Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on Twitter and Instagram.FESTIVALSMay Days.As many as 200 French film festival workers plan to stage labor actions during Cannes, citing insufficient pay and the exclusion of many festival staff from unemployment benefits when they are not under contract. The movement is being organized under the banner of Sous Les Écrans La Dèche: Collectif Des Précaires Des Festivals De Cinéma.A new report outlines the institutional dysfunction at the Toronto International Film Festival, which recently lost the support of the telecommunications company Bell as its major sponsor. Citing a desire for “greater accessibility,” Slamdance Film Festival will relocate from Park City, Ut, to Los Angeles in 2025.NEWSHarlan County, U.S.A..Now that all thirteen IATSE locals have reached tentative agreements with the AMPTP,...
- 5/1/2024
- MUBI
Zack Norman, the stand-up comedic, actor, and producer, best known for his role as Danny DeVito‘s crocodile-loving, antique-smuggling sidekick in Romancing the Stone, has died. He was 83. Norman’s family announced he died Sunday night of natural causes at Providence Saint Joseph Medical Center in Burbank. In his film career, Norman worked most frequently with director Henry Jaglom on films such as Tracks (1977), Sitting Ducks (1980), Venice Venice (1992), Babyfever (1994), Festival in Cannes (2001), Hollywood Dreams (2005), Irene in Time (2009), Queen of the Lot (2010), The M Word (2014), and Ovation (2015). In the 1984 adventure film Romancing the Stone by Robert Zemeckis which stars Michael Douglas and Kathleen Turner, Norman played the smuggling cousin Ira alongside DeVito who played the other cousin Ralph. Norman as Ira had an affinity for crocodiles, making a comment every time he saw one: “Look at those snappers.” Zack Norman (left) and Danny DeVito in Romancing the Stone (1984) Following the film,...
- 4/29/2024
- TV Insider
Zack Norman, the stand-up comic, actor and producer perhaps best known for his turn as a crocodile-loving antiquities smuggler in Romancing the Stone, has died. He was 83.
Norman died Sunday night of natural causes at Providence Saint Joseph Medical Center in Burbank, his family announced.
Norman collaborated frequently with director Henry Jaglom, with the two working together on Tracks (1976), Sitting Ducks (1980), Venice/Venice (1992), Babyfever (1994), Déjà Vu (1997), Festival in Cannes (2001), Hollywood Dreams (2006), Irene in Time (2009), Queen of the Lot (2010), The M Word (2014) and Ovation (2015).
In Robert Zemeckis’ action-adventure Romancing the Stone (1984), starring Michael Douglas and Kathleen Turner, Norman and Danny DeVito play the smuggling cousins Ira and Ralph, respectively.
“Look at those snappers,” Ira says in admiration whenever he sees a croc.
(He and Douglas would get into a legal spat over a company that they co-founded.)
Norman also appeared on the big screen in James Toback’s Fingers (1978), Milos Forman...
Norman died Sunday night of natural causes at Providence Saint Joseph Medical Center in Burbank, his family announced.
Norman collaborated frequently with director Henry Jaglom, with the two working together on Tracks (1976), Sitting Ducks (1980), Venice/Venice (1992), Babyfever (1994), Déjà Vu (1997), Festival in Cannes (2001), Hollywood Dreams (2006), Irene in Time (2009), Queen of the Lot (2010), The M Word (2014) and Ovation (2015).
In Robert Zemeckis’ action-adventure Romancing the Stone (1984), starring Michael Douglas and Kathleen Turner, Norman and Danny DeVito play the smuggling cousins Ira and Ralph, respectively.
“Look at those snappers,” Ira says in admiration whenever he sees a croc.
(He and Douglas would get into a legal spat over a company that they co-founded.)
Norman also appeared on the big screen in James Toback’s Fingers (1978), Milos Forman...
- 4/29/2024
- by Mike Barnes
- The Hollywood Reporter - Movie News
If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission.
It was only a few days ago that the Criterion Collection had a surprise flash sale. The home video company’s entire catalog was slashed down to 50% off list prices. While that sale only lasted for 24 hours, there are a number of titles that are still on sale for half-off at Amazon.
We rounded up the best deals on Criterion Collection releases, including Spike Lee’s “Do The Right Thing,” Dennis Hopper’s “Easy Rider,” Whit Stillman’s “The Last Days of Disco” and much more. In fact, even a few boxed sets are half off, such as Krzysztof Kieślowski’s “The Dekalog” and Steve McQueen’s “Small Axe” anthology.
Ahead, check out the best Criterion Blu-ray discs currently on sale for 50% off at Amazon:
‘Do the Right Thing...
It was only a few days ago that the Criterion Collection had a surprise flash sale. The home video company’s entire catalog was slashed down to 50% off list prices. While that sale only lasted for 24 hours, there are a number of titles that are still on sale for half-off at Amazon.
We rounded up the best deals on Criterion Collection releases, including Spike Lee’s “Do The Right Thing,” Dennis Hopper’s “Easy Rider,” Whit Stillman’s “The Last Days of Disco” and much more. In fact, even a few boxed sets are half off, such as Krzysztof Kieślowski’s “The Dekalog” and Steve McQueen’s “Small Axe” anthology.
Ahead, check out the best Criterion Blu-ray discs currently on sale for 50% off at Amazon:
‘Do the Right Thing...
- 10/20/2023
- by Anna Tingley and Rudie Obias
- Variety Film + TV
Orson Welles had a knack for beautiful compositions. Sure, his career might've been filled with turbulence, but even a quick glance through the action-director's filmography illustrates just how skilled he was behind the camera. In fact, he even topped our list of the best filmmakers who never won an Academy Award for directing (though he did snag an Oscar for co-writing "Citizen Kane").
Welles was also famously in favor of shooting films in black-and-white rather than color. This surely led to much of his films' visual strength: The stylistic choice cut down on unnecessary color clashes, which in turn led to striking, visually unified images. That high-contrast look is also a big part of why black-and-white films are still made to this day.
Yet Welles' personal rationale for avoiding color film was relatively unusual, even if it undoubtedly showed respect for his fellow actors. As the multi-hyphenate explained to Peter Bogdanovich...
Welles was also famously in favor of shooting films in black-and-white rather than color. This surely led to much of his films' visual strength: The stylistic choice cut down on unnecessary color clashes, which in turn led to striking, visually unified images. That high-contrast look is also a big part of why black-and-white films are still made to this day.
Yet Welles' personal rationale for avoiding color film was relatively unusual, even if it undoubtedly showed respect for his fellow actors. As the multi-hyphenate explained to Peter Bogdanovich...
- 1/27/2023
- by Demetra Nikolakakis
- Slash Film
Donn Cambern, the film editor who used his musical background to help make Easy Rider a masterpiece and 15 years later shared an Oscar nomination for cutting Romancing the Stone, has died. He was 93.
Cambern died Wednesday at Providence St. Joseph Medical Center in Burbank of complications from a fall three weeks ago, a family spokesperson told The Hollywood Reporter.
The Los Angeles native edited Blume in Love (1973), Willie & Phil (1980) and Tempest (1982) for Paul Mazursky, Twins (1988) and Ghostbusters II (1989) for Ivan Reitman and worked on five Burt Reynolds starrers, including Smokey and the Bandit II (1980) and The Cannonball Run (1981).
Cambern also received an editing credit on The Last Picture Show (1971), though Peter Bogdanovich insisted that he was the editor on that.
He was honored with a career achievement award from the American Cinema Editors in 2004, and three years later, he became the first recipient of the Motion Picture Editors Guild’s Fellowship and Service Award.
Cambern died Wednesday at Providence St. Joseph Medical Center in Burbank of complications from a fall three weeks ago, a family spokesperson told The Hollywood Reporter.
The Los Angeles native edited Blume in Love (1973), Willie & Phil (1980) and Tempest (1982) for Paul Mazursky, Twins (1988) and Ghostbusters II (1989) for Ivan Reitman and worked on five Burt Reynolds starrers, including Smokey and the Bandit II (1980) and The Cannonball Run (1981).
Cambern also received an editing credit on The Last Picture Show (1971), though Peter Bogdanovich insisted that he was the editor on that.
He was honored with a career achievement award from the American Cinema Editors in 2004, and three years later, he became the first recipient of the Motion Picture Editors Guild’s Fellowship and Service Award.
- 1/21/2023
- by Chris Koseluk
- The Hollywood Reporter - Movie News
Some young people look at various tweets, articles, and posts from cinephiles and film historians like myself advocating for proper film preservation and scoff, thinking that, in this brave new world of instant access streaming services and online downloads, the entire history of cinema is at our fingertips and so we shouldn't be complaining.
Of course, this attitude is not only grossly misinformed given modern cinema's unsustainable status quo, but potentially dangerous, at least when it comes to keeping the history of what is still the most preeminent artistic medium of our lifetime alive. If historians are particularly passionate about the issue, it's in part because we're aware of similar threats that menaced film preservation in the past.
One of those threats emerged in the mid-'80s, when media mogul Ted Turner made the rather glib decision to "colorize" classic black-and-white films for television broadcast. The pushback from filmmakers, critics,...
Of course, this attitude is not only grossly misinformed given modern cinema's unsustainable status quo, but potentially dangerous, at least when it comes to keeping the history of what is still the most preeminent artistic medium of our lifetime alive. If historians are particularly passionate about the issue, it's in part because we're aware of similar threats that menaced film preservation in the past.
One of those threats emerged in the mid-'80s, when media mogul Ted Turner made the rather glib decision to "colorize" classic black-and-white films for television broadcast. The pushback from filmmakers, critics,...
- 10/31/2022
- by Bill Bria
- Slash Film
Jack Nicholson received the first of his 12 Academy Award nominations for his supporting role in "Easy Rider," a film that tapped into the '60s counterculture to become a watershed for the New Hollywood era. Yet despite its cultural significance and impact on Nicholson's career, "Easy Rider" had a notoriously troubled production, much of which was documented in Peter Biskind's book, "Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock 'N Roll Generation Saved Hollywood."
Among other things, "Easy Rider" director and star Dennis Hopper famously pulled a steak knife on actor Rip Torn, who was originally supposed to play lawyer George Hanson, the role that went to Nicholson. Hopper and his costar Peter Fonda also got into a dispute over the film's writing credits, which they shared with Terry Southern. In a 1974 interview with Sight and Sound magazine, Nicholson explained that he only stepped in to act after getting involved...
Among other things, "Easy Rider" director and star Dennis Hopper famously pulled a steak knife on actor Rip Torn, who was originally supposed to play lawyer George Hanson, the role that went to Nicholson. Hopper and his costar Peter Fonda also got into a dispute over the film's writing credits, which they shared with Terry Southern. In a 1974 interview with Sight and Sound magazine, Nicholson explained that he only stepped in to act after getting involved...
- 8/27/2022
- by Joshua Meyer
- Slash Film
Bob Rafelson, the Oscar-nominated maverick filmmaker who directed Seventies classics like Five Easy Pieces and The King of Marvin Gardens in addition to co-creating The Monkees, has died at the age of 89.
Both The Hollywood Reporter and Variety reported that Rafelson died of natural causes Saturday at his home in Aspen, Colorado.
A veteran television producer in Hollywood before he was a filmmaker, the New York City-born Rafelson had the idea to make a television show about the fictional pop band in the early Sixties amid the British Invasion; the...
Both The Hollywood Reporter and Variety reported that Rafelson died of natural causes Saturday at his home in Aspen, Colorado.
A veteran television producer in Hollywood before he was a filmmaker, the New York City-born Rafelson had the idea to make a television show about the fictional pop band in the early Sixties amid the British Invasion; the...
- 7/24/2022
- by Daniel Kreps
- Rollingstone.com
By Lee Pfeiffer
Like many boys who grew up in the 1960s, I was addicted to Mad magazine. It's sarcastic satires of politicians and pop culture figures were all the rage and the magazine was a showcase for some truly impressive writers and artists. Mad pushed the envelope in some regards but publisher William Gaines still maintained a family-friendly facade. In 1970, I entered high school a few months after another satire magazine, National Lampoon, published its premiere issue. The first issue I saw featured a striking cover by artist Frank Frazetta that spoofed those old jungle movies. It depicted a courageous white guy saving a scantily clad white woman from a hoard of African natives. It was titled "White Man's Wet Dream". I was hooked before I opened the magazine. National Lampoon became a "must-read" for young people of the era. Unlike Mad, there were no holds barred when it came to off-limits subjects.
Like many boys who grew up in the 1960s, I was addicted to Mad magazine. It's sarcastic satires of politicians and pop culture figures were all the rage and the magazine was a showcase for some truly impressive writers and artists. Mad pushed the envelope in some regards but publisher William Gaines still maintained a family-friendly facade. In 1970, I entered high school a few months after another satire magazine, National Lampoon, published its premiere issue. The first issue I saw featured a striking cover by artist Frank Frazetta that spoofed those old jungle movies. It depicted a courageous white guy saving a scantily clad white woman from a hoard of African natives. It was titled "White Man's Wet Dream". I was hooked before I opened the magazine. National Lampoon became a "must-read" for young people of the era. Unlike Mad, there were no holds barred when it came to off-limits subjects.
- 4/1/2022
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Mubi has unveiled its streaming offerings this April in the U.S. and leading the pack is a special spotlight on Franz Rogowski, star of their recent theatrical release Great Freedom. Selections include Christian Petzold’s Transit as well as a pair of underseen offerings, Luzifer and Aisles.
Also in the lineup are a number of recent releases, including Dominik Graf’s Fabian: Going to the Dogs, Alice Rohrwacher, Francesco Munzi, and Pietro Marcello’s Futura, Mario Furloni and Kate McLean’s Freeland, and Sion Sono’s Red Post On Escher Street. Timed with her new documentary Cow, a trio of shorts by Andrea Arnold will also arrive.
Check out the lineup below and get 30 days free here.
April 1 | Battle Royale | Kinji Fukasaku
April 2 | Mood Indigo | Michel Gondry
April 3 | Army of Shadows | Jean-Pierre Melville
April 4 | Wasp | Andrea Arnold | Three Shorts by Andrea Arnold
April 5 | Tracks | Henry Jaglom | Method in the...
Also in the lineup are a number of recent releases, including Dominik Graf’s Fabian: Going to the Dogs, Alice Rohrwacher, Francesco Munzi, and Pietro Marcello’s Futura, Mario Furloni and Kate McLean’s Freeland, and Sion Sono’s Red Post On Escher Street. Timed with her new documentary Cow, a trio of shorts by Andrea Arnold will also arrive.
Check out the lineup below and get 30 days free here.
April 1 | Battle Royale | Kinji Fukasaku
April 2 | Mood Indigo | Michel Gondry
April 3 | Army of Shadows | Jean-Pierre Melville
April 4 | Wasp | Andrea Arnold | Three Shorts by Andrea Arnold
April 5 | Tracks | Henry Jaglom | Method in the...
- 3/31/2022
- by Leonard Pearce
- The Film Stage
Henry Jaglom’s 1971 film is a bit of magic realism that performed a vanishing act at the box office. It remains a fascinating curio, bringing together old school genius/magician Orson Welles with an emerging Hollywood vanguard embodied by Jack Nicholson. Tuesday Weld stars as a lonely dreamer with a tenuous relationship to reality while Gwen Welles and Firesign Theater’s Phil Proctor make up a small but reliably quirky cast.
The post A Safe Place appeared first on Trailers From Hell.
The post A Safe Place appeared first on Trailers From Hell.
- 3/14/2022
- by Charlie Largent
- Trailers from Hell
Sally Kellerman, who was Oscar nominated for her supporting role as Margaret “Hot Lips” Houlihan in Robert Altman’s “Mash” feature film, died Thursday in Woodland Hills, Calif. She was 84.
Her publicist Alan Eichler confirmed her death, and her daughter Claire added that she had been suffering from dementia for the past five years.
Among her other roles were a cameo in Altman’s “The Player,” a professor in Rodney Dangerfield’s “Back to School” and a Starfleet officer in the “Star Trek” episode “Where No Man Has Gone Before.”
The willowy blonde actress with the characteristically throaty voice appeared in two Altman films in 1970; the other was the more experimental “Brewster McCloud,” in which she starred with Bud Cort and Michael Murphy. In this film, which did not have a conventional narrative, Kellerman played Louise, the mother of Cort’s bewinged character, Brewster.
She next starred opposite Alan Arkin...
Her publicist Alan Eichler confirmed her death, and her daughter Claire added that she had been suffering from dementia for the past five years.
Among her other roles were a cameo in Altman’s “The Player,” a professor in Rodney Dangerfield’s “Back to School” and a Starfleet officer in the “Star Trek” episode “Where No Man Has Gone Before.”
The willowy blonde actress with the characteristically throaty voice appeared in two Altman films in 1970; the other was the more experimental “Brewster McCloud,” in which she starred with Bud Cort and Michael Murphy. In this film, which did not have a conventional narrative, Kellerman played Louise, the mother of Cort’s bewinged character, Brewster.
She next starred opposite Alan Arkin...
- 2/24/2022
- by Carmel Dagan
- Variety Film + TV
Dean Martin: King Of Cool director Tom Donahue: “I worked with a really brilliant story producer, author, professor, named Ron Marasco. And Ron really wanted to break down the elements of cool and did it in such an interesting way.”
What is the mystery of cool? What about Dean Martin makes him the epitome of cool and so irresistible to so many different types of people? Food and style and how all the parts relate is what Tom Donahue untangles through interviews, ranging from Dean’s daughter Deana to Jerry Lewis’s son Scotty. There is former assistant choreographer Tommy Tune speaking about Dean’s dancing prowess and Angie Dickinson, Florence Henderson, Peter Bogdanovic and Alec Baldwin singing his praises. Jon Hamm reads excerpts from a poem in his honor, Henry Jaglom quotes Orson Welles on Dean’s genius, and the owner of his favourite restaurant talks about him as a dinner guest.
What is the mystery of cool? What about Dean Martin makes him the epitome of cool and so irresistible to so many different types of people? Food and style and how all the parts relate is what Tom Donahue untangles through interviews, ranging from Dean’s daughter Deana to Jerry Lewis’s son Scotty. There is former assistant choreographer Tommy Tune speaking about Dean’s dancing prowess and Angie Dickinson, Florence Henderson, Peter Bogdanovic and Alec Baldwin singing his praises. Jon Hamm reads excerpts from a poem in his honor, Henry Jaglom quotes Orson Welles on Dean’s genius, and the owner of his favourite restaurant talks about him as a dinner guest.
- 11/12/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Above: Poster by Frank Stella for the 9th New York Film Festival.Compared to the 32 films in the main slate of this year’s New York Film Festival, not to mention the seemingly hundreds of others playing in sidebars, the 1971 edition of the NYFF, half a century ago, was a lean affair. With only 18 films, down from 78 just four years earlier, the ninth edition of the NYFF was, according to its director Richard Roud, a “belt-tightening festival, a year of consolidation.” In fact, the financially strapped festival almost didn’t take place that year. A New York Times article published midway through the event mentions that “outside the 984-seat Vivian Beaumont Theater, there is only one poster announcing the festival [one assumes it was the beautiful Frank Stella poster above] that is quietly and modestly taking place inside.” A far cry from the glorious phalanx of digital billboards currently beaming outside Alice Tully Hall and the Elinor Bunin Center.The...
- 10/6/2021
- MUBI
“That’s all he ever wanted out of life… was love. That’s the tragedy of Charles Foster Kane. You see, he just didn’t have any to give.”
Orson Welles’ classic Citizen Kane (1941) will be available on 4k and Blu-ray October 19th. A 4-disc 4K Uhd+Blu-ray Combo and a 3-blu-ray Edition will both be available.
In the most dazzling debut feature in cinema history, twenty-five-year-old writer-producer-director-star Orson Welles synthesized the possibilities of sound-era filmmaking into what could be called the first truly modern movie. In telling the story of the meteoric rise and precipitous fall of a William Randolph Hearst–like newspaper magnate named Charles Foster Kane, Welles not only created the definitive portrait of American megalomania, he also unleashed a torrent of stylistic innovations—from the jigsaw-puzzle narrative structure to the stunning deep-focus camera work of Gregg Toland—that have ensured that Citizen Kane remains fresh and...
Orson Welles’ classic Citizen Kane (1941) will be available on 4k and Blu-ray October 19th. A 4-disc 4K Uhd+Blu-ray Combo and a 3-blu-ray Edition will both be available.
In the most dazzling debut feature in cinema history, twenty-five-year-old writer-producer-director-star Orson Welles synthesized the possibilities of sound-era filmmaking into what could be called the first truly modern movie. In telling the story of the meteoric rise and precipitous fall of a William Randolph Hearst–like newspaper magnate named Charles Foster Kane, Welles not only created the definitive portrait of American megalomania, he also unleashed a torrent of stylistic innovations—from the jigsaw-puzzle narrative structure to the stunning deep-focus camera work of Gregg Toland—that have ensured that Citizen Kane remains fresh and...
- 8/31/2021
- by Tom Stockman
- WeAreMovieGeeks.com
Better late than never. After the traditional Cannes Film Festival was cancelled last year due to Covid, the glitzy event is back with Covid protocols in order. Instead of taking place in May, the 74th annual gala opened on July 6 and will continue through July 17th at the glamorous French resort town.
Spike Lee, who was supposed to be jury head last year, was asked to take up the reigns of this edition. And he appeared on the legendary red carpet decked out in a striking pink ensemble. The festival opened with the Leos Carax’ offbeat musical “Annette” featuring music by the Sparks Brother and Val Kilmer’s self-titled documentary “Val,” which earned kudos and a long-standing ovation. Other films premiering at the festival including Sean Penn’s “Flag Day,” Wes Anderson’s “The French Dispatch,” Asghar Farhadi’s “The Hero” and Francois Ozon’s “Everything Went Fine.”
Besides screening and selling movies,...
Spike Lee, who was supposed to be jury head last year, was asked to take up the reigns of this edition. And he appeared on the legendary red carpet decked out in a striking pink ensemble. The festival opened with the Leos Carax’ offbeat musical “Annette” featuring music by the Sparks Brother and Val Kilmer’s self-titled documentary “Val,” which earned kudos and a long-standing ovation. Other films premiering at the festival including Sean Penn’s “Flag Day,” Wes Anderson’s “The French Dispatch,” Asghar Farhadi’s “The Hero” and Francois Ozon’s “Everything Went Fine.”
Besides screening and selling movies,...
- 7/8/2021
- by Susan King
- Gold Derby
In 2015, Vice Media mogul Shane Smith and his wife Tamyka paid $23 million to purchase Santa Monica’s Villa Ruchello estate from filmmaker Henry Jaglom and his ex-wife, actress-director Victoria Foyt. Now, the Smiths have officially sold the stunning 3.35-acre spread — featured in the film Beverly Hills Cop and comedy series Entourage — for $48.67 million. And though that’s $2 million less than the eye-popping $50 million price tag the couple placed on the Mediterranean-style compound back in early February, it’s still an all-time record for L.A.’s Westside communities of Santa Monica, Brentwood and Pacific Palisades.
Jaglom and Foyt picked up the compound in 1994 for almost $3.2 million, and first put it up for sale at $29.5 million, around the time of their 2013 divorce. Originally built in 1932, the 14,000-square-foot dwelling had since become somewhat rundown. It underwent a multimillion-dollar, Kerry Joyce-designed revamp during the Smiths’ tenure there, however, with careful attention paid...
Jaglom and Foyt picked up the compound in 1994 for almost $3.2 million, and first put it up for sale at $29.5 million, around the time of their 2013 divorce. Originally built in 1932, the 14,000-square-foot dwelling had since become somewhat rundown. It underwent a multimillion-dollar, Kerry Joyce-designed revamp during the Smiths’ tenure there, however, with careful attention paid...
- 4/21/2021
- by Wendy Bowman, Dirt.com
- The Hollywood Reporter - Movie News
In 2015, Vice Media mogul Shane Smith and his wife Tamyka paid $23 million to purchase Santa Monica’s Villa Ruchello estate from filmmaker Henry Jaglom and his ex-wife, actress-director Victoria Foyt. Now the Smiths have officially sold the stunning 3.35-acre spread — featured in the film “Beverly Hills Cop” and comedy series “Entourage” — for $48.67 million. And though that’s $2 million less than the eye-popping $50 million price tag the couple placed on the Mediterranean-style compound back in early February, it’s still an all-time record for L.A.’s Westside communities of Santa Monica, Brentwood and Pacific Palisades....
- 4/20/2021
- The Hollywood Reporter - Movie News
In 2015, Vice Media mogul Shane Smith and his wife Tamyka paid $23 million to purchase Santa Monica’s Villa Ruchello estate from filmmaker Henry Jaglom and his ex-wife, actress-director Victoria Foyt. Now the Smiths have officially sold the stunning 3.35-acre spread — featured in the film “Beverly Hills Cop” and comedy series “Entourage” — for $48.67 million. And though that’s $2 million less than the eye-popping $50 million price tag the couple placed on the Mediterranean-style compound back in early February, it’s still an all-time record for L.A.’s Westside communities of Santa Monica, Brentwood and Pacific Palisades....
- 4/20/2021
- The Hollywood Reporter - Film + TV
Heroes: Cleese, Gilliam, Idle, Jones, Palin and The Meaning Of Monty Python (2013); plus Thoughts On Alex Winter’S Zappa (2020)
As reunions of great collaborators go, it must be one of the least hyperbolic in pop culture history. In 2013, the five surviving members of Monty Python’s Flying Circus—John Cleese, Terry Gilliam, Eric Idle, Terry Jones and Michael Palin—gathered together in a little flat in London’s Sloane Square, near Knightsbride and Chelsea, for a one-hour sit-down discussion for British television, and they got an unassuming, hour-long documentary out of the process. The Meaning of Monty Python, now available streaming on Netflix, is the Monty Python reunion true fans will have hoped for, recognizing that the time is past for on-stage recreations of the comedic trailblazers’ favorite and/or most famous bits and instead opening up an avenue for the five men to spend ostensibly relaxed time together, reminiscing,...
As reunions of great collaborators go, it must be one of the least hyperbolic in pop culture history. In 2013, the five surviving members of Monty Python’s Flying Circus—John Cleese, Terry Gilliam, Eric Idle, Terry Jones and Michael Palin—gathered together in a little flat in London’s Sloane Square, near Knightsbride and Chelsea, for a one-hour sit-down discussion for British television, and they got an unassuming, hour-long documentary out of the process. The Meaning of Monty Python, now available streaming on Netflix, is the Monty Python reunion true fans will have hoped for, recognizing that the time is past for on-stage recreations of the comedic trailblazers’ favorite and/or most famous bits and instead opening up an avenue for the five men to spend ostensibly relaxed time together, reminiscing,...
- 11/29/2020
- by Dennis Cozzalio
- Trailers from Hell
For almost 40 years, the 100 hours of surviving footage that Orson Welles shot in the early 1970s for the movie “The Other Side of the Wind” remained largely unseen. First the director struggled in vain to finish the film, then its rights were tied up after his death. But that four decades of frustration has turned into a flurry of activity: In the last two years, that footage has been used not only in the completed version of “The Other Side of the Wind” that finally premiered at the Venice Film Festival in 2018, but in two different documentaries about the film, Morgan Neville’s “They’ll Love Me When I’m Dead” and Ryan Suffern’s short doc “A Final Cut for Orson.”
And now it’s serving as the basis for yet another side of “The Other Side of the Wind,” and another posthumous film on which Welles is credited as director.
And now it’s serving as the basis for yet another side of “The Other Side of the Wind,” and another posthumous film on which Welles is credited as director.
- 9/8/2020
- by Steve Pond
- The Wrap
This Independence Day weekend sees the fittingly timed release of “Hamilton,” with the hit Broadway show about the United States’ founding fathers making the jump to living rooms on Disney Plus. Beyond that, a bounty of other releases are also coming out to tide audiences over for the holiday weekend.
With theaters shuttered due to the coronavirus pandemic, many of the tentpole films originally scheduled to release this summer have been pulled for the time being. This includes “In the Heights,” an adaptation of Lin-Manuel Miranda’s first musical hit on Broadway, which was supposed to come out on June 26 and has been pushed nearly a fully year to June 18, 2021. However, fans of the playwright can instead catch a filmed version of his original Broadway production of “Hamilton” on Disney Plus beginning Friday.
Aside from a small theatrical release, “The Outpost” is also making the jump to video-on-demand services. Though...
With theaters shuttered due to the coronavirus pandemic, many of the tentpole films originally scheduled to release this summer have been pulled for the time being. This includes “In the Heights,” an adaptation of Lin-Manuel Miranda’s first musical hit on Broadway, which was supposed to come out on June 26 and has been pushed nearly a fully year to June 18, 2021. However, fans of the playwright can instead catch a filmed version of his original Broadway production of “Hamilton” on Disney Plus beginning Friday.
Aside from a small theatrical release, “The Outpost” is also making the jump to video-on-demand services. Though...
- 7/3/2020
- by J. Kim Murphy
- Variety Film + TV
Has it been 35 years since film director Ivan Passer, who died Jan. 9, explained to me why horror movies will never stop getting financed and distributed? “They don’t give their producers any sleepless nights,” the sage Czech maestro quietly, sagely noted, summing up a multitude of film business realities in a simple haiku.
And how many decades ago was it when I was first gripped by Passer’s greatest film, “Cutter’s Way,” a completely uncompromising and richly drawn portrait of young Americans facing down the Masters of War that Bob Dylan sang about?
When did I first marvel at the wit and compassion Passer brought to the screenplays of his great fellow countryman Milos Forman? I saw their unforgettable social satire “The Firemen’s Ball” when it first graced our American shores and scored a best foreign language film nomination in the late ’60s.
Forman’s Czech New Wave classic “Loves of a Blonde,...
And how many decades ago was it when I was first gripped by Passer’s greatest film, “Cutter’s Way,” a completely uncompromising and richly drawn portrait of young Americans facing down the Masters of War that Bob Dylan sang about?
When did I first marvel at the wit and compassion Passer brought to the screenplays of his great fellow countryman Milos Forman? I saw their unforgettable social satire “The Firemen’s Ball” when it first graced our American shores and scored a best foreign language film nomination in the late ’60s.
Forman’s Czech New Wave classic “Loves of a Blonde,...
- 1/10/2020
- by Steven Gaydos
- Variety Film + TV
Shaggy Manhattan auteur Onur Tukel’s latest film isn’t entirely new: Originally conceived as an ongoing TV series, “Black Magic for White Boys” premiered at Tribeca a couple of years ago as several preliminary episodes. But when prospects didn’t pan out in that format, he shot additional footage to create the current feature. Perhaps unsurprisingly, the result still has a loose, episodic feel, with a somewhat casual attitude toward the concept of “narrative arc” — qualities not at all at odds with Tukel’s prior output.
This ensemble comedy with a silly supernatural angle, centered on a decrepit Off Off Broadway theater, won’t be its maker’s belated breakthrough. But for those who grok his amiably misanthropic, offhand brand of humor, it will comprise another satisfyingly idiosyncratic chapter in a singular career that carries forward a trail previously blazed by the likes of Woody Allen, Henry Jaglom and...
This ensemble comedy with a silly supernatural angle, centered on a decrepit Off Off Broadway theater, won’t be its maker’s belated breakthrough. But for those who grok his amiably misanthropic, offhand brand of humor, it will comprise another satisfyingly idiosyncratic chapter in a singular career that carries forward a trail previously blazed by the likes of Woody Allen, Henry Jaglom and...
- 8/2/2019
- by Dennis Harvey
- Variety Film + TV
Clement von Franckenstein, the urbane British actor who portrayed the president of France opposite Michael Douglas and Annette Bening in The American President, has died. He was 74.
Von Franckenstein died of hypoxia on Thursday at Cedars-Sinai Medical Center in Los Angeles, filmmaker Gabriel Murray told The Hollywood Reporter. He had been in an induced coma for 10 days.
He also had roles in Lionheart (1990), starring Jean-Claude van Damme; in Death Becomes Her (1992), with Meryl Streep; in The Evening Star (1996), with Shirley MacLaine; and in Hail, Caesar! (2016), with George Clooney.
And he appeared as himself in Henry Jaglom's ...
Von Franckenstein died of hypoxia on Thursday at Cedars-Sinai Medical Center in Los Angeles, filmmaker Gabriel Murray told The Hollywood Reporter. He had been in an induced coma for 10 days.
He also had roles in Lionheart (1990), starring Jean-Claude van Damme; in Death Becomes Her (1992), with Meryl Streep; in The Evening Star (1996), with Shirley MacLaine; and in Hail, Caesar! (2016), with George Clooney.
And he appeared as himself in Henry Jaglom's ...
- 5/11/2019
- The Hollywood Reporter - Film + TV
Clement von Franckenstein, the urbane British actor who portrayed the president of France opposite Michael Douglas and Annette Bening in The American President, has died. He was 74.
Von Franckenstein died of hypoxia on Thursday at Cedars-Sinai Medical Center in Los Angeles, filmmaker Gabriel Murray told The Hollywood Reporter. He had been in an induced coma for 10 days.
He also had roles in Lionheart (1990), starring Jean-Claude van Damme; in Death Becomes Her (1992), with Meryl Streep; in The Evening Star (1996), with Shirley MacLaine; and in Hail, Caesar! (2016), with George Clooney.
And he appeared as himself in Henry Jaglom's ...
Von Franckenstein died of hypoxia on Thursday at Cedars-Sinai Medical Center in Los Angeles, filmmaker Gabriel Murray told The Hollywood Reporter. He had been in an induced coma for 10 days.
He also had roles in Lionheart (1990), starring Jean-Claude van Damme; in Death Becomes Her (1992), with Meryl Streep; in The Evening Star (1996), with Shirley MacLaine; and in Hail, Caesar! (2016), with George Clooney.
And he appeared as himself in Henry Jaglom's ...
- 5/11/2019
- The Hollywood Reporter - Movie News
An engaging illustration of the difference between merely looking and really seeing, Jeremy Workman’s “The World Before Your Feet” profiles Matt Green, whose current occupation is walking every block of New York City. It’s a labor of love that’s already consumed years, with no end yet in sight — but then, Green is most definitely an “It’s the journey, not the destination” type. This portrait of one man’s eccentric yet appealing, even enviable quest is a gently philosophical exercise in armchair travel that underlines how much of our own immediate “world” we take for granted.
The thirtysomething Green is a former civil engineer who at some point decided a desk job — or any conventional employment — was not for him, and for whom this isn’t his first such rodeo. But that coast-to-coast journey took just five months. Green’s subsequent, ongoing task may end up covering three times that 3,000-mile length,...
The thirtysomething Green is a former civil engineer who at some point decided a desk job — or any conventional employment — was not for him, and for whom this isn’t his first such rodeo. But that coast-to-coast journey took just five months. Green’s subsequent, ongoing task may end up covering three times that 3,000-mile length,...
- 11/22/2018
- by Dennis Harvey
- Variety Film + TV
Dennis Hopper’s legendary follow-up to Easy Rider ended his Hollywood directing career for at least fifteen years. Barely seen again after brief premiere bookings, it hasn’t built up a reputation as a suppressed masterpiece. So what is it exactly? A new spotless restoration gives a dazzling rebirth to Hopper’s Perú- filmed deconstruction of Hollywood. The astonishing number of notables in the cast list may in itself demand a viewing.
The Last Movie
Blu-ray
Arbelos
1971 / Color / 1:85 widescreen / 108 min. / Street Date November 13, 2018 / 39.99
Starring: Dennis Hopper, Stella García, Tomas Milian, Don Gordon, Julie Adams, Donna Baccala, Sylvia Miles, Rod Cameron, Severn Darden, Sam Fuller, Peter Fonda, Henry Jaglom, Michelle Phillips, Kris Kristofferson, Dean Stockwell, Russ Tamblyn, Clint Kimbrough, John Phillip Law, James Mitchum, Richard Rust, Toni Basil, Michael Anderson Jr.
Cinematography: László Kovács
Production design: Leon Ericksen
Film Editors: David Berlatsky, Antranig Mahakian, Dennis Hopper, [Alejandro Jodorowsky]
Original Music: Severn Darden,...
The Last Movie
Blu-ray
Arbelos
1971 / Color / 1:85 widescreen / 108 min. / Street Date November 13, 2018 / 39.99
Starring: Dennis Hopper, Stella García, Tomas Milian, Don Gordon, Julie Adams, Donna Baccala, Sylvia Miles, Rod Cameron, Severn Darden, Sam Fuller, Peter Fonda, Henry Jaglom, Michelle Phillips, Kris Kristofferson, Dean Stockwell, Russ Tamblyn, Clint Kimbrough, John Phillip Law, James Mitchum, Richard Rust, Toni Basil, Michael Anderson Jr.
Cinematography: László Kovács
Production design: Leon Ericksen
Film Editors: David Berlatsky, Antranig Mahakian, Dennis Hopper, [Alejandro Jodorowsky]
Original Music: Severn Darden,...
- 11/10/2018
- by Glenn Erickson
- Trailers from Hell
Orson Welles’ final, nearly lost film has been completed and restored. Is it worth the wait?
In 1970, legendary filmmaker Orson Welles began filming what would end up being his final cinematic project: The Other Side of the Wind, a semi-mockumentary look at an aging Hollywood director named Jake Hannaford (played by fellow legendary director and actor John Huston) whose 70th birthday celebration becomes both a showcase for his experimental new film (also called The Other Side of the Wind) and an acidic gauntlet of Tinseltown characters, real and fictional.
But Welles was a long way from his stunning 1941 directorial debut, Citizen Kane, and had spent much of his career scrambling to finance many of his later movies, a number of which were abandoned due to lack of funds. Although filming on The Other Side of the Wind continued on and off through 1976 as Welles was able to obtain money, the...
In 1970, legendary filmmaker Orson Welles began filming what would end up being his final cinematic project: The Other Side of the Wind, a semi-mockumentary look at an aging Hollywood director named Jake Hannaford (played by fellow legendary director and actor John Huston) whose 70th birthday celebration becomes both a showcase for his experimental new film (also called The Other Side of the Wind) and an acidic gauntlet of Tinseltown characters, real and fictional.
But Welles was a long way from his stunning 1941 directorial debut, Citizen Kane, and had spent much of his career scrambling to finance many of his later movies, a number of which were abandoned due to lack of funds. Although filming on The Other Side of the Wind continued on and off through 1976 as Welles was able to obtain money, the...
- 11/2/2018
- Den of Geek
The director, who died of a heart attack in 1985 at age 70, filmed The Other Side of the Wind between 1970 and 1976, gathering over 100 hours of footage that was never close to being fully assembled … until now. With funding from Netflix, we now have a 124-minute feature that still feels tantalizingly unfinished, though editor Bob Murawski and his expert team worked from Welles’ annotated script. It is clearly a labor of love for everyone involved in this rescue mission. (You can find the fascinating tale of how the film was pieced together...
- 10/31/2018
- by Peter Travers
- Rollingstone.com
It is perhaps the most famous movie never made. Orson Welles’ “The Other Side of the Wind” was intended to be his magnum opus, an ambitious meta-movie about a filmmaker’s last night on Earth, intercut with footage of his final project — a parody of an over-stylized 1970s atmospheric art film in the vein of Antonioni, et al. But Welles didn’t finish the movie, and now, Netflix has come to the rescue, ponying up to complete this missing piece of the master’s oeuvre — which is not quite the same thing as a “masterpiece,” alas, though that word will get used plenty.
A companion documentary about Welles’ particular obsession with this film, and the final decade or so of his career, “They’ll Love Me When I’m Dead” is not a traditional making-of, nor is it an especially useful reference to how the movie came to be completed.
A companion documentary about Welles’ particular obsession with this film, and the final decade or so of his career, “They’ll Love Me When I’m Dead” is not a traditional making-of, nor is it an especially useful reference to how the movie came to be completed.
- 9/1/2018
- by Peter Debruge
- Variety Film + TV
Morgan Neville's documentary on the making of Orson Welles's The Other Side Of The Wind is a 56th New York Film Festival Special Event Photo: Anne-Katrin Titze
The Film Society of Lincoln Center has announced the 56th New York Film Festival Special Events program: Orson Welles's The Other Side Of The Wind with John Huston, Peter Bogdanovich, Oja Kodar, Edmund O’Brien, Susan Strasberg, Lilli Palmer, Paul Stewart, Mercedes McCambridge, Cameron Mitchell, Paul Mazursky, Henry Jaglom, Claude Chabrol, and Norman Foster plus Morgan Neville's They’ll Love Me When I’m Dead documentary on the making of The Other Side Of The Wind, and Rex Ingram's The Four Horsemen Of The Apocalypse, courtesy of Martin Scorsese, with a score written and performed by Matthew Nolan, Barry Adamson, Seán Mac Erlaine, Adrian Crowley, and Kevin Murphy.
Film Comment Presents: Nuri Bilge Ceylan's The Wild Pear Tree starring...
The Film Society of Lincoln Center has announced the 56th New York Film Festival Special Events program: Orson Welles's The Other Side Of The Wind with John Huston, Peter Bogdanovich, Oja Kodar, Edmund O’Brien, Susan Strasberg, Lilli Palmer, Paul Stewart, Mercedes McCambridge, Cameron Mitchell, Paul Mazursky, Henry Jaglom, Claude Chabrol, and Norman Foster plus Morgan Neville's They’ll Love Me When I’m Dead documentary on the making of The Other Side Of The Wind, and Rex Ingram's The Four Horsemen Of The Apocalypse, courtesy of Martin Scorsese, with a score written and performed by Matthew Nolan, Barry Adamson, Seán Mac Erlaine, Adrian Crowley, and Kevin Murphy.
Film Comment Presents: Nuri Bilge Ceylan's The Wild Pear Tree starring...
- 8/23/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Train To Zakopané
What is it that makes people hate complete strangers due to characteristics beyond their control? What is it that makes us fall in love with people we hardly know? And what do we do when these feelings coincide? These are some of the questions addressed in Henry Jaglom's Train To Zakopané, based on a real incident in the life of his father. In this film, Tanna Frederick plays the role of Katia, a Polish girl with a deep hatred of Jewish people who unwittingly falls for a Jewish man. When we connect to talk about the role, I remind her that we spoke some five years ago about Ovation and her theatre projects at the time. She laughs.
“Was that really five years ago?”
Time flies, she says, and indeed she's been extremely busy in the year since, on both stage and screen - including starring in the theatrical version.
What is it that makes people hate complete strangers due to characteristics beyond their control? What is it that makes us fall in love with people we hardly know? And what do we do when these feelings coincide? These are some of the questions addressed in Henry Jaglom's Train To Zakopané, based on a real incident in the life of his father. In this film, Tanna Frederick plays the role of Katia, a Polish girl with a deep hatred of Jewish people who unwittingly falls for a Jewish man. When we connect to talk about the role, I remind her that we spoke some five years ago about Ovation and her theatre projects at the time. She laughs.
“Was that really five years ago?”
Time flies, she says, and indeed she's been extremely busy in the year since, on both stage and screen - including starring in the theatrical version.
- 5/4/2018
- by Jennie Kermode
- eyeforfilm.co.uk
Opening in Beverly Hills on April 26 and continuing to May 3, the Los Angeles Jewish Film Festival will showcase contemporary and classic films highlighting the best in Jewish Cinema.Of the 27 films showing, 14 are Los Angeles premieres. One World Premiere, one North American Premiere and one U.S. Premiere make for some great discoveries.
An opportunity for film lovers to celebrate the rich tapestry of Jewish history, Jewish heritage and Jewish characters, the Opening Night Red Carpet Reception at Laemmle’s Ahrya Fine Arts Theater in Beverly Hills evening will honor one of the entertainment industry’s most beloved figures, Ed Asner, with the Los Angeles premiere of the documentary “My Friend Ed”, directed by Sharon Baker and executive produced by Liza Asner.
For his distinguished body of work as an actor, and for his relentless commitment to activism and to preserving Jewish life.
Ed Asner
You know him best as Lou Grant,...
An opportunity for film lovers to celebrate the rich tapestry of Jewish history, Jewish heritage and Jewish characters, the Opening Night Red Carpet Reception at Laemmle’s Ahrya Fine Arts Theater in Beverly Hills evening will honor one of the entertainment industry’s most beloved figures, Ed Asner, with the Los Angeles premiere of the documentary “My Friend Ed”, directed by Sharon Baker and executive produced by Liza Asner.
For his distinguished body of work as an actor, and for his relentless commitment to activism and to preserving Jewish life.
Ed Asner
You know him best as Lou Grant,...
- 4/20/2017
- by Sydney Levine
- Sydney's Buzz
Welcome back to the Weekend Warrior, your weekly look at the new movies hitting theaters this weekend, as well as other cool events and things to check out.
This Past Weekend:
Another bad weekend where nothing really popped, which is bad news for a month at the box office where only Clint Eastwood’s Sully exceeded any expectations. Tim Burton’s new film Miss Peregrine’s Home for Peculiar Children came out just below my predictions with $29 million, but the Mark Wahlberg-Peter Berg disaster flick Deepwater Horizon was right around where I predicted with $20.2 million. The comedy Masterminds tanked with just $6.5 million for the weekend to end up in sixth place while Disney’s The Queen of Katwe did slightly better than predicted with $2.5 million.
The first full weekend in October has a good deal of competition from the release of the video game Mafia III to the...
This Past Weekend:
Another bad weekend where nothing really popped, which is bad news for a month at the box office where only Clint Eastwood’s Sully exceeded any expectations. Tim Burton’s new film Miss Peregrine’s Home for Peculiar Children came out just below my predictions with $29 million, but the Mark Wahlberg-Peter Berg disaster flick Deepwater Horizon was right around where I predicted with $20.2 million. The comedy Masterminds tanked with just $6.5 million for the weekend to end up in sixth place while Disney’s The Queen of Katwe did slightly better than predicted with $2.5 million.
The first full weekend in October has a good deal of competition from the release of the video game Mafia III to the...
- 10/5/2016
- by Edward Douglas
- LRMonline.com
Few filmmakers are better self-promoters than Kevin Smith, who has mastered the art over the course of two decades. Ever since the breakout success of 1994’s “Clerks,” Smith has developed his public persona as a hilarious foul-mouthed geek in tandem with movies that often reflected that sensibility. Today, Smith remains as visible than ever, less because of his movies than because of countless public appearances, a regular podcast, two television series and social media. He’s less pure filmmaker than self-made media machine.
But Smith still makes movies: He took a hiatus after the self-distributed “Red State,” and has since launched into his so-called “True North” trilogy of wacky Canadian tales. After the absurdist comedy-horror of “Tusk,” Smith premiered “Yoga Hosers” at this year’s Sundance Film Festival. The movie, which stars his daughter Harley Quinn Smith and Johnny Depp’s daughter Lily-Rose Depp (her dad also plays a small...
But Smith still makes movies: He took a hiatus after the self-distributed “Red State,” and has since launched into his so-called “True North” trilogy of wacky Canadian tales. After the absurdist comedy-horror of “Tusk,” Smith premiered “Yoga Hosers” at this year’s Sundance Film Festival. The movie, which stars his daughter Harley Quinn Smith and Johnny Depp’s daughter Lily-Rose Depp (her dad also plays a small...
- 9/3/2016
- by Eric Kohn
- Indiewire
There are indie film scenes like the one chronicled in Actor Martinez everywhere, ones where those with a day job have ambitions that cannot and never will pay the rent. Surely, Actor Martinez is a little cruel to these micro industries of regional film bolstered by film clubs that support each other regardless of just how poor the acting, directing and cinematography can be.
Enter Nathan Silver and Mike Ott, filmmakers that seem obsessed with the freedom such non-traditional, off-the-map filmmaking offers. Who knows, a masterpiece may exist somewhere in Denver’s amateur film community, kept from us by John Cooper and Janet Pierson. Actor Martinez, like Nathan Silver’s previous feature Stinking Heaven, also feels like an artifact, documenting the process of a process: here the every day life of Arthur Martinez, an professional computer repairman by day and actor/film producer by night.
The result is a comedy...
Enter Nathan Silver and Mike Ott, filmmakers that seem obsessed with the freedom such non-traditional, off-the-map filmmaking offers. Who knows, a masterpiece may exist somewhere in Denver’s amateur film community, kept from us by John Cooper and Janet Pierson. Actor Martinez, like Nathan Silver’s previous feature Stinking Heaven, also feels like an artifact, documenting the process of a process: here the every day life of Arthur Martinez, an professional computer repairman by day and actor/film producer by night.
The result is a comedy...
- 5/4/2016
- by John Fink
- The Film Stage
World’s second longest-serving film festival director died last week while attending Graz film festival.
Filmmakers in Germany and beyond are mourning the passing of Heinz Badewitz, the founder of the Hof Film Days, who died unexpectedly last week at the age of 74 whilst attending last week’s Diagonale - Festival of Austrian Film in Graz.
Badewitz was the world’s second longest-serving film festival director after Chicago’s Michael Kutza (who launched his festival in 1964) and was planning Hof’s 50th anniversary in October.
Hailing from Hof in Northern Franconia, Badewitz had moved to Munich in the early 1960s to train as a cameraman and soon became part of the Munich film scene, later working as location manager on such films as Wim Wenders’ Kings Of The Road and The American Friend, and assistant director for Bob Fosse’s Cabaret and Norman Jewison’s Rollerball.
In addition, he was involved in the selection of German films for...
Filmmakers in Germany and beyond are mourning the passing of Heinz Badewitz, the founder of the Hof Film Days, who died unexpectedly last week at the age of 74 whilst attending last week’s Diagonale - Festival of Austrian Film in Graz.
Badewitz was the world’s second longest-serving film festival director after Chicago’s Michael Kutza (who launched his festival in 1964) and was planning Hof’s 50th anniversary in October.
Hailing from Hof in Northern Franconia, Badewitz had moved to Munich in the early 1960s to train as a cameraman and soon became part of the Munich film scene, later working as location manager on such films as Wim Wenders’ Kings Of The Road and The American Friend, and assistant director for Bob Fosse’s Cabaret and Norman Jewison’s Rollerball.
In addition, he was involved in the selection of German films for...
- 3/14/2016
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
For almost as long as this site has been in existence, we've been patiently tracking the progress of Orson Welles' final film, "The Other Side Of The Wind." For years, Welles' pal Peter Bogdanovich has been trying to restore and release the unfinished project, but legal rights and other issues continually halted progress. Things were further muddied when in 2012, Henry Jaglom dropped 30 minutes of randomly assembled footage online (it was swiftly yanked). But could the movie finally see the light day next year? Well, according The New York Times, that's the hopeful plan. They report that Royal Road Entertainment has, somewhat miraculously, after five years of ironing out the details, managed the secure the rights to the movie from the various parties involved, and aim to release the movie to coincide with the 100th anniversary of Welles' birth on May 6, 2015. And they will be taking 'Wind' to the American...
- 10/29/2014
- by Kevin Jagernauth
- The Playlist
In his later years, filmmaker Orson Welles bore witness to an atrocity he probably saw as the most denigrating compromise between art and commerce. That atrocity was the colorization of classic films, a phenomenon that none other than media giant Ted Turner was a huge champion of. As if he were predicting Turner's unsuccessful future bid to colorize his own baby, Citizen Kane, he issued a warning to fellow filmmaker Henry Jaglom: "Keep Ted Turner and his goddamn Crayolas away from my movies." Now, 25 years after that battle for art was won, someone else has broken out the "goddamn Crayolas" and decided to air Alexander Payne's Nebraska in full color. SlashFilm broke the news that Epix Network, the cable channel with the rights to premiere Nebraska on television, is going to be running the film twice in a row this Sunday night. At 8 Pm, the film will be...
- 8/6/2014
- cinemablend.com
From Goodfellas to The Sopranos, Michael Imperioli often plays characters associated with the mob and murder. However, he takes on an entirely different subject in his new film The M Word: menopause.
Imperioli plays Charlie Moon, a TV exec brought in to change a struggling local station when an actress named Moxie starts to film a documentary about the taboo subject she notices is happening around her but no one seems to talk about. The subject didn’t matter to Imperioli, who signed on to the movie without a script and little information just to have the opportunity to...
Imperioli plays Charlie Moon, a TV exec brought in to change a struggling local station when an actress named Moxie starts to film a documentary about the taboo subject she notices is happening around her but no one seems to talk about. The subject didn’t matter to Imperioli, who signed on to the movie without a script and little information just to have the opportunity to...
- 4/30/2014
- by Jake Perlman
- EW - Inside Movies
A pluralistic personal account of menopause seems like a fine idea for a movie, but was Henry Jaglom the right person to make it?
In The M Word, Jaglom smartly sees a parallel between midlife hormone upheaval and sudden workplace superfluousness, but his unstructured-gabfest approach makes rather a mess of it.
Somewhere in L.A., a scrappy little TV station is losing money and about to get downsized into oblivion. Maybe there's still hope for Moxie, a charismatic kids' show actress (Tanna Frederick) who beguiles the newly arrived emissary (Michael Imperioli) from the station's corporate parent. To her he offers not just the chance to trade up from a schlemiel boyfriend (Corey Feldman) but also an official green light on a pet-project menopause documentary. Then ...
In The M Word, Jaglom smartly sees a parallel between midlife hormone upheaval and sudden workplace superfluousness, but his unstructured-gabfest approach makes rather a mess of it.
Somewhere in L.A., a scrappy little TV station is losing money and about to get downsized into oblivion. Maybe there's still hope for Moxie, a charismatic kids' show actress (Tanna Frederick) who beguiles the newly arrived emissary (Michael Imperioli) from the station's corporate parent. To her he offers not just the chance to trade up from a schlemiel boyfriend (Corey Feldman) but also an official green light on a pet-project menopause documentary. Then ...
- 4/30/2014
- Village Voice
Actor and director who brought dark good looks and a commanding presence to his roles
Austrian by birth, Swiss by circumstance and international by reputation, Maximilian Schell, who has died aged 83, was a distinguished actor, director, writer and producer. However, he will be best remembered as an actor, especially for his Oscar-winning performance in Stanley Kramer's Judgment at Nuremberg (1961) – an early highlight among scores of television and movie appearances. He also directed opera, worked tirelessly in the theatre and made six feature films, including Marlene (1984) - a tantalising portrait of Dietrich, his co-star in Judgment, who is heard being interviewed but not seen, except in movie extracts.
Schell courted controversy and much of his work, including The Pedestrian (1973), dealt with the second world war, its attendant crimes and the notion of collective guilt. In 1990, when he was offered a special award for his contributions to German film, he refused to accept it.
Austrian by birth, Swiss by circumstance and international by reputation, Maximilian Schell, who has died aged 83, was a distinguished actor, director, writer and producer. However, he will be best remembered as an actor, especially for his Oscar-winning performance in Stanley Kramer's Judgment at Nuremberg (1961) – an early highlight among scores of television and movie appearances. He also directed opera, worked tirelessly in the theatre and made six feature films, including Marlene (1984) - a tantalising portrait of Dietrich, his co-star in Judgment, who is heard being interviewed but not seen, except in movie extracts.
Schell courted controversy and much of his work, including The Pedestrian (1973), dealt with the second world war, its attendant crimes and the notion of collective guilt. In 1990, when he was offered a special award for his contributions to German film, he refused to accept it.
- 2/3/2014
- by Brian Baxter
- The Guardian - Film News
These scratchy recordings reveal the lonely man behind the public bravado – and the drive that made the great man such an original talent
"Was he putting me on, was he joking?" In Radio 4's The Lost Tapes Of Orson Welles, director Henry Jaglom offered up highlights from his private archive of recordings, made during a series of lunches he and Welles had in La's Ma Maison restaurant between 1983 and 1985.
Unlike so many celebrity interviews we get to hear today, these scratchy tapes are unfiltered by the pressures of public performance – neither party thought they'd be broadcast. Welles is still the great raconteur – but he's also bitter, holding grudges against Hollywood and old colleagues; a wind-up merchant whose spur-of-the-moment rants (Irish-Americans: "They've become a new and terrible race") are met with genuine amazement from the patient Jaglom ("I can't believe you said that Orson!"). They also reveal someone who was lonely,...
"Was he putting me on, was he joking?" In Radio 4's The Lost Tapes Of Orson Welles, director Henry Jaglom offered up highlights from his private archive of recordings, made during a series of lunches he and Welles had in La's Ma Maison restaurant between 1983 and 1985.
Unlike so many celebrity interviews we get to hear today, these scratchy tapes are unfiltered by the pressures of public performance – neither party thought they'd be broadcast. Welles is still the great raconteur – but he's also bitter, holding grudges against Hollywood and old colleagues; a wind-up merchant whose spur-of-the-moment rants (Irish-Americans: "They've become a new and terrible race") are met with genuine amazement from the patient Jaglom ("I can't believe you said that Orson!"). They also reveal someone who was lonely,...
- 12/20/2013
- by Richard Vine
- The Guardian - Film News
With the release of Alexander Payne’s “Nebraska” imminent, along with what will undoubtedly be a full-frontal campaign to get Bruce Dern an Oscar nomination, Dern has been trudging – more gracefully than his character, Woody Grant, perhaps – down Memory Lane. The result has been gold for connoisseurs of film lore. Like his recollection that “The Wild Angels” – the original outlaw biker movie and ancestor of “Easy Rider” -- was created by the student body of the University of Corman. “We didn’t realize then what it meant, but we were there,” Dern said, referring, of course, to the school of director/producer Roger Coman. “On the set of “Wild Angels’ we had Francis Coppola, Peter Bogdanovich, Jonathan Demme and Henry Jaglom. As crew.” One of the things about “Nebraska” that’s obviously tickled Dern, the totemic figure among indie character actors, is working with a studio, in this case Paramount...
- 11/4/2013
- by John Anderson
- Thompson on Hollywood
What would it be like to live in 1920s Paris? Work on an oyster farm? Be Orson Welles? This weekend our staffers are losing themselves in nonfiction that opens up new worlds. Let us know what you think of our choices - and what you're reading. Sydney Berger, Intern Her Pick: A Moveable Feast by Ernest Hemingway As an aspiring writer who recently spent time in Paris, I've become enamored with all books related to the City of Light. Allow yourself to fantasize with this classic memoir of Hemingway's days as a young expatriate writer living on Rue du Cardinal Lemoine in the 1920s.
- 9/5/2013
- by Kim Hubbard
- PEOPLE.com
Tanna Frederick has signed on to join Judd Nelson in the Henry Jaglom comedy Just 45 Minutes from Broadway - which explores the complex emotional lives of theater folk. The actress can also been seen in “The Rainmaker” at the Edgemar Theatre in Santa Monica. Frederick has a busy year ahead of her with two more films coming out this year - Jaglom’s romantic comedy The “M” Word (released May/June) with Corey Feldman, Michael Imperioli and Francis Fisher and The Farm (coming out in October) in which she stars as a single mother who returns to Iowa (Frederick’s hometown) to deal with her past. In June, Frederick returned to Iowa to star in the dark comedy Just Beautiful, a...
- 9/2/2013
- by Patrick Luce
- Monsters and Critics
Actor with a talent for conveying her characters' rich and troubled inner lives
The New Hollywood movement was primarily a male, auteur-led phenomenon. But the contribution of performers as adventurous and vital as Karen Black, who has died aged 74 from complications from cancer, should not be overlooked. Black was electrified as well as electrifying: her tornado of hair, her fearless physicality and those indelible feline eyes combined to create a woozy and unapologetic sexual energy. She looked offbeat, and she knew how to use that. "I couldn't have been an actress in the 1930s," she said, reflecting on her role as a movie extra in The Day of the Locust (1975). "My face moves around too much."
It was in the late 1960s and 70s that she became one of the great character actors of Us cinema in a series of performances in key New Hollywood works. Partly it was that...
The New Hollywood movement was primarily a male, auteur-led phenomenon. But the contribution of performers as adventurous and vital as Karen Black, who has died aged 74 from complications from cancer, should not be overlooked. Black was electrified as well as electrifying: her tornado of hair, her fearless physicality and those indelible feline eyes combined to create a woozy and unapologetic sexual energy. She looked offbeat, and she knew how to use that. "I couldn't have been an actress in the 1930s," she said, reflecting on her role as a movie extra in The Day of the Locust (1975). "My face moves around too much."
It was in the late 1960s and 70s that she became one of the great character actors of Us cinema in a series of performances in key New Hollywood works. Partly it was that...
- 8/9/2013
- by Ryan Gilbey
- The Guardian - Film News
Actress Karen Black.
I grew up hearing about Karen Black as far back as I can remember. She would pop up on television and my mother would point her out as a compatriot from their college days at Northwestern University, a mixture of pride and wistfulness in her voice as the memories came back. When I finally got the opportunity to sit down with Karen during the summer of 2007, the venerable actress had turned playwright, with a well-received L.A. production of "The Missouri Waltz," a musical for which she penned the book. Black was alternately eccentric, passionate, grounded and fascinating during our chat, her obvious intelligence shining through the entire proceedings.
“Black brings to all her roles a freewheeling combination of raunch and winsomeness,” Time magazine wrote about her in 1975. “Sometimes she is kittenish. At other times she has an overripe quality that makes her look like the kind...
I grew up hearing about Karen Black as far back as I can remember. She would pop up on television and my mother would point her out as a compatriot from their college days at Northwestern University, a mixture of pride and wistfulness in her voice as the memories came back. When I finally got the opportunity to sit down with Karen during the summer of 2007, the venerable actress had turned playwright, with a well-received L.A. production of "The Missouri Waltz," a musical for which she penned the book. Black was alternately eccentric, passionate, grounded and fascinating during our chat, her obvious intelligence shining through the entire proceedings.
“Black brings to all her roles a freewheeling combination of raunch and winsomeness,” Time magazine wrote about her in 1975. “Sometimes she is kittenish. At other times she has an overripe quality that makes her look like the kind...
- 8/9/2013
- by The Hollywood Interview.com
- The Hollywood Interview
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