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HBO has released the new trailer for its upcoming documentary Spielberg. One of the most famous filmmakers in the world, Steven Spielberg pulls back the curtain on his remarkable career more than ever before in the exclusive HBO presentation Spielberg. The feature-length documentary examines Spielberg's filmography in depth, revealing how his experiences fed his work and changed it over time. Directed and produced by award-winning documentarian Susan Lacy, this unprecedented chronicle debuts Saturday, October 7, exclusively on HBO. The documentary will also be available on HBO Now, HBO Go, HBO On Demand and affiliate portals.
Steven Spielberg has built an unrivaled catalogue of groundbreaking films over the course of his nearly 50-year career. Charting the evolution of this iconic figure, Lacy draws on nearly 30 hours of exclusive interviews with the director, who opens up about his bittersweet childhood and lifelong obsession with moviemaking, his precocious early work as a TV "wunderkind, »
A master filmmaker (and no, this isn’t an argument), director Steven Spielberg has been turning out modern movie classics for decades and has contributed dozens of unimpeachable treasures to cinema. Movies will be unimaginably poorer the day he is gone. Opinions may vary on just what film is the best Spielberg film, from the landmark action adventure film “Raiders of the Lost Ark” to pictures that have reinvented the way “monster movies” are presented with “Jaws” and “Jurassic Park,” to his more dramatic and weighty films movies such as “Schindler’s List,” “Saving Private Ryan” “Bridge of Spies” and “Lincoln.
Continue reading ‘Spielberg’ Trailer: The Master Filmmaker Goes In Front Of The Camera at The Playlist. »
- Ally Johnson
10 Facts You Might Not Know About Blade Runner10 Facts You Might Not Know About Blade RunnerKurt Anthony9/13/2017 9:16:00 Am
Adapted from Philip K. Dick’s visionary novel, Do Androids Dream of Electric Sheep?, Blade Runner was released in theatres on June 25, 1982 and has since earned the title of one of the best science fiction films of all time.
Despite the film’s estimated budget of $28M, Blade Runner was not an instant success. The complex plot and slow pacing resulted in low box office numbers, but the dystopian sci-fi classic eventually garnered a cult following and became a leading example of the neo-noir genre.
While we await the highly anticipated release of Blade Runner 2049, the long-awaited sequel, journey with us to the savage world of the year 2019 as »
- Kurt Anthony
Rube Goldberg was an engineer-turned cartoonist who is most famous for the animated contraptions he drew. Goldberg used engineering principles to create fun diagrams of machines which performed simple tasks in complicated ways. Most often his machines were designed to perform everyday household tasks in zany, creative ways. He used a lot of unconventional techniques and materials to create these contraptions.
Due to the fun nature of Goldberg’s animated and real-world creations, it is no surprise that he has had an impact on film. Since film is a visual medium in motion, it is actually the perfect way for Goldberg’s unique machines to come alive. This is a look at some of the best Rube goldberg-inspired machines, »
- email@example.com (G.S. Perno)
In honor of its 20th anniversary, the Visual Effects Society polled its membership to list the 70 most influential VFX films of all time. James Cameron led the pack with six entries (“The Abyss,” “Aliens,” “Avatar,” “Terminator,” “Terminator 2: Judgment Day,” and “Titanic”); Steven Spielberg followed close behind with five (“Close Encounters of the Third Kind,” “E.T. the Extraterrestrial,” “Jaws,” “Raiders of the Lost Ark,” and “Jurassic Park”); and Peter Jackson had four Oscar winners (“The Lord of the Rings” trilogy and “King Kong”).
“The Ves 70 represents films that have had a significant, lasting impact on the practice and appreciation of visual effects as an integral element of cinematic expression and storytelling,” said Ves board chair Mike Chambers. “We see this as an important opportunity for our members, leading visual effects practitioners worldwide, to pay homage to our heritage and help shape the future of the global visual effects community. In »
- Bill Desowitz
If this whole acting thing doesn’t work out for Harrison Ford, he might have a bright future as a traffic cop. The “Star Wars” and “Raiders of the Lost Ark” star showed off his traffic-directing abilities in New York over the weekend, after a tunnel backup caused his car to be blocked in. And because we live in a wonderful age where everything is captured on camera, footage of the show-stopping — but traffic-enabling — performance has made its way onto the internet. According to TMZ, which published the video, Ford got out of his car on Sunday after a backup. »
- Tim Kenneally
Indiana Jones has turned into a traffic cop.
Harrison Ford was spotted directing New York City traffic on Sunday, after his car got trapped in a backup around the Midtown tunnel. Part of the incident was caught on a video later posted to TMZ.
The Raiders of the Lost Ark star, who’s also no stranger to playing cops onscreen, was seen standing in the middle of a crowded intersection, waving his arms and shouting directions at a couple of vehicles blocking his ride.
“Let’s go, get out!” Ford can be heard yelling on the video.
The people recording »
- Mike Miller
The Indiana Jones 5 story is finished, but details are being kept under tight lock and key until further drafts of the screenplay can be hammered out and perfected. We know for certain that Harrison Ford will reprise his role as Dr. Henry Jones Jr. We also know that there is no way the franchise is bringing back Shia Labeouf and his character Mutt Williams. But one lingering question does remain. Will we see the return of Marion Ravenwood, played by the ravishing Karen Allen?
It makes sense that we'd see her in some capacity. She first debuted in Raiders of the Lost Ark way back in 1981. And no other female character in the franchise has ever been able to carry the same kind of torch. Ravenwood did turn back up in the last installment, Indiana Jones and the Kingdom of the Crystal Skull. She didn't just put in a cameo, »
Probably best-known for her turns in “Raiders of the Lost Ark” and the “Christmas Carol” retelling “Scrooged,” Karen Allen has been working regularly since her 1978 debut in “Animal House.” She serves as a theater actor and director in addition to acting onscreen in projects like “In the Bedroom,” “Law & Order,” and “Blue Bloods.” Allen recently made her directorial film debut with “A Tree a Rock a Cloud.” The short is adapted from a Carson McCullers story about a random, but significant, conversation between a boy and an older man. Allen’s latest project is Alexander Janko’s “Year by the Sea,” a portrait of a newly single woman rebuilding her life in Cape Cod, Massachusetts. The film is based on Joan Anderson’s bestselling memoir of the same name.
We sat down with Allen to talk about her connection to Anderson and the book, the way Hollywood treats women over 60, and why she decided to try her hand at film directing.
“Year by the Sea” opens in New York September 8 and in Los Angeles September 15. A national theatrical release will follow.
This interview has been edited. It was transcribed by Lyra Hale.
W&H: I really wanted to ask you how you became involved in the film?
Ka: I was just at home and I got the screenplay, which was sent to me, and I read it and thought, “I didn’t know Joan’s work,” which is odd because we have a lot of similar pathways in our lives. It’s kind of surprising that we never met each other, that the book never came into my world. But I finished reading the script and I went right out and got the book and I sat with the book and I thought the book was quite courageous.
This was a woman who had reached a crisis moment in her life, who was taking a very clear tough-minded look at herself, and had made some decisions about just wanting to get to know herself. She was interested in that authentic self underneath all the things that she had piled onto herself over the years in terms of other people’s expectations and she just wanted to somehow — instinctively she knew in order to survive, and in order to really find herself, she was going to have to figure out how to let a lot of that fall away, go back, and really get to know herself again.
I found that very inspiring and moving. I went to meet the director and I was very open about how much I would love to play the role and about a week later they offered it to me. I met Joan and I spent some time with her, and we had a wonderful connection, which has stayed to this day.
I had a great time making the film. She was there but she didn’t interfere in any way at all. She let us do our thing. And I was playing her 25 years before the time period where I met her, so I wasn’t really playing the woman I was meeting. I was playing a woman who was at a much different part of the journey than she’s on right now.
W&H: I felt like this journey was about how women take on other people’s baggage and lose their own selves. It’s kind of a very common theme with women as they get older. So I would imagine that this would resonate a lot with women.
Ka: With women and certainly with anybody who’s ever been a parent. We don’t mean to do it, we don’t necessarily aspire to do it, but we fall in love with our children and we want to care for them, support them, educate them, and help them, in every way we can.
They become this daily rhythm and part of our lives and when they suddenly grow up and leave you feel this huge piece of yourself is missing because you really have adapted, grown, changed, and become a person who is a caretaker.
In spite of everything, you really do feel — and unlike Joan, I worked all through the raising of my child. I made tough decisions about what kind of work I would do and I stopped doing some of the really far-flung travels that I had been doing earlier in my life because it began to feel very unfair to pull my son out of school for three or four months and take him to somewhere where he would sit in a hotel room with a tutor or babysitter while I went off and worked 14 hours a day, six days a week. It just didn’t seem like a way of life that I wanted to embrace or that I wanted him to have to embrace. So I made choices that I felt were in support of him in terms of my working life.
And I think in Joan’s case, she’s a published writer, and she just put that on hold to raise two children and had a husband was very much involved in his work. She took on the role of parent and looking after their world. It’s an important role but it’s a role that ends at a certain point. It’s not a role that you’re going to have for life.
W&H: Hollywood has so many issues with women who are over 40 and here is a movie with women who are over 60 embarking on exciting things in their lives, and I’m just wondering what it felt like for you to be in a movie with women who are 60?
Ka: Well, I was thrilled because there just aren’t just that many films that come around. If I read a script with a role for a 60-year-old woman, it’s usually in some capacity of a grandmother, a mother, or a boss. They’re not fully realized characters. To have the opportunity to play a role like Joan Anderson, work with Celia Imrie, and Epatha Merkerson, as my two co-stars, and Michael Cristofer — all of us being over 60 — it just seemed like such a rare experience to have.
W&H: Well, it is. How many scripts do you actually get from your agents, to read?
Ka: I have scripts that come to me from all over the place. I just directed my first film and I’ve been out at film festivals with it.
From my agents, in the course of a year, in a good year, there could be 30 and a tough year maybe half that. Many of them are not ones I would really consider very seriously just because I don’t think they’re particularly film worthy. I work a lot in the theater, both directing and acting, and in the theater very rarely does the play end up on a major stage unless it’s really remarkable. So you don’t kind of have that same dilemma in the theater.
I come from, I feel like, a very real and extraordinary generation of actresses. And I’ve grown up with them all. I was in New York at the age of 25 and I pretty much know, if not know them well or personally, I certainly have met most of the actresses of my generation at one point or another, or had the pleasure of working with them. It’s a wonderful large and fantastic generation of actresses and I don’t see nearly enough of them on screen. It actually breaks my heart how I can think of 40 names right now who I just feel like I don’t get to see anymore.
W&H: Let’s talk a little bit about why you ventured into film directing. You said you’ve done a lot of theater, and why were you tempted into making the film that you did?
Ka: I’ve been directing in the theater for awhile and a producer who I had to work with in New York, who had produced play I had directed, that won an Obie [Off-Broadway Theater Award], was sitting with me one day and he said, “Why not film? Why have you kind of shied away from directing a film?” And I said, “I don’t know that I’ve shied away from it. It just seems to me like I’ve spent my adult life on film sets and I can’t for a second fool myself or be naive enough not to know what a large undertaking it is to make a film.”
For a director it can be two to three years really committed to one project. And as an actor I’m at times committed for three to four months, but that’s usually the longest. So it’s another way of approaching a project. It’s like saying, “Gee, I’m going to be doing this for 3 years.”
So he and I continued to talk and I said, “If I were going to do a film I would want to be wise and do a short film. I would want it to be a certain kind of film that I felt I could really do well, that would play on all my strengths so that I would really have a positive experience making it and not go into it feeling completely overwhelmed.”
I have seen many first-time directors with that deer-in-the-headlights look. I’m very familiar with it. I’ve worked with a lot of first-time directors in film. So we continued with that conversation and he finally said, “If you were going to do it, what would it be? And I said, “There’s a story of Carson McCullers’ that I’ve thought about for 40 years.”
It’s just been something that had sat there in my head for a very long time. And he said, “I would love to help you do this.” And then we brought on another producer, Diane Pearlman, who was with me in Cannes, who I don’t know if you’ve met her, she runs with Berkshire Film and Media Collaborative in Western Massachusetts. Then we moved forward and just decided to do it. And it has taken three years.
We’re still working on it and I was able to bring many, many women onto the crew of our film. I had a female first A.D. [assistant director], a female production designer, and a female costume designer. We were female rich, which was a great joy.
I decided to open up my world to directing about 10 years ago because I don’t want my creative life to be limited by whether there’s an interesting role for me at 65. I love telling stories and I love developing projects and I don’t see any reason why I’d have to be in them for me to be involved.
So it makes for a very enriching experience for me to also embrace working as a director because, you know, particularly in the playwriting world there are so many plays that I love, so many playwrights whose work I love, where there isn’t a role for me.
W&H: What did you learn as an actor working with first-time directors, that you took into being a director?
Ka: One of the main lessons is preparation, preparation, preparation.
If you show up on the set the first day and you have really done the work; have a sense of how you want to shoot the film, know the material, chosen the right actors, and you know your actors and you have done the work with them to know you’re on the same wavelength. If you’ve done the work then you can actually be very calm, clear-minded, and put your attention where it needs to go when you’re actually shooting.
I somehow felt like those were lessons that I had gathered over my 35 to 45 years of being on sets. And it seemed to me like the sets that were successful and the people who were really able to bring out their best, came from that kind of calmness in the director, because they knew what they were doing, they knew where they were going. They had a shot list, they knew how they wanted to shoot a scene, and yet they were prepared and open. Prepared and yet open. And I think actually to be open you need to be prepared.
So I tried to emulate that, and I actually feel I was quite successful at it, that I was a bit of a whirling dervish for about four months during preparation. And probably drove everybody crazy because I was into so much of the minutiae and I just wanted to make sure everything was explored and every decision was sort of looked at from all different angles.
It paid off in spades when I got on set with my actors.
W&H: That’s good advice. I would imagine that you have gotten the bug now and you want to direct more film?
Ka: Well, I’m really willing to take it a little bit at a time. At Cannes I had three scripts that were sent to me after people saw my film that were in various phases of development. None of them are fully funded.
The more my film gets out there into the world — we’ve been going to film festivals, we’ve won a number of awards — and the more that the film is being seen by people, the more attention I am getting as a director.
So it feels as though if I do want to do that, I could move in that direction, which is great. It’s lovely to feel like there’s a door opening up for me. So I’ll just see. One of the most difficult aspects of making this short film was that we raised the money ourselves. And it was one of the most difficult things I’ve ever had to do in my life. I don’t think I’m particularly skilled at it.
W&H: Last question: You’ve been in movies that have been so seminal to so many people. I was just wondering, what does it feel to be in films that have had such profound effects on people?
Ka: You know, that’s such a hard question to answer. It feels like often it just feels like such a privilege to have had a chance to work in the film world and to be hired to do all these wonderful roles. I had this wonderful period in my life, maybe for 15 years, where I was really working in an ongoing way, being offered really wonderful projects that I just loved every minute of. And now to still be doing it.
I don’t get offered all the great projects. I’m not on anybody’s A list for the next whatever. But I still keep working in independent films and in the theater. I’ve started to direct a couple films and you know it’s been such an incredible journey and I don’t know what it feels like for other people and their experiences. I know sometimes people are just, they love some of the films so much — “Starman” or “Raiders of the Lost Ark.”
It comes back to me sometimes in the most surprising ways and I can’t imagine having done anything else in my life. And certainly the first 22 years of my life I couldn’t have imagined anything like this was possible. I’d never met an actress or seen a play. I’d seen films. I loved films. I love to watch films. That world seemed a million miles away to me.
“Year by the Sea” Star Karen Allen on Joan Anderson’s Book, Directing, and Roles for Women Over 60 was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Melissa Silverstein
After taking viewers into Hell House and journeying to Witch Mountain, director John Hough introduced moviegoers to an island where strangers are sinners, and "Ma" and "Pa" aren't afraid to dole out lethal punishment. Initially announced during Scream Factory's Comic-Con reveals, the American Gothic (1988) Blu-ray now has an official December release date and cover (featuring the film's original poster art):
From Scream Factory: "We are now taking pre-orders for our upcoming release of the eccentric stranded-on-an-island 1988 thriller American Gothic which makes its Blu-ray format debut! Release date is planned for December 19th.
When six young friends fly off on a weekend getaway and suddenly find themselves with engine trouble, they have no choice but to land on a remote Pacific island. Looking for shelter, they are grateful when they meet "Ma" and "Pa" and their children – an bizarre family still living in the backwoods as if it's still the 1920s. »
- Derek Anderson
Just like as quickly as Indy snatches the hat away from Shia Labeouf at the end of Kingdom of the Crystal Skull, Indiana Jones 5 writer David Koepp snatches Lebeouf’s character, Mutt, from the sequel. And that’s probably a good thing.
“We’re plugging away at it. In terms of when we would start, I think that’s up to Mr. Spielberg and Mr. Ford,” he continues, playfully teasing that the plot will involve “some precious artifact that they’re all looking for” throughout the film. “I know we’ve got a script we’re mostly happy with. Work will be endless, of course, and ongoing, and Steven just finished shooting The Post …. If the stars align, hopefully »
- Chris Salce
Street Food Cinema is a wholly unique concept. Conceived by husband and wife team of Steve Allison & Heather Hope-Allison, their brilliant idea to take the outdoor movie experience into fully inclusive night out incorporates a variety of eclectic food trucks, live entertainment before the movie and cool interactive experiences to massive audience appeal in three major markets: Los Angeles, San Diego and Phoenix.
On September 30th, Street Food Cinema will host a special overnight screening of ‘The Lost Boys‘ for it’s 30th anniversary. The event will be hosted by the King Gillette Ranch in Malibu, CA, where guests of the event will be able to camp with the vampires. After the screening, guests will partake in a variety of activities that include: vampire training, karaoke, and 80’s music videos celebration, among many others. In the morning, you’ll be treated to breakfast before having to head back to the real world. »
- Taylor Salan
By Jose Solís.
In Year By the Sea, Karen Allen plays author Joan Anderson, whose memoirs served as the inspiration for a film that asks what happens to women after their kids leave. For Anderson the answer came in a trip of rediscovery that took her from her home, to a small town in Cape Cod where she learned how to feel truly alive again. Allen’s portrayal of Joan reveals new layers in her work, she has always been compulsively watchable onscreen, but as the quiet Anderson she is absolutely luminous. Watching her in scenes opposite Yannick Bisson who plays the sexy fisherman Joan flirts with, she shows us that sensuality should not be relegated to 20-something, scantily clad female characters, and in scenes where Joan spends time with her friends, we crave for more fiction where women »
Article by Dane Eric Marti
Sometimes a film will speak directly to a person in an audience: A preternatural, unearthly tendril of luminous light tapping you on the shoulder, a benevolent yet mysterious voice reminding you of an obligation, or a musical, colorful Dream Message entering your eyes and speaking to your soul with wonder, awe and truth. Like other Art forms, film can do amazing things.
For me, there are definitely a few choice films of overwhelming, pristine power. Yet one cinematic work is not just great, deeply special to me: ‘Close Encounters of the Third Kind.’ Directed by the Wonderkind, Steven Spielberg, directly after his landmark suspense-adventure film, ‘Jaws’.
Now, his new flick, released in 1977, also dealt with the fantastic, with riveting moments of terror… but its endgame was something quite dissimilar.
I think it would take either a first-rate Psychologist or an Exorcist with a lot of »
- Movie Geeks
Just days after actor Ed Skrein exited Lionsgate's Hellboy reboot, due to concerns over "whitewashing," the project has added yet another member to its cast. Penelope Mitchell (Hemlock Grove) has just signed on to play a witch named Ganeida. It remains unclear if the studio is actively seeking actors to replace Ed Skrein, who backed out of the Major Ben Daimio role upon learning that the original character in the comics is a Japanese-American man.
Deadline reports that Ganeida is an elder witch who decides that the reign of terror caused by Nimue the Blood Queen (Milla Jovovich) has gone on long enough and tries to stop her. It's unclear if Ganeida ultimately joins forces with Hellboy (David Harbour) and his team of paranormal investigators to take down this medieval sorceress, but it seems likely. The Ganeida character had a similar arc in the 2011 comic Hellboy: The Fury, so »
Fans of classic cinema should be familiar with Alan Austen, as he appeared in such great movies as Star Wars: The Empire Strikes Back, Flash Gordon, Raiders of the Lost Ark, and An American Werewolf in London. After a long… Continue Reading →
- David Gelmini
For fans of action films, the 1980s was a golden age, beginning with all-time classics such as, First Blood and Raiders of the Lost Ark, and on and on with epics like Die Hard, Lethal Weapon, Escape From New York, and Robocop. This amazing period also marked the rise of incredible action stars like Schwarzenegger, Norris, Willis, Ford, Cruise, and Murphy -- many of whom are obviously still working today (for better or worse).
Yet, the 80s was also an incredible decade for action directors, such as James Cameron, John Carpenter, Richard Donner, and George Miller. However, one of the most unexpected and influential action directors of that era was Hong Kong's John Woo, whose distinct visual style somehow managed to stand apart from his Western contemporaries. Woo was an innovator, a director who borrowed elements from different genres, resulting in something new, unique, and unmistakably visceral. A Hong Kong-based »
- David Kozlowski
After being scattered through time, the Legends of Tomorrow are saved by Dr. Nate Heywood (Nick Zano). Now though they find themselves up against the Legion of Doom who are determined to get hold of the Spear of Destiny, which will give them the ability to change reality.
Having not seen season one of the show, I was not sure what to expect from the show. What I found is a show that is pleasantly light-hearted, although sometimes it does try a little too hard to be different from all the rest of the shows out there. Thankfully though it doesn’t take itself too seriously, unlike some other superhero shows and movies!
In an attempt to keep Legends of Tomorrow light-hearted entertainment, oftentimes the stories that lack some depth. However a lack of depth in their stories is more than made up for in characterisation, and this is what caught my attention. »
- Paul Metcalf
"Its been missing for 100 years..." Shall we go searching for Thomas Edison's "last" invention? The Spirit Machine is an excellent low budget fantasy adventure short film made by filmmaker Timothy Plain. The story is about a father and daughter who go on a search for a long, lost turn-of-the century Edison device (called The Spirit Machine). There's an impressive amount of backstory to this, and a good introduction that makes it captivating to follow as it plays out. Starring Andrea Ferreyra and Will Springhorn Jr. This has been described as "Indiana Jones meets The Prestige", and inspired by 80s classics like Raiders of the Lost Ark and Poltergeist. It's not perfect, but I admire the ambition and the VFX are great. Fire it up below. Short description for The Spirit Machine originally from Vimeo: "After discovering the final resting place of Thomas Edison's last invention, a desperate, out »
- Alex Billington
On this episode of Collider Movie Talk (Tuesday August 22nd, 2017) Mark Ellis, Clarke Wolfe, Jon Schnepp, Jeremy Jahns, Ashley Mova, and Wendy Lee discuss the following: Deadpool 2 Cable images tease time-travel element Wonder Woman crosses $800 million to become highest grossing superhero origin story movie all time Opening this Week ‘Stranger Things’ Helmer Rebecca Thomas to Direct Sci-Fi ‘Intelligent Life’ Hellboy casts Ed Skrein; reboot won’t have origin story; David Harbour compares it to Raiders of the Lost Ark Mail Bag Live Twitter Questions [caption id="attachment_655526" align="aligncenter" width="600"] Image via 20th Century … »
- Collider Video
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