he really is breaks the facade. His lover in fact is an employee of the company. His neighbors are all linked to the company. Totally disillusioned, Arthur Tony returns to Westchester. There he visits his wife under the pretext of securing one of her husband's paintings. There he discovers what his wife thought of her husband that he had been dead long before he was the victim of a hotel fire (the ruse to cover his transformation from Arthur Hamilton to Tony Wilson). Now he understands it was not his age it was his attitude toward life. He wants to go back. He is returned to...
The studio complaining that Buckner gave him too much adversity to deal with. Associate producer William Cagney and Buckner replied swiftly, attempting to gloss over his objections. The dramatization of your life, Mr. Cohan, has a great and timely importance. It is the story of a typical American boy, who grew up with a strong love of his country, its ways and institutions. His life was spent in expressing and defending an American way of life. 66 Yet Cohan recognized that this remote address, this separation between you, Mr. Cohan, and his life, was the studio's way of molding his life into a defense of American ideals in the face of contemporary political crises. Being George M. Cohan, he did not want his life to play second fiddle to anything, least of all Franklin Roosevelt's policies. Cagney and Buckner replied that editing or changing a historical life is the only way in which biographical pictures can be made interesting and worthy. Cohan was annoyed, but outside events were...
New worlds united enthusiastically to serve the socialist revolution. Their films included Qiao (Bridge, 1949), directed by Wang Bin, and Chuang ye (Pioneers, 1974), by Yu Yanfu both these works held the selflessness of the working class in high regard. Other films showed the new life in rural areas or depicted the role of Chinese People's Volunteers who fought in the Korean War in the early 1950s, such as Shanggan ling (Battle of Sangkumryung, 1956) and Ying xiong er nU (Heroic Sons and Daughters, 1964).
As challenging as movie making is, imagine that you are an engineering college student with no experience in screenwriting or film production, there is no film department on campus, and you have never seen a film camera in your life. What are your chances of getting a feature project off the ground
The wonderful thing is that every time a writer-actor brings you something new, you start fresh. You have a new world to explore. I try to find out how I can go there with them, to illuminate it. I think you really have to be pretty brave to trust the words, let the words do the job.
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