Love Letters (1945)
Reviewed by Glenn Erickson
The ad campaign for this crime shocker
Looks like things got pretty hot and heavy on the set of Keith Urban's new music video!
ETonline has an exclusive look behind the scenes of Urban's "Somewhere In My Car" shoot, featuring models Jehane Paris and Rodrigo Calazans. See the steamy photos below.
"The story [of "Somewhere In My Car"] is what I would call melancholy," said Urban. "So for me, the video had to be centered around the present and the past, but focused on the intoxicating emotion of 'those nights.'"
Pics: Keith Urban and Nicole Kidman are Crazy in Love!
The result: a video that is being touted as Urban's most provocative to-date. And while the models might be getting all the action on screen, Urban is also included in the video via performance footage from the Cincinnati stop of his recently-completed "Raise 'Em Up" summer tour.
"Somewhere In My Car" re-teams the singer with "Cop Car
The Hollywood Reporter
As much as anything, Gregory Mosher‘s new Broadway revival ofA.R. Gurney‘s 1988 dramedy Love Letters — which opened Thursday night at the Brooks Atkinson Theatre, will be running there through Feb. 15 (see THR‘s review) and may well contend for Tonys next spring — made me think about the wide variety of ways in which the passage of time can be conveyed through the different art forms.
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Every year, the glittering lights and unique experience of Broadway lures Hollywood actors to the East Coast; some are veterans of the stage and others are making their Broadway debut. Bryan Cranston (Breaking Bad), James Franco (This is the End) and Chris O’Dowd (Bridesmaids) all made their Broadway debuts earlier this year, with O’Dowd receiving a Tony nomination for Of Mice and Men and Cranston winning a Tony for All The Way. Neil Patrick Harris (How I Met Your Mother), who hadn’t been on Broadway since his 2004 run in Assassins, scored his first Tony nomination and win for Hedwig and the Angry Inch this summer.
The Broadway lineup for the end of the year hosts a number of Hollywood actors making their Broadway debuts, and they are joined by an illustrious group of Broadway vets returning to the stage.
Michael Cera (Arrested Development) and Kieran Culkin,
Angelina Jolie and Brad Pitt have finally tied the knot!
The A-list stars got engaged in April 2012 and two years later, they're officially husband and wife, The Associated Press reports. The couple reportedly wed in Chateau Miravel, France on Saturday, their rep confirmed to AP.
Photos: 2014 Celebrity Weddings
The private, nondenominational civil ceremony took place in a small chapel and was attended by family and friends. Jolie walked down the aisle with her eldest sons Maddox and Pax, while Zahara and Vivienne threw petals as the flower girls. Their other two kids, Shiloh and Knox, served as their ring bearers, according to the couple's spokesperson.
Pitt and Jolie obtained a marriage license from a California judge, and the judge also conducted their wedding in France.
News: Brad and Angelina Write Love Letters to Each Other
Brangelina met in 2005 while on set of their film Mr. & Mrs. Smith
Jay Weissberg, film critic for Variety, speaks with Mia Farrow about her career, passions, the art and craft of acting, her upcoming role on Broadway and growing up in Hollywood royalty. An engaging and smart storyteller, she has a self-effacing sense of humor and deep honesty. The hour-long talk was held in Locarno on 9 August in a packed auditorium – the backdrop of which could have reflected a movie scene, as lights flickered during torrential rains and thunderstorms raged.
Weissberg: With your father a director and mother an actress, did you fall into acting?
Farrow: No, I had a lot of other plans as well. I was going to be a fireman. A fighter pilot -- why I don’t know. And I wanted to be a nun. I got all the best parts in plays in high school. I grew up in Beverly Hills, my mother had come from Ireland and all her colleagues had come from across America and Europe too. This town of Beverly Hills was a town of making films not a town of generations who had lived there for a lot of time. All the kids I grew up with were growing up in films. George Cukor was my godfather. My parents for pragmatic reasons -- Luella Parsons was my godmother. It was political…they were buying her praise or silence, as the case was needed.
Weissberg: When you first began acting was it, ‘Oh sure I can do it’ or a concern ‘Oh this is a craft I need to study?
Farrow: Definitely the latter. I was 16, on Broadway, my father just died. My brother had been killed in an airplane crash. I began auditioning and got this part in Importance of Being Earnest. I sat in on many classes; Wynn Hammond, Uta Hagen, the Actors Studio. I didn’t commit to any of them; I sat in on as many classes as I could. I got Summer stock. I learned on my feet.
Weissberg: On "Rosemary’s Baby" there was a clash between John Cassavetes, known for naturalism and spontaneity and Polanski, a rigid filmmaker.
Farrow: Their two styles could not have been more different. With Polanski there was the precision, exactness, mapping out his shots, that he required of his actors. (Farrow demonstrates) If you had a glass that was a little too up to the right - you ruined that shot. Cassavetes did handheld stuff, he was free to say what he wanted, and there was a lot of adlibbing. Cassavetes quickly found he was not comfortable with the confines, the rigidity of these extraordinary shots that Polanski mapped out.
Weissberg: It’s extraordinary over your career your ability to surprise us. Just when we, the public or industry has typecast you, you turn around and do something unexpected. "Broadway Danny Rose" and earlier on in "Rosemary's Baby" and "John and Mary." Let’s talk about change for your characters internally and externally.
Farrow: That’s part of the job. There are actors who didn’t change characters whom I admire like Spencer Tracy and Yul Brynner. Yul said he had a different walk in every film. He thought he was a different character. If you can successfully convey that then you have to find it in yourself to make that person real. In "Broadway Danny Rose" I patterned it after the wife of a friend of Frank Sinatra’s and a woman in a restaurant. I knew how she should look and talk. There was an assistant in one of the offices and I said, ‘Can you read my lines and I can tape you to get that accent right?’ I had to change that timbre. I tried to gain the weight but still had to fake everything. Now you can’t do that part and stay in the part and do "The Purple Rose of Cairo," too (which was shot at the same time). I was in the Royal Shakespeare Academy; you can’t Not change. It’s part of the way of my training.
Weissberg: You’re going back to Broadway next month in Love Letters. What made you want to come back to the stage?
Farrow: I’ve been saying to myself, that I don’t want to act again because drama is enough in life, but I’m still earning a living. Then I wondered if that’s true; that I don’t want to act. It’s only one month on Broadway and I should see before I make definitive statements about anything. One of my sons said, ‘Don’t make these statements; acting is something you can do that can be meaningful. Don’t be so cavalier with something you were given.’
Weissberg: Did your mother give you any acting advice?
Farrow : She gave advice about acting and being truthful. ‘Don’t ever do your hair in the style of the times unless there’s a real point to looking a certain way. Choose simple clothes and hair, so people can see your role ten years from now, unless you’re deliberately trying to convey it.’ I think in "Rosemary's Baby" that was ‘me’ in that situation, I had to imagine myself in that situation and then I tried to have her look not so sixties not so anything in particular.
In response to a question about organizing a full and complicated life while juggling all the balls in the air.
Farrow: It’s better not to think of them as balls in the air otherwise I would probably drop everything. I have multiple interests and I’ve always been like that. You’ll see on Twitter what my interests are. (Farrow talks about Unicef trips to Central African Republic and the genocide there.) I try to bring some attention there to a neglected crisis.
In response to a question about Frank Sinatra
Farrow: I would say in essence a shy man who was extremely empathetic, and a shy man who took pains to cover his shyness with a toughness you saw. There were many aspects of his childhood growing up in Hoboken; his mother’s only son, skinny, he wanted to be singer and the guys in his school were tough, he got a lot of bullying. We all carry our six year-old self, and that self, that essential self, was a very sensitive and essentially shy person. He was fascinated about a lot of things. I am very glad to have known him. He was a good friend. I loved him very much.
Weissberg: Is the legend true that Prudence is your sister from the Beatles’ song ?
Farrow: I wish the song was called Dear Mia. The Beatles wrote the White Album when we were all in India. My sister Prudence was a meditator years before we went to India. Each of us was mired in our own particular nightmares. We get to the Himalayas, and she goes into meditation 24-hours a day and I have a short attention span. You get a mantra from the guru and you learn; you bring flowers and fruit. It’s a ceremony. Well, I have a little bout with hay fever – the guru has a wreath around his neck and he carefully tells me my secret word and I sneezed! I didn’t hear it properly. I asked him, “Would you mind repeating it?” Guru said, “No you have heard it.’ I said, “No really, I don't think so.” He never would repeat the word. That's probably why I never achieved that karmic bliss. The Beatles were outside our door, asking Prudence (and Farrow sings) “Won’t you come out and play?”(Upon hearing the song back in the U.S.) Prudence doesn’t like getting anything that’s prideful. Me -- I would have had Dear Mia tee shirts made!
Weissberg: Hollywood is not a comfortable place for a woman past 40.
Farrow: It’s okay I don’t look 20 anymore. Judi Dench looks like Judi Dench and we love the way she looks. And we love Maggie Smith. We love all the Maggie Smiths of her lifetime. We love all the Sally Fields and we hope she will go on to impress us. There is a residual fear from the olden days, except Katherine Hepburn, women [over 40] disappeared into their mansions because they thought they would disappoint fans. Or went to surgeons. There was a lot of fear of growing old. That’s not on the top of my one millions fears.
I ask Farrow about the disparity of women directors working in the industry
Farrow cites Kathryn Bigelow as a success story and hopes the situation changes.
Farrow: I haven’t worked with women directors yet but I would like to. Women are capable of doing anything. We’ve had some big hits. I hope one day when I do another film if I have the time to work with a woman director. I would love to work with women. We are better communicators.
In response to Farrow’s relationship with social media
Farrow: I love Twitter; my son taught me. It’s a great way to use information, to convey information for me as a human being and as Un ambassador. I told my children, ‘With knowledge comes responsibility.’ I feel if I can convey that information, maybe people can act upon it. It’s about all of us using what is in our arsenal to try to make the world a little more peaceful or compassionate.
Award-winning screenwriter and filmmaker, Susan Kouguell presents international workshops and seminars on screenwriting and film. Author of Savvy Characters Sell Screenplays! and The Savvy Screenwriter, she is chairperson of Su-City Pictures East, LLC, a consulting company founded in 1990 where she works with over 1,000 writers, filmmakers, and executives worldwide. www.su-city-pictures.com, http://su-city-pictures.com/wpblog .
The first photos are out from Jorge Gutierrez's stylized 3-D animated feature "The Book of Life" which deals with the Mexican Day of the Dead holiday.
Guillermo del Toro produced the story about love triangle among three childhood friends Manolo (Diego Luna), Maria (Zoe Saldana) and Joaquin (Channing Tatum) who are stirred up after the unpredictable gods wager on which man will win Maria's heart. [Source: USA Today]
The Good Luck Of Right Now
"Little Miss Sunshine" directors Jonathan Dayton and Valerie Faris have dropped out of directing the film adaptation of "Silver Linings Playbook" author Matthew Quick's "The Good Luck Of Right Now" at DreamWorks.
Currently in pre-production, the departure is said to be due to creative disagreements over the ensembles casting process. Mike White penned the script of the adaptation. [Source: Deadline]
Giant screen exhibitor IMAX have announced that they will digitally re-master and release
All three brief clips are shot in moody black and white, and each features the series' creator, writer, director and star Louis C.K. from the back, taking in some essential New York landmark. The first one is reminiscent of the iconic Queensboro Bridge scene in Woody Allen's Manhattan, with C.K. sitting on a bench and gazing out across the river.
The post Watch Metronomy’s “Love Letters”, directed by Michel Gondry appeared first on Sound On Sight.
• Metronomy's Joseph Mount: 'I wouldn't want to be like Coldplay'
When he's not making whimsical films like Eternal Sunshine of the Spotless Mind or the forthcoming Mood Indigo, Michel Gondry often makes visionary music videos.
His videos to date - such as Daft Punk's Around the World and the Chemical Brothers' Star Guitar - matched the musician's rhythm tracks with surreal visuals in total alignment, while his various creations for Bjork have visualised her liminal dreamworlds perfectly.
His latest interpretation is for Metronomy's new single Love Letters, taken from the excellent forthcoming album of the same name.
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The song is a forthright Abba-ish number, where strident disco is given a slightly stiff-limbed gait as Joseph Mount sings of desperate love. Gondry sticks
Two of her early and most noted roles in a career that spanned more than six decades were as Brock Peter’s wife in “To Kill a Mockingbird” and as Harry Belafonte’s wife in “Odds Against Tomorrow.” She had most recently appeared in the 2010 film “The Beginners.”
She appeared in many other films, including “The Greatest Story Ever Told,” “Body & Soul,” “The Wild Angels” and the cult film “Leach Women.”
Her long career on television began with a role as Andy’s girlfriend on “Amos & Andy.” Other credits included “Ben Casey,” “Dr. Kildare,
Starring: Brian Bedford, Phil Harris, Peter Ustinov, Andy Devine, Terry Thomas
Running Time: 83 minutes
Extras: Deleted Storyline “Love Letters”, Classic Bonus: Alternate ending, Classic bonus: Robin Hood art gallery, “Ye Olden Days” bonus short, Sing along with the movie, Disney song selection
There are some stories that stay with you forever, and one of them has to be Robin Hood. Come on, who doesn’t love the story of a loveable rogue who steals from the rich to give to the poor? It’s one of the most universal stories in history, so of course Walt Disney had to get in on the action.
This 1973 classic keeps to the original folk tale of Robin Hood and his merrymen, but instead of humans we have animals. Despite the use of animals, the moral of the story remains strong, which is probably why when people sit down
Posters for A Single Shot, Parkland, Plush, Filth, Blue Caprice, Escape Plan, Mother of George, Wadjda, Morning, Disneynature's Bears, C.O.G., and A Promise.
A full graphic novel prologue to this week's art house drama "Aint Them Bodies Saints" has gone online over at EW.
"Sony Pictures Classics has picked up Bennett Miller's 'Foxcatcher' starring Channing Tatum and Steve Carrell, and have given it a release date of December 20th this year…" (full details)
"The 'ghosts on a plane' thriller '7500', starring Ryan Kwanten and Amy Smart, looks like it will finally be scoring a release sometime this October…" (full details)
"CBS Films has acquired Bethany Ashton Wolf's script 'Other People’s Love Letters' and attached Tom Bezucha to direct. The story follows the intertwining storylines of four romances,