19 items from 2013
Ann Serling will be a guest at the upcoming 35th Annual St. Louis Jewish Book Festival.
Best known for his role as the host of television’s The Twilight Zone, Rodman E. “Rod” Serling, an American screenwriter, playwright, television producer, narrator, and teacher had one of the most exceptional and varied careers in television. The winner of more Emmy Awards for dramatic writing than anyone in history, Serling challenged the medium of television to reach for loftier artistic goals. Serling expressed a deep social conscience in nearly everything he did and was known as the “angry young man” of Hollywood, clashing with television executives and sponsors over a wide range of issues including censorship, racism, and war.
Born in 1924, Rod Serling grew up in the small city of Binghamton, New York. The son of a butcher. His experiences of the working-class life of New York, and the horrors of World War II, »
- Tom Stockman
As BBC4 launches a new series on the sound of cinema, we'd like to hear from you about the film soundtracks that mean the most to you
• Read more: Neil Brand on the secret art of the film soundtrack
Writing in the Guardian this week, Neil Brand, presenter of BBC4's Sound of Cinema, says: "Most memorable movie music announces itself, whether with the blast of trumpets that begins Star Wars or the low, febrile string notes that usher in Jaws; whether the electronic hammer blows of Blade Runner or the unexpectedly lyrical solo piano that opens the Coen brothers' True Grit. These are the pieces we remember, the stuff we can hum along to, so engrained in us that it seems to have existed for ever."
The BBC, as part of it's Sounds of Cinema season, is currently polling listeners to find the greatest ever soundtrack, with a shortlist »
The BBC has launched a poll across its TV and radio stations to find the greatest ever movie soundtrack.
BBC Radio 1's Rhianna Dillon, BBC Radio 2's Simon Mayo, BBC Radio 3's Matthew Sweet, Francine Stock from BBC Radio 4, Mary Anne Hobbs from BBC Radio 6music, Tommy Sandhu from Asian Network and film music conductor Robert Ziegler have joined forces to choose the 20-strong shortlist.
Voting is open now on the BBC website and closes at midnight on Friday, September 20.
The results will be announced and played live by the BBC Concert Orchestra on Friday, September 27 at 2pm and will be broadcast live on BBC Radio 3.
The poll is part of the BBC's Sound of Cinema season, which starts today with the broadcast of the first of a three-part BBC Four series Sound of Cinema: The Music That Made The Movies.
It is presented by Neil Brand and airs at 9pm. »
Television is a gold goose that lays scrambled eggs;
and it is futile and probably fatal to beat it for not laying caviar.
When people argue over the quality of television programming, both sides — it’s addictive crap v. underappreciated populist art — seem to forget one of the essentials about commercial TV. By definition, it is not a public service. It is not commercial TV’s job to enlighten, inform, educate, elevate, inspire, or offer insight. Frankly, it’s not even commercial TV’s job to entertain. Bottom line: its purpose is simply to deliver as many sets of eyes to advertisers as possible. As it happens, it tends to do this by offering various forms of entertainment, and occasionally by offering content that does enlighten, inform, etc., but a cynic would make the point that if TV could do the same job televising fish aimlessly swimming around an aquarium, »
One of the most enjoyable animated films of the past few years was Phil Lord and Chris Miller’s very funny Cloudy with a Chance of Meatballs, and so I was very happy to hear that Sony was moving forward with a sequel. Lord and Miller remain onboard as producers for Cloudy with a Chance of Meatballs 2, but Cody Cameron and Kris Pearn take the helm as directors this time around. At the film’s Comic-Con panel in Hall H today, Bill Hader, Anna Faris, and Terry Crews showed up alongside Cameron and Pearn to talk about the follow-up, the numerous “foodimals,” and more. Hit the jump for my full recap of the Comic-Con panel for Cloudy with a Chance of Meatballs 2. The panel began with a really funny pre-taped video that had the film’s cast members trying on their character costumes in order to drive down to Comic-Con. »
- Adam Chitwood
Directed by Gordon Douglas
Written by Ted Sherdeman
In that filled-to-bursting canon of 1950s science fiction cinema, movies range from true film classics – like the Hawksian The Thing from Another World (1951), and that alarm bell about human desensitization, Invasion of the Body Snatchers (1956) – to cheapie craptasmagoriums like Beginning of the End (1957 – giant grasshoppers crawling over photographs of downtown Chicago), and It Conquered the World (1956 – “It” being an alien that looks like a devil-faced carrot with lobster claws). I’d go as far as to say the consensus is probably there’s just a few of the former, and a whole stinking pile of the latter. But scattered (thinly, I’d have to say) between those poles are movies neither classic nor crap, but made with enough craftsmanship to be eminently and repeatably watchable. You know: just good, damned fun! One of my faves from that group: Them! (1954).
- Bill Mesce
I’ve known for a long time that J.J. Abram’s Bad Robot Productions was a force to be reckoned with, but I never once thought they would be capable of resurrecting the dead. Sure, it co-produced the rebooted Star Trek films, but Star Trek never died – it’s always existed in some form or another since the first episode of the original television series aired. But when I heard Bad Robot had bought the rights to Rod Serling’s unproduced final feature script I balked. Is such a thing even possible? With Abrams and Bad Robot, the answer is, apparently, yes. But is it right?
Don’t get me wrong; I love Abrams and the majority of the films and TV shows he’s produced with Bad Robot, but Rod Serling was a genius whose work, whether produced or not, shouldn’t be tampered with. And I’m »
- Brody Gibson
How does J.J. Abrams find the time? He continually makes us all look bad, by looking for another job. This time, Abrams and his production company, Bad Robot, have acquired the rights to the late, great Rod Serling’s final unproduced script, The Stops Along The Way. He is shopping it to networks as a miniseries. The logline of the script is being kept under wraps, but with Abrams and Serling involved, there’s sure to be something exciting afoot in the genre front.
- Andy Greene
J.J. Abrams has acquired the rights to Rod Serling's final screenplay and plans to produce "The Stops Along the Way" as a limited series. The Bad Robot Productions project comes a full 38 years after the death of the "Twilight Zone" writer.
As first reported by Deadline, Abrams will develop "The Stops Along the Way" with Warner Bros. Television before shopping the project to networks.
Virtually nothing is known about "The Stops Along the Way." Serling mentioned it in passing during the final interview before his sudden death at the age of 50, calling it only "a lovely script." Serling's widow, Carol, is one of the few people to have read the script and describes it (according to Variety) as having "a little bit of fantasy, a little bit of imagination" that "takes place over a long period of time." Carol Serling also mentioned that this final script was one »
His Warner Bros. TV-based production company, which is responsible for such shows as Revolution, Person of Interest and Fox’s upcoming drama Almost Human, has nabbed the rights to Serling’s unproduced final screenplay The Stops Along the Way. The hope is to shop the script as a possible “event” series. (That’s code for miniseries, kids).
- Lynette Rice
“The Stops Along the Way” is described as Serling’s final completed work before his death in June 1975 at the age of 50. Bad Robot and Warner Bros. TV secured the rights to the script from Serling’s widow, Carol Serling. The property will be shopped to TV outlets as a limited series.
“I’m terribly, wonderfully excited that J.J. is interested and going to do it,” Carol Serling told Variety. “It was one of my husband’s favorite pieces. He thought it had great potential.”
Abrams has been eyeing the property for some time. It’s one of several ideas that he’s discussed during the past few years with Carol Serling.
See Also: J.J. Abrams »
- Cynthia Littleton
Thirty eight years after Rod Serling‘s death, his final screenplay is heading to the screen. J.J. Abrams’ Bad Robot Prods. has acquired the rights to The Twilight Zone creator’s unproduced last feature script The Stops Along The Way. The project will be developed into an event limited series through Bad Robot’s deal at Warner Bros. TV and taken out into the marketplace. Details about the premise are being kept under wraps. Serling talked about the project in his final interview four months before his death when he was asked if he had a script he has special feeling for. “I just wrote The Stops Along The Way, which is, I think, a lovely script,” he said. Related: ’101 Best Written TV Series’: Hammond On What Series Were Snubbed Emmy and Golden Globe winner Serling wrote and produced a number of TV and feature screenplays, including Rod Serling’s Night Gallery, »
- NELLIE ANDREEVA
TV’s “Felicity,” Keri Russell, and series writer/director Matt Reeves (Let Me In) have re-teamed for 20th Century Fox’s Dawn Of The Planet Of The Apes. Variety is reporting that the actress has been added to the cast as the lead for the sequel to 2011′s Rise Of The Planet Of The Apes. Set more than a decade after Rise, things aren’t looking good for the humans and the apes are running the place.
Part of the film’s focus is said to be on a small group of San Francisco-based scientists that are forming a resistance against the apes and part follows Serkis’ Caesar as he, like his namesake, tries to maintain order and power within his new civilization. (Coming Soon)
- Michelle McCue
As a sci-fi-loving child of the 60s and 70s, I believed that you could learn everything you needed to know about politics from watching the Planet of the Apes movies. Now, several decades later, it turns out that idea wasn't so crazy after all; indeed, on the evidence of Ben Affleck's Oscar-winning thriller Argo (2012, Warner, 15) it seems that the creators of rubbery fantasy flicks were at the cutting edge of international diplomacy and espionage all along.
Based on the once-secret, now declassified accounts of the CIA's response to the 1979 storming of the Us embassy in Iran, this stranger-than-fiction tale is a terrific hybrid of factual drama and fanciful invention, which slips nimbly between nail-biting Middle Eastern action and Player-style Hollywood satire. At the centre of it all is CIA agent Tony Mendez, played with beardy conviction by producer/director/star Affleck as the mastermind »
- Mark Kermode
With the Oscars only hours away, many of the categories look pretty much sewn up, and no doubt in La right now, sure-thing winners are putting final touches to their speeches for the big night.
Chris Terrio: I had a meeting with Paul Greengrass, I’m working on this film that Clooney’s going to be in that Paul and I are doing, so we’d planned to get together and talk, and then with the delay everything got pushed back.
HeyUGuys: Was that in the UK you were meeting Paul Greengrass? »
- Ben Mortimer
It's brilliantly tense and exciting, but despite a lot of authentic touches this film doesn't hold true to the real events of 1979
• Read Reel History's analysis of other Oscar contenders: Lincoln, Zero Dark Thirty, Les Mis and The Impossible
Director: Ben Affleck
Entertainment grade: A–
History grade: C
On 4 November 1979, Iranian revolutionaries occupied the Us embassy in Tehran and took more than 50 hostages. Six diplomats escaped. Canadian officials and the CIA launched a secret joint operation to get them out.
In 1953, the CIA and MI6 engineered a coup to overthrow Mohammad Mosaddegh, the democratically elected president of Iran, and replace him with a military-backed absolute monarchy. By 1979, opposition to the shah hardened into revolutionary fervour and democrats found themselves, fatefully, on the same side as Islamic fundamentalism. Argo presents this context imaginatively, though fleetingly and perhaps too vaguely. The sequence in which revolutionaries storm the Us embassy is brilliantly realised, »
- Alex von Tunzelmann
In the Oscar-nominated film "Argo," there is a line repeated throughout the story for comedic relief. Turns out, it provided a few laughs in real life, too.
On HuffPost Live Wednesday, "Argo" screenwriter Chris Terrio said the line -- "Argo F*ck Yourself" -- was actually a phrase used by real-life Hollywood makeup artist John Chambers as he worked on the phony film plan.
The screenwriter said including it in the film was one way to bring Chambers to life on screen.
"In the process of writing the film, you get these little gifts, these posthumous gifts from John Chambers, that his sense of humor finds its way into the film," Terrio said.
Chambers, who won »
- The Huffington Post
Anybody who has ever been to a high school reunion (and I’ve been to my share) will tell you that the calendar and the clock can be incredibly cruel (particularly when combined with the long-term effects of gravity, but let’s not go there).
Time punishes creative works as well. Some work grows dated, stale, stiff. Time and the evolving form of the given art leaves a once vibrant and exciting work behind looking dead and obsolete.
More cruel, perhaps, is work that is simply…forgotten. Not for any good reason. Good as it was, maybe it was simply not successful enough to lodge very deeply in the popular consciousness; working well enough in its day, but soon lost among the ever-growing detritus of a lot of other pieces of yesterday.
Movie music is particularly vulnerable to the cruelties of time. Outside of the form’s devotees, it rarely »
- Bill Mesce
Our daily countdown of the 300 Greatest Films Ever Made continues with part 11 out of 30. These are numbers 200-191.
194) Tootsie (1982) Stanley Pollack USA
film cultureClassicslist300 »
- email@example.com (Rob Young)
19 items from 2013
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