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John Morris, ‘Blazing Saddles’ and ‘Young Frankenstein’ Composer, Dies at 91

John Morris, ‘Blazing Saddles’ and ‘Young Frankenstein’ Composer, Dies at 91
John Morris, Oscar-nominated, Emmy-winning composer for many of the classic Mel Brooks comedies including “Blazing Saddles” and “Young Frankenstein,” died Thursday at his home in Red Hook, N.Y. He was 91.

Morris was Oscar-nominated for co-writing, with Brooks, the title song for “Blazing Saddles” – a sendup of classic movie cowboy tunes sung by Frankie Laine for the opening of Brooks’ 1974 film. Morris was nominated again in 1980 for his dramatic score for the Brooks-produced “The Elephant Man.”

Morris served as Brooks’ composer beginning with “The Producers” in 1967; he wrote the original arrangement for Brooks’ famous “Springtime for Hitler” song, and composed the rest of the underscore.

Morris’ most famous score is undoubtedly “Young Frankenstein,” for which he composed a memorable violin theme that plays a key role in the story. Under the title “Transylvanian Lullaby,” it has even been performed by top classical artists from violinist Gil Shaham to the Chicago Symphony Orchestra.

The composer
See full article at Variety - Film News »

Jacob Tremblay, Christopher Lloyd, Kenan Thompson Join Voice Cast of Lani Pixels Movie

Jacob Tremblay, Christopher Lloyd, Kenan Thompson Join Voice Cast of Lani Pixels Movie
Lani Pixels has signed Jacob Tremblay, Christopher Lloyd, Kenan Thompson, and Mel Brooks as the voice cast in an untitled 3D animated feature directed by Kim Pagel.

Thomas Pagel, who co-founded Lani Pixels with Kim Pagel, is producing with Jason Mirch co-producing. Verité Entertainment’s René Veilleux and Donald Roman Lopez are associate producing.

The movie follows a brother and sister as they attempt to rescue their grandfather from supernatural forces that have invaded his isolated island. Guided by a charming Irish rogue, the siblings end up on a dangerous journey filled with magic and mystery. Production and additional casting are currently underway.

“It is an honor to be working with such a talented and dynamic cast on this project,” said Kim Pagel. “While this has been a passion project for many years, the themes of family unity and courage in the face of adversity are particularly important these days.”

Tremblay is starring
See full article at Variety - Film News »

Weekend Rock Question: What Is the Best Mel Brooks Movie?

Weekend Rock Question: What Is the Best Mel Brooks Movie?
The news of Gene Wilder's death got us thinking about Mel Brooks movies. After all, Wilder starred in many of his best, including The Producers, Young Frankenstein and Blazing Saddles. Had Wilder never become an actor, the Mel Brooks filmography would look very different. "He was such a dear friend," Brooks told Jimmy Fallon. "I expected that he would go, but when it happens, it's still tremendous…I'm still reeling."

Now we have a question for you: What is the greatest Mel Brooks movie? Feel free to vote for
See full article at Rolling Stone »

Mel Brooks: Why 'Blazing Saddles' Is the 'Funniest Movie Ever Made'

Mel Brooks: Why 'Blazing Saddles' Is the 'Funniest Movie Ever Made'
"It's a good thing you're in New York and I'm in Los Angeles then," Mel Brooks says, before howling with laughter. He's just been informed that, as preparation for getting the 90-year-old filmmaker on the phone, the interviewer he's speaking to has consumed a large amount of black coffee and baked beans — the same combination that fuels the notorious, and extremely noisy campfire sequence in Blazing Saddles. "Actually, three thousand miles between us might not be enough — it depends on the coffee. There are easier ways to get in the mood to talk to me,
See full article at Rolling Stone »

A Blazing Saddles Thanksgiving

Thanksgiving. The real inauguration of the holiday season in the United States, and in homes, countries, points and vast places all around the globe, seems to begin here. If all goes according to plan, each year we enter into it primed to consider and acknowledge the aspects of our lives that make it worth living, our blessings, if you will. And so it is this year, even when things are not necessarily following the path to peace and happiness, in cities like Paris or Beirut or Chicago, or in many homes where sickness or poverty or other circumstances beyond individual control color our day-to-day experience outside the lines of a Rockwell-esque representation of holiday bliss.

And so it also has been for my family, a stressful month-long prelude to Thanksgiving Day precipitated by the simple act of changing bedsheets. One wrong move ended up meaning excruciating back pain, eventual back
See full article at Trailers from Hell »

Oscar-Nominated Actor Biggest Professional Regret: Turning Down 'Doctor Who'

Ron Moody in Mel Brooks' 'The Twelve Chairs.' The 'Doctor Who' that never was. Ron Moody: 'Doctor Who' was biggest professional regret (See previous post: "Ron Moody: From Charles Dickens to Walt Disney – But No Harry Potter.") Ron Moody was featured in about 50 television productions, both in the U.K. and the U.S., from the late 1950s to 2012. These included guest roles in the series The Avengers, Gunsmoke, Starsky and Hutch, Hart to Hart, and Murder She Wrote, in addition to leads in the short-lived U.S. sitcom Nobody's Perfect (1980), starring Moody as a Scotland Yard detective transferred to the San Francisco Police Department, and in the British fantasy Into the Labyrinth (1981), with Moody as the noble sorcerer Rothgo. Throughout the decades, he could also be spotted in several TV movies, among them:[1] David Copperfield (1969). As Uriah Heep in this disappointing all-star showcase distributed theatrically in some countries.
See full article at Alt Film Guide »

Oscar Nominated Moody Pt.2: From Fagin to Merlin - But No Harry Potter

Ron Moody as Fagin in 'Oliver!' based on Charles Dickens' 'Oliver Twist.' Ron Moody as Fagin in Dickens musical 'Oliver!': Box office and critical hit (See previous post: "Ron Moody: 'Oliver!' Actor, Academy Award Nominee Dead at 91.") Although British made, Oliver! turned out to be an elephantine release along the lines of – exclamation point or no – Gypsy, Star!, Hello Dolly!, and other Hollywood mega-musicals from the mid'-50s to the early '70s.[1] But however bloated and conventional the final result, and a cast whose best-known name was that of director Carol Reed's nephew, Oliver Reed, Oliver! found countless fans.[2] The mostly British production became a huge financial and critical success in the U.S. at a time when star-studded mega-musicals had become perilous – at times downright disastrous – ventures.[3] Upon the American release of Oliver! in Dec. 1968, frequently acerbic The
See full article at Alt Film Guide »

Ron Moody, Star Of "Oliver!", Dead At Age 91

  • CinemaRetro
Moody as Fagin with Mark Lester as Oliver Twist and Jack Wild as The Artful Dodger.

By Lee Pfeiffer

There is an old adage that says bad things happen in "threes". That seemed to be the case when it came to distinguished British actors in the past week.  On the heels of news that both Richard Johnson and Sir Christopher Lee had passed away comes notice that Ron Moody has also died. He was 91 years old. Moody was undoubtedly the least famous of these three gentlemen but he was no less talented. He originated the role of Fagin in Lionel Bart's classic stage musical, "Oliver!", based on the Dickens classic "Oliver Twist". Moody won kudos for his role as the charismatic con man and head of a London gang that employed young boys as pickpockets. He was astonished when he was chosen to play the lead in the 1968 film version,
See full article at CinemaRetro »

Actor Ron Moody Dead at 91 – Starred in Oliver and Worked With Mel Brooks

Wouldn’t want this to get lost in all the coverage of Christopher Lee’s passing. When I saw Oliver, the musical version of “Oliver Twist” on stage at the Muny Opera in St. Louis in 1976, hometown hero Vincent Price essayed the roll of Fagin, the leader of the gang of juvenile pickpockets. Price was terrific but the role belonged to Ron Moody who had originated it on Broadway and received an Oscar nomination for Oliver, the Best Picture-winning film version in 1969 (he lost to Cliff Robertson for Charly). Moody starred in Mel BrooksThe Twelve Chairs in 1970 and had other film roles but was best known for his stage work. Moody died today in England at age 91.

From The New York Times:

Ron Moody, a British character actor who rose to prominence in the role of Fagin, Dickens’s guru of thievery, in “Oliver!”, the stage and movie versions of “Oliver Twist,
See full article at WeAreMovieGeeks.com »

Mel Brooks Riffs on ‘Young Frankenstein,’ Laddie and the Biz

Mel Brooks Riffs on ‘Young Frankenstein,’ Laddie and the Biz
The four guys sitting around the lunch table in Beverly Hills have been business associates and friends for decades.

Many decades.

This includes the decade known as the ’70s, when lunchee Mel Brooks directed and co-wrote “Young Frankenstein” (1974) for fellow lunchees, former Fox studio chief Alan Ladd Jr. and the film’s producer, Michael Gruskoff, as well as longtime Ladd associate Jay Kanter, who once repped the likes of Marlon Brando, Grace Kelly and Marilyn Monroe.

But this is clearly Brooks’ show, a point he reinforces when Gruskoff tries to tell their guest about the day the two of them and star Gene Wilder pitched the “Young Frankenstein” project to the top brass at Columbia Pictures.

Gruskoff may have gotten through the first word of the first sentence but he quickly and wisely lets Brooks finish: “Let Me Tell The Story I Can Tell It Better Than You.”

“So everything was great,
See full article at Variety - Film News »

Blu-ray Deals: The Mel Brooks Collection (9-Disc Set) for $21.99 (69% Off); Includes Blazing Saddles, Spaceballs, and More

Today's Amazon Gold Box Deal of the Day is a doozy.  For today only, you can get The Mel Brooks Collection on Blu-ray for 69% off, which means it's $21.99 on Blu-ray and $18.99 on DVD.  The set includes The Twelve Chairs, Blazing Saddles, Young Frankenstein, Silent Movie, High Anxiety, History of the World: Part I, To Be or Not to Be, Spaceballs, and Robin Hood: Men in Tights.  On Blu-ray, that breaks down to less than $2.50 per movie, and all of these films come with special features.  I've been waiting a long time to pull the trigger on this set, and at this price, I couldn't resist.  Click here to order. [Note: Collider earns a small referral fee when our readers purchase something on Amazon through one of our links. The money generated helps pay our staff and keep the site running. Thank you for reading and supporting Collider.]

The post Blu-ray Deals: The Mel Brooks Collection (9-Disc Set) for $21.99 (69% Off); Includes Blazing Saddles, Spaceballs, and More appeared first on Collider.
See full article at Collider.com »

Interview: Producer Michael Gruskoff on the Foreign Language Academy Award and International Hollywood

Listening to Hollywood producer Michael Gruskoff talk about his experiences with some of the most legendary directors is an awe-inspiring learning experience. In a business so reluctant to taking chances that might represent financial loss, Gruskoff has placed it all on the line in order to support original voices and talent outside the norm. Although he admits that some of his projects were more successful than others, he remains certain that he always went with his gut in pursuit of talent. In that regard, he has undoubtedly overachieved.

The list of people he has worked with includes acclaimed German filmmaker Werner Herzog , Jean-Jacques Annaud , Mel Brooks , and Stanley Donen. Gruskoff has always had an international taste and is unafraid of searching for stories abroad. Not surprisingly, he is a member of the Academy’s Foreign Language Film branch, to which he returned, invited by Mark Johnson, the head of the Foreign Language Committee, after serving there in the past. Once again he brings his expertise and eclectic global influences to support the Academy in its efforts to highlight World Cinema as a crucial element of the film industry.

Winner of a Cesar Award for the film Quest for Fire , and an outspoken defendant of the filmmaking craft over the cult of celebrity, Mr. Gruskoff is a humble creative person. Still fully in love with cinema despite the ups and downs the industry throws at anyone who attempts to make a living out of its unstable magic, it is incredible to see that passion for a great story is still Michael Gruskoff’s prime motivation. This writer had the privilege to talk to Mr. Gruskoff’s a couple weeks ago in Beverly Hills. Here is what he shared with us.

Carlos Aguilar: Could you tell us how you got started in the film industry?

Michael Gruskoff: I started in the N.Y. mailroom of the William Morris Agency and ended my agency career at Creative Management Associates. While at Cma I was representing Dennis Hopper and Peter Fonda during Easy Rider, as well as Robert Redford, Natalie Wood ,Faye Dunaway, amongst others. I started getting the producing "bug" while representing Albert Ruddy and Irwin Winkler, having been instrumental in the packaging of some of their films. It was an exciting time in the industry, with the success of Easy Rider, Midnight Cowboy, and The Graduate, the studios were open to taking chances with new talent and ideas. Ned Tanen at Universal set up an independent division and asked me to run it but I opted to make an overall three picture production deal. I went into business with Douglas Trumbull, Michael Cimino, Sam Shepard and Steven Bochco and independently developed low budget scripts off the studio lot. It kicked off with Dennie Hopper's The Last Movie and Silent Running, a science fiction film dealing with environmental issues. I also developed a script called Conquering Horse with Cimino, which we were going to do in the Sioux language, a predecessor to Dances With Wolves, but it was tabled because of budget issues.

Aguilar: How did your interest in foreign cinema developed?

Gruskoff: Seeing Luis Buñuel , Ingmar Bergman , Vittorio De Sica, and Akira Kurosawa's films got me interested in foreign cinema. Another filmmaker that impressed me was Gillo Pontecorvo the director of The Battle of Algiers, which is one of the great anti-war movies. I was an agent at the time, and asked him if I could represent him. He said "Michael, I don't make that many movies, and you are not going to make any money with me because I'm not interested in working in the Hollywood system" I said, "It’s Ok, you can come to me if you're having trouble raising money for a project/" He said "That could work, but please do not send me any scripts." I was also Anouk Aimée's agent when she did A Man and a Woman with Claude Lelouch. She was responsible for me meeting many people in French and Italian cinema. She's a great lady.

Aguilar : What were your thoughts on the batch of films submitted this past year for the Academy Award for Best Foreign Language Film? Were there any you consider highlights?

Gruskoff : You always look for a diamond that might be there. You have to see films from some 70 countries and many do not work, but being part of the industry I feel it's my way of supporting the Academy. You have to see four films a week, and with the addition of seeing new films. the internet, plus cable, and family etc. It's an overload of information. I did see a jewel of a film from Iceland called Of Horses and Men directed by Benedikt Erlingsson. We have been in touch and are in the process of discussing a project he is writing. He's a bold new voice.

Aguilar: How do you think this category benefits the industry and foreign filmmakers?

Gruskoff: Foreign filmmakers want us to see their films. They have stories they want to tell and we have the ability to make their dreams come through. It benefits us to see what's being made around the world because we are all part of the film community.

It's interesting talking to Bernardo Bertolucci about Italian realism and how those great Italian films and directors came together in the late 40s, 50s and 60s with Rossellini and Fellini , Visconti, etc. After Mussolini and the end of Ww 2 there was such exuberance that filmmakers ran into streets and started making movies. It was a great period in Italian Cinema.

Aguilar: Do you believe this nostalgia for those filmmakers influenced voters to choose The Great Beauty as the winner?

Gruskoff: Sorrentino is s very talented director and he carries the torch of Fellini. I liked The Great Beauty and I also loved his Il Divo

Aguilar: When watching these or any other film, as a producer do you look for something different in them from what a director or an actor might?

Gruskoff: I'm just hoping that when the lights go down I'll see a good film. I want to be entertained and have it not be a waste my time. When I saw 12 Years a Slave it blew me away. Steve McQueen is a great filmmaker because he puts all his passion on the screen and he doesn't cop out. It was real. I like movies that don't pander to the audience.

Aguilar: Would you say all of the 76 films submitted were on a level playing field, despite some of them being obscure titles and not having a festival run?

Gruskoff : I saw a real voice in Benedikt Erlingsson, Sebastian Lelio with Gloria , The Hunt , Omar , The Past , The Missing Picture , or The Broken Circle Breakdown.The directors have something to say and they know how to say it. An interesting thing is when you are seeing that many movies in an environment where the people like films, you really start getting into it. Like being at a Festival.

Aguilar: Now that you mention the Academy wants to promote foreign films, how do you perceive the role of world cinema in Hollywood today? Is it more influential?

Gruskoff: Definitely. 2/3 of the box-office comes from foreign markets. More films will be made with Asian and European talent to bolster their international box-office. Moviegoers in those countries like to see a character they can relate to as long as it's realistically part of the story.

Aguilar: On that note, can you talk about the international filmmakers you've work with throughout your career?

Gruskoff: I met Paul Verhoeven after seeing Soldier Of Orange, one of his earlier films. We developed a screenplay called Harry’s Tale. Unfortunately, it was ahead of its time and the budget was too high.

After seeing The Enigma of Kaspar Hauser by Werner Herzog , I called him. He mentioned Nosferatu the Vampyre , and said he wanted to remake it and it would be a film that "the likes of which the world has never seen before", and I told him "Please be my guest" [Laughs]. I got the financing from Fox and we made it for $900,000 starring Isabelle Adjani , Klaus Kinski and Bruno Ganz. . Werner is a tremendously innovative film director.

I briefly worked with Russian director, Andrey Konchalovskiy , we developed a story that never got to be a screenplay.

Following that, Jean-Jacques Annaud gave me the English translation of a book called “La guerre de feu”, which is Quest for Fire . The film became an international hit and it earned us 5 Cesar Awards including Best Picture. It was a great moment when Orson Welles handed me the award.

Aguilar: One of the great American directors you worked with was Mel Brooks, how did that relationship begin?

Gruskoff: I had briefly met Mel Brooks when I was working in the mail room at William Morris Agency in New York. At the time I was 22 and he was 32, and he had already achieved success in television.

Mike Medavoy worked as an agent at Cma during the early 70s and wanted me to come back and work with him. I wanted to continue producing, and he gave me the treatment for a movie called Young Frankenstein.written by Gene Wilder. I said I wanted to produce it , but Gene said that it was up to Mel Brooks to decide. Having met Mel Brooks earlier and since he actually remembered and liked me, he said "Let's do it ...get the deal." At that point in Mel's career, he made two terrific films, The Twelve Chairs and The Producers, both films did not make money and he was just starting to reignite his career with pre-production on Blazing Saddles.

I set Young Frankensteinn up at Columbia but they passed because the budget was too high and Mel, rightfully so, wanted to make it in Black & White. They were insisting that it should be in color. I gave it to my friend Alan Ladd Jr. at Fox and he said yes with an even bigger budget than we had. Seven years later Mel and I did My Favorite Year based on an idea I had. The original script was written by Norman Steinberg and Mel helped develop and executive produce it.. Peter O'Toole was a dream to work with and I learned a lot about filmmaking working with him.

Aguilar: Going back to the Foreign Language Academy Award, back when the shortlist and eventually the nominees were announced, there was much talk about several films being snubbed, including Gloria and The Past. Why do you think these weren't included?

Gruskoff: Gloria probably didn’t get nominated because it wasn’t as serious as some of the other films. We will be hearing a lot from its director Sebastian Lelio. On the other hand, it's about preferential viewing, Farhadi makes very specific movies. He is a serious filmmaker, and he is a very good storyteller. He is another director that tells it how it is. His films are like reading a book with great characters, It was one of my favorite films but it was a tough movie for some people. He is what he is, take it or leave it. He just does his thing.

Aguilar: Are there any filmmakers you would like to work with in the future? Anyone who has caught your eye?

Gruskoff: Sure, David O. Russell would be great. [Laughs]. Other great directors whom I would love to work with are Steve McQueen, Martin Scorsese, Christopher Nolan , David Fincher, or Kathryn Bigelow ....who wouldn't!

Aguilar: Where do you think the industry is going, with all the awards campaigns and the more glamorous, less artistic, side of the business becoming so prominent?

Gruskoff: The industry has become more about celebrity. After seeing 12 Years a Slave at the Pacific Designer Center early on, I knew McQueen's work was just beginning. He was going to have to live between L.A. and N.Y.C. to attend press events and Q&As for the next six months....longer than it took to shoot the film. Fashion has also joined the fray to cross-promote films.

Just a few years ago when Sydney Pollack made a movie and the distribution people received the print, the filmmakers promotion schedule was not as arduous. Going to 2 or 3 major cities with the actors before the film opened. Now it has become so celebrity-driven with all the different outlets fighting for space, it has gotten out of hand. If you have Brad Pitt producing or Ben Affleck starring, you have an opportunity to promote your film on every talk show. It cuts your marketing costs, which are very expensive and getting even more expensive, even with the help of the internet.

Aguilar: What are your future plans? Looking back your career are there any regrets?

Gruskoff: As a producer you are always looking for a good story. I did Quest for Fire and my friends said “Don’t you have something better to do with your time? You will never get it made.” Miraculously it did get made. I’d like to do dark comedies in the vein of American Beauty or Fargo. It's about what turns you on, what gives you a rush, because it is such a difficult journey. You never know what's around the corner.
See full article at Sydney's Buzz »

Mel Brooks discusses 'Blazing Saddles,' Brooksfilms, and the best screening ever

  • Hitfix
Mel Brooks discusses 'Blazing Saddles,' Brooksfilms, and the best screening ever
So the phone rings, and I answer it, and it's Mel Brooks. That's an actual thing that happened. That's now something I can say. And even better, the 40 minute conversation that followed me answering the phone is one of my favorites in recent memory. How often do you get to talk to a comedy legend about one of the pinnacle moments of not only their career, but of film comedy in general? I was told I'd have about 15 minutes originally. Time was tight. And if you get offered 15 minutes to talk to Mel Brooks about "Blazing Saddles," you take it, right? We ended up having a really fun back and forth about that film, about films he's produced, about his partnership with Gene Wilder, and about the ways Hollywood failed the great Richard Pryor. The only reason we wrapped it up is because we had to, and it would have
See full article at Hitfix »

It’s In The Bag

A former vaudevillian, the great comedian Fred Allen found his fame in radio but was unable to navigate a suitable transition to TV (“Television is a medium,” he once observed, “because it is neither rare nor well done.”). He made a few casual appearances in movies but only once, in 1945, did he take full advantage of that particular medium.

That film, one of the “lost” trailers featured in our Great Global Trailer Search, was, until its recent home video revival, very nearly a lost film in itself. More’s the pity because It’s in the Bag, Allen’s sole starring vehicle, is an overlooked comic gem.

A surreal-screwball farce fueled by Allen’s perpetually perplexed sad sack persona and out-of-left-field set pieces (like a nightmarish trip to the movies that predicts the vertiginous pitfalls of a crowded Imax theater), It’s in the Bag recalls the anything goes Paramount
See full article at Trailers from Hell »

Maureen O’Hara, Richard Dreyfuss, Mel Brooks and Margaret O’Brien Join Lineup for 2014 TCM Classic Film Festival

Turner Classic Movies (TCM) has added an exciting roster of screen legends and beloved titles to the 2014 TCM Classic Film Festival, including appearances by Maureen O’Hara, Mel Brooks and Margaret O’Brien, plus a two-film tribute to Academy Award®-winner Richard Dreyfuss. Marking its fifth year, the TCM Classic Film Festival will take place April 10-13, 2014, in Hollywood. The gathering will coincide with TCM’s 20th anniversary as a leading authority in classic film.

O’Hara will present the world premiere restoration of John Ford’s Oscar®-winning Best Picture How Green Was My Valley (1941), while Brooks will appear at a screening of his western comedy Blazing Saddles (1974). O’Brien will be on-hand for Vincente Minnelli’s perennial musical favorite Meet Me in St. Louis (1944), starring Judy Garland. The tribute to Dreyfuss will consist of a double feature of two of his most popular roles: his Oscar®-winning performance
See full article at WeAreMovieGeeks.com »

AFI Fetes Mel Brooks for Life Achievment

AFI Fetes Mel Brooks for Life Achievment
Mel Brooks has won an Oscar, an Emmy, a Grammy and his musical The Producers earned a record 12 Tonys. He worked with a team of writers on Your Show of Shows that was the equivalent of the 1927 Yankees. He considers Sid Caesar the “sharpest, most gifted” comedian who ever lived. And his “Young Frankenstein,” which helped pioneer the movie parody, might be the funniest film ever made, if not one of the most gorgeously crafted. We posed a few questions to the next recipient of the AFI Life Achievement Award. Here is an edited version of that exchange:

Were you surprised by the AFI honor?

It was gratitude. I’ve always been recognized as a comedy guy, either as a performer or a comedy writer, but never have I been saluted as a filmmaker. I thought I was finished with AFI because six or seven months ago they gave me
See full article at Variety - Film News »

Martin Scorsese To Present Mel Brooks With AFI Life Achievement Award

Martin Scorsese will present Mel Brooks with the American Film Institute’s 41st Life Achievement Award – America’s highest honor for a career in film. The private black tie gala will be held at the Dolby Theatre in Hollywood on June 6 and will air on TNT Saturday, June 15, at 9 p.m. Et/Pt and as part of an all-night tribute to Brooks on Turner Classic Movies (TCM) Sunday, July 24, at 8 p.m. Et. Brooks will be recognized for his range of mastery as a director, producer, writer, actor and composer.

Martin Scorsese is widely regarded as one of the greatest directors of all time having received the AFI Life Achievement Award for his contributions to cinema, two AFI Awards, an Academy®Award, a Palme d’Or, Grammy® Award, two Emmys®, four Golden Globes®, a BAFTA and three DGA Awards. Scorsese’s body of work includes films such as The Departed,
See full article at WeAreMovieGeeks.com »

Mel Brooks to be awarded AFI's Life Achievement Award by Martin Scorsese

Mel Brooks to be awarded AFI's Life Achievement Award by Martin Scorsese
Mel Brooks has won an Oscar, a Tony, a Grammy, an Emmy, and endless, endless accolades. Later this month, he’ll be honored once more when Martin Scorsese presents him the American Film Institute’s 41st Life Achievement Award. (Scorsese has also been awarded AFI’s Life Achievement Award, back in 1997.)

“For over 50 years, Mel Brooks has given the world its greatest gift — laughter,” said Howard Stringer, chair of the AFI Board of Trustees. “At the American Film Institute, we also want to shine a proper light on his contributions to the art form as writer, producer, director and actor
See full article at EW.com - Inside Movies »

TV Review: ‘Mel Brooks: Make a Noise’ Captures Comedy Genius

Chicago – I’m a huge Mel Brooks fan, one of those critics who bows at the altar of arguably the two best comedies of all time, “Blazing Saddles” & “Young Frankenstein.” I’ve seen them both a dozen times and can’t wait to watch them again. “The Producers,” “A History of the World,” “High Anxiety,”” “Silent Movie,” “To Be or Not To Be,” “The Twelve Chairs,” his work on “Get Smart” & “Your Show of Shows,” “The 2000 Year Old Man” — the first response that most people should have to “American Masters: Mel Brooks: Make a Noise,” debuting on PBS tonight and releasing on DVD tomorrow, May 21, 2013, is a simple one — What took so long? “American Masters” premiered in 1986 and he should have been one of the first choices.

Television Rating: 4.5/5.0

To be fair, “Make a Noise” doesn’t do much more than confirm what most of us fans
See full article at HollywoodChicago.com »

Martin Scorsese to Present AFI Award to Mel Brooks

Martin Scorsese to Present AFI Award to Mel Brooks
Martin Scorsese will present Mel Brooks with the American Film Institute’s 41st Life Achievement Award at the black-tie gala, which will be held at the Dolby Theatre on June 6. The tribute is scheduled to air on TNT on June 15 as part of an all-night tribute to Brooks and on Turner Classic Movies on July 24. Photos: Martin Scorsese On Set Scorsese’s new film The Wolf of Wall Street will be released by Paramount on Nov. 15. TCM’s celebration of Brooks’ career will include airings of The Twelve Chairs, making its TCM debut, and The Producers. TCM will

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See full article at The Hollywood Reporter - Movie News »
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