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1-20 of 54 items from 2017   « Prev | Next »

Elsa Martinelli obituary

14 July 2017 10:34 AM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »

Versatile star of Hollywood’s international years whose work spanned romantic comedies, period epics and spaghetti westerns

For more than a decade from the mid-1950s, the film star Elsa Martinelli, who has died aged 82, was one of the most prominent female Italian exports to Hollywood, along with her compatriots Sophia Loren, Gina Lollobrigida and Claudia Cardinale. In addition, Martinelli’s appearance seemed to be the sine qua non of Italian co-productions of period epics, romantic comedies, erotic sketch movies and spaghetti westerns.

It was during Hollywood’s international years that Martinelli starred opposite Kirk Douglas, John Wayne, Robert Mitchum, Charlton Heston and Anthony Quinn, and, both in the Us and Italy, worked with directors such as André De Toth, Guy Hamilton, Dino Risi, Howard Hawks and Orson Welles. Her slim, elfin looks led to her being described by one newspaper in the 1950s as a “kind of Audrey Hepburn with sex appeal”.

Continue reading. »

- Ronald Bergan

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Italian Actress Elsa Martinelli Dies at 82

10 July 2017 12:10 PM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »

Elsa Martinelli, the Italian bombshell actress known for her classic looks and jet-set lifestyle, working between Hollywood, Paris and Rome, died Saturday in Rome. She was 82.

Martinelli was originally discovered as a model in 1953 by designer Roberto Capucci. She began taking on small roles, beginning in 1954 with Claude Autant-Lara’s The Red and the Black.

But her most famous role came just two years later after Kirk Douglas (or his wife, according to an alternate version of the story) claimed to have spotted her on a Life magazine cover. Douglas recruited her to play a Sioux chief’s daughter »

- Ariston Anderson

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Elsa Martinelli Dead At Age 82; "Hatari!" And "The V.I.Ps" Among Her Screen Credits

10 July 2017 9:54 AM, PDT | | See recent CinemaRetro news »

Martinelli and Wayne in "Hatari!" (1962)

Elsa Martinelli, who gravitated from modeling to a successful acting career in the 1950s, has died at age 82. Martinelli was a popular model in her native Italy when she was discovered by Kirk Douglas and his wife Anne. The Douglases decided to cast the unknown as an Indian maiden in Kirk's 1955 hit Western "The Indian Fighter". The film raised eyebrows at the time for presenting an inter-racial love affair between their characters. The movie helped successfully launch Martinelli's screen career in European cinema but it would be years before she starred in her next major Hollywood production. In 1962 director Howard Hawks cast her as the female lead opposite John Wayne his big budget African adventure "Hatari!". The film was a sizable hit and Martinelli began to appear in more American studio productions. She starred opposite Charlton Heston in "The Pigeon That Took Rome", with Richard Burton »

- (Cinema Retro)

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Elsa Martinelli, ‘The Indian Fighter Star,’ Dies at 82

10 July 2017 2:21 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Rome — Italian actress Elsa Martinelli, who starred opposite Kirk Douglas in 1955 western “The Indian Fighter” and went on to gain international recognition working, among others, with directors Mario Monicelli, Roger Vadim, Orson Welles, Howard Hawkes, and Elio Petri died on July 8 in Rome. She was 82.

Born in the Tuscan city of Grosseto, Martinelli moved to Rome in the early 1950’s and started a career as a model, after her beautiful slim physique was noticed by fashion designer Roberto Capucci. She soon appeared in “Vogue” and “Life,” which is where she was noticed by Kirk Douglas’ wife Anne Buydens.

Martinelli in 1954 made her acting debut in Stendhal adaptation “Le Rouge et le Noir,” directed by France’s Claude Autant-Lara.

Her breakout role came the following year in Andre de Toth’s “The Indian Fighter, which Douglas produced.

“Sex in the person of Elsa Martinelli, Italian actress introduced here, and the relationship of her Indian maid character with Douglas »

- Nick Vivarelli

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Italian Actress Elsa Martinelli, Who Famously Starred in The Indian Fighter, Dead at 82: Reports

8 July 2017 9:55 AM, PDT | | See recent news »

Italian actress Elsa Martinelli, known to U.S. audiences her breakout role in 1955’s The Indian Fighter opposite Kirk Douglas, died Saturday in Rome at the age of 82, according to Italian media.

Born in Tuscany, Martinelli began her career as a model — appearing in the pages of Vogue and on the cover of Life. She then began taking on smaller roles in films, becoming one of the first models to make the crossover into film and paving the way for stars like Cameron DiazSofia Vergara, and Charlize Theron.

A role in 1954’s Le Rouge et le Noir —  the French »

- Dave Quinn

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More 4th of July Escapism: Small-Town Iowa and Declaration of Independence Musicals

4 July 2017 11:58 PM, PDT | Alt Film Guide | See recent Alt Film Guide news »

(See previous post: Fourth of July Movies: Escapism During a Weird Year.) On the evening of the Fourth of July, besides fireworks, fire hazards, and Yankee Doodle Dandy, if you're watching TCM in the U.S. and Canada, there's the following: Peter H. Hunt's 1776 (1972), a largely forgotten film musical based on the Broadway hit with music by Sherman Edwards. William Daniels, who was recently on TCM talking about 1776 and a couple of other movies (A Thousand Clowns, Dodsworth), has one of the key roles as John Adams. Howard Da Silva, blacklisted for over a decade after being named a communist during the House Un-American Committee hearings of the early 1950s (Robert Taylor was one who mentioned him in his testimony), plays Benjamin Franklin. Ken Howard is Thomas Jefferson, a role he would reprise in John Huston's 1976 short Independence. (In the short, Pat Hingle was cast as John Adams; Eli Wallach was Benjamin Franklin.) Warner »

- Andre Soares

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‘Star Wars’ Han Solo Spinoff: Lord & Miller Firing Is Latest in Long Line of Director Exits

21 June 2017 2:40 PM, PDT | Variety - Film News | See recent Variety - Film News news »

Directors Phil Lord and Chris Miller were dumped from the Han Solo spinoff film this week after more than four months of production, an unusually late date to make a shift behind the camera. That leaves the “Star Wars” production scrambling to find a replacement with weeks left of shooting and a scheduled five weeks of reshoots coming later this summer, an unenviable position for one of the biggest franchises in the entertainment industry and all involved.

The film, which is still untitled, isn’t the first to change its director in midstream. Classics such as “Gone With the Wind” and “Wizard of Oz” cycled through filmmakers, while duds like “The 13th Warrior” and “The Island of Dr. Moreau” also brought in fresh blood in the middle of shooting. But despite plenty of precedents, Lord and Miller’s firing is setting tongues wagging.

“It has certainly happened on a number of occasions, but not under such scrutiny and not usually this far into production,” said Leonard Maltin, a film critic and historian.

Frequently, a director is dropped after he finds himself on the losing end of a power struggle. During “Gone With the Wind,” Clark Gable pushed to have George Cukor replaced with Victor Fleming because Gable felt that the filmmaker was paying too much attention to his co-star, Vivien Leigh. While shooting “Spartacus,” Kirk Douglas used his clout to have Anthony Mann replaced with Stanley Kubrick because he believe that his hand-picked substitute could better handle the film’s epic scope. And in “Waterworld” it was Kevin Costner, and not credited director Kevin Reynolds, who handled the film’s final cut after the two clashed on the notoriously troubled and costly production.


Why Movies Need Directors Like Phil Lord and Chris Miller More Than Ever

More recently, Steven Soderbergh left “Moneyball” due to his desire to shoot documentary-style, while Pixar parted ways with the the directors of several of its films, from “Ratatouille” to the “Brave” to “The Good Dinosaur,” over differing creative ideas about the animated offerings. In most cases, these movies survived their filmmaking shuffles to succeed financially and artistically, proving that a rocky path to the big screen does not necessarily foretell doom.

That’s to say nothing of the pictures whose financial backers probably wished in retrospect that they’d pulled the plug on a director. Costly overruns on “Heaven’s Gate,” Michael Cimino’s brooding Western epic, essentially bankrupted United Artists, and Joseph L. Mankiewicz’s “Cleopatra” went so egregiously over budget that it brought Fox to the brink of financial ruin. Perhaps another filmmaker would have been able to rein in some of the spending?

But there are reasons why studios have historically been loathe to make a change after cameras start rolling.

“Once a film begins production it’s a runaway train and the backers of the film are reluctant to remove the conductor from the train for fear of it being even more of a disaster,” said Howard Suber, a professor of film history at UCLA. “It becomes a decision between cutting your losses and possibly starting all over again or hoping that things somehow are able to get better.”

It’s harder to overhaul a project without drawing a lot of scrutiny. In the days of “The Wizard of Oz” or “Gone With the Wind,” the public wasn’t as versed in film production — studios might expect a report of a production shakeup in a trade paper such as Variety, but it rarely filtered out across the mass media. That’s no longer the case. From Entertainment Tonight to the New York Times to Twitter, news of Lord and Miller’s ouster was ubiquitous this week.

“The public is now reading about controversies on films and who gets hired here and who gets fired there,” said Dana Polan, professor of cinema studies at Nyu. “That was not a thing before.”

In the case of the Han Solo spinoff shakeup, insiders say that Lord and Miller clashed with Lucasfilm chief Kathleen Kennedy and writer and executive producer Lawrence Kasdan over their vision for the film and its execution. Lord and Miller wanted to inject more cheekiness into the “Star Wars” universe and encouraged improvisation on set. Kasdan and Kennedy believed in adhering more tightly to the script and were concerned that the directors were deviating too far from the franchise’s “house style.” They preferred something that was more reverent, which they might get if Ron Howard or Joe Johnston, both rumored to be in the running for the gig, take over as director.

The Lord and Miller firing is also a reminder of a new cinematic reality. Auteur theory, a popular school of thought in film criticism, once held that the director is the true author of a film because he or she makes the key audio and visual decisions. That view was given so much credence that 1980’s “The Stunt Man” offered up Peter O’Toole as a God-like film director, an artistic zealot willing to trample over anyone and everyone in order to get the perfect shot.

Miller and Lord’s ouster, however, demonstrates the limitations of a director’s power in a rapidly changing movie landscape. It’s a caste structure in which brands, be they costumed heroes or robots,  are the true stars in Hollywood. As Lord and Miller discovered, no filmmaker is more important than the Jedi mythology that lies at the heart of the “Star Wars” universe. With billions of dollars in box office and merchandising at stake, studios aren’t as receptive to a director who wants to take an iconoclastic approach to the material.


12 Directors Who Were Pushed from the Director’s Chair

As studios have grown more corporate and more dependent on a few major franchises, productions have become more bureaucratic. It’s Kennedy and her team at Lucasfilm who are making most of the major decisions about where to take the “Star Wars” universe, just as executive teams at DC (Geoff Johns and Jon Berg) and Marvel (Kevin Feige) are exerting enormous control over the gestations of the various sequels and spinoffs that they churn out annually. In the old days, the first move would be to hire a director. Now, a filmmaker is often brought onto a project after a script has been written and even storyboarded.

Whether it’s Lord and Miller on the Han Solo film or Rian Johnson on “Star Wars: The Last Jedi,” the directors aren’t generals marshaling their film crews and casts into battle. They’re hired guns.

There’s a lot less job stability when you’re a mercenary.

Related storiesRon Howard to Take Over as Director of 'Star Wars' Han Solo SpinoffWhy Movies Need Directors Like Phil Lord and Chris Miller More Than Ever'Star Wars' Han Solo Spinoff: Lord & Miller Fired After Clashing With Kathleen Kennedy (Exclusive) »

- Brent Lang

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Lord and Miller: 12 other directors who left/got fired from movies during production

21 June 2017 5:52 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »

Luke Owen looks at directors who left/got fired from movies during production…

With the shocking news that Phil Lord and Chris Miller have vacated the director’s chairs for the yet-to-be-titled Han Solo movie over “creative differences” (some sources say they were forced out), I thought it was time to look at some other directors who faced similar issues.

It’s no secret that making a tentpole movie for a studio is tricky. Duncan Jones has been very vocal as of late about the issues he had with last year’s Warcraft, and it was rumoured a few years ago that Gareth Edwards faced an uphill battle with Warner Bros. and Legendary on 2014’s Godzilla reboot. The 1993 Super Mario Bros. movie had its script re-written the weekend before production started with no input from the directors, who were then locked out of the editing room during post-production (they were eventually let back in).

Most of the time directors leave before production actually starts, and someone new is brought in. Edgar Wright left Ant-Man, Patty Jenkins left Thor: The Dark World, Rick Famuyiwa and Seth Grahame-Smith both left The Flash, Ben Affleck stepped down from The Batman, Stephen Herrick left Lara Croft: Tomb Raider; the list goes on. But very rarely does a director leave (or get fired) while the movie is in production. Usually if a studio loses faith in the director at that point, they would bring in someone else to “oversee” the movie and get it over the finish line. The aforementioned Godzilla saw this very occurrence, as did Mission: Impossible II when the legendary Stuart Baird was brought in to “fix” the movie Jon Woo originally helmed. Baird in fact has a long history with this, being a fixer on titles such as Superman: The Motion Picture, The Omen and Lethal Weapon.

There are still four or so weeks left on the Han Solo movie (plus the already planned reshoots), so let’s look back at a few other directors who left/got fired from their films.

The Wizard of Oz, 1939

It seems crazy to think that one of the most beloved movies of all-time had such a tumultuous production, but The Wizard of Oz in fact saw six different directors helm the movie. Norman Taurog originally shot test footage, but was quickly replaced with Richard Thorpe who shot for around two weeks when Taurog was moved to The Adventures of Tom Sawyer. Producer Mervyn LeRoy felt that Thorpe was rushing the production, and his short time on the film was probably not helped when original Tin Man Buddy Epsen was hospitalised after the metal make-up coated his lungs and left him on an Iron Lung.

None of Thorpe’s footage made it into the final cut (although he did shoot Dorothy’s first meeting Scarecrow and several scenes at The Wicked Witch’s castle), and George Cucker came in after Thorpe was fired. However, Cucker didn’t actually shoot any footage, and was there to simply oversee the plans to re-shoot all of Thorpe’s work until Victor Fleming came in. Although he was eventually the only credited director, Fleming left before production ended to film Gone with the Wind, and the shooting was finished by King Vidor and LeRoy.

Gone with the Wind, 1939

Speaking of Gone with the Wind, George Cucker had been developing the movie with producer David O. Selznick for around two years, but was removed from the project three weeks into production. According to reports, the decision to remove Cucker was Clark Gable’s and it angered fellow co-stars Vivien Leigh and Olivia de Havilland who went to Selznick’s office to demand he be re-hired. In Cucker’s place was Victor Fleming, who shot the majority of the movie over ninety-three days (although Cucker was secretly coaching Leigh and Havilland behind the scenes). Fleming wasn’t the final name on the movie however, as he had to take a short break due to exhaustion and Sam Wood shot for around twenty-three days.

Spartacus, 1960

Although considered a Stanley Kubrick movie, he wasn’t the first name attached to Spartacus. After David Lean turned down the movie, it was offered to Anthony Mann who was then fired by star Kirk Douglas after just one week of production. According to Douglas in his autobiography, Mann was “scared” of the size and scope of Spartacus and wasn’t capable of finishing the film.

Superman II, 1980

Shooting for Superman II was done alongside Superman: The Motion Picture in 1977 with Richard Donner doing both films. However the film was under a lot of pressure, with overrunning schedules and budget, which producers Alexander and Ilya Salkind and Pierre Spengler attributed to Donner. After everything was shot for Superman: The Motion Picture, Superman II was placed on hiatus. Once Superman: The Motion Picture was an instant hit, the producers brought in Richard Lester to replace Donner on Superman II and shoot around the footage already filmed. Why Lester replaced Donner is still up for debate. Spengler has claimed that Donner was asked to come back but refused, while Donner claims he only found out Superman II was getting underway when he received a fax from the Salkinds telling him his services weren’t required.

The cast and crew did not take the replacement lightly, with creative consultants Tom Mankiewicz and editor Stuart Baird refusing to return for the sequel, along with Gene Hackman who was replaced with a body double. Although Marlon Brando had already shot everything for both movies, he successfully sued the Salkinds who then cut him out of the sequel. Years later, Warner Bros. released the Richard Donner cut of Superman II on home video as Superman II: The Donner Cut.

Piranha II: The Spawning, 1981

Piranha II was originally set to be directed by Roger Corman graduate Miller Drake, who envisioned a version of the movie which saw the return of Kevin McCarthy (who died in the original film). Drake was then replaced with James Cameron who was working on the film’s special effects department, and he then re-wrote the script under the pseudonym H.A. Milton. However around two weeks into production, Cameron was fired by producer Ovidio G. Assonitis who felt he wasn’t doing a good enough job. Assonitis wouldn’t let Cameron review any of the footage he’d shot during his time on the movie, and was even making all of the day-to-day decisions.

A regularly reported story was that Cameron broke into the editing room while the producers were in Cannes to cut his version of the movie, which was then re-cut by Assonitis. “Then the producer wouldn’t take my name off the picture because [contractually] they couldn’t deliver it with an Italian name,” Cameron said in a 1991 La Times interview. “So they left me on, no matter what I did. I had no legal power to influence him from Pomona, California, where I was sleeping on a friend’s couch. I didn’t even know an attorney. In actual fact, I did some directing on the film, but I don’t feel it was my first movie.”

WarGames, 1983

WarGames began life as a very different movie titled The Genius in 1979 about a much older gentlemen, but this changed when writers Walter F. Parkes and Lawrence Lasker discovered a large youth-movement in the computer world, who would later be known as hackers. The character of David Lightman (played by Matthew Broderick) was even modeled after hacking enthusiast David Scott Lewis.

When the film went into production it was being helmed by Martin Brest who was then removed from the movie 12-days into shooting after a disagreement with the producers. In his place was John Badham, whose first act was to lighten the tone of the movie. “[Brest had] taken a somewhat dark approach to the story, and saw Matthew’s character as someone who was rebelling against his parents, and who was just kind of stewing inside,” he told The Hollywood Interview in 2009. “There was that tone to it. I said ‘If I was 16 and could get on a computer and change my grades or my girlfriend’s grades, I would be peeing in my pants with excitement!’ And the way it was shot, it was like they were doing some Nazi undercover thing. So it was my job to make it seem like they were having fun, and that it was exciting, but it wasn’t this dark rebellion.” »

- Luke Owen

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Jimmy Fallon on Prince’s Ping-Pong Obsession — and That Time He Accidentally Destroyed One of The Roots’ Guitars

8 June 2017 9:00 AM, PDT | | See recent news »

Everyone knows Jimmy Fallon has no shame in embracing his bromance with Justin Timberlake, but what many might not know is he also had a special connection to music icon Prince.

In a panel on Wednesday evening at the Paley Center for Media in New York City, Fallon and The Roots members Questlove and Black Thought reminisced on their favorite musical guests that appeared on The Tonight Show.

Fallon, 42, shared fond memories of the late musician, who was seemingly “obsessed” with setting up a ping-pong showdown.

Prince was going to be on the show and his manager calls and goes, »

- Joelle Goldstein

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Jimmy Fallon and Roots Members Talk Musical Moments From ‘Tonight Show’

7 June 2017 8:30 PM, PDT | Variety - TV News | See recent Variety - TV News news »

The time that Prince showed up to perform on “The Tonight Show” without a guitar. The time a nervous Barbra Streisand hit her nose on the microphone stand in rehearsal. The time Jimmy Fallon convinced the Roots to become his house band by turning them into a human pyramid on a football field at UCLA.

Those were among the stories that emerged Wednesday night at the Paley Center for Media in New York when Fallon and Roots members AhmirQuestlove” Thompson and TariqBlack Thought” Trotter gathered with “Tonight Show” director Dave Diomedi to talk about favorite musical moments from the show.

Here are seven fun facts that emerged from the spirited conversation:

1. The “hey, hey, hey, hey” theme song for Fallon’s “Tonight Show” was rooted in the very first bumper music (the bits played leading in and out of commercials) the Roots wrote when their partnership with Fallon began in 2009 on NBC’s “Late Night with Jimmy Fallon.” Drummer »

- Cynthia Littleton

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10 Best TV Shows to Watch in June: Killer Cars, Putin Speaks and More

31 May 2017 6:12 AM, PDT | | See recent Rolling Stone news »

It's a strange month for TV, a sort of negative zone after the networks wrap up their big-ticket programming and before they launch their summer favorites. (Game of Thrones doesn't come back until July, so we can all chill, if not Netflix-and-chill, for another few weeks.) While a few favorites will make their long-awaited returns this month – good to see you again, Preacher! How ya been, Orphan Black? – there's no better time to investigate something new and/or more unusual. Say, a Florida noir touched up with ridiculous humor, or »

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Review: "The Indian Fighter" (1955) Starring Kirk Douglas; Kino Lorber Blu-ray Release

26 May 2017 6:51 AM, PDT | | See recent CinemaRetro news »

By John M. Whalen

It goes without saying that Kirk Douglas is a Hollywood icon. From his first role as Walter O’Neill in “The Strange Love of Martha Ivers,” (1946) to “Spartacus” (1960) and beyond that until his last, so far, appearance in a made for TV movie, he remains—even in retirement after a stroke and a helicopter crash— one of those larger than life movie stars, the kind they just don’t make any more.  He had a look and a style. Those shiny white teeth could as easily smile charmingly at you or snarl like a barracuda. His bright blue eyes could be full of tenderness one minute, as in his love scenes in “Spartacus,” or fierce and mean as in “Gunfight at the Ok Corral.” He played complex characters that were always a mix of good and bad, but never evil.

Such a character is Johnny Hawks, »

- (Cinema Retro)

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Willem Dafoe as Vincent Van Gogh in ‘At Eternity’s Gate’: Julian Schnabel Gives Us An Exclusive First Look

23 May 2017 2:37 PM, PDT | Indiewire | See recent Indiewire news »

If anyone can show us something we haven’t seen before about Dutch painter Vincent Van Gogh, it’s Oscar-nominated painter-filmmaker Julian Schnabel, who announced at Cannes that he will direct “At Eternity’s Gate” starring Willem Dafoe (who also stars in Director’s Fortnight entry “The Florida Project”) as the world’s most acclaimed Post-Impressionist painter, who died at age 37 before he was recognized for his gifts.

“I’ve been working on it for a couple of years,” said Schnabel on the phone from Montauk. “It has to do with trying to make a work of art. By making a film about him, I might shed a little light on what it is to be doing what he’s doing, who he really was, and what his issues were, what somebody needed to do to do what he did, and what he’s not going to do.”

Produced by »

- Anne Thompson

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Willem Dafoe as Vincent Van Gogh in ‘At Eternity’s Gate’: Julian Schnabel Gives Us An Exclusive First Look

23 May 2017 2:37 PM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »

If anyone can show us something we haven’t seen before about Dutch painter Vincent Van Gogh, it’s Oscar-nominated painter-filmmaker Julian Schnabel, who announced at Cannes that he will direct “At Eternity’s Gate” starring Willem Dafoe (who also stars in Director’s Fortnight entry “The Florida Project”) as the world’s most acclaimed Post-Impressionist painter, who died at age 37 before he was recognized for his gifts.

“I’ve been working on it for a couple of years,” said Schnabel on the phone from Montauk. “It has to do with trying to make a work of art. By making a film about him, I might shed a little light on what it is to be doing what he’s doing, who he really was, and what his issues were, what somebody needed to do to do what he did, and what he’s not going to do.”

Produced by »

- Anne Thompson

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Newswire: Willem Dafoe to play Vincent van Gogh in impressionistic new biopic

22 May 2017 10:24 AM, PDT | | See recent The AV Club news »

Over the years, Vincent van Gogh has been played by Kirk Douglas, Benedict Cumberbatch, and even Tony Curran in those Doctor Who episodes. But now it’s Willem Dafoe’s turn to tackle the impressionist in an upcoming film titled At Eternity’s Gate, Deadline reports. Given the talent involved, it’s safe to assume that this isn’t your standard biopic: It’s being directed by The Diving Bell And The Butterfly’s Julian Schnabel, who’s also a visual artist, and looks to be a more impressionistic—get it?—take on the painter. “This is a film about painting and a painter and their relationship to infinity,” Schnabel says. “It is told by a painter. It contains what I felt were essential moments in his life; this is not the official history—it’s my version. One that I hope could make you closer to him.” Yes, but »

- Esther Zuckerman

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‘Conan the Barbarian’ at 35: How Darth Vader Helped Arnold Schwarzenegger Beat the Muscle Man Stereotype

13 May 2017 10:00 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Arnold Schwarzenegger’s films have grossed $1.9 billion in North America. Among his classics are James Cameron’s 1984’s “The Terminator”; 1991’s “The Terminator 2: Judgment Day”; and 1994’s “True Lies,” as well as such hits as 1987’s “Predator” and 2012’s “The Expendables 2.”

His movie catch phrases such as “I’ll be back”; “Hasta la Vista, Baby”; and “Get to the chopper” have become part of the pop culture lexicon.

Schwarzenegger even served as the Governor of California from 2003 to 2011. And has recently has gone mano y mano in a Twitter feud with President Trump. Guess who won?

But would he have been as big a star — let alone as governor — without his breakout role in John Milius’ “Conan the Barbarian”? The violent, erotic R-rated sword-and-fantasy adventure based on the stories of 1930’s pulp fiction writer Robert E. Howard opened in 1,400 theaters on May 14, 1982. Though reviews were decidedly mixed — Variety »

- Susan King

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HBO Releases Trailer For Carl Reiner Documentary

12 May 2017 1:40 PM, PDT | | See recent AwardsDaily news »

HBO unveils a trailer for its upcoming Carl Reiner documentary about life after 90. The film features interviews with Betty White, Kirk Douglas, and more. HBO debuts a new Carl Reiner »

- Clarence Moye

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‘If You’re Not In The Obit, Eat Breakfast’ HBO Trailer Debuts – Watch

12 May 2017 10:55 AM, PDT | Deadline | See recent Deadline news »

HBO just released the trailer for If You're Not In the Obit, Eat Breakfast, a new documentary from producer George Shapiro and director Danny Gold which is about he vitality of those people who are going strong after age 90 and includes some of the biggest legends in the entertainment industry. It will debut June 5 on HBO. Some of those in the film are Shapiro, Stan Lee, Tony Bennett, Mel Brooks, Kirk Douglas, Irving Fields, Stan Harper, Norman Lear, Dick Van Dyke and… »

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Kirk Douglas: How I Met My Wife at the Cannes Film Festival (Exclusive Book Excerpt)

10 May 2017 6:00 AM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »

he 1953 photos of Kirk Douglas and Brigitte Bardot frolicking on the beach — semi-spontaneous, semi-staged — captured the combination of American masculinity and European sexiness that defined post-World War II cinema and were seen around the world. Despite his obvious affection for Bardot, Douglas, then 36, was falling in love with Anne Buydens, then 34, who had just joined Cannes as the head of protocol. In this excerpt from their new joint memoir, Kirk and Anne: Letters of Love, Laughter, and a Lifetime in Hollywood, the pair, who married in 1954, recall meeting in Paris in early 1953 »

- Kirk and Anne Douglas

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Cannes' 70 Most Memorable Stunts, Stars, Fights and Iconic Moments

10 May 2017 6:00 AM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »

Cannes turns 70 this year. The one-of-a-kind carnival of film, fashion, skin and scandal has survived Hitler and the hippies, jewel heists and muggings, fake terror threats and even the horror that was Borat's mankini.

Through the years, the festival has been a place for romance — it's where Prince Rainier wooed Grace Kelly, Brigitte Bardot flirted with Kirk Douglas and Ryan Gosling bromanced Nicolas Winding Refn.

It's been a place for business: where the majors and the moochers came to shill for their films, with publicity stunts both boffo (tanks! giant flying bees!) and brazen, including »

- THR Staff

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