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2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2006 | 2001

4 items from 2015


Berlinale 2015 Mubi Coverage Roundup

24 February 2015 10:54 AM, PST | MUBI | See recent MUBI news »

Below you will find our total coverage of the 2015 Berlin International Film Festival. New interviews will be added to the index as they are published.

Correspondences

Between Adam Cook and Daniel Kasman

#1

Introduction by Daniel Kasman

#2

Adam Cook continues the festival introduction

#3

Daniel Kasman on Guy Maddin and Evan Johnson's The Forbidden Room, Jafar Panahi's Taxi

#4

Adam Cook on Jem Cohen's Counting, Guy Maddin and Evan Johnson's The Forbidden Room, Jafar Panahi's Taxi

#5

Daniel Kasman on Berlin Critics' Week, Nathalie Nambot and Maki Berchache's Brûle la mer, Kevin B. Lee's Transformers: The Premake, Alex Ross Perry's Queen of Earth

#6

Adam Cook on Pablo Larraín's The Club, Kidlat Tahimik's Balikbayan #1 Memories of Overdevelopment Redux III, Andrew Haigh's 45 Years, Wim Wenders' Everything Will Be Fine

#7

Daniel Kasman on Werner Herzog's Queen of the Desert, Patricio Guzmán's The Pearl »

- Notebook

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Watch: 66-Minute Compilation Of Saul Bass' Famous Movie Title Sequences From Preminger To Scorsese

19 February 2015 10:05 AM, PST | The Playlist | See recent The Playlist news »

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

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Berlinale 2015. Correspondences #11

16 February 2015 8:06 AM, PST | MUBI | See recent MUBI news »

Cyclops Observes the Celestial Bodies

Dear Adam,

I want to quibble with you on a point you made about an art installation in the Forum Expanded section. Discussing the simple but strangely transfixing Je proclame la destruction, you wrote to me of the order of its two shots, of first the radical speaker coming to the microphone and then the young student hero pushing through the crowd. But this installation was on loop—couldn't it be the other way around, that the hero enters, we see an empty stage, and then the radical steps up to declare destruction? I don't recall Robert Bresson's original film (from which these two shots are taken) enough to know the order, but one of the shifting pleasures of this installation was how sometimes one shot seemed to precede the other, only for the continual repetition to shift that sense of time and causality. »

- Daniel Kasman

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Brackett and Wilder Screenwriting Efforts: From Garbo to Swanson

10 February 2015 11:45 PM, PST | Alt Film Guide | See recent Alt Film Guide news »

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

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2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2006 | 2001

4 items from 2015


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