The Show | This Is Us
The Episode | “Number Two” (Nov. 21)
The Performance | Going through a heartbreak is painful. Being the person supporting someone going through a heartbreak — while simultaneously experiencing your own major emotional pain — can be worse. And in Tuesday’s This Is Us, Sullivan did a first-rate job of conveying just how hard Toby was working to comfort Kate after her miscarriage.
The NBC series often relies on Sullivan for comic relief, especially in the midst of Pearson family turmoil (and to varied effect). But when it was time for upset and disappointment in Toby’s own family,
A couple of ghosts from Mr. Robot seasons past reappeared this week, as Elliot and company dealt with the fallout from last week’s tragedy.
Hey, remember Trenton and Mobley? Those two fsociety hackers who ran away to Arizona last season, where Elliot’s old cellmate Leon found them? They’re still alive, but just barely: Leon cuts their roommate’s throat before driving them off to a remote, Breaking Bad-esque spot in the desert, where he has them dig a grave. (They try to escape, but Trenton can’t drive,
Kassianides will play an enigmatic tough guy with connections to the mayor of Chicago, as well as the city’s top developer, according to our sister site Deadline. His character will be introduced in the upcoming Season 7 finale of Suits, which will serve as a backdoor pilot for the spinoff. Gina Torres is set to reprise her Suits role as attorney Jessica Pearson in the spinoff, which sees Jessica entering the world of Chicago politics.
Related Suits Shocker:
Paul G. Allen’s Vulcan Productions is backing the documentary “Oliver Sacks: His Own Life” in partnership with Steeplechase Films, American Masters Pictures, Motto Pictures, Passion Pictures, and Tangled Bank Studios.
Directed by filmmaker Ric Burns (“New York,” “Andy Warhol”), the film attempts to provide an exploration of human consciousness and the intimate relationship between art and science. Burns shot footage in the months before Sacks died in 2015, including more than 80 hours with the physician himself, his partner, and his closest family, friends, and colleagues.
Allen and Carole Tomko, general manager of Vulcan Productions, are executive producers of “Oliver Sacks: His Own Life,” along with Julie Goldman of Motto Pictures and Michael Kantor of American Masters Pictures. Vulcan said Friday
Wednesday’s one-hour premiere kicks off with Michael trying to convince his boss Shawn that Take 2 on his “faux Good Place” idea will work out better than last season, with an all-new set of subtle tortures: “For example: All the coffee is from those little pods? Diabolical.” But Shawn still thinks the idea is dumb, and the other residents (all demons, too) aren’t sure about it,
Stripped down, occasionally rough and always electrifying,
How to Succeed in Business Without Really Trying
1967 / Color / 2:35 widescreen / 121 min. / Street Date March 14, 2017 / Available from the Twilight Time Movies Store 29.95
Starring: Robert Morse, Michele Lee, Rudy Vallee, Anthony Teague, Maureen Arthur, Sammy Smith, Robert Q. Lewis, Carol Worthington, Kathryn Reynolds, Ruth Kobart, George Fennemann, Tucker Smith, David Swift.
Cinematography: Burnett Guffey
Film Editor: Allan Jacobs, Ralph E. Winters
Original Music: Nelson Riddle
Art Direction: Robert Boyle
Visual Gags: Virgil Partch
From the play written by Frank Loesser, Abe Burrows,
As William Greaves declared, “it’s important that as a result of the totality of all these efforts, we arrive at a creative piece of cinematic experience.”
The same could be said of any movie, I suppose. But the sentiment expressed above is especially applicable and indicative of the net cumulative impact that resonates in the sensory receptor system of individual viewers of that hilariously salacious film known as Symbiopsychotaxiplasm Take One, filmed in the summer of 1968 on a lawn in Central Park, New York City, and also in a few relatively nearby locations including a room situated in an undisclosed location (presumably somewhere in Central Manhattan) where members of the crew gathered to provide an additional layer of insider commentary filmed in real time to shed light on the genesis, exodus and revelation of what Director Greaves may or
Trump’s move makes good on his campaign pledge to approve the Keystone Xl pipeline project, which would transport crude oil from Canada’s tar sands to the Gulf of Mexico — and which was rejected by former President Barack Obama in 2015.
The Dakota Access pipeline, which would run 1,100-miles from North Dakota to Illinois, has also been harshly criticized by
UK and international studio hub Pinewood Group has reported a 10.9% increase in revenue to £83.2 million ($108 million) for the year ended March 31, 2016, helped significantly by Us blockbusters Star Wars: The Force Awakens and Spectre.
Operating profit rose 136% to £13.6 million ($17.6 million).
Stage occupancy was 90%, up 10% on the year before. Subsidiary Shepperton Studios hosted seven of the top 25 grossing films of the year.
Following the UK’s decision to leave the European Union, and the consequent fall in the value of the pound, the in-demand Pinewood facilities could see even more demand for their studio space.
“In the context of our business, the decline in the sterling exchange rate is undoubtedly positive for our international customers,” Ivan Dunleavy, Pinewood chief executive, said.
Last month the company’s significant expansion plans became operational with five stages added to the existing
Take 2, a co-production with Jack Neo’s J Team Productions, is about a bittersweet drama about ex-offenders.
It will be directed by writer-turned-director Ivan Ho, whose writing credits include Ah Boys To Men 3: Frogmen and Long Long Time Ago, both of which directed by Neo.
Ibu is a horror based on the folklore of the Pontianak, the most iconic female vampire in South East Asia.
M Rihan Halim will direct the new film, which will be made simultaneously in both Malay- and Mandarin-language to cater to different markets.
Ghost Net is a Hong Kong-set omnibus horror story by Wong Kwok Fai, Patrick Yau and Wong Kwok Keung.
mm2 Entertainment is a subsidiary of mm2 Asia, a publicly listed company in Singapore.
Long Long Time Ago [pictured], the latest co-production between mm2 Entertainment and J Team
Frances Fisher and Patricia Richardson are objecting to the Trustees’ recent decision over the plan — which is overseen by reps of the performers union and management — to eliminate the self-pay option for health insurance premiums for members who have taken early retirement. That decision will go into effect at the end of the year.
The plan, which covers about 40,000 members and dependents, disclosed the decision in its Take 2 fall newsletter, saying that the self-pay option was no longer necessary because of the availability of “high-quality, affordable coverage” through the Affordable Care Act Marketplace.
“Protection is in place for those with pre-existing conditions and this extended coverage safety net is no longer necessary,” the newsletter said.
Currently, self-pay coverage ranges from $492 to $584 monthly for an individual and
“ It is a great privilege to present our 2015 Career Achievement Award to Stanley Nelson. His award-winning documentary films on social justice issues were early windows into race relations. His latest film, “The Black Panthers: Vanguard Of The Revolution” continues the provocative dialogue, even more relevant in America today. We honor his commitment to honesty, truth and artistic rigor.” -Jacqui Lofaro, Founder and Executive Director, Hamptons Take 2 Documentary Film Festival
Stanley Nelson is the co-founder and Executive Director of Firelight Films and co-founder of Firelight Media, which provides grants and technical support to emerging documentarians. Firelight is one of nine nonprofit organizations around the world to receive the 2015 MacArthur Award for Creative and Effective Institutions. The Award, recognizes exceptional nonprofit organizations which have demonstrated creativity and impact, and invests in their long-term sustainability with sizable one-time grants.
With 35 films and multiple industry awards to his credit, Nelson is acknowledged as one of the premier documentary filmmakers working today. He has a clear, vibrant and consistent voice, creating evocative films which document issues of social injustice. His films have earned five Primetime Emmys, two awards from the Sundance Film Festival, and two Peabodys, among other honors. With a dogged insistence on finding new voices and new witnesses, Nelson has illuminated stories that we thought we knew, particularly about the African-American experience. Aside from being a MacArthur “Genius” Fellow, he is a member of the Academy of Motion Picture Arts and Sciences and a recipient of the Neh National Medal in the Humanities presented by President Obama in 2014.
I had an opportunity to speak with Stanley recently concerning the announcement of his Career Achievement Award from the Hamptons Take 2 Documentary Film Festival (HT2FF).
You have won so many prizes, what does it mean to you to receive the Career Achievement Award from the HT2FF?
It is always great to receive accolades; it doesn’t get old. Documentary filmmakers don’t get recognition every day. It’s not like we go to a restaurant and everyone falls all over us. To be recognized because people are seeing and liking my films is great and the award means this is happening.
In addition to receiving the MacArthur Genius Award, your company, Firelight Media, won the 2015 MacArthur Award. How has that helped you?
My personal award sent my three kids to school and sustained me as a filmmaker. The Award to Firelight Media will help sustain the Lab mentoring filmmakers of color making their first and second films. One of the things that is essential to me as a filmmaker is to try to give the viewer a sense of what it has meant to be black in America and consider this within our contemporary context.
Nelson has directed and produced such acclaimed work as “The Murder Of Emmett Till” an eye-opening film which reveals so much beyond what the headlines of the times told us, the public. His other stirring docs include “Freedom Riders” (his personal favorite) and “Jonestown: The Life And Death Of People’s Temple”
In 2014, “Freedom Summer” presented an astounding history of what led up to the Black Power Movement. When it premiered at the Sundance Film Festival, the audience was stunned at how he put into context the 1964 voter registration drive in Mississippi, the surprising truth of the Chicago Democratic Convention and the Mississippi delegation and how the turn of events led to the Black Power Movement and to the Voting Rights Act.
The delegation never got the chance to speak from the floor. Many then said, "We can’t keep being the good soldier and following the rules when we can’t do our best." Some moved into action, some dropped out. They thought, "If we just 'show' you the wrongs, the injustice, police with dogs and fire-hoses and show you that we’re non-violent, you can’t help but support us." But the Democratic National Convention failed them, and the young had to do something new.
The last image in “Freedom Summer” you see Stokely Carmichael saying “We want Black Power”. In the opening of your most recent film, “The Black Panthers: Vanguard Of The Revolution” he is also chanting “We want Black Power” which gives a continuity to the two films. Tell me a bit about what prompted you to tell this story?
I felt it was a little known story, that hadn’t been told in its entirety. In particular, I wanted to offer a unique and engaging opportunity to examine a very complex moment in time that challenges the cold, oversimplified narrative of a Panther who is prone to violence and consumed with anger. Thoroughly examining the history of the Black Panther Party allowed me to sift through the fragmented perceptions and find the core driver of the movement: the Black Panther Party emerged out of a love for their people, and a devotion to empowering them. This compelled me to communicate the story fully and accurately. And for the release in August of the film, I attended every opening in 20 cities nationwide, along with former Black Panthers, scholars and photographers.
How did you get started in filmmaking?
I thought I wanted to make fiction features but I stumbled into Bill Greaves and got into documentary filmmaking with him and never looked back.
If someone offered me a million dollars to make a fiction project I think I would. But I know how you have to jump through hoops to make a feature and that pain would be difficult. I don’t have a particular idea or a script and that is hardest part of fiction; how to get a great script, cast, funding. Docs are known at least…
What films inspired you?
“Eyes on the Prize”. It was the first time we saw a series on African Americans. It got so much attention worldwide. It opened eyes to the African American history and it was fascinating to everyone. And it inspired a whole generation of African American filmmakers.
Do you have a sense of Mission in your filmmaking?
This morning I was interviewing an assistant editor and said to him, “We are on a mission here”; getting ahead in a career is ok, but here we are on a mission.”
We have a history we’ve been fortunate to be able to tell. I see my ancestors on my shoulder saying “Don’t screw up”.
We are also on a mission to tell good stories and to entertain people. I hope our films move people to action one way or the other. Many of our films lately are about young people who are making changes.
Did your parents raise you with social awareness or activism?
They were very politically minded and we talked about politics all the time around the dinner table. We were raised to be aware. I remember when I was 15 or 16 when the Panthers started, I would come home and turn on TV and see fire-hoses and dogs attacking people. These images politicized everyone. Just like today with Black Lives Matter and the police killings, everyone has to think about what they’re seeing. In the 60s it was sustained. Viet Nam also politicized everybody. You were either going to go or you had to figure out how not to go. It affected everyone.
What do you make of the police violence against black lives today?
The blatant activities of the police that all people, black and white, are seeing and talking about is bringing awareness to the years and years of injustices. Black Lives Matters is similar to how Black Panthers began. We have to be responsible for our own communities.
Nelson is currently in production on “Tell Them We Are Rising: The Story Of Historically Black Colleges And Universities”, which is the second in a series of three films Nelson will direct as part of a new multi-platform PBS series entitled America Revisited. He is also exec producing “ Free for All: Inside the Public Library”.
For more information or to buy tickets, please go to ht2ff.com
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