L.A. Story (1991) - News Poster



Tribeca 2018: Sarah Jessica Parker Shines in ‘Blue Night’

New York City – Although many people will never think of Sarah Jessica Parker in any other role than Carrie Bradshaw of “Sex and the City,” the actor makes a major breakout with her new film, “Blue Night,” which premiered (naturally for her) at the 17th Tribeca Film Festival in New York City on April 19th, 2018.

Sarah Jessica Parker of ‘Blue Night’ on the Red Carpet at 2018 Tribeca

Photo credit: Patrick McDonald for HollywoodChicago.com

Blue Night” is set in New York City, and can be reasonable described as “Carrie Bradshaw through the looking glass.” Parker portrays Vivienne, a jazz singer whose career has always taken precedent over her life. She receives some devastating news, and because she is estranged from her mother, daughter and ex-husband, she has few resources to turn towards. The film follows her character through 24 hours as she processes her news, which includes a guest vocal at an NYC jazz club.
See full article at HollywoodChicago.com »

Quote of the Day: Sarah Jessica Parker on the Launch of #TimesUp

Parker in “Divorce”

While promoting the second season of “Divorce” this week in New York City, Sarah Jessica Parker, fresh off the plane from La, where she presented a Golden Globe Award, had a lot to say about being at the launch of #TimesUp. “It was impressive,” she told us. “It has been impressive to watch it come together because we were dubious that it could happen in the time that was presented to us. It was just a very short period of time in which the work organized itself, with a lot of hard work that came from a lot of women. I think that the experience was amazing, and I was so proud to see the enthusiasm [at the Golden Globes] supporting the roll out. That was the official launch of Time’s Up.”

Clearly impacted by the weight of the unveiling of the Time’s Up Initiative, a coalition fighting sexual misconduct,
See full article at Women and Hollywood »

The Most Disappointing TV Shows of 2017

  • Indiewire
The Most Disappointing TV Shows of 2017
In the age of peak TV, there’s a lot of bad television out there. But rather than take the time to highlight what everyone should already be forgetting, IndieWire is examining the heartbreaking misses of 2017; the shows that felt like they had something special — either in concept, talent, or early episodes — but failed to fulfill that promise.

For the shows that weren’t cancelled, hope rings eternal. TV is a medium that allows for development, improvement, and the virtual erasure of bad first impressions. The shows below might be a long way from getting good, but their break bad hurt enough that even for the most disappointing, we still hope for the best.

And if you like any shows on the list, then good luck and godspeed. You found something there that we only wish we could have seen. Maybe next year.

Read More:The 25 Best TV Episodes of 2017, Ranked
See full article at Indiewire »

‘Home Again’ review: Dir. Hallie Meyers-Shyer (2017)

Home Again review: Reese Witherspoon leads the cast of this romantic L.A. story about a single mother who allows three young men to move in with her and her two daughters.

Home Again review by Paul Heath.

If you are aware of the films by celebrated American filmmakers Nancy Meyer and Charles Shyer – we’re talking the likes of Something’s Gotta Give, The Holiday and The Intern (Meyer), and then Baby Boom, Father Of The Bride and the Alfie remake (Shyer), you’ll know what you in store for here. Home Again is the directorial debut of their daughter Hallie Meyers-Shyer and co-produced by its lead, Reese Witherspoon.

Witherspoon plays the character of Alice Kinney, a mother of two adorable daughters who we learn in the opening frames has just separated from her husband Austen (Michael Sheen). Alice is the daughter of a respected L.A. based film director
See full article at The Hollywood News »

Filmmaker John Singleton Rides the Peak TV Wave to Recharge His Career

Filmmaker John Singleton Rides the Peak TV Wave to Recharge His Career
The Uber driver can’t come fast enough for John Singleton.

The filmmaker is hopping between studio lots in Hollywood on a warm afternoon in early November as he tends to the two drama series he’s launching this year: Bet’s “Rebel” and FX’s “Snowfall.”

At the Lot complex just off Formosa, Singleton is working with longtime collaborators on the sound mix and other post-production touches for the two-hour telepic that will introduce “Rebel” on March 28. In a nutshell, the series, Singleton explains, is “ ‘Shaft’ with a black woman.”

After reviewing the progress on “Rebel,” Singleton, 49, hurries out to the street, searching for the Uber while talking a blue streak, punctuated by a distinctive high-pitched giggle when he really wants to make a point. He’s revved up about the promise of the series and the breakout potential of his star, Danielle Moné Truitt.

“I call it film noir with neo soul, neo
See full article at Variety - TV News »

'L.A. Story': THR's 1991 Review

'L.A. Story': THR's 1991 Review
On Feb. 8, 1991, Tri-Star unveiled the zany L.A. Story in theaters nationwide, featuring Steve Martin as an existential local weatherman. The Hollywood Reporter's original review is below: 

While the ancient prophets consulted burning bushes or sojourned to shrines for spiritual advice, modern-day wise men, such as Steve Martin, consult the oracles of their natural environment. In L.A. Story, L.A. modern-man Martin seeks spiritual and personal counsel from an electronic Freeway Condition sign, which points him in the right direction in romance and life. If that same roadside oracle gave box-office advice, it would blink out "All Clear to Hitsville"...
See full article at The Hollywood Reporter - Movie News »

Richard Portman, ‘Star Wars’ Sound Engineer and 11-Time Oscar Nominee, Dies at 82

Richard Portman, ‘Star Wars’ Sound Engineer and 11-Time Oscar Nominee, Dies at 82
Sound engineer Richard Portman, who received 11 Academy Award nominations and won for his work on Michael Cimino’s “The Deer Hunter,” died on Saturday at his home in Tallahassee, Fla. He was 82.

“He was an icon of his craft of motion picture sound re-recording, recognized with the highest honors of his field,” his daughter Jennifer Portman wrote on her Facebook page. “He was eccentric, irreverent, and real.”

Portman worked on nearly 200 movies and mixed the sound for George Lucas’ “Star Wars.”

Portman received two Oscar sound nominations in 1973 for Francis Ford Coppola’s “The Godfather” and Michael Ritchie’s “The Candidate.” He was also double-nominated in 1974 for Peter Bogdanovich’s “Paper Moon” and Mike Nichols’ “The Day of the Dolphin.”

Portman received his first nom in 1971 for “Kotch,” directed by Jack Lemmon. He was also up for Oscars for Mel Brooks’ “Young Frankenstein,” Herbert Ross’ “Funny Lady,” Michael Apted’s “Coal Miner’s Daughter,
See full article at Variety - Film News »

Exclusive: Mick Jackson on returning to cinema with Denial

  • HeyUGuys
Author: Stefan Pape

Mick Jackson, the director behind films such as The Bodyguard and L.A. Story, is returning to the silver screen for the first time in 14 years, with courtroom drama Denial.

Telling the true story of Deborah Lipstadt – played here by Rachel Weisz, who is sued by British historian, and notorious Holocaust denier David Irving (Timothy Spall), Denial is a riveting, pertinent tale, and we asked Jackson what it was about this story that lured him back.

He discusses the relevance of the title, and how these days it’s become dangerously accepted for opinion to masquerade as fact, he also tells us about his first visit to Auschwitz, as well as the importance in not giving people like Irving a platform.


When university professor Deborah E. Lipstadt includes World War II historian David Irving in a book about Holocaust deniers, Irving accuses her of libel and sparks
See full article at HeyUGuys »

Mick Jackson interview: Denial, The Bodyguard, Donald Trump

Simon Brew Jan 27, 2017

Director Mick Jackson on Denial, Donald Trump, directing films, and how he followed The Bodyguard...

Mick Jackson has lived through several chapters of his directorial career. His background was television, in particular the stunning Threads, and his classy adaptation of Chris MullinsA Very British Coup. Then he went to Hollywood, directing the likes of L.A. Story, The Bodyguard and Volcano.

He’s been away from cinema for a while, courtesy of some intriguing television projects. But he returns to the big screen this weekend with Denial, a classy courtroom drama that brings the story of Holocaust denier David Irving’s infamous libel action to the cinema. We snagged a chat with him ahead of its release, with the promise of further conversation about his 90s output at a later date too.

Can you talk us through this particular film, and why you wanted to bring it to the big screen?
See full article at Den of Geek »

La La Land movie review: city of stars, shining just for us

MaryAnn’s quick take… A marvel. Funny and exuberant and bittersweet and cliché-busting and unexpected as hell. We are going to need more movies like this one. I’m “biast” (pro): loved Damien Chazelle’s Whiplash, love Gosling and Stone

I’m “biast” (con): nothing

what is this about? see my critic’s minifesto)

Hopeful yet pragmatic. Fantastical yet down-to-earth. Revolutionary yet traditional. Old-fashioned in the best way and totally modern at the same time. Pure escapist cinematic joy that you don’t need to turn your brain off to get thoroughly lost in. La La Land is a movie to make you fall in love with movies all over again, just when, I suspect, we’re going to be leaning on movies a lot merely to maintain our sanity. This is an instant comfort movie, one that wraps you in its warm embrace and never lets you go.
See full article at FlickFilosopher »

Review: Denial

by Eric Blume

It’s kind of surprising how good Denial isn’t. The new film is about a Holocaust historian (Rachel Weisz) who has libel charges thrown against her by a racist Holocaust denier (Timothy Spall). The basic story is absorbing and filled with potentially interesting ideas but it's executed in the most perfunctory manner. It’s as if the actors, director, and crew showed up every morning and said, “okay we know the scene we need to shoot today -- maybe let’s try cameras here and turn on some of these lights we have sitting around. Let’s do this!”.

Director Mick Jackson has previously won an Emmy for the lovely Temple Grandin for HBO, and previously made L.A. Story and Live from Baghdad; he's not without talent. But Denial proves shapeless, not only in the shot construction, but all of the beats, and even in our feelings towards the main character.
See full article at FilmExperience »

Review: Sarah Jessica Parker returns to HBO with 'Divorce'

  • Hitfix
Review: Sarah Jessica Parker returns to HBO with 'Divorce'
For decades, the TV business operated under the mistaken belief that audiences wouldn't watch shows about unlikable characters. What the last 20-odd years of television has proved, however, is that viewers are just fine with unlikable characters — provided the shows understand that they're unlikable. Many of the best comedies of this period — from Seinfeld to Veep, Curb Your Enthusiasm to It's Always in Philadelphia, Arrested Development to BoJack Horseman — understand from the jump that they're about fundamentally terrible individuals. Even if the audience doesn't catch on at first, the people making the shows understand and embrace the nastiness and stupidity of it all, and that only makes the comedy more effective. On the flip side, some of the lamest and most insufferable comedies of recent vintage — say, Mixology or Happyish — don't seem to recognize how irritating their main characters are, which only doubles down on other creative problems. It's bad
See full article at Hitfix »

Rachel Weisz Holocaust Courtroom Drama ‘Denial’ Tops Specialty Box Office

  • The Wrap
Rachel Weisz Holocaust Courtroom Drama ‘Denial’ Tops Specialty Box Office
Earning the strongest per theater average of any film out this weekend, Bleecker Street drama “Denial” easily topped the specialty box office. The film, starring Rachel Weisz as renowned historian Deborah E. Lipstadt — who was forced to prove in court that the Holocaust actually happened — opened to an average $20,420 per theater from five theaters for a total of $102,101. The true life story was directed by Mick Jackson (“L.A. Story,” “The Bodyguard”) and also stars Tom Wilkinson and Timothy Spall. It has a 72 percent Rotten Tomatoes score. Also Read: Specialty Box Office: Docs 'Ballot Bandits,' 'Generation Startup' Rise...
See full article at The Wrap »

The Weekend Warrior 9/30/2016: Deepwater Horizon, Miss Peregrine’s Home for Peculiar Children, Masterminds

Welcome back to the Weekend Warrior, your weekly look at the new movies hitting theaters this weekend, as well as other cool events and things to check out.

This Past Weekend:

While the new movies reigned at the box office this past weekend, both Antoine Fuqua’s The Magnificent Seven (Sony) and the animated Storks (Warner Bros.) didn’t fare nearly as well as our projections, both falling short by about $10 million. The Magnificent Seven, starring Denzel Washington and Chris Pratt, fared decently with $34.7million, which is about the average for Washington’s films, but the fourth highest opening for a Western after last year’s The Revenant, the animated Rango, and Cowboys and Aliens. Storks’ $21.3 million opening wasn’t great compared to other animated September releases with Sony still holding the September opening record with Hotel Transylvania 2, but it should continue to do well with no other animated movies opening for another month.
See full article at LRM Online »

‘Denial’ Review: Rachel Weisz And Timothy Spall Square Off In A Compelling Courtroom Drama — Toronto

  • Indiewire
‘Denial’ Review: Rachel Weisz And Timothy Spall Square Off In A Compelling Courtroom Drama — Toronto
Earlier this year, the concentration camp Auschwitz was wiped off the face of the Earth. A superpowered Holocaust survivor who goes by the name of “Magneto” went to the hallowed massacre site, and — blind with rage after suffering a tremendous personal loss — used his mutant abilities to dismantle the single most important landmark of his people’s suffering. It was a striking moment, in part because it seemed wildly out of place in a movie about a group of teens who dress in purple spandex and fight each other with magic, and in part because Magneto’s rash show of rage wasn’t played as a revenge fantasy so much as an act of historical rejection.

There’s a good reason why, in real life, Auschwitz is a museum and not a landfill: It protects against those who say the Holocaust could never happen again, and — increasingly — to serve as
See full article at Indiewire »

The 25 Best Los Angeles Movies

Jesus is flying over Rome, a statue hoisted by a helicopter, in the opening shot of Fellini's "La Dolce Vita." In the opening shot of Steve Martin's "L.A. Story," which debuted 25 years ago this week (on February 8, 1991), instead of Jesus, it's a giant prefab frankfurter.

And that may be all you need to know about how the movie industry portrays its hometown on screen. In the movies, at least, Los Angeles is a city of jarring contrasts -- artifice and practicality, glittering dreams and prosaic reality, sunshine and drought. Though it's a comic fantasy, "L.A. Story" paints as effective a portrait of Los Angeles as any movie, but as the list here makes clear, there are lots of L.A.s, each with its own screen story.
See full article at Moviefone »

61 film books that are well worth your time




Looking for good books about the movies to read? We've got a bumper selection of recommendations right here...

A confession. I actually started writing this article in 2013, and the reason you've only reading it now is that I've made sure I've read every book on this list, save for one or two where I've marked otherwise. As such, what you're getting is a very personal list of recommendations. Each of these books has at least something to it that I think is of interest to someone wanting to learn more about film - or just enjoy stories of movie making.

I've tended to avoid picture books, with one exception, as these ones I've chosen are all intended to be chock-full of words, to relax with at the end of a long day. Which is what I did. There are one or two notable omissions, as I'm still
See full article at Den of Geek »

Heroes Reborn, Ep. 1.01-1.02, “Brave New World” and “Odessa”

Heroes Reborn, Season 1, Episode 1, “Brave New World”

Season 1, Episode 2, “Odessa”

Written by Tim Kring

Directed by Matt Shakman (“Brave New World”), Greg Beeman (“Odessa”)

Airs on Thursdays at 8 pm (Et) on NBC

Every new show has to work to sell the viewer on why it deserves to exist instead of, say, a new season of Hannibal. We are busy people with lives and limited time to commit to a series that is either going to bore us or break our hearts. In this era of Peak TV, Fomo is real and it is crippling. So networks have figured out that is easier to greenlight a nostalgia series (Twin Peaks, The X-Files, Fuller House) than a new series. It has a built in audience! It’ll automatically generate headlines! Though NBC appears to be making a similar decision with Heroes Reborn, deciding to bring back a series that many soured on
See full article at SoundOnSight »

How Sean Baker Used Beautiful Accidents and New Talent to Deliver one of the Best Films of the Year

Glamour, palm trees, and surgically perfected bodies define Los Angeles in the eyes of the world, but beneath that artificial sunshine there are people and places that never find themselves portrayed on screen. People on the bus, on the not-so-pretty streets, in the neighborhoods that no one’s ever hear of, in those places that have stories that are never told. Even Hollywood, as plastic as it’s often depicted, has areas that have not yet been gentrified and in which people outside the norm are also allowed to be beautiful in their own way. It’s here that director Sean Baker found the stars of his riotous and perfectly acted latest film “Tangerine,” and where he shot it.

At the center of it are Alexandra (Mya Taylor) and Sin-Dee (Kitana Kiki Rodriguez), two transgender sex workers on Santa Monica Boulevard who struggle to get by while dealing with heartbreak, revenge, and their dreams. Their story, which takes place on a sunny California Christmas eve, exists in the real world without embellishments and its driven by their hilarious banter that's always based on uncompromising sincerity. It's in this sort of uncontrollable environment that Sean Baker found beautiful accidents as his camera, or better said his iPhone, recorded the characters interacting with the city.

We had a chance to talk to Sean Baker about the making of one the year’s best film and a standout at the most recent Sundance Film Festival.

Aguilar: "Tangerine" shows us a side of Los Angeles we rarely see in film, far from all the glamour and artificial beauty. I know the streets where Alexandra and Sin-Dee exist. I've taken those buses, those trains, and been to those places. It feels very real and vibrant in an unpretentious way. Why did you want to tell this singular L.A. story?

Sean Baker: I'm originally from New York and I spent most of my life there, so when I came out to L.A. I was surprised to find that most of L.A. hasn't been shot out. I thought that the studios would have covered L.A. for the last 100 years, but then I realized there is a whole city south of Pico where there are these subcultures or communities that haven't been focused on whatsoever, and also wonderful locations. For example, I told everybody, "I don't want to make this film unless we can lock down Donut Time," because it's such a landmark. Thank god my great producers Darren Dean and Shih-Ching Tsou were able to lock Donut Time. I've fallen on love with Los Angeles and I love to explore it myself. If I'm telling an L.A. story I want to tell a fresh L.A. story and show places that haven't been shown before.

Aguilar: How rough was it to shoot out there in the wilderness of the city? You only have control of your equipment and your actors, everything else is alive and moving without you having power over it.

Sean Baker: I'm kind of used to that because I did it with "Prince of Broadway" and I did it with "Take Out." With those two films I kind of had to accept the fact that there was going to be obstacles, but that those obstacles would lead to happy accidents. If I have a bystander who is stepping into the frame sometimes that would work, as long as we get their permission and get releases everything is fine. I'm open to that. I like the lack of control sometimes. I think that leads to a lot of interesting things, plus I edit my own films, so I almost like to edit from a documentary point of view. It keeps me awake and keeps me surprised in the edit when every take is different and there are new things to be seen on every scene.

Aguilar: You have to two incredible leads in Mya and Kiki, but also two leads who have big personalities. Was it a challenge at first to work with actresses that didn't have much experience or none at all?

Sean Baker: They were as professional as professional could be from day one. I was so incredibly lucky to have found Mya and Kiki. They started impressing me one or two days in. I realized how great they were. I didn't even know they were going to be that great. With a film like this, even though it's scripted and you know where you are going, you kind of still have to find it while you shoot, and then you find it again in the edit. I was going into the shoot knowing that if they weren't good enough I was going to focus on the characters around them or I was going to give them less dialogue. That's how I was going to do it, but then when they started impressing me after the first day I was like, "Why not? They are stealing the show every time, let's roll with it."

Aguilar: Even though the film is a sense dialogue-heavy it feels very vibrant throughout. The only quiet moment is when Kiki sits by the Vermont station to consider her next move. Did you feel like you needed that calm beat before the madness was unleashed?

Sean Baker: In that scene, I didn’t know I was going to be marrying the Beethoven track to it at that moment. I just said, “This is a moment in which I’m going to slow thing down.” It was the quiet before the storm. We already had a shot of adrenaline in the beginning and this was going to be the second shot of adrenaline right after this quiet scene. I basically said, “Look, let’s just take a moment and allow the audience to breathe a little bit.” I told Kiki, “Sorry, you are gonna have to smoke like 10 cigarettes,” because we needed to get every angle possible. I should have gotten even more coverage. I wish I had more coverage.

Aguilar: You weaved in hilarious comedy within this story about two marginalized characters. Was finding that tonal balance difficult? The humor is just so clever. There are lots of quotable material in the film like “You didn’t have to Chris-Brown the bitch”or the whole part about "real fish."

Sean Baker: [Laughs] That was really just because when I was in my research process and I’d be hanging out with them, it was like going to a stand up comedy routine. They were so funny, and they would always finish each other's sentences. They would set up jokes and then deliver a punch line. I realize there is so much humor in that world because the women use that humor to cope. They use it to get by. We all use humor in our lives to get through, but they do so especially because they are sex workers because they have to be. They’ve been so marginalized they don’t have other opportunities. They are faced with discrimination, with danger, and with violence on a regular basis. They have to use humor just to cope and I witnessed this. I thought that if I didn’t inject that humor in the story it would be dishonest.

Aguilar: How did the Armenian driver who lives a very traditional lifestyle at home and finds solace in these transgender girls come about? It certainly adds another layer of complexity to the story.

Sean Baker: The actor, Karren Karagulian, this is my fifth time working with him. I love him. He is great, but he is underrated. This industry hasn’t noticed him yet. He doesn’t even have an agent and yet he’s been the lead of three films now. This is due to the racism of the industry, but I’m hoping that this is the film that finally breaks him in because he is so good. I approached him and said, “Look I’m making a film about two transgender sex workers in Los Angeles, how can we incorporate you? Or how can we find a character for you?” He said, “Look there is a huge Armenian community in L.A, I’ll be a cab driver who is into one of them.” I said, “There we go.” [Laughs]. He is New York-based, so he came out and through his connections I was able to get the stars of Armenia. Alla Tumanian, who plays the mother in law, is a classic actress from Armenia. Arsen Grigoryan, who plays the other cab driver that rats on him, he hosts The Voice over in Armenia. He is our biggest celebrity in the movie. It was really interesting to work with some of the stars of Armenia, such seasoned talent.

Aguilar: Will it ever play in Armenia since you have names that are recognized there? Or is it too non-traditional in terms of its themes to play there?

Sean Baker: Yeah, that’s the thing. We are hoping that it plays at the Golden Apricot, which is their film festival, but we are still not sure.

Aguilar: Out of Sundance most of the talk about the film was related to how it had been shot on an iPhone. Have you gotten to a point where you want to talk about the actual film and not mechanics of how it was made?

Sean Baker: Yeah, I’m sort of sick of it at this point. What started out as a budgetary thing has become sort of a gimmick and it’s not, but it is a selling point at the same time so we can’t dismiss it. Some critics have gone as far as to say that subtextually the fact that we are shooting on this accessible device works with the subject matter about these women who might not have the means to shoot any other way. I’m just happy that it’s accepted and that we were able to find our aesthetic. We were sort of forced into it but I’m happy with the look of the end product. I come from the school of thought that feels that if you can shoot film, you should shoot film. I’m still in that Christopher Nolan, Tarantino thing.

Aguilar: Save film!

Sean Baker: Yeah! If I had the budget I would have shot it on film but then I probably wouldn’t have made the same movie.

Aguilar: Did you ever image that "Tangerine" would go as far as it has or did it catch you by surprise? Despite all the iPhone talk, reviews have been stellar and people seem to really connect with the film and its humor.

Sean Baker: No, I thought that it might have the same acceptance as my last film "Starlet," the critics liked it and it won the Altman Award, but it’s still under the radar and people are still finding it on Netflix. I thought it would be the same, but this one seems to have a bigger impact. I thought it was going to divide critics more and so far it hasn’t really done that. People really seem to accept it, which is a great thing. My hope is that with the trans movement being such a big part of the zeitgeist that Mya and Kiki can really parlay this. That’s the hope.

Aguilar: Do you think it’ll be difficult for them to find more acting jobs after this?

Sean Baker: That’s my fear, but at the same time I’m hoping that with the industry realizing that diversity it so important they may be offered more roles. They are talented enough to play anybody. It doesn’t just have to be a trans role. I’d love to see both of them take on anything. That would be the ultimate success for this film.

Aguilar: They are both amazing, colorful, and brimming with authenticity. How did you find them? I'm sure raw talent like this didn't come from traditional casting.

Sean Baker: You have to put in the time. With “Prince of Broadway,” which is the film I made before ”Starlet,” we spent a year in that district and everybody kept on telling us to find Prince Adu. “Find Prince Adu, he’ll like you. He’ll work with you,” and when we did, it all worked out. He was enthusiastic and he wanted to make the movie with us and everything worked out. In this case I tried to keep that in mind, “If I can just find that one person who is enthusiastic enough.” Then, only two weeks in, we went over to the Lgbt center and there was a courtyard, Mya was about 40 feet away and I saw her and thought, “She has a look. There is something about her. She is the one who stands out in the crowd." We went up to her and introduced ourselves. Next thing you know she was doing what Prince did, she had that enthusiasm. She was like, “I want to make this film with you!” We exchanged information and we started going from there. That’s how it happened and then she brought Kiki to the table. This is also something I haven’t said enough, Mark and Jay Duplass were very supportive. They found us the money to make it. When nobody else was stepping forward they were the only ones that said, “We’ll help you make this film.”

Aguilar: They are like the indie film godfathers.

Sean Baker: Exactly!

Aguilar: I have my own theories about this, but why did you decide to title the film “Tangerine”? Is it the sweet and sour nature of the two leads?

Sean Baker: Yes, you got it [Laughs]. Is that and it's also the color. The sense and the fruit you get from the color of it. I didn’t want to go with a literal title. I’m sick of those. Film is the only art form where we feel we have to title our stuff literally. Musicians don’t have to title their songs literally. It can be more about what’s conjured up when you think of a word. In this case for some reason tangerine just kept sticking and we kept on going back to that.

"Tangerine" is now playing in Los Angeles at ArcLight Cinemas Hollywood and in NYC at the Landmark Sunshine Cinema
See full article at SydneysBuzz »

Eli Roth to Direct ‘Fast Times at Ridgemont High’ Live Read Closing Night of La Film Festival

Eli Roth to Direct ‘Fast Times at Ridgemont High’ Live Read Closing Night of La Film Festival
The Los Angeles Film Festival will close not with a screening, but its first-ever live read: “Fast Times at Ridgemont High.”

Writer, director and actor Eli Roth (“Hostel,” “Inglorious Basterds”) will direct the read on June 18. The cast will be announced via the L.A. Film Fest’s Twitter feed.

“I can’t think of a better way to close this year’s Festival than with a Live Read!” said Stephanie Allain, director of the Los Angeles Film Festival in a statement. “Eli Roth is directing a quintessentially L.A. story.”

The film, which came out in 1982, was directed by Amy Heckerling and written by Cameron Crowe.

Jason Reitman started Film Independent’s Live Reads in 2011 as one-night only events, with no recordings or livestreams. The L.A. Film Festival opens Wednesday, June 10, with Chris Weitz’s “Grandma.”
See full article at Variety - Film News »
An error has occured. Please try again.

See also

Showtimes | External Sites

Recently Viewed