'Under the Volcano' screening: John Huston's 'quality' comeback featuring daring Albert Finney tour de force As part of its John Huston film series, the UCLA Film & Television Archive will be presenting the 1984 drama Under the Volcano, starring Albert Finney, Jacqueline Bisset, and Anthony Andrews, on July 21 at 7:30 p.m. at the Billy Wilder Theater in the Los Angeles suburb of Westwood. Jacqueline Bisset is expected to be in attendance. Huston was 77, and suffering from emphysema for several years, when he returned to Mexico – the setting of both The Treasure of the Sierra Madre and The Night of the Iguana – to direct 28-year-old newcomer Guy Gallo's adaptation of English poet and novelist Malcolm Lowry's 1947 semi-autobiographical novel Under the Volcano, which until then had reportedly defied the screenwriting abilities of numerous professionals. Appropriately set on the Day of the Dead – 1938 – in the fictitious Mexican town of Quauhnahuac (the fact that it sounds like Cuernavaca...
- 7/21/2017
- by Andre Soares
- Alt Film Guide
We scour the interwebs for the coolest movie news and more so you don't have to ...
The werewolves, vampires and angsty adolescent superheroes that dominate our culture today all started with one man: Joss Whedon. So how come Whedon never became as famous as so much of the derivative trash he inspired? GQ talks with Whedon about how "The Avengers" may prove to be the part in the story where the underdog rises to meet his big moment.
Anyone wanna buy Willy Wonka's costume? Movieline has the details on the latest auction from Profiles in History, which has previously unloaded Hollywood treasures ranging from Dorothy's ruby slippers from "The Wizard of Oz" to the Dude's sweater from "The Big Lebowski."
Hey, it's a Facebook timeline of, well, Facebook! The Playlist has found a clever infographic that summarizes the chronological happenings of "The Social Network" via the profile format that everyone's...
The werewolves, vampires and angsty adolescent superheroes that dominate our culture today all started with one man: Joss Whedon. So how come Whedon never became as famous as so much of the derivative trash he inspired? GQ talks with Whedon about how "The Avengers" may prove to be the part in the story where the underdog rises to meet his big moment.
Anyone wanna buy Willy Wonka's costume? Movieline has the details on the latest auction from Profiles in History, which has previously unloaded Hollywood treasures ranging from Dorothy's ruby slippers from "The Wizard of Oz" to the Dude's sweater from "The Big Lebowski."
Hey, it's a Facebook timeline of, well, Facebook! The Playlist has found a clever infographic that summarizes the chronological happenings of "The Social Network" via the profile format that everyone's...
- 5/3/2012
- by Bryan Enk
- NextMovie
Here’s the deal with Guy Gallo’s book “Screenwriter’s Compass: Character as True North”: if you can survive the first 50 pages or so, it’s a very handy, practical how-to guide to get started writing a screenplay the proper way. What is the proper way, you ask? The way that’ll get you read, get you sold, and get your movie produced. In “Compass”, Guy Gallo guides you through all the steps to get started and how to end up where you want/need to end up — with a completed screenplay. Of course, until you can get there, Gallo spends a lot of time (in my opinion, too much time) on the topic of screenwriting as an art, a craft to be explored. While reading this section of the book, I felt like Gallo was trying to teach me how to teach a class on screenwriting rather...
- 4/8/2012
- by Nix
- Beyond Hollywood
For those who believe screenwriters need to know exactly where the story's going to go, Columbia University screenwriting professor Guy Gallo says: Nonsense. In this excerpt from his new book, "Screenwriter's Compass: Character as True North," Gallo explains how exploring your story as you're going through the writing process will help guarantee that your screenplay has a unique voice and a real story to tell. Composition Creates Story Prior to actually doing the dirty work of composing a scene we have an amorphous idea of story. We hold in our heads an amalgam of images and thematic urgencies and story elements. As we sit down to actually put the characters in motion, enacting needs and desires, describing the behavior of the scene’s actors, we often, too often, do so with the story needs dictating the limits and shape of the scene. This is what I would call writing from the top down,...
- 3/23/2012
- by Guy Gallo
- Indiewire
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