From Lollobrigida to Gidget: Romance and Heartache in Italy

Here's a brief look – to be expanded – at Turner Classic Movies' June 2017 European Vacation Movie Series this evening, June 23. Tonight's destination of choice is Italy. Starring Suzanne Pleshette and Troy Donahue as the opposite of Ugly Americans who find romance and heartbreak in the Italian capital, Delmer Daves' Rome Adventure (1962) was one of the key romantic movies of the 1960s. Angie Dickinson and Rossano Brazzi co-star. In all, Rome Adventure is the sort of movie that should please fans of Daves' Technicolor melodramas like A Summer Place, Parrish, and Susan Slade. Fans of his poetic Westerns – e.g., 3:10 to Yuma, The Hanging Tree – may (or may not) be disappointed with this particular Daves effort. As an aside, Rome Adventure was, for whatever reason, a sizable hit in … Brazil. Who knows, maybe that's why Rome Adventure co-star Brazzi would find himself playing a Brazilian – a macho, traditionalist coffee plantation owner,
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Producer-Director Brooke Kennedy on Challenges of Moving From ‘The Good Wife’ to ‘The Good Fight’

Brooke Kennedy has produced hundreds of hours of television, much of it in New York City. But of all her experiences in the trenches, nothing quite compares to directing the first episode of “The Good Fight” at a Park Avenue location on the night of Nov. 8, as Donald Trump pulled off his stunning political upset in the presidential race.

As Christine Baranski and Delroy Lindo got to work on a particularly emotional scene in “The Good Wife” spinoff — which premieres Sunday on CBS All Access — Kennedy looked out and saw the darkness around the edges of the office-building set flecked with the blue-ish glow of smartphone screens.

“Everyone in the crew was on their phones, and you could start to read it on everybody’s face,” Kennedy recalls.

As horrified as Kennedy was on a personal level (she’s no Donald Trump fan), her first instinct was to protect the actors from the news to allow them
See full article at Variety - TV News »

Paul Sylbert, ‘Heaven Can Wait’ Production Designer, Dies at 88

  • The Wrap
Paul Sylbert, ‘Heaven Can Wait’ Production Designer, Dies at 88
Production designer and art director Paul Sylbert, who won an Academy Award for “Heaven Can Wait,” has died. He was 88. Sylbert died Saturday in a hospital near his home in Jenkintown, Pennsylvania, producer Hawk Koch announced. Also Read: 'Star Wars' Actor Peter Sumner Dies at 74 In addition to “Heaven Can Wait” (1978), Sylbert also received an Oscar nomination for designing Barbra Streisand’s “The Prince of Tides” (1991). Sylbert had recently served on the faculty of the Film & Media Arts Department at Temple University in Philadelphia. He and his twin brother, the late Richard Sylbert who won Oscars for “Who’s Afraid of Virginia Woolf?
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Paul Sylbert Dies: Oscar-Winning Production Designer & Set Decorator Was 88

Paul Sylbert, an Oscar-winning set decorator and production designer who worked with such top directors as Alfred Hitchcock, Elia Kazan, Mike Nichols, Robert Benton and Milos Forman during his half-century career, has died. He was 88. Producer and former Movie Academy president Hawk Koch told Deadline that Sylbert, won an Academy Award for Heaven Can Wait and scored a nom for The Prince of Tides, died Saturday. Koch said Sylbert and his twin brother Richard were among the…
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Oscar-Winning Production Designer Paul Sylbert Dies at 88

Paul Sylbert, who shared an Oscar for production design for Warren Beatty’s “Heaven Can Wait” and worked on notable films including “One Flew Over the Cuckoo’s Nest,” died Nov. 19. He was 88.

Producer Hawk Koch, who worked with him on five films, said “Paul was one of a kind. He was as smart and well-read as anyone I have ever come in contact with, and he was respected by all that knew him. Aside from the work, he loved music, literature, opera, and friends.”

Sylbert shared shared a second nomination for the 1991 Barbra Streisand film “The Prince of Tides.”

He was the identical twin brother of fellow production designer Richard Sylbert, who died in 2002.

Paul Sylbert’s career began with a production designer credit on an early TV show, CBS’ “Premiere,” in 1951 and work as a set decorator on the CBS series “Suspense” the following year and stretched through
See full article at Variety - Film News »

Paul Sylbert, Oscar-Winning Production Designer on 'Heaven Can Wait,' Dies at 88

Paul Sylbert, the famed production designer and art director who worked on the best picture Oscar winners One Flew Over the Cuckoo's Nest and Kramer vs. Kramer and won an Academy Award for Heaven Can Wait, has died. He was 88.

Sylbert died Saturday in a hospital near his home in Jenkintown, Pa., producer Hawk Koch announced. Recently, Sylbert had served on the faculty of the Film & Media Arts Department at Temple University in Philadelphia.

He and his twin brother, the late Richard Sylbert (he won Oscars for Who's Afraid of Virginia Woolf? and Dick Tracy), were two of the...
See full article at The Hollywood Reporter - Movie News »


The conflicted Paul Schrader works out some hellacious personal issues, in a feverish tale of a Michigan Calvinist searching for his daughter in the porn jungle of L.A.. A disturbingly dark modern-day cross between The Searchers and Masque of the Red Death, it was meant to be even darker. Hardcore Blu-ray Twilight Time 1979 / Color / 1:85 widescreen / 108 min. / Street Date August, 2016 / Available from the Twilight Time Movies Store / 29.95 Starring George C. Scott, Peter Boyle, Season Hubley, Dick Sargent, Leonard Gaines, David Nichols. Cinematography Michael Chapman Production Designer Paul Sylbert Art Direction Edwin O'Donovan Film Editor Tom Rolf Original Music Jack Nitzsche Produced by Buzz Feitshans, John Milius Written and Directed by Paul Schrader

Reviewed by Glenn Erickson

I'm not sure that the word 'controversial' has the same meaning it once had. There has to be a consensus on what is 'normal' in society for some topics to become edgy. These
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The Wrong Man

Alfred Hitchcock's true-life saga of a man wrongly accused may be Hitchcock's most troublesome movie -- all the parts work, but does it even begin to come together? Henry Fonda is the 'ordinary victim of fate' and an excellent Vera Miles is haunting as the wife who responds to the guilt and stress by withdrawing from reality. The Wrong Man Blu-ray Warner Archive Collection 1956 / B&W / 1:85 widescreen / 105 min. / Street Date January 26, 2016 / available through the WBshop / 21.99 Starring Henry Fonda, Vera Miles, Anthony Quayle, Harold J. Stone, John Heldabrand, Doreen Lang, Norma Connolly, Lola D'Annunzio, Robert Essen, Dayton Lummis, Charles Cooper, Esther Minciotti, Laurinda Barrett, Nehemiah Persoff. Cinematography Robert Burks Art Direction Paul Sylbert Film Editor George Tomasini Original Music Bernard Herrmann Written by Maxwell Anderson and Angus MacPhail Produced and Directed by Alfred Hitchcock

Reviewed by Glenn Erickson

The Wrong Man sees Alfred Hitchcock at the end of
See full article at Trailers from Hell »

‘E.T. the Extra-Terrestrial’ Production Designer Jim Bissell Wins Lifetime Achievement Award

‘E.T. the Extra-Terrestrial’ Production Designer Jim Bissell Wins Lifetime Achievement Award
Production designer Jim Bissell has been chosen to receive the Art Directors Guild’s Lifetime Achievement Award.

The kudo will be presented Jan. 31 at the 19th Annual Excellence in Production Design Awards at the Beverly Hilton Hotel.

The announcement was made today by John Shaffner, Adg Council chairman, and Adg Award producers Dave Blass and James Pearse Connelly.

Bissell’s credits include “E.T. the Extra-Terrestrial,” “The Rocketeer,” “Jumanji,” “300,” “Mission: Impossible – Ghost Protocol” and “The Monuments Men” — his fourth collaboration with George Clooney following “Confessions of a Dangerous Mind,” “Good Night, and Good Luck” and “Leatherheads.”

Bissell won an Emmy for “Palmerstown, U.S.A.,” shared with Bill Webb, and received an Oscar nomination for “Good Night, and Good Luck,” shared with Jan Pascale.

He is working on “Mission: Impossible 5.”

Previous recipients of the Lifetime Achievement Award are Ken Adam, Robert Boyle, Albert Brenner, Henry Bumstead, Rick Carter, Roy Christopher,
See full article at Variety - Film News »

'Ishtar': Seven Myths Regarding The Legendary Flop

"If all of the people who hate 'Ishtar' had seen it, I would be a rich woman today." So said Elaine May in 2006, two decades after the Warren Beatty-Dustin Hoffman comedy she wrote and directed had become synonymous with "extravagant flop." (The film grossed $14.4 million on a $55 million budget.) Up until May 22, 1987 (the day it opened in theaters, 25 years ago), advance buzz on "Ishtar" was contentious; it was either a brilliant comic masterpiece or a textbook case of overreach on the part of two giant Hollywood egos to whom no one could say, "No." After the film's release... same thing. To this day, the movie is roundly mocked for its alleged awfulness (often by people who've never seen it), while a passionate cult of fans insists it's a lost work of misunderstood genius that never got its proper due from critics or moviegoers. The truth lies somewhere in the middle.
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Mel Gibson: saint and sinner

On the eve of his movie comeback, can Mel Gibson finally tame his demons?

It was a balmy spring evening in Cannes. Arriving for the premiere of his latest film, The Beaver, Mel Gibson seemed anxious as he walked the red carpet last month, a little uncomfortable posing for the massed ranks of photographers who were shouting his name. When the movie's director, Jodie Foster, leaned across to adjust his bow-tie, Gibson smiled, right on cue. But while the two of them chatted and laughed for the cameras, the actor's brow remained furrowed. The next day's photographs would all show the three deep wrinkles cut horizontally across his tanned forehead, giving him the air of someone who expects disappointment and – more often than not – is rewarded with it.

He was understandably worried, perhaps, about how the film would be received. The Beaver, in which the 55-year-old Gibson plays a depressed
See full article at The Guardian - Film News »

Art Directors Give Life Achievement Award to Patricia Norris

One of the bonuses of award season is the guild award shows that honor the greats of the past along with the present. The Art Directors Guild, for example, will give its lifetime achievement award on February 11 at the Beverly Hilton to Oscar-winning nominated production and costume designer Patricia Norris, who designed costumes for Blake Edwards' Victor, Victoria (pictured) and Terrence Malick's Days of Heaven as well as many David Lynch films, including Elephant Man. She's the second woman to win the honor; other winners include production designers Ken Adam, Robert Boyle, Henry Bumstead, Stuart Craig, Terence Marsh, Harold Michelson, Paul Sylbert and Dean Tavoularis.   Norris began her career in the film industry as a stock girl in the wardrobe department at MGM ...
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Patricia Norris: Art Directors Guild Lifetime Achievement Award 2011

Production Designer and Costume Designer Patricia Norris, a frequent David Lynch collaborator, will receive the Art Directors Guild’s Lifetime Achievement Award at the Adg's 15th Annual Excellence in Production Design Awards on February 5, 2011, at the Beverly Hilton Hotel. Norris, only the second woman to be awarded the Adg's Lifetime Achievement Award (Jan Scott was the first in 2001), has been nominated for five Academy Awards in the Best Costume Design category: Days of Heaven (1978), The Elephant Man (1980), Victor Victoria (1982), 2010 (1984), and Sunset (1989). Previous recipients of Adg Lifetime Achievement Awards are Production Designers Ken Adam, Robert Boyle, Albert Brenner, Henry Bumstead, Roy Christopher, Stuart Craig, Bill Creber, John Mansbridge, Terence Marsh, Harold Michelson, Jan Scott, Paul Sylbert and Dean Tavoularis. The information below is the Adg's press release: Norris began her career in the film industry as a stock girl in the wardrobe department at MGM [...]
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Patricia Norris to receive Lifetime Achievement Award from Adg Academy Award-winning Production Designer and Costume Designer Patricia Norris will be presented with a Lifetime Achievement Award at the Art Directors Guild’s 15th Annual Excellence in Production Design Awards on February 5, 2011, it was announced today by Thomas A. Walsh, Adg Council President, and Awards co-producers Dawn Snyder and Tom Wilkins. The award will be presented at a black-tie industry gathering at the Beverly Hilton Hotel.

Norris began her career in the film industry as a stock girl in the wardrobe department at MGM Studios and worked her way up to become one of the industry’s most respected craft persons. In announcing this honor, Adg President Walsh said, “Patricia is one of only a very few American designers who have been able to successfully combine the dual practices of production and costume design for film and television.” She holds dual production and costume design credits for works
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"Holmes", "Avatar" And "Locker" Win @ Adg Awards

  • SneakPeek
The Art Directors Guild (Adg) gathered for the 14th Annual 'Excellence in 2009 Production Design Awards' February 13, @ the International Ballroom of the Beverly Hilton Hotel, Beverly Hills.

Established in 1937, The Art Directors Guild (Iatse Local 800) represents 2,000 members from the Us, Canada and internationally, as Production Designers, Art Directors, Assistant Art Directors, Scenic, Title and Graphic Artists, Illustrators, Matte Artists, Set Designers and Model Makers.

Over 700 attended the event, presided by Adg Chairman Thomas A. Walsh, with comedian Paula Poundstone hosting, starting off with a short film by director Cindy Peters.

Honorary awards were presented to Production Designer Terence Marsh for 'Lifetime Achievement', to Warren Beatty for 'Outstanding Contribution to Cinematic Imagery' and to Production Designer Michael Baugh for 'Creative Leadership'.

Presenters included Kevin Alejandro ("Southland"); director Kathryn Bigelow ("The Hurt Locker"); Jim Bissell (Governor, Academy of Motion Picture Arts & Sciences); Albert Brenner (Production Designer); Rick Carter (Production Designer); Richard Chamberlain ("Shogun
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Slumdog, Dark Knight & Button Triumph At Arts Design Awards

  • WENN
Slumdog, Dark Knight & Button Triumph At Arts Design Awards
Slumdog Millionaire, The Curious Case Of Benjamin Button and cult movie The Dark Knight were the big winners at the Art Directors Guild Awards on Saturday.

Button claimed the Excellence in Production Design for a Period Film, The Dark Knight picked up the Fantasy Film prize and Slumdog Millionaire was named the Best Contemporary Film at the black-tie ceremony held at the International Ballroom of the Beverly Hilton Hotel in Beverly Hills.

Honorary awards were presented to Production Designer Paul Sylbert for Lifetime Achievement, and to iconic filmmaker George Lucas for Outstanding Contribution to Cinematic Imagery.

And five production designers were inducted into the ADG Hall of Fame - Ted Haworth, Joseph McMillan Johnson, Romain Johnston, John Meehan and Harold Michelson.

Meanwhile, Mad Men, Little Britain U.S.A., John Adams and Weeds picked up awards for design excellence in television.

The 80th Annual Academy Awards telecast was named the Best Awards Show, Variety, Music, or Non-Fiction Program.

Paul Sylbert to be honored by ADG

Frankfurt, Germany -- Fifty-year production design veteran Paul Sylbert, who won an Academy Award for his work on 1978's "Heaven Can Wait," will receive the Art Directors Guild Lifetime Achievement Award.

Sylbert received an additional Oscar nomination for "The Prince of Tides" (1991). Other credits include "One Flew Over the Cuckoo's Nest" (1975), "Kramer Vs. Kramer" (1979) and "Conspiracy Theory" (1997). He wrote and directed the 1971 feature "The Steagle" and TV episodes of "The Defenders" and "The Nurses." In addition, the screenplay for "Nighthawks" (1981) was based on Sylbert's writings.

Sylbert is the identical twin brother of the late Richard Sylbert, an Oscar winner and Adg Lifetime Achievement Award recipient whose credits include "Who's Afraid of Virginia Woolf?" (1966) and "Dick Tracy" (1990).

The award will be presented at the 13th annual Adg Awards on Feb. 14 at the Beverly Hilton.
See full article at The Hollywood Reporter - Movie News »

Film review: 'Conspiracy Theory'

Film review: 'Conspiracy Theory'
Primarily an intense, crowd-pleasing thriller but also a quirky romance that offers Mel Gibson and Julia Roberts many prime opportunities to enrich their offbeat characterizations, "Conspiracy Theory" should pull off a boxoffice coup in its opening weekend and enjoy a spectacular run on its way to international blockbuster business.

The fifth teaming of Gibson and director Richard Donner, "Conspiracy Theory" is more intelligent but as equally exciting as their three "Lethal Weapon" films. Although the actor is playing yet another unhinged character, Gibson outdoes himself as a New York cabdriver with a checkered past and a scary obsession with loony theories, one of which posits that NASA plans to kill the president by triggering an earthquake.

Conspiracy theories of the best kind are unprovable, explains Jerry Gibson) to Alice (Roberts), who works in the Justice Department and feels some sympathy for the nervous, paranoid man. Likewise hard to pin down with total certainty is Brian Helgeland's screenplay, but overall, his edgy, psychological approach has a Hitchcockian appeal.

Playing his character as timid but menacing, in some ways innocent but clearly "damaged," Gibson is disarmingly immersed in the lightly comic aspects of Jerry until the malevolent Dr. Jonas (Patrick Stewart) enters the scenario. Donner and cinematographer John Schwartzman have kept the mood murky up to this point, and they uncork a riveting torture scene that finds Jerry drugged and roughly interrogated.

The cabbie who cried wolf, Jerry rushes to Alice for help after he employs a Mike Tyson tactic on Jonas. She's hard to convince, though, and a hospital escapade and an assault on his apartment are required. But in an adroit move on the filmmakers' part, she freaks out when she learns about Jerry's spying on her and his unwanted, unconditional love.

By the conclusion, when all the secrets of Jerry's past life are revealed, there are so many conditions piled on that Alice has to make a hard decision. Roberts on the comeback trail is unvivacious but prettily distracted and believable as skeptical, lonely heart Alice, roused to action in defense of Jerry.

Gibson has a truly daunting task and triumphs in one of his best roles. The actor's technique has evolved to a high level -- reminding one of Robin Williams' performance in "The Fisher King".

From Jerry's self-published newsletter about his latest nutty ideas to companies that disappear overnight, "Conspiracy Theory" is a guessing game with several close calls and daring escapes. One roots enthusiastically for the leads and fears Stewart's cultured villain.

With a small but solid supporting cast, the film's other standout is Cylk Cozart as an enigmatic ally.

"Conspiracy Theory" is an excellent production in all aspects, particularly Paul Sylbert's plot-thickening production design, Frank J. Urioste's spellbinding editing and Carter Burwell's magnificent score.


Warner Bros.

A Silver Pictures production

in association with Shuler Donner/Donner Prods.

A Richard Donner film

Director Richard Donner

Producers Joel Silver, Richard Donner

Screenwriter Brian Helgeland

Executive producer Jim Van Wyck

Director of photography John Schwartzman

Production designer Paul Sylbert

Editor Frank J. Urioste

Music Carter Burwell

Costume designer Ha Nguyen

Casting Marion Dougherty



Jerry Fletcher Mel Gibson

Alice Sutton Julia Roberts

Dr. Jonas Patrick Stewart

Agent Lowry Cylk Cozart

Running time -- 134 minutes

MPAA rating: R

Film review: 'Rosewood'

Film review: 'Rosewood'
One of the least-considered aspects of massacres is that you might not hear about them, if for only the obvious fact that the victims aren't around to tell their story.

So it is with the Rosewood massacre of 1923, the murderous burning of a prosperous black community in rural Florida by rampaging whites under the impression that one of their women had been raped by a black.

Not recounted until a reporter brought it to the attention of CBS' "60 Minutes" in 1982, "Rosewood" is a powerful and heartbreaking dramatization of that awful saga. Eloquently directed by John Singleton, this Warner Bros. release is a stirring and sobering human tale, one that will surely touch hearts of all demographics.

Commercially, it seems a win-win for Warner Bros.: Singleton will entice the young, action-oriented black audience, while the film's subject matter and sophisticated rendering will win mature viewers in all demographics through positive word-of-mouth.

Head-and-shoulders above the usual, well-meaning, self-congratulatory folderol that makes it to the screen about racial injustice, "Rosewood" is a graceful evocation of a dignified community and a sobering insight into the madness of mob psychology. Gregory Poirier's insightful screenplay is a sobering reminder of what such learned social historians as Gustave LeBon have written about mob psychology, that the mob is an "idiot," galvanized by the lowest common denominator. In this scary scenario, we're led into an easy acquaintanceship with the film's chief character, namely the homey burg of Rosewood, a quiet black town of farmers and craftsmen -- churchgoing folk. Contiguous with Rosewood is Sumner, a less cohesive aggregation of whites and, as a group, decidedly less prosperous than their Rosewood brethren.

In style and personality, Poirier's story has the welcoming grace of a friendly host as we're initially led into an easy acquaintanceship with Rosewood, getting to know its people, its rhythms, its personality. At that same time, we catch snatches of things to come: In essence, we're clued to the pervasive racism of the day, not only from the trashier types but, most hauntingly, from the more enlightened whites of the area. Despite the surface calm, we see the festering combustible nature of the situation and, quite rightly, fear that it will take only one spark to set things off.

It's the deliberate, unforced patience of Singleton that gives "Rosewood" its heartbreaking power. His restraint in letting the story unfold, without overpunctuating or belaboring its narrative, allows the film to reach its full organic power. That carefulness and confidence, indeed, is what gives "Rosewood" its searing grace, and that's seen in the work of the film's superb technical team. Johnny E. Jensen's incandescent cinematography, John Williams' tender music and Bruce Cannon's supple edits kindle "Rosewood" to both its most warm and most incendiary moments.

The players bring textures and shadings to their roles that are, well, more than skin deep. Jon Voight's performance as a storekeeper who struggles to do the right thing, despite his own racist underpinnings, is perhaps his best work since "Midnight Cowboy". As a mysterious soldier who rides into town, Ving Rhames is mesmeric as a man of dignity and honor, while Don Cheadle also stands out as a man who refuses to, shuffle. It's Sarah Carrier though, as Rosewood's elderly matriarch, who absolutely melts your heart with her staunch decency.


Warner Bros.

A Peters Entertainment production

in association with New Deal Prods.

A John Singleton Film

Producer Jon Peters

Director John Singleton

Screenwriter Gregory Poirier

Executive producer Tracy Barone

Co-producer Penelope L. Foster

Director of photography Johnny E. Jensen

Production designer Paul Sylbert

Editor Bruce Cannon

Costume designer Ruth Carter

Music John Williams



John Wright Jon Voight

Mann :Ving Rhames

Sylvester Carrier Don Cheadle

Duke Bruce McGill

James Taylor Loren Dean

Sarah Carrier Esther Rolle

Scrappie Elise Neal

Fannie Taylor Catherine Kellner

Sheriff Walker Michael Rooker

Running time -- 140 minutes

MPAA rating: R

See also

Credited With | External Sites