5 items from 2015
Bill Pohlad never wanted to be that cliche of the successful industry insider who goes around town lamenting, “What I really want to do is direct.”
But the Oscar-nominated producer-financier behind “Brokeback Mountain,” “The Tree of Life” and “12 Years a Slave” really did want to direct — an ambition he harbored for years after a failed first attempt, and which grew even as he garnered increasing recognition as a backer of commercially risky, artistically ambitious indie films.
“I always had it in the back of my mind, and as time went on, it became more in the front of my mind,” Pohlad says over a recent breakfast at the Peninsula Hotel in Beverly Hills.
Marco Grob for Variety
Pohlad admits he wasn’t ready to call the shots when he directed the little-seen 1990 film “Old Explorers.” But now, more than two decades later, the 58-year-old sees much brighter prospects for the »
- Scott Foundas
'Saint Joan': Constance Cummings as the George Bernard Shaw heroine Constance Cummings on stage: George Bernard Shaw, William Shakespeare and Benn W. Levy (See previous post: "Constance Cummings: Actress Went from Harold Lloyd to Eugene O'Neill.") In the mid-1930s, Constance Cummings landed the title roles in two of husband Benn W. Levy's stage adaptations: Levy and Hubert Griffith's Young Madame Conti (1936), from Bruno Frank's original, which was presented on both sides of the Atlantic. (On Broadway, the play had a brief run in spring 1937 at the Music Box Theatre.) The Theatre Guild-produced Madame Bovary (1937), from the Gustave Flaubert novel, staged in late fall at Broadway's Broadhurst Theatre. Referring to the London production of Young Madame Conti, The Sunday Times critic James Agate wrote that the American actress had made "a roaring success out of what in other hands might so easily have been an inarticulate, »
- Andre Soares
You can't choose your neighbors in an apartment complex, and sometimes you get stuck next to a noisy, mean-spirited soul who makes you want to look in the classified ads before you even finish unpacking. Alison Parker has some rowdy neighbors around her new Brooklyn apartment, but what disturbs her the most is that nobody else lives on her floor. And that's only one of many creepy elements to be found in 1977's The Sentinel, and fans of the cult classic fright film should be excited to hear that Scream Factory has announced they will release The Sentinel on Blu-ray this summer.
From Scream Factory: "We are beyond thrilled today to report that we will be bringing the 1977 cult classic chiller The Sentinel to Blu-ray for the first time in the U.S. and Canada!
Planned release is for August. This often underrated, overlooked and shocking film from Director Michael Winner »
- Derek Anderson
Talk about a legacy. Acclaimed titles designer Saul Bass worked with some of Hollywood’s most legendary directors during his 40-plus year career, and on some of their best pictures. His first title credit was on Otto Preminger’s 1954 “Carmen Jones.” From there, Bass went on to collaborate on over 60 films, many of which have become much deserved cinema classics. In this hour-long compilation, YouTube user FlaneurSolitaire pieces together scores of Bass’ revered title sequences in chronological order, starting with “The Man with the Golden Arm” (also directed by Preminger), from 1955. (Bass’ credits from that year alone also include Robert Aldrich’s “The Big Knife,” “The Shrike” helmed by José Ferrer, Billy Wilder’s “The Seven Year Itch,” and “The Racers,” which starred Kirk Douglas and was directed by Henry Hathaway.) “The Racers” wasn’t the only Kirk Douglas film Bass did the titles for; he also designed them for »
- Zach Hollwedel
Billy Wilder and Charles Brackett movies (See previous post: "The Charles Brackett Diaries: Billy Wilder and Hollywood in the '30s and '40s.") Below is a list of movies on which Charles Brackett and Billy Wilder worked together as screenwriters, including efforts for which they did not receive screen credit. The Wilder-Brackett screenwriting partnership lasted from 1938 to 1949. During that time, they shared two Academy Awards for their work on The Lost Weekend (1945) and, with D.M. Marshman Jr., Sunset Blvd. (1950). Billy Wilder would later join forces with screenwriter I.A.L. Diamond in movies such as Some Like It Hot, The Apartment, and One, Two, Three. However well-received, Wilder's later films generally lacked the sophistication and subtlety found in his earlier work with Brackett. Charles Brackett, for his part, became associated with 20th Century-Fox, working as a producer-screenwriter. His Fox films, though frequently popular and at times applauded by critics, were decidedly made-to-order, »
- Andre Soares
5 items from 2015
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