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The requirements for a successful movie mashup really depend on the ultimate goal of the one doing the mashing. Maybe you’re looking to prove two different movies are actually the same movie, so you match them up beat-for-beat like this Avatar/Pocahontas mashup. Maybe you’re aiming for maximum comedic effect, so you pick movies from opposing sides of the quality and genre spectrum, like The Wizard Of Oz and You Got Served. Or maybe you just realized Harrison Ford was in two movie franchises and figured that’s a good enough reason to edit them together.
That seemed to be enough for French filmmaker Fabrice Mathieu, the creator of “Raiders Of The Lost Darth,” a mashup of (you guessed it) the opening scene from Raiders Of The Lost Ark and various aspects of the Star Wars franchise. The resulting six-minute short oscillates between convincingly cool and glaringly absurd »
- Dan Neilan
Elphaba and Glinda continue to make magic on Broadway. “Wizard of Oz” prequel “Wicked” crossed the $1 billion benchmark last March in record time, and after raking in just short of $2 million in the week ending July 9, it has overtaken “The Phantom of the Opera” to become the second-highest-grossing Broadway show ever, Playbill reports. “The Lion King,” directed by Julie Taymor, retains the top spot.
“Wicked” is an adaptation of Gregory Maguire’s best-selling novel, which tells the story of the Wicked Witch of the West from the perspective of the Witch, here named Elphaba. The musical chronicles the complicated friendship between Elphaba and Glinda, the Good Witch. Maguire based the novel on the 1939 film adaptation “The Wizard of Oz,” and L. Frank Baum’s original Oz books.
“My So-Called Life” creator Winnie Holzman wrote the book for “Wicked,” for which she received a Tony Award nomination and a Drama Desk Award. The show launched in October 2003 at the Gershwin Theatre, and was nominated for 10 Tony Awards and won three. The production launched the careers of Idina Menzel (“Frozen”) and Kristin Chenoweth (“Glee”), and was such a big hit that it recouped its $14 million investment in a little over a year.
“Wicked” Becomes the Second-Highest-Grossing Broadway Show of All Time was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Laura Berger
The death of Judy Garland is examined in detail tonight on REELZChannel’s documentary series Autopsy: The Last Hours Of… — along with her history of suicide attempts and drug use. The singer and actress, who played Dorothy in 1939’s The Wizard of Oz, passed away at the age of 47 in June 1969 from an overdose of barbiturates. On the series, forensic pathologist Dr. Michael Hunter looks at whether she died accidentally — as the coroner’s report found — or whether there was something more. The star had a long history of addiction to both prescription drugs and alcohol, and had previously...read more »
- Julian Cheatle
Disney’s “Tron,” the granddaddy of CGI animated films, celebrates its 35th anniversary on July 9. And over the decades, the sci-fi adventure has spawned video games, the 2010 movie sequel “Tron: Legacy,” a high-tech ride at Shanghai Disney, an animated series, and even talk of a possible third sequel with Oscar winner Jared Leto in early talks to star.
“It certainly wasn’t the reaction we expected,” said Steven Lisberger, who wrote and directed the film starring Jeff Bridges as computer games creator who finds himself zapped inside a power hungry Master Control program after he hacks into the mainframe »
- Susan King
For the discerning science fiction fan, this is the best of the Eastern-bloc Cold War Sci-fi epics, a genuinely brilliant and warmly human ‘Voyage to the End of the Universe,’ restored in 4k resolution. It’s from before 2001: A Space Odyssey, and has an equally wondrous but totally different vision of the future.
Nfa (Czechoslovak National Film Archive)
1963 / B&W / 2:35 widescreen / 88 min. / Street Date March, 2017
Production Designer: Jan Zázvorka
Special Effects: Jan Kalis
Film Editor: Josef Dobrichovský
Original Music: Zdenek Liska
Produced by Filmové Studio Barrandov
Directed by Jindrich Polák
The trailer for the new restoration of Ikarie Xb 1 (no hyphen) pretty much tells the story. A shot »
- Glenn Erickson
When you’re a celebrity, new clothes, shoes, accessories and handbags are constantly rotating through your closet. Which for Paris Hilton, calls for one thing. A mini runway show on Instagram to show her fans new looks she’s creating with her team.
The star posted a series of mirror selfie videos, where she walked a makeshift runway in her house wearing eight different over-the-top sequin covered outfits and the reason still remains unclear.
Related Photos: Updated! Better From the Back? Stars’ Most Jaw-Dropping 360°
Check out Hilton’s eight looks, which she modeled back-to-back in 60 minutes, below and help her decide which one’s best! »
- Kaitlyn Frey
Foreplays is a column that explores under-known short films by renowned directors. Lynn Ramsay's Gasman (1998) is free to watch below.Lynne Ramsay’s Gasman is a film about family, and a film made with family—the director’s own brother and niece play, respectively, the central father and daughter in the story. Two siblings, Lynne (Lynne Ramsay Jr.) and Steve (Martin Anderson), go to a Christmas party with their father (James Ramsay), while the mother (Denise Flannagan) remains at home. They briefly meet with a woman (Jackie Quinn) and her two kids (Lisa Taylor, Robert McEwan). The woman leaves, but her children join the party. Gasman is the story both of a perfectly banal evening, and of an exceptional event that serves to fracture the family unit, messing up all its usual roles, and dissolving the very idea of what is familiar. Ramsay achieves this by never losing sight either of the everyday, »
Lynch fans are still buzzing over Sunday night’s landmark “Twin Peaks,” which became an instant classic hour of television thanks to a bravura extended sequence depicting nuclear testing in the New Mexico desert and what seemed like the birth of Bob and Laura Palmer. Like the best of David Lynch, the head-scratching plot specifics don’t matter as much as the sensory experience of watching his images unfold, and what terrifying, transfixing and totally mesmerizing images they were.
Youtube user Eli Schwab obviously had Pink Floyd on the brain while watching Sunday’s episode and has released »
- Zack Sharf
Anne with an E, based on the popular Lucy Maud Montgomery novel Anne of Green Gables, recently premiered on Netflix with some initial hesitation from critics, which stemmed from the uncertainness of how the famous tale was going to be reimagined. Once critics and fans had a chance to indulge in the entire season of Moira Walley-Beckett’s version, now with a rating of 86% on Rotten Tomatoes, they understood that she was just trying to tell her version from the subtext of the novel, more in between the lines. Vanity Fair went on to say, “The interplay between Anne’s dark and light sides makes for a fascinating update.” Assisting Moira in successfully bringing this adaptation to life were Toronto based composers Amin Bhatia and Ari Posner, whom describe their score for the show as Maritime/Celtic on one hand but classical and dramatic on the other. We decided to speak with Bhatia and Posner about musically bringing this beloved Canadian tale to the small screen and what their process was like.
Did you end up with a specific sonic palette to continually draw from for Anne with an E, or did the sound of the show simply keep evolving and expanding as you continued working on it?
We started with a particular sonic palette but as each episode completed editing, everyone in post-production would refine and develop styles and ideas that would extend that palette in all areas: music, sound design, dialogue and mixing.
Did you all work with the Anne with an E sound designers at all? If so, what was your relationship/interaction like?
The show is very intimate and organic. It takes a lot of care and coordination of music, sound effects, dialogue and mixing to support the story without getting in the way of it or of each other. So yes, we were all in constant communication and we all worked together deciding who covers what and when. The famed team Sound Dogs handled the sound design aspects and they were literally down the hall from our studios. Between them and Technicolor’s re-recording mixers Alan DeGraaf and Tom Murray, we all worked together in “building the barn.”
What was the most challenging scene in season 1 for you all to score and why?
Amin – It’s never the one you expect. Some cues you feel will be a challenge and they come together easier than you thought. But others prove to need several rewrites till it works. A scene where Matthew goes to town to buy Anne a dress inspired me to write a waltz for piano and fiddle but repeated tries were just not “masculine” enough for the scene. I had written the cue for Anne when it should have been for Matthew. Finally I had to abandon it and go with French Horn using flute as a small counter-melody. Even then I had too many layers going and we were running out of time. Huge thanks to mixer Alan DeGraaf for helping simplify it by carving out the basic elements and muting others in the final mix. Again proving the old adage that “less is more”.
Ari – I did many rewrites on a sequence where Matthew brings back a new dress for Anne and she walks into her room and sees it for the first time. The showrunner described it to me as if Anne were seeing the sun for the first time in her life…she has never received a gift even remotely as beautiful as this. It was quite a long sequence and I kept taking it to a more touching emotive place rather than joyous…I’m not quite sure why…it was just instinctual. In the end I pulled it all apart and improvised a piano sketch that covered most of the scene. Then with some tweaking and the addition of strings and tin whistle, the cue finally took shape…and just in time too!
What is great about your score is sometimes it is very minimal, yet powerful. Like in episode 2 when Anne arrives back to the house and walking upstairs looking at everything. Was your initial strategy that less is more or did it just end up working out this way?
This was definitely the kind of show where less is more. In many cues the rewrite would be to take out the countermelody or simplify the number of instruments playing at the same time. That particular scene for Anne arriving has motifs and textures from both of us. As Anne walks back into the house music is very solemn with some Celtic overtones, then when she goes upstairs and sees her room we change the music to a more magical ephemeral texture for her sense of wonder.
What would you say the main benefit is to having two composers scoring Anne with an E?
First there’s a practical benefit in that there are two of us to handle the show’s deadlines. We divide up the music workload by storyline and we each handle different parts of the organizational aspects, like meetings, scheduling and emails. When one is deep in writing cues, the other deals with emails and organizing things with production.
Secondly there’s a musical benefit in that each of us have a different style of writing but we overlap in our love for orchestral music and melody. So we’re constantly challenging each other with new themes and progressions that can be passed back and forth for development and variation. It keeps the bar high!
What’s the most important element of your studio? What’s your favorite instrument (real or virtual) to reach for?
It’s not any particular instrument. The most important element is the organization. You have to sort out the palette of instruments to use (and not use) in your computer and you have to ensure you have the right players for the real instruments. Then it all needs to be clear in your mind so that as you are composing and playing all the parts, you know every sound or player needed to write and can orchestrate the cues quickly.
Can you remember the first tv show you saw or the first moment where you actually recognized a show’s score?
Ari – As a kid I was quite captured by the songs and score to Mary Poppins and The Wizard of Oz. Of course, it was the songs I noticed first, but because the melodies were also woven into the fabric of the underscore, I started to take notice of the less obvious music as well.
Amin – When I was eleven years old I snuck downstairs to watch the TV premiere of Planet of the Apes while my parents were asleep. They we concerned it was too scary for me and they were right. I had nightmares for weeks about apes invading our house…but I was also banging away on the family piano trying to figure out all the motifs from Jerry Goldsmith’s amazing score.
Learn more about the composers here: http://aminbhatia.com/ http://www.arimusic.com/
Photo credit: Scott Murdoch »
Directors Phil Lord and Chris Miller were dumped from the Han Solo spinoff film this week after more than four months of production, an unusually late date to make a shift behind the camera. That leaves the “Star Wars” production scrambling to find a replacement with weeks left of shooting and a scheduled five weeks of reshoots coming later this summer, an unenviable position for one of the biggest franchises in the entertainment industry and all involved.
The film, which is still untitled, isn’t the first to change its director in midstream. Classics such as “Gone With the Wind” and “Wizard of Oz” cycled through filmmakers, while duds like “The 13th Warrior” and “The Island of Dr. Moreau” also brought in fresh blood in the middle of shooting. But despite plenty of precedents, Lord and Miller’s firing is setting tongues wagging.
“It has certainly happened on a number of occasions, but not under such scrutiny and not usually this far into production,” said Leonard Maltin, a film critic and historian.
Frequently, a director is dropped after he finds himself on the losing end of a power struggle. During “Gone With the Wind,” Clark Gable pushed to have George Cukor replaced with Victor Fleming because Gable felt that the filmmaker was paying too much attention to his co-star, Vivien Leigh. While shooting “Spartacus,” Kirk Douglas used his clout to have Anthony Mann replaced with Stanley Kubrick because he believe that his hand-picked substitute could better handle the film’s epic scope. And in “Waterworld” it was Kevin Costner, and not credited director Kevin Reynolds, who handled the film’s final cut after the two clashed on the notoriously troubled and costly production.
More recently, Steven Soderbergh left “Moneyball” due to his desire to shoot documentary-style, while Pixar parted ways with the the directors of several of its films, from “Ratatouille” to the “Brave” to “The Good Dinosaur,” over differing creative ideas about the animated offerings. In most cases, these movies survived their filmmaking shuffles to succeed financially and artistically, proving that a rocky path to the big screen does not necessarily foretell doom.
That’s to say nothing of the pictures whose financial backers probably wished in retrospect that they’d pulled the plug on a director. Costly overruns on “Heaven’s Gate,” Michael Cimino’s brooding Western epic, essentially bankrupted United Artists, and Joseph L. Mankiewicz’s “Cleopatra” went so egregiously over budget that it brought Fox to the brink of financial ruin. Perhaps another filmmaker would have been able to rein in some of the spending?
But there are reasons why studios have historically been loathe to make a change after cameras start rolling.
“Once a film begins production it’s a runaway train and the backers of the film are reluctant to remove the conductor from the train for fear of it being even more of a disaster,” said Howard Suber, a professor of film history at UCLA. “It becomes a decision between cutting your losses and possibly starting all over again or hoping that things somehow are able to get better.”
It’s harder to overhaul a project without drawing a lot of scrutiny. In the days of “The Wizard of Oz” or “Gone With the Wind,” the public wasn’t as versed in film production — studios might expect a report of a production shakeup in a trade paper such as Variety, but it rarely filtered out across the mass media. That’s no longer the case. From Entertainment Tonight to the New York Times to Twitter, news of Lord and Miller’s ouster was ubiquitous this week.
“The public is now reading about controversies on films and who gets hired here and who gets fired there,” said Dana Polan, professor of cinema studies at Nyu. “That was not a thing before.”
In the case of the Han Solo spinoff shakeup, insiders say that Lord and Miller clashed with Lucasfilm chief Kathleen Kennedy and writer and executive producer Lawrence Kasdan over their vision for the film and its execution. Lord and Miller wanted to inject more cheekiness into the “Star Wars” universe and encouraged improvisation on set. Kasdan and Kennedy believed in adhering more tightly to the script and were concerned that the directors were deviating too far from the franchise’s “house style.” They preferred something that was more reverent, which they might get if Ron Howard or Joe Johnston, both rumored to be in the running for the gig, take over as director.
The Lord and Miller firing is also a reminder of a new cinematic reality. Auteur theory, a popular school of thought in film criticism, once held that the director is the true author of a film because he or she makes the key audio and visual decisions. That view was given so much credence that 1980’s “The Stunt Man” offered up Peter O’Toole as a God-like film director, an artistic zealot willing to trample over anyone and everyone in order to get the perfect shot.
Miller and Lord’s ouster, however, demonstrates the limitations of a director’s power in a rapidly changing movie landscape. It’s a caste structure in which brands, be they costumed heroes or robots, are the true stars in Hollywood. As Lord and Miller discovered, no filmmaker is more important than the Jedi mythology that lies at the heart of the “Star Wars” universe. With billions of dollars in box office and merchandising at stake, studios aren’t as receptive to a director who wants to take an iconoclastic approach to the material.
12 Directors Who Were Pushed from the Director’s Chair
As studios have grown more corporate and more dependent on a few major franchises, productions have become more bureaucratic. It’s Kennedy and her team at Lucasfilm who are making most of the major decisions about where to take the “Star Wars” universe, just as executive teams at DC (Geoff Johns and Jon Berg) and Marvel (Kevin Feige) are exerting enormous control over the gestations of the various sequels and spinoffs that they churn out annually. In the old days, the first move would be to hire a director. Now, a filmmaker is often brought onto a project after a script has been written and even storyboarded.
There’s a lot less job stability when you’re a mercenary.
Related storiesRon Howard to Take Over as Director of 'Star Wars' Han Solo SpinoffWhy Movies Need Directors Like Phil Lord and Chris Miller More Than Ever'Star Wars' Han Solo Spinoff: Lord & Miller Fired After Clashing With Kathleen Kennedy (Exclusive) »
- Brent Lang
Luke Owen looks at directors who left/got fired from movies during production…
With the shocking news that Phil Lord and Chris Miller have vacated the director’s chairs for the yet-to-be-titled Han Solo movie over “creative differences” (some sources say they were forced out), I thought it was time to look at some other directors who faced similar issues.
It’s no secret that making a tentpole movie for a studio is tricky. Duncan Jones has been very vocal as of late about the issues he had with last year’s Warcraft, and it was rumoured a few years ago that Gareth Edwards faced an uphill battle with Warner Bros. and Legendary on 2014’s Godzilla reboot. The 1993 Super Mario Bros. movie had its script re-written the weekend before production started with no input from the directors, who were then locked out of the editing room during post-production (they were eventually let back in).
Most of the time directors leave before production actually starts, and someone new is brought in. Edgar Wright left Ant-Man, Patty Jenkins left Thor: The Dark World, Rick Famuyiwa and Seth Grahame-Smith both left The Flash, Ben Affleck stepped down from The Batman, Stephen Herrick left Lara Croft: Tomb Raider; the list goes on. But very rarely does a director leave (or get fired) while the movie is in production. Usually if a studio loses faith in the director at that point, they would bring in someone else to “oversee” the movie and get it over the finish line. The aforementioned Godzilla saw this very occurrence, as did Mission: Impossible II when the legendary Stuart Baird was brought in to “fix” the movie Jon Woo originally helmed. Baird in fact has a long history with this, being a fixer on titles such as Superman: The Motion Picture, The Omen and Lethal Weapon.
There are still four or so weeks left on the Han Solo movie (plus the already planned reshoots), so let’s look back at a few other directors who left/got fired from their films.
The Wizard of Oz, 1939
It seems crazy to think that one of the most beloved movies of all-time had such a tumultuous production, but The Wizard of Oz in fact saw six different directors helm the movie. Norman Taurog originally shot test footage, but was quickly replaced with Richard Thorpe who shot for around two weeks when Taurog was moved to The Adventures of Tom Sawyer. Producer Mervyn LeRoy felt that Thorpe was rushing the production, and his short time on the film was probably not helped when original Tin Man Buddy Epsen was hospitalised after the metal make-up coated his lungs and left him on an Iron Lung.
None of Thorpe’s footage made it into the final cut (although he did shoot Dorothy’s first meeting Scarecrow and several scenes at The Wicked Witch’s castle), and George Cucker came in after Thorpe was fired. However, Cucker didn’t actually shoot any footage, and was there to simply oversee the plans to re-shoot all of Thorpe’s work until Victor Fleming came in. Although he was eventually the only credited director, Fleming left before production ended to film Gone with the Wind, and the shooting was finished by King Vidor and LeRoy.
Gone with the Wind, 1939
Speaking of Gone with the Wind, George Cucker had been developing the movie with producer David O. Selznick for around two years, but was removed from the project three weeks into production. According to reports, the decision to remove Cucker was Clark Gable’s and it angered fellow co-stars Vivien Leigh and Olivia de Havilland who went to Selznick’s office to demand he be re-hired. In Cucker’s place was Victor Fleming, who shot the majority of the movie over ninety-three days (although Cucker was secretly coaching Leigh and Havilland behind the scenes). Fleming wasn’t the final name on the movie however, as he had to take a short break due to exhaustion and Sam Wood shot for around twenty-three days.
Although considered a Stanley Kubrick movie, he wasn’t the first name attached to Spartacus. After David Lean turned down the movie, it was offered to Anthony Mann who was then fired by star Kirk Douglas after just one week of production. According to Douglas in his autobiography, Mann was “scared” of the size and scope of Spartacus and wasn’t capable of finishing the film.
Superman II, 1980
Shooting for Superman II was done alongside Superman: The Motion Picture in 1977 with Richard Donner doing both films. However the film was under a lot of pressure, with overrunning schedules and budget, which producers Alexander and Ilya Salkind and Pierre Spengler attributed to Donner. After everything was shot for Superman: The Motion Picture, Superman II was placed on hiatus. Once Superman: The Motion Picture was an instant hit, the producers brought in Richard Lester to replace Donner on Superman II and shoot around the footage already filmed. Why Lester replaced Donner is still up for debate. Spengler has claimed that Donner was asked to come back but refused, while Donner claims he only found out Superman II was getting underway when he received a fax from the Salkinds telling him his services weren’t required.
The cast and crew did not take the replacement lightly, with creative consultants Tom Mankiewicz and editor Stuart Baird refusing to return for the sequel, along with Gene Hackman who was replaced with a body double. Although Marlon Brando had already shot everything for both movies, he successfully sued the Salkinds who then cut him out of the sequel. Years later, Warner Bros. released the Richard Donner cut of Superman II on home video as Superman II: The Donner Cut.
Piranha II was originally set to be directed by Roger Corman graduate Miller Drake, who envisioned a version of the movie which saw the return of Kevin McCarthy (who died in the original film). Drake was then replaced with James Cameron who was working on the film’s special effects department, and he then re-wrote the script under the pseudonym H.A. Milton. However around two weeks into production, Cameron was fired by producer Ovidio G. Assonitis who felt he wasn’t doing a good enough job. Assonitis wouldn’t let Cameron review any of the footage he’d shot during his time on the movie, and was even making all of the day-to-day decisions.
A regularly reported story was that Cameron broke into the editing room while the producers were in Cannes to cut his version of the movie, which was then re-cut by Assonitis. “Then the producer wouldn’t take my name off the picture because [contractually] they couldn’t deliver it with an Italian name,” Cameron said in a 1991 La Times interview. “So they left me on, no matter what I did. I had no legal power to influence him from Pomona, California, where I was sleeping on a friend’s couch. I didn’t even know an attorney. In actual fact, I did some directing on the film, but I don’t feel it was my first movie.”
WarGames began life as a very different movie titled The Genius in 1979 about a much older gentlemen, but this changed when writers Walter F. Parkes and Lawrence Lasker discovered a large youth-movement in the computer world, who would later be known as hackers. The character of David Lightman (played by Matthew Broderick) was even modeled after hacking enthusiast David Scott Lewis.
When the film went into production it was being helmed by Martin Brest who was then removed from the movie 12-days into shooting after a disagreement with the producers. In his place was John Badham, whose first act was to lighten the tone of the movie. “[Brest had] taken a somewhat dark approach to the story, and saw Matthew’s character as someone who was rebelling against his parents, and who was just kind of stewing inside,” he told The Hollywood Interview in 2009. “There was that tone to it. I said ‘If I was 16 and could get on a computer and change my grades or my girlfriend’s grades, I would be peeing in my pants with excitement!’ And the way it was shot, it was like they were doing some Nazi undercover thing. So it was my job to make it seem like they were having fun, and that it was exciting, but it wasn’t this dark rebellion.” »
- Luke Owen
Author: Zehra Phelan
The Conjuring universe is expanding further into new depths of horror with a spin-off focusing on The Crooked Man, a character who first appeared in the sequel to James Wan’s horror franchise, after hiring writer Mike Van Waes to pen the script for the new project.
James Wan and Peter Safran are set to produce the spin-off which will be joining the Conjuring’s universe of evil, With Annabelle already making its spin-off debut its follow-up, Annabelle: Creation is due for release later this year. The next to come out of the hugely successful franchise comes in the form of The Nun which will star Demian Bichir as a priest who investigates the mysterious death of a nun as well as Vera Farmiga’s sister Taissa Farmiga which is due for release in 2018.
The Crooked Man character is based on an English nursery rhyme: “There was a crooked man, »
- Zehra Phelan
The Conjuring universe is getting bigger by the minute. New Line has just given the green light to another spin-off in the form of The Crooked Man. The character made his horrifying debut in The Conjuring 2 and is now the second character to get a spin-off from that movie, following Valek the nun.
The news comes courtesy of The Hollywood Reporter, which means you can pretty much take it to the bank. The Crooked Man does not yet have a director, but up-and-comer Mike Van Waes has been hired to pen the script based on a story by James Wan, who directed both The Conjuring and The Conjuring 2. As THR puts it, James Wan is serving as the "chief architect of the Conjuring universe". The Crooked Man, a tall, slender, horrifying creation, isn't based on much, but the character comes from an English nursery rhyme which, hopefully, Van »
“The Conjuring 2” deals with the 1977 case of demonic possession of an 11-year-old British girl, played by Madison Wolfe. New Line successfully spun off 2014’s “Annabelle” from the demonic doll in 2013’s “The Conjuring.” “Annabelle” was a massive hit with $256 million worldwide on a $6 million budget. »
- Dave McNary
Ben Platt was bit by the musical bug at a very young age.
The 23-year-old Pitch Perfect actor, who just took home his first Tony Award for his performance in the critically-acclaimed musical Dear Evan Hansen, was just 4 years old when he discovered his favorite movie: The Wizard of Oz.
“I wanted to be Dorothy really badly,” the Los Angeles native told People. “I would wear red slippers around my house, had this blue jumper that was close enough to what she wore, and a giant yellow lab that I would Toto.”
- Dave Quinn
Winfrey told a capacity crowd at the Zanuck Theater on the Fox lot that David Oyelowo had insisted that she look at DuVernay’s 2012 drama “The Middle of Nowhere,” which won the top prize at that year’s Sundance Film Festival. This then led to a Mother’s Day lunch at Winfrey’s home, where DuVernay brought in the biggest flower arrangement she could find leading Winfrey to agree to come on board as a producer and cast member on DuVernay’s “Selma.”
Winfrey told the crowd at the Producer Guild of America’s Produced By conference that she was moved by DuVernay’s behavior on the set, where it was often over 100 degrees.
“People treat me pretty well, so what I »
- Dave McNary
It was 77 years ago that a cyclone whisked Dorothy from her drab, sepia tone life in Kansas to the Technicolor land of little people, bewitched poppy fields and flying monkeys. You may know the story well, but here are a few things about “The Wizard of Oz” that might take you by surprise. Judy Garland had a difficult time shaking the giggles after the Lion burst into tears when Dorothy smacked him for scaring Toto. After numerous takes, you can spot her holding back a grin in what made it to the big screen. Continuity issues arose during filming, including one. »
- Rosemary Rossi
Sam Seaborn was right: terrorists generally don’t win, but they have a chance when a country eagerly dances to their tune
It is a truth universally acknowledged that a journalist in possession of some thoughts about politics must be in want of a quote from The West Wing. Now, you might reasonably think, a box set about politics does not provide the kind of escapism I’m pretty sure we all desire at this point. But allow me to reassure you: the political world presented in Aaron Sorkin’s walkin’-and-talkin’ drama – in which the Us president is admirable, and the people around him are brilliant and well-intentioned, instead of being the meanest, richest and dumbest kids who somehow evaded Darwinism and made it to adulthood – feels so far from the current reality you might as well be watching The Wizard Of Oz. If only we didn’t have to return to Kansas, »
- Hadley Freeman
The Babadook is one of the best horror movies of this decade, its tale of a storybook monster made manifest through a woman’s rage and anxieties. It delivers both inventive scares and potent metaphors. But, because one’s art is no longer their own once it’s released into the wild, The Babadook itself is now serving double duty as both a terrifying symbol of mortality and an out-and-proud gay icon.
When the memes began, Attitude magazine attributed the Babadook’s new identity as gay audiences giving the film a “queer reading.” Their take:
The ‘queering’ of films occurs when academics or audiences take film characters with no explicit sexuality, and they ‘read’ them as Lgbt+, taking evidence from the text. Alexander Doty famously envisioned The Wizard of Oz as a lesbian fantasy. In his book Flaming Classics: Queering the Film Canon, Doty envisions Dorothy as a »
- Randall Colburn
Idina Menzel: idinamenzel.com
Idina Menzel is switching from “Let It Go” to “You Oughta Know.” Per The Hollywood Reporter, the Tony and Obie Award-winning actress will lead a reading of “Jagged Little Pill,” Diablo Cody’s stage musical adaptation of Alanis Morissette’s iconic album of the same name.
“Jagged Little Pill” is directed by Diane Paulus (“Waitress”) and includes orchestrations and arrangements from Tom Kitt (“Next to Normal”). Cody (“Juno,” “One Mississippi”) wrote the book in close collaboration with Morissette. Featuring songs like “Ironic” and “Hand in My Pocket,” the show “revolves around a modern, multigenerational family and their complex dynamics, touching on issues of gender identity and race,” THR summarizes.
Menzel is not attached to star in the show’s 2018 debut at Cambridge’s American Repertory Theater.
The actress and singer won a Tony in 2004 for the lead role of Elphaba in Broadway’s “Wicked,” a musical retelling of “The Wizard of Oz.” Menzel’s other stage credits include “Rent,” “Funny Girl,” and “If/Then.” She collaborated with Kitt on the latter. “Frozen,” Lifetime’s remake of “Beaches,” and “Glee” are among her screen roles. Next, Menzel is set to star in the Off Broadway production “Skintight.”
Idina Menzel to Lead Reading of “Jagged Little Pill” Musical was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Rachel Montpelier
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