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
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
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...
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
Reviewed by Glenn Erickson
The Wrong Man sees Alfred Hitchcock at the end of
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,
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
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
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
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.
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.
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.
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
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.
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
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