Alfred Lutter III - News Poster


Why 'Bad News Bears' Is the Greatest Baseball Movie Ever Made

Why 'Bad News Bears' Is the Greatest Baseball Movie Ever Made
For folks who loves both baseball and movies, it's incredibly sad that Hollywood's takes on our national pastime continually whiff with a frequency that makes Adam Dunn look like Joe Dimaggio. But 40 years ago today, a film was released that got everything beautifully, hilariously and even painfully right: The Bad News Bears. A tartly-scripted comic saga about a no-hope Little League team from L.A.'s San Fernando Valley, the film — directed by Michael Ritchie from an original screenplay written by Bill Lancaster — shocked and amused audiences with its unbridled
See full article at Rolling Stone »

The Harvey Keitel Effect

By Patrick Shanley

Managing Editor

In Youth, the latest drama from Italian director Paolo Sorrentino which earned a Palme d’Or nomination at this year’s Cannes Film Festival, Harvey Keitel plays an aging director on vacation in the Swiss Alps with his composer best friend, played by Michael Caine.

Some early Oscar buzz has surrounded the film, particularly for Jane Fonda’s brief, yet powerful, performance, and Keitel once more finds himself in an Oscar film.

The 76-year-old star, who has been appearing in films for nearly 50 years, may not control the same transcendent star quality of such contemporaries as Robert De Niro or Al Pacino, but a look at the actor’s resume reveals that he has been a part of an Oscar-nominated film in nearly every decade since he first appeared on film.

In 1974, Keitel appeared in Alice Doesn’t Live Here Anymore, the romantic drama about
See full article at Scott Feinberg »

40th Anniversary of 'Alice Doesn't Live Here Anymore' to Close Inaugural Tucson Festival of Films

40th Anniversary of 'Alice Doesn't Live Here Anymore' to Close Inaugural Tucson Festival of Films
The Tucson Festival of Films (Tfof) will close its inaugural edition with a 40th Anniversary screening of Martin Scorsese’s film "Alice Doesn’t Live Here Anymore" on Saturday, October 10, 2015. Starring Ellen Burstyn in her Academy Award-winning role, "Alice" was filmed in Tucson and surrounds.

Martin Scorsese said recently “'Alice Doesn't Live Here Anymore' was my first studio picture. Ellen Burstyn had seen 'Mean Streets' and admired it, and that’s how I came to the project. I was intrigued and excited by the challenges of working in wide open spaces, something completely new to me; dealing with a way of life that was so different from what I knew; and telling the story of a single woman and mother who is more or less forced to reinvent herself and go on the road. I loved Tucson with its enormous desert skies and expanses and its beautiful light - it was an extraordinary place to shoot a movie. And I have so many wonderful memories of the shoot itself – working with Ellen and Diane Ladd, a very young Jodie Foster and Alfred Lutter, Kris Kristofferson, and my friend Harvey Keitel. I treasure my memories of the experience, and it means the world to me that this picture we made four decades ago will be closing the inaugural Tucson Festival of Films.”

In honor of the film’s 40th anniversary, Ellen Burstyn and Diane Ladd recently took part in an on-camera discussion of their experiences filming Alice. Their filmed conversation will follow the screening.

The film will be presented in 35mm at Tucson’s independent movie theater the Loft Cinema.

Tfof, presented by Cox Communications, will make its debut in Tucson, Az, October 8-10. In a unique collaboration, Tfof unites 8 established festivals. The festivals’ directors have curated the Tfof lineup, each selecting films that best represent their individual festivals. Participating festivals are Arizona International Film Festival, Arizona Underground Film Festival, Loft Film Fest, Native Eyes Film Showcase, Tucson Cine México, Tucson Film & Music Festival, Tucson International Jewish Film Festival and Tucson Terrorfest.

Tfof will allow audiences to experience the best of the fests under (mostly) one roof. Excepting the 35mm screening of "Alice" at the Loft, all screenings will take place at the Temple of Music and Art in downtown Tucson, one of the oldest cultural centers in Arizona.

In addition to the anniversary screening of Scorsese’s seminal film, the three-day event will showcase a selection of new features, documentaries and shorts and include Arizona Underground Film Festival’s World Premiere of Josh Evans’ "Death in the Desert" starring Michael Madsen.

Visit for Tfof’s full line-up of films.
See full article at Sydney's Buzz »

Film Nerd 2.0 finds the heartbreak at the center of the original 'Bad News Bears

  • Hitfix
Film Nerd 2.0 finds the heartbreak at the center of the original 'Bad News Bears
Toshi tends to start a movie night with a sort of weird meditative state he goes into while standing in front of the bookcase full of his Blu-rays. He can stand there for a half-hour reading titles and asking me questions, and it always entertains me to hear him slowly circle in on the thing he wants to see. Just because there have been some R-rated titles in the mix recently doesn't mean it's become a free-for-all, and there are plenty of things Toshi would like to watch that I still believe he's not ready to see, leading to some tense negotiations. What I find most interesting about those negotiations is how vividly I remember holding them from the other end of the equation. When I wanted to see a film as a kid, if my parents had any problem with it, I would turn into Clarence Darrow. I would
See full article at Hitfix »

Notebook Reviews: Martin Scorsese’s "Hugo"

  • MUBI
Reporting on the original 3-D outbreak in 1953, Manny Farber wrote of the technique’s visual potential: “Along with the sharpening of the outline of bodies, there is an effort to clarify the feeling of negative spaces—the spaces in a composition that are more or less unfilled.” Nearly five decades later, Martin Scorsese employs the technique to leave no space unfilled. In Hugo, he introduces the setting—Paris’ Montparnasse train station circa 1931—with an impossibly vertiginous, digitally-lubricated zoom that races past costumed passengers and smoky locomotives until it comes to rest on the retina of the eponymous orphan (Asa Butterfield). As sparrowish Hugo hides between the station’s meshing gears and tends to its many clocks, no chance is missed to endow images with a sense of depth: Diagonals and curves are the preferred forms, snow falls and pages flutter as if inches away from the 3-D glasses, a Doberman
See full article at MUBI »

Understanding Scorsese: A Martin Scorsese Profile (Part 1)

Trevor Hogg profiles the career of legendary American filmmaker Martin Scorsese in the first of a five part feature...

“Marty never gave me much trouble,” stated Charlie Scorsese of his famous filmmaking son. “Marty and his friends used to drink my liquor and fill empty bottles with water and Kayro syrup, but they were good boys. Marty was sickly, though, and couldn’t keep up with the other boys. That’s how the thing with the movies got started.” The elder Scorsese, who earned a living as a clothes presser in the New York City garment district, served as an early cinematic influence for the Academy Award-winning director. “Having asthma,” recalled Martin Scorsese, “I was often taken to movies because they didn’t know what else to do with me.” As for his lack of athletic prowess, Scorsese remarked, “On my block, people took games seriously. If a kid dropped
See full article at Flickeringmyth »

Confessions of a Bad News Bear

Confessions of a Bad News Bear

by Jon Zelazny

The Reverend David Stambaugh is the Pastoral Associate at Hollywood United Methodist Church. He earned his BA from Messiah College, a Masters of Divinity from Alliance Theological Seminary, and a Masters of Sacred Theology from Drew University.

Prior to entering the ministry, he portrayed infielder Toby Whitewood in The Bad News Bears (1976), The Bad News Bears in Breaking Training (1977), and The Bad News Bears Go to Japan (1978).

Dave Stambaugh: I was actually playing Little League at that time, so it was a world I really knew. I remember one time I couldn’t make it to a callback audition because our team was in the area play-offs. I like to think that helped me get the job: “Hey, that kid can’t come in for our movie today— because he’s playing baseball!”

The first auditions were readings in NYC casting offices,
See full article at The Hollywood Interview »

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