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I sat down with Oscar-winning screenwriter, actor, director and musician Billy Bob Thornton for Venice Magazine in October of 2001. He had a slate of very diverse projects he was promoting: his first solo music album, "Private Radio," as well as the films "Monster's Ball," "Bandits," and "The Man Who Wasn't There." My strongest memory is of Thornton's quiet intensity and an undercurrent of Southern affability, which came out once he decided you were okay. He seemed to feel that way about me after I shared with him my idolatry of legendary filmmaker Fred Zinnemann, something we shared. I also remember his unusual diet, when our lunch was served. Thornton got the biggest plate of sliced papaya I've seen to date, artfully presented. I got a seafood salad. He looked at my plate, smiled, and told me about the horrible shellfish allergy he'd been saddled with all his life, and how »
- The Hollywood Interview.com
Adam Crozier, CEO of ITV, the U.K.’s biggest commercial broadcast, will deliver the Mipcom Media Mastermind Keynote.
In it, he will discuss how he turned around ITV from a seemingly ailing TV network with limited growth potential both in the U.K. and in the free-to-air broadcast business into a model of expansion, geographic and sectorial, driving energetically into the acquisition of production companies, primarily in the U.S.: Gurney Prods, High Noon Ent., Thinkfactory Media, Diga Vision, and Leftfield Ent.
The largest producer of non-scripted TV in the U.S., ITV has also bought John de Mol’s Talpa, producer of “Big Brother” and “The Voice,” and upped the ante on its drama production biz via a U.S. joint venture, Tomorrow Studios, with vet producer Marty Adelstein.
Coinciding with the launch of “Beowulf” and “Jekyll & Hyde,” Crozier’s keynote conversation will also take in ITV studios’ growing fiction content business, »
- John Hopewell and Leo Barraclough
7 Minutes, 2014.
Written and Directed by Jay Martin.
Three high school friends are forced to commit a brazen robbery which quickly goes horribly wrong.
Ok, get in the bank, take the money and be out of there in 7 minutes. No one gets hurt and only the bank loses the money. Simple?
Well, it wouldn’t be much of a movie if it were that easy. And in this new heist drama it certainly isn’t.
Following three high school friends as they attempt to cover the losses of a mistakenly flushed drug supply, the film takes an intriguingly circuitous route around the narrative, dropping back through the last 3 years examining just how the band became so desperate.
Sam (Luke Mitchell) appears to have it all made at the start of the story, »
- Robert W Monk
High Noon (1952) is considered a classic for good reason. It’s about a man not too different from us, who faces an enemy from his past alone precisely because no one else will if he doesn’t. High Noon gets me just with the cast alone. Gary Cooper, Grace Kelly, Thomas Mitchell, Lee Van Cleef, and Lon Chaney. I mean come on, that’s a fantastic cast. They all add to the movie in one way or another. Cooper is absolutely superb as Will Kane – the weary marshal who’s reluctant to give up his star. He anchors the movie. It’s his journey as high noon approaches quickly and we’re spellbound by his plight. Kelly plays his newlywed wife and is less naive than you’d think. Thomas Mitchell is the mayor of this small town and his scene at church is a highlight of the film. Then »
- Tom Stockman
It's fitting that Clint Eastwood and John Wayne both have the same birthday week. (Wayne, who died in 1979, was born May 26, 1907, while Eastwood turns 85 on May 31). After all, these two all-American actors' careers span the history of that most American of movie genres, the western.
Both iconic actors were top box office draws for decades, both seldom stretched from their familiar personas, and both played macho, conservative cowboy heroes who let their firearms do most of the talking. Each represented one of two very different strains of western, the traditional and the revisionist.
As a birthday present to Hollywood's biggest heroes of the Wild West, here are the top 57 westerns you need to see.
57. 'Meek's Cutoff' (2010)
Indie filmmaker Kelly Reichardt and her frequent leading lady, Michelle Williams, are the talents behind this sparse, docudrama about an 1845 wagon train whose Oregon Trail journey goes horribly awry. It's an intense »
- Gary Susman
Chicago – Now playing at Chicago’s Music Box Theater and on VOD (but best seen on the largest screen possible), “Slow West,” is a tight genre journey pic that invigorates the western while confirming that its territory remains open, despite the many who have passed through.
It’s a progressive western; recognizable for Fassbender’s Clint Eastwood impression, but offering something new with its ideas of gender and violence. Not for nothing, it also features “The Place Beyond the Pines” actor Ben Mendelsohn in a coat that will change the way you look at fashion.
The story follows a young man (Kodi Smit-McPhee), as he ventures across 19th century America in search of a woman (Caren Pistorius) that he loves. He receives some help from independent traveler Silas (Fassbender), while encountering unpredictable forces of nature (played by Mendelsohn) and brutal inhumanity.
Before his debut film, director John Maclean was in »
- firstname.lastname@example.org (Adam Fendelman)
By Alex Simon
There are few rituals in life more chaotic, confounding and magical than the wedding. Appropriately, marriages have provided the backdrop for many a story spun through the ages. Whether it’s sending out multitudes of wedding invitations, choosing the right dress, or whether to seat Aunt Mabel next to her second or fifth ex-husband at the reception, weddings both in life and on film are almost always guaranteed to bring forth a surge of emotions. Below are a few of our favorite cinematic nuptials:
1. The Searchers (1956)
John Ford’s western masterpiece is full of many iconic moments, not the least of which is one of the screen’s greatest knock-down, drag-out fights between Jeffrey Hunter and Ken Curtis for the hand of comely Vera Miles. Martin Scorsese loved this scene so much, he paid homage by having his characters watch it in Mean Streets (1973).
- The Hollywood Interview.com
Nurse Jackie recap Season 7 Episode 6 “High Noon” (original airdate May 17, 2015) We get a bit of a psychedelic start to this episode, where Jackie plunges (literally) into her fridge chasing the only item in it — a bottle of pills. It was a craving dream and the start of her insomnia, which brings her to All Saints three hours early. There she finds a very hung over Dr. Prince. But he seems to have the cure for both of them. Jackie (Edie Falco) and Prince (Tony Shalhoub) share some one-on-one time while rehydrating (true nurse style) compliments … Continue reading →
- Barb Oates
'A Hatful of Rain' with Lloyd Nolan, Anthony Franciosa and Don Murray 'A Hatful of Rain' script fails to find cinematic voice as most of the cast hams it up Based on a play by Michael V. Gazzo, A Hatful of Rain is an interesting attempt at injecting "adult" subject matters – in this case, the evils of drug addiction – into Hollywood movies. "Interesting," however, does not mean either successful or compelling. Despite real, unromantic New York City locations and Joseph MacDonald's beautifully realistic black-and-white camera work (and the pointless use of CinemaScope), this Fred Zinnemann-directed melodrama feels anachronistically stagy as a result of its artificial dialogue and the hammy theatricality of its performers – with Eva Marie Saint as the sole naturalistic exception. 'A Hatful of Rain' synopsis Somewhat revolutionary in its day (Otto Preminger's The Man with a Golden Arm,* also about drug addiction, »
- Andre Soares
This week marks the 10th anniversary of the release of "Crash" (on May 6, 2005), an all-star movie whose controversy came not from its provocative treatment of racial issues but from its Best Picture Oscar victory a few months later, against what many critics felt was a much more deserving movie, "Brokeback Mountain."
The "Crash" vs. "Brokeback" battle is one of those lingering disputes that makes the Academy Awards so fascinating, year after year. Moviegoers and critics who revisit older movies are constantly judging the Academy's judgment. Even decades of hindsight may not always be enough to tell whether the Oscar voters of a particular year got it right or wrong. Whether it's "Birdman" vs. "Boyhood," "The King's Speech" vs. "The Social Network," "Saving Private Ryan" vs. "Shakespeare in Love" or even "An American in Paris" vs. "A Streetcar Named Desire," we're still confirming the Academy's taste or dismissing it as hopelessly off-base years later. »
- Gary Susman
Sergio Leone's A Fistful of Dollars (1964) is at once dramatically different and very much the same as its inspiration, Akira Kurosawa's Yojimbo (1961). In the simplest of terms, the two follow a stranger into a corrupt town where they eventually play two rival gangs against one another, freeing the town in the end. Kurowsawa's film, in my opinion, is one of his best, mixing comedy, action and plenty of dramatic tension, boiled down to a brisk 110 minute feature I could sit down and absorb at a moment's notice. amz asin="B00HZN8TBC" size="small"Leone's A Fistful of Dollars is just as wonderful as the translation from samurai to lone gunman is almost a no-brainer, but what's truly amazing is how it doesn't feel like a remake, but merely a different adaptation of the same story. Leone made the film his own, the casting of Clint Eastwood as »
- Brad Brevet
Justin Timberlake on the Oscars' Red Carpet Justin Timberlake at the Academy Awards The Social Network actor Justin Timberlake arrives at the 83rd Academy Awards, which took place on Sunday, Feb. 27, at the Kodak Theatre in Hollywood. At the ceremony, Timberlake and Black Swan actress Mila Kunis introduced the nominees – and eventual winners – in the animation categories. Throughout the proceedings, he pretended to be the elusive Banksy, whose Exit Through the Gift Shop was a Best Documentary Feature contender. The joke fell mostly flat, but Timberlake actually elicited some laughs when he imitated three-time Oscar-nominated veteran Kirk Douglas*, who mercilessly stretched the Best Supporting Actress announcement into what seemed like hours. Admittedly, Douglas was funny. (The winner in that particular category turned out to be Melissa Leo for David O. Russell's The Fighter.) As announced by the Justin Timberlake-Mila Kunis duo, the Best Animated Short Film was Shaun Tan »
- D. Zhea
More than its criminals and marshals, more than its lawmen and outlaws, more than its cases of the week and blood feuds that ran deep, Justified was a show about storytellers. It was a series populated by characters fast on the draw, and quicker with a plan, but when it comes down to it, every one of the characters we came to love on this show was a born talker. Whether it’s Boyd, the man never more comfortable than when in front of an audience, Ava, the survivor who wrote her own destiny, or even Raylan, our taciturn hero, it’s what these people said, more than what they did that’ll linger now that Justified is over.
You can almost look at “The Promise” as being two different finales: one for the season, and one for the series. The former is a tad messy, overstuffed and unable to »
- Sam Woolf
Teresa Wright-Samuel Goldwyn association comes to a nasty end (See preceding post: "Teresa Wright in 'Shadow of a Doubt': Alfred Hitchcock Heroine in His Favorite Film.") Whether or not because she was aware that Enchantment wasn't going to be the hit she needed – or perhaps some other disagreement with Samuel Goldwyn or personal issue with husband Niven Busch – Teresa Wright, claiming illness, refused to go to New York City to promote the film. (Top image: Teresa Wright in a publicity shot for The Men.) Goldwyn had previously announced that Wright, whose contract still had another four and half years to run, was to star in a film version of J.D. Salinger's 1948 short story "Uncle Wiggily in Connecticut." Instead, he unceremoniously – and quite publicly – fired her. The Goldwyn organization issued a statement, explaining that besides refusing the assignment to travel to New York to help generate pre-opening publicity for Enchantment, »
- Andre Soares
In his expanded role, Miller will oversee legal and business affairs, as well as digital initiatives, syndication projects and game applications, and will continue to report directly to CEO Jim Berger.
“Brad is a proven leader and a trusted executive who’s contributed immensely to our continued growth in an ever-changing marketplace,” Berger said. “He’s the perfect person to navigate High Noon into new initiatives and build a larger West Coast operation.”
Prior to joining High Noon, Miller was a founding partner of Doyle and Miller, Llp. He has also worked as inhouse transactional counsel for the Disney ABC Cable Networks Group and Warner Bros. Television. He joined High Noon Entertainment in 2012.
- Seth Kelley
Dan Kois declares that the rejection of "Boyhood" on Sunday as Oscar's Best Picture was the Academy's "worst mistake in 20 years." He says we witnessed an "epochal travesty" when the Richard Linklater film lost, which only happens when "a true masterpiece, a movie for the ages, somehow battles its way through the mediocrity" to only lose in the end. He calls the eventual winner "Birdman" a "terrific" movie, but that we will look back to say "how did they let this happen?" Other "epochal travesty" losses over the years have been by "Citizen Kane," "The Graduate," "High Noon," "Goodfellas," "Pulp Fiction," "Apocalypse Now," "Raging Bull," "Raiders of the Lost Ark, and "E.T." Slate -Break- In advance of the "House of Cards" third season debuting Friday on Netflix, a new guide brings you up-to-speed..." »
By Anjelica Oswald
Bill Clinton likes a good movie.
According to a 2014 study by The Wall Street Journal, NBC News and the Annenberg Public Policy Center, an endorsement from Clinton makes political candidates appear to be 38 percent more favorable among voters. But does this effect carry over to his movie choices?
Some think yes and other think no, but regardless of the effects, Clinton has offered his praise for many films throughout the year.
Clinton made a surprise appearance at the New York Museum of Arts and Design’s Virunga screening on Jan. 31, along with his wife, former Secretary of State Hillary Clinton. The documentary, executive produced by Leonardo DiCaprio, follows a team of park rangers in the Democratic Republic of the Congo’s Virunga National Park as »
- Anjelica Oswald
Now this is a list that could result in a lot of fascinating dissection and thanks to HitFix it comes to our attention almost three years after it was originally released back in 2012, celebrating the Motion Picture Editors Guild's 75th anniversary. Over at HitFix, Kris Tapley asks, "Is this news to anyone elsec" Um, yes, I find it immensely interesting and a perfect starting point for anyone looking to further explore the art of film editing. In an accompanying article we get the particulars concerning what films were eligible and how films were to be considered: In our Jan-feb 12 issue, we asked Guild members to vote on what they consider to be the Best Edited Films of all time. Any feature-length film from any country in the world was eligible. And by "Best Edited," we explained, we didn't just mean picture; sound, music and mixing were to be considered as well. »
- Brad Brevet
A random bit of researching on a Tuesday night led me to something I didn't know existed: The Motion Picture Editors Guild's list of the 75 best-edited films of all time. It was a feature in part celebrating the Guild's 75th anniversary in 2012. Is this news to anyone else? I confess to having missed it entirely. Naturally, I had to dig in. What was immediately striking to me about the list — which was decided upon by the Guild membership and, per instruction, was considered in terms of picture and sound editorial as opposed to just the former — was the most popular decade ranking. Naturally, the 1970s led with 17 mentions, but right on its heels was the 1990s. I wouldn't have expected that but I happen to agree with the assessment. Thelma Schoonmaker's work on "Raging Bull" came out on top, an objectively difficult choice to dispute, really. It was so transformative, »
- Kristopher Tapley
Old-fashioned cowboys and lawmen still ride the range along the banks of the Rio Grande in “Western,” the third feature-length documentary by the brothers Turner and Bill Ross. Specialists at a kind of intimate, incisive community portraiture, the Rosses here fashion an elegiac tale of two cities — small cattle towns on opposite sides of the Texas-Mexico border — whose neighborly tranquility is threatened by the encroaching shadow of the Mexican drug cartels. (Were the title not already in use, the movie might have been named “A Most Violent Year.”) Like the brothers’ earlier work, the result is a low-key but sharply observed work that benefits from real local flavor and a gift for lyric image making. Commercial prospects are modest at best, but Sundance will hardly be the film’s last festival rodeo.
With a gentle hand, “Western” deposits us in the community of Eagle Pass, Texas, where gruff, mustachioed men »
- Scott Foundas
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