Jeremy Thomas on Martin Scorsese giving gravitas to Michael Powell and Emeric Pressburger films: “I mean, The Red Shoes, unbelievable! Of course they’re period, Blimp, very period. And Black Narcissus, which I recently saw restored in a square in Bologna with thousands of people.” Photo: Anne-Katrin Titze
In the third instalment with producer Jeremy Thomas we discuss Nicolas Roeg’s Bad Timing leading to a conversation with David Cronenberg wanting to film William Burroughs’s Naked Lunch; Cronenberg’s adaptation of Jg Ballard’s Crash and the author’s reaction; Martin Scorsese reintroducing us to Michael Powell and Emeric Pressburger’s masterpieces, which include The Red Shoes, The Life And Death Of Colonel Blimp, and Black Narcissus.
Jeremy Thomas on David Cronenberg’s adaptation of Naked Lunch by William Burroughs: “It’s magnificent, original work.”
The Cohen Media Group and Posteritati at their gallery hosted a reception for Jeremy...
In the third instalment with producer Jeremy Thomas we discuss Nicolas Roeg’s Bad Timing leading to a conversation with David Cronenberg wanting to film William Burroughs’s Naked Lunch; Cronenberg’s adaptation of Jg Ballard’s Crash and the author’s reaction; Martin Scorsese reintroducing us to Michael Powell and Emeric Pressburger’s masterpieces, which include The Red Shoes, The Life And Death Of Colonel Blimp, and Black Narcissus.
Jeremy Thomas on David Cronenberg’s adaptation of Naked Lunch by William Burroughs: “It’s magnificent, original work.”
The Cohen Media Group and Posteritati at their gallery hosted a reception for Jeremy...
- 11/10/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Jeremy Thomas (who Tilda Swinton compares to a pirate and William Blake) on Jim Jarmusch: “There’s no more American independent hero than him. He and Sara Driver have been my friends for years, decades.”
In the second instalment with the free-thinking producer and pirate of the high seas (Joachim Rønning and Espen Sandberg’s Kon-Tiki), Jeremy Thomas, we discuss the filming of Jim Jarmusch’s Only Lovers Left Alive, his “favourite actor” John Hurt, his “very good buddy” Tilda Swinton, Tom Hiddleston and “the great” Mia Wasikowska, and Anton Yelchin “who was such a sweetie”. We also touch upon the opening night of Jeremy Thomas Presents at the Quad Cinema with Jeremy and the Stealing Beauty author Susan Minot, doing a Q&a following the screening of Bernardo Bertolucci’s The Dreamers.
Jim Jarmusch with Tilda Swinton, whom Jeremy Thomas calls “an incredible woman.” Photo: Anne-Katrin Titze
Jim...
In the second instalment with the free-thinking producer and pirate of the high seas (Joachim Rønning and Espen Sandberg’s Kon-Tiki), Jeremy Thomas, we discuss the filming of Jim Jarmusch’s Only Lovers Left Alive, his “favourite actor” John Hurt, his “very good buddy” Tilda Swinton, Tom Hiddleston and “the great” Mia Wasikowska, and Anton Yelchin “who was such a sweetie”. We also touch upon the opening night of Jeremy Thomas Presents at the Quad Cinema with Jeremy and the Stealing Beauty author Susan Minot, doing a Q&a following the screening of Bernardo Bertolucci’s The Dreamers.
Jim Jarmusch with Tilda Swinton, whom Jeremy Thomas calls “an incredible woman.” Photo: Anne-Katrin Titze
Jim...
- 9/26/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
John and Matthew are watching every single live-action film starring Meryl Streep.
#36 —Lila Ross, an old friend of a dying woman.
John: While Meryl Streep is fiercely protective of her and her family’s privacy, she made no secret about what she got her daughter Mamie Gummer for her 24th birthday: Lajos Koltai’s Evening. Adapted from Susan Minot’s 1998 novel by the author herself, along with writer Michael Cunningham (The Hours), Evening follows Vanessa Redgrave’s Ann, an elderly woman drifting in and out of consciousnesses on her deathbed as she recalls a distant memory from her long-ago youth. That memory stars Claire Danes as a twentysomething Ann on the day of her best friend Lila’s (Mamie Gummer) wedding to a man she does not love. Ann, Lila, and the latter’s brother Buddy (Hugh Dancy) are instead infatuated with Harris (Patrick Wilson), a strapping doctor that each...
#36 —Lila Ross, an old friend of a dying woman.
John: While Meryl Streep is fiercely protective of her and her family’s privacy, she made no secret about what she got her daughter Mamie Gummer for her 24th birthday: Lajos Koltai’s Evening. Adapted from Susan Minot’s 1998 novel by the author herself, along with writer Michael Cunningham (The Hours), Evening follows Vanessa Redgrave’s Ann, an elderly woman drifting in and out of consciousnesses on her deathbed as she recalls a distant memory from her long-ago youth. That memory stars Claire Danes as a twentysomething Ann on the day of her best friend Lila’s (Mamie Gummer) wedding to a man she does not love. Ann, Lila, and the latter’s brother Buddy (Hugh Dancy) are instead infatuated with Harris (Patrick Wilson), a strapping doctor that each...
- 9/6/2018
- by John Guerin
- FilmExperience
Nearly 700 guests gathered on Wednesday evening at Pier Sixty at Chelsea Piers to honor one of America’s most dedicated and energetic art and education benefactors, Dorothy Lichtenstein, at the annual Stars of Stony Brook Gala.
The philanthropist and wife of the late artist Roy Lichtenstein was recognized for her long-running support of a host of arts, cultural and science initiatives at the University, including the Stony Brook Southampton creative writing and film program, one that provides a vital incubator for students and established writers and filmmakers at campuses on Long Island’s East End and in Manhattan.
Since its inception in 2000, the Stony Brook Foundation’s Stars of Stony Brook Gala had raised $50 million to support student scholarships and a featured academic program of excellence. This year’s Gala adds a new record with over $7.1 million raised, including a $5 million donation from Lichtenstein earmarked to support Stony Brook Southampton...
The philanthropist and wife of the late artist Roy Lichtenstein was recognized for her long-running support of a host of arts, cultural and science initiatives at the University, including the Stony Brook Southampton creative writing and film program, one that provides a vital incubator for students and established writers and filmmakers at campuses on Long Island’s East End and in Manhattan.
Since its inception in 2000, the Stony Brook Foundation’s Stars of Stony Brook Gala had raised $50 million to support student scholarships and a featured academic program of excellence. This year’s Gala adds a new record with over $7.1 million raised, including a $5 million donation from Lichtenstein earmarked to support Stony Brook Southampton...
- 4/17/2018
- Look to the Stars
In Evening, an all-star team of filmmakers takes on a minor-league story. The cast and crew here include multiple Oscar winners and nominees, a Pulitzer Prize-winning screenwriter, and a director, a much-honored cinematographer who collaborated with a Nobel Prize-winning author no less for his first film. Alas, the thing they all choose to labor over is a thin, overwrought tale of New England bluebloods wallowing in self-perpetuated angst and recriminations. At the end of the movie, everyone decides to get over it. Wow, that's a relief.
The film will gain traction with older women for all the mother-daughter interplay that pushes emotional buttons without ever saying anything significant. A cast of truly impressive actresses spanning the decades -- Claire Danes, Toni Collette, Eileen Atkins, Glenn Close as well as real-life mother-daughters Vanessa Redgrave and Natasha Richardson and Meryl Streep and Mamie Gummer -- will undoubtedly draw a goodly share of the curious as well. Boxoffice for this Focus Feature release should still be modest.
The package is certainly appealing. Budapest-born director Lajos Koltai (the Oscar-nominated Hungarian feature Fateless) cuts between two visually appealing settings: a high-society wedding on an awesome seacliff home in Newport, R.I., and the final days of the maid of honor from the wedding, a half-century later, in a lovely art and memorabilia-filled Rhode Island residence.
It is in the latter setting that Ann Lord (Redgrave) is dying. She is (barely) comforted by two daughters, a happily situated mother and wife, Constance (Richardson), and her restive sister, Nina (Collette). The flashbacks to the weekend wedding of 50 years earlier -- where all the movie's action is -- take place in the dying woman's mind.
As these events, as fresh as if they were yesterday, churn over in her mind, what they tell her about life and the mistakes people make is meant to hugely impact Nina's current dilemma. Nina is in a shaky three-year-old relationship and, secretly pregnant, is uncertain what to do. But because the daughter can't see the mother's flashbacks or hallucinations, how this message gets across is a mystery.
In her memories, the young Ann (Danes) finds the bride-to-be, Lila Wittenborn (Gummer), in a state. Her engagement is a sham since her true love is longtime family friend and intimate Harris Arden (Patrick Wilson). Within moments, Ann herself falls under Harris' spell. He is destined to become the "man that got away" for both young women.
In her waning moments, it is her obsession with Harris that dominates her thoughts. Harris apparently is a sexual magnet: Before that long-ago weekend concludes, the bride's alcoholic brother and Ann's dear friend, Buddy (Hugh Dancy), makes a pass at her and at Harris!
For some reason, the whole movie and therefore the dying woman's memories focus on that wedding rather than subsequent loves, marriages and daughters. So when she looks back on a life of "waste and failure," you can't judge. What happened afterward in her life is what matters, not that brief fling and a tragic event that forever marred the wedding.
The whole thing is a stacked deck of cards that the director and his writers, Susan Minot and Michael Cunningham (The Hours), who adapted Minot's novel, deal with so selectively as to deny us knowledge of essential points about many of the relationships and motives.
Possibly too much has been removed from the source material. Occasional bits of magic realism indicate other means of attack in the novel: Ann's night nurse (Atkins), for example, turns into an angel of mercy/fairy godmother who knows Ann's whole past and hints at alternative views about the supposed waste and failure. We'd also like to know much more about the bride's curiously aloof parents (Barry Bostwick and Close).
Nevertheless, we must be grateful to any film with such glorious actresses still at the top of their game, including Streep, who turns up briefly as Lila the Elder.
Evening itself reps a master's course in how to make do on a limited budget, a fabulous cast and Rhode Island's generous tax incentives for filmmakers.
EVENING
Focus Features
A Hart Sharp Entertainment production
Credits:
Director: Lajos Koltai
Screenwriters: Susan Minot, Michael Cunningham
Based on the novel by: Susan Minot
Producer: Jeffrey Sharp
Executive producers: Jill Footlick, Michael Hogan, Robert Kessel, Susan Minot, Michael Cunningham
Director of photography: Gyula Pados
Production designer: Caroline Hanania
Co-producers: Luke Parker Bowles, Claire Taylor, Nina Wolarsky
Costume designer: Ann Roth, Michelle Matland
Editor: Allyson C. Johnson
Cast:
Ann Grant: Claire Danes
Nina Mars: Toni Collette
Ann Lord: Vanessa Redgrave
Harris Arden: Patrick Wilson
Budd Wittenborn: Hugh Dancy
Constance Haverford: Natasha Richardson
Lila Wittenborn: Mamie Gummer
Night Nurse: Eileen Atkins
Lila Ross: Meryl Streep
Mrs. Wittenborn: Glenn Close
Running time -- 117 minutes
MPAA rating: PG-13...
The film will gain traction with older women for all the mother-daughter interplay that pushes emotional buttons without ever saying anything significant. A cast of truly impressive actresses spanning the decades -- Claire Danes, Toni Collette, Eileen Atkins, Glenn Close as well as real-life mother-daughters Vanessa Redgrave and Natasha Richardson and Meryl Streep and Mamie Gummer -- will undoubtedly draw a goodly share of the curious as well. Boxoffice for this Focus Feature release should still be modest.
The package is certainly appealing. Budapest-born director Lajos Koltai (the Oscar-nominated Hungarian feature Fateless) cuts between two visually appealing settings: a high-society wedding on an awesome seacliff home in Newport, R.I., and the final days of the maid of honor from the wedding, a half-century later, in a lovely art and memorabilia-filled Rhode Island residence.
It is in the latter setting that Ann Lord (Redgrave) is dying. She is (barely) comforted by two daughters, a happily situated mother and wife, Constance (Richardson), and her restive sister, Nina (Collette). The flashbacks to the weekend wedding of 50 years earlier -- where all the movie's action is -- take place in the dying woman's mind.
As these events, as fresh as if they were yesterday, churn over in her mind, what they tell her about life and the mistakes people make is meant to hugely impact Nina's current dilemma. Nina is in a shaky three-year-old relationship and, secretly pregnant, is uncertain what to do. But because the daughter can't see the mother's flashbacks or hallucinations, how this message gets across is a mystery.
In her memories, the young Ann (Danes) finds the bride-to-be, Lila Wittenborn (Gummer), in a state. Her engagement is a sham since her true love is longtime family friend and intimate Harris Arden (Patrick Wilson). Within moments, Ann herself falls under Harris' spell. He is destined to become the "man that got away" for both young women.
In her waning moments, it is her obsession with Harris that dominates her thoughts. Harris apparently is a sexual magnet: Before that long-ago weekend concludes, the bride's alcoholic brother and Ann's dear friend, Buddy (Hugh Dancy), makes a pass at her and at Harris!
For some reason, the whole movie and therefore the dying woman's memories focus on that wedding rather than subsequent loves, marriages and daughters. So when she looks back on a life of "waste and failure," you can't judge. What happened afterward in her life is what matters, not that brief fling and a tragic event that forever marred the wedding.
The whole thing is a stacked deck of cards that the director and his writers, Susan Minot and Michael Cunningham (The Hours), who adapted Minot's novel, deal with so selectively as to deny us knowledge of essential points about many of the relationships and motives.
Possibly too much has been removed from the source material. Occasional bits of magic realism indicate other means of attack in the novel: Ann's night nurse (Atkins), for example, turns into an angel of mercy/fairy godmother who knows Ann's whole past and hints at alternative views about the supposed waste and failure. We'd also like to know much more about the bride's curiously aloof parents (Barry Bostwick and Close).
Nevertheless, we must be grateful to any film with such glorious actresses still at the top of their game, including Streep, who turns up briefly as Lila the Elder.
Evening itself reps a master's course in how to make do on a limited budget, a fabulous cast and Rhode Island's generous tax incentives for filmmakers.
EVENING
Focus Features
A Hart Sharp Entertainment production
Credits:
Director: Lajos Koltai
Screenwriters: Susan Minot, Michael Cunningham
Based on the novel by: Susan Minot
Producer: Jeffrey Sharp
Executive producers: Jill Footlick, Michael Hogan, Robert Kessel, Susan Minot, Michael Cunningham
Director of photography: Gyula Pados
Production designer: Caroline Hanania
Co-producers: Luke Parker Bowles, Claire Taylor, Nina Wolarsky
Costume designer: Ann Roth, Michelle Matland
Editor: Allyson C. Johnson
Cast:
Ann Grant: Claire Danes
Nina Mars: Toni Collette
Ann Lord: Vanessa Redgrave
Harris Arden: Patrick Wilson
Budd Wittenborn: Hugh Dancy
Constance Haverford: Natasha Richardson
Lila Wittenborn: Mamie Gummer
Night Nurse: Eileen Atkins
Lila Ross: Meryl Streep
Mrs. Wittenborn: Glenn Close
Running time -- 117 minutes
MPAA rating: PG-13...
- 6/22/2007
- The Hollywood Reporter - Movie News
- Quick Links > Evening > Lajos Koltai > Focus Features > Patrick Wilson Little Children Hard Candy Patrick Wilson, star of the upcoming films Little Children and Running with Scissors, is now attached to the next project from Focus Features - Evening, the bigscreen adaptation of Susan Minot's bestselling novel. Evening tells the story of Ann Lord (Vanessa Redgrave/Claire Danes), a sixty-five-year-old woman diagnosed with terminal cancer. The film follows Ann's retreat into her past as she remembers the love of her life, while also focusing on her two daughters as they cope with their mother's impending death. The film will be directed by Lajos Koltai and has been adapted by Minot and Michael Cunningham. Starring alongside Wilson is Toni Collette and Hugh Dancy. A fan of Wilson's since "Angels in America" and a follower of his work after Hard Candy, I can't decide which film I'm more excited to see - Purple Violets or Evening.
- 9/11/2006
- IONCINEMA.com
Lajos Koltai is in final negotiations to direct the screen adaptation of Susan Minot's best-selling novel Evening for Focus Features and Hart Sharp Entertainment. Minot and Pulitzer Prize-winning author Michael Cunningham (The Hours) adapted the story of a woman, reflecting back on one weekend in her youth when she met the love of her life, as her two daughters try to come to terms with the mother's impending death while struggling with their own personal issues. Evening is the first English-language film to be directed by Hungarian filmmaker Koltai. The former cinematographer -- Oscar-nominated in 2001 for lensing Malena -- most recently directed Fateless, a historical drama based on Nobel laureate Imre Kertesz's novel about Hungarian Jews during the Holocaust. Fateless was Hungary's submission to this year's Academy Awards.
- 2/15/2006
- The Hollywood Reporter - Movie News
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