Two of the most popular trends on Broadway in recent years are musicals based on iconic films and “jukebox musicals” that feature the songs of popular American artists. So it was almost inevitable that “Almost Famous,” a beloved film that takes place in the music industry, would eventually be turned into a musical. Cameron Crowe has been working on a stage adaptation of his film for years, and the production announced this week that it will be opening on Broadway later in 2022.
Released in the fall of 2000, “Almost Famous” was inspired by Cameron Crowe’s experiences as a teenage music journalist for Rolling Stone. Patrick Fugit stars as a 15-year-old boy who is hired by the magazine and sent on assignment to follow the fictional 1970s rock band Stillwater (though some real 70s music icons make appearances). While on tour, he falls in love with groupie Penny Lane (Kate Hudson...
Released in the fall of 2000, “Almost Famous” was inspired by Cameron Crowe’s experiences as a teenage music journalist for Rolling Stone. Patrick Fugit stars as a 15-year-old boy who is hired by the magazine and sent on assignment to follow the fictional 1970s rock band Stillwater (though some real 70s music icons make appearances). While on tour, he falls in love with groupie Penny Lane (Kate Hudson...
- 5/1/2022
- by Christian Zilko
- Indiewire
David Brenner, the Oscar-winning film editor who worked on a string of blockbusters as well as nine films for director Oliver Stone, died on Thursday. He was 59. The news was confirmed by Avatar producer Jon Landau, with whom Brenner had been working on the sequels.
Landau called Brenner’s editing skills “extraordinary,” but said what was most impressive about him was “his remarkable compassion for others and the love and commitment he had for his family.”
Over three decades in the film business, Brenner worked with top directors on a remarkable number of big-budget hits, including Independence Day, Pirates of the Caribbean: On Stranger Tides, Transformers: Age of Extinction, Batman v. Superman: Dawn of Justice, Justice League (both versions) and the Avatar sequels.
He first worked with Stone on 1986’s Salvador as an assistant editor. That relationship grew through Platoon and Wall Street until Brenner moved up to co-editor — with Joe Hutshing — on Talk Radio.
Landau called Brenner’s editing skills “extraordinary,” but said what was most impressive about him was “his remarkable compassion for others and the love and commitment he had for his family.”
Over three decades in the film business, Brenner worked with top directors on a remarkable number of big-budget hits, including Independence Day, Pirates of the Caribbean: On Stranger Tides, Transformers: Age of Extinction, Batman v. Superman: Dawn of Justice, Justice League (both versions) and the Avatar sequels.
He first worked with Stone on 1986’s Salvador as an assistant editor. That relationship grew through Platoon and Wall Street until Brenner moved up to co-editor — with Joe Hutshing — on Talk Radio.
- 2/18/2022
- by Tom Tapp
- Deadline Film + TV
David Brenner, an Oscar-winning film editor who has worked extensively with Zack Snyder and Oliver Stone, among other filmmakers, has died. He was 59.
Brenner died suddenly in his home in West Hollywood on Thursday, his wife, actress Amber Brenner, first told THR. The news was also confirmed in a GoFundMe page set up by “Avatar” producer Jon Landau, as well as in a social media post by Snyder. Amber Brenner did not immediately respond to TheWrap’s request for comment.
A cause of death has not been released.
Brenner won his Oscar in 1990 (shared with Joe Hutshing) for working on Stone’s “Born on the Fourth of July.” He’s also credited on numerous other films, including, “The Doors,” “Independence Day,” “The Day After Tomorrow,” “World Trade Center,” “Man of Steel,” “300: Rise of an Empire” and, most recently, “Zack Snyder’s Justice League.” He was currently at work editing James Cameron’s “Avatar” sequels.
Brenner died suddenly in his home in West Hollywood on Thursday, his wife, actress Amber Brenner, first told THR. The news was also confirmed in a GoFundMe page set up by “Avatar” producer Jon Landau, as well as in a social media post by Snyder. Amber Brenner did not immediately respond to TheWrap’s request for comment.
A cause of death has not been released.
Brenner won his Oscar in 1990 (shared with Joe Hutshing) for working on Stone’s “Born on the Fourth of July.” He’s also credited on numerous other films, including, “The Doors,” “Independence Day,” “The Day After Tomorrow,” “World Trade Center,” “Man of Steel,” “300: Rise of an Empire” and, most recently, “Zack Snyder’s Justice League.” He was currently at work editing James Cameron’s “Avatar” sequels.
- 2/18/2022
- by Brian Welk
- The Wrap
Robert Keeling Apr 19, 2017
Kevin Costner headlined an all-star cast in Oliver Stone's JFK. It was a film that led to an act of Congress being passed...
Oliver Stone’s epic conspiracy-thriller JFK, surrounding the assassination of John F. Kennedy and the case brought about by New Orleans District Attorney Jim Garrison in relation to his murder, was released in 1991 to an astonishing level of critical backlash. Even before JFK arrived in theatres it was being pilloried and attacked by many in the media. The attacks were kick-started by Washington Post correspondent George Lardner, an investigative reporter who wrote a piece called On the Set: Dallas In Wonderland; How Oliver Stone’s Version Of The Kennedy Assassination Exploits The Edge Of Paranoia, which was actually based solely on a leaked copy of Stone’s first draft of the script.
See related The Last Kingdom series 2 episode 5 review The Last Kingdom...
Kevin Costner headlined an all-star cast in Oliver Stone's JFK. It was a film that led to an act of Congress being passed...
Oliver Stone’s epic conspiracy-thriller JFK, surrounding the assassination of John F. Kennedy and the case brought about by New Orleans District Attorney Jim Garrison in relation to his murder, was released in 1991 to an astonishing level of critical backlash. Even before JFK arrived in theatres it was being pilloried and attacked by many in the media. The attacks were kick-started by Washington Post correspondent George Lardner, an investigative reporter who wrote a piece called On the Set: Dallas In Wonderland; How Oliver Stone’s Version Of The Kennedy Assassination Exploits The Edge Of Paranoia, which was actually based solely on a leaked copy of Stone’s first draft of the script.
See related The Last Kingdom series 2 episode 5 review The Last Kingdom...
- 3/29/2017
- Den of Geek
'JFK' movie with Kevin Costner as Jim Garrison 'JFK' assassination movie: Gripping political drama gives added meaning to 'Rewriting History' If it's an Oliver Stone film, it must be bombastic, sentimental, clunky, and controversial. With the exception of "clunky," JFK is all of the above. It is also riveting, earnest, dishonest, moving, irritating, paranoid, and, more frequently than one might expect, outright brilliant. In sum, Oliver Stone's 1991 political thriller about a determined district attorney's investigation of the assassination of U.S. president John F. Kennedy is a slick piece of propaganda that mostly works both dramatically and cinematically. If only some of the facts hadn't gotten trampled on the way to film illustriousness. With the exception of John Williams' overemphatic score – Oliver Stone films need anything but overemphasis – JFK's technical and artistic details are put in place to extraordinary effect. Joe Hutshing and Pietro Scalia's editing...
- 5/15/2015
- by Andre Soares
- Alt Film Guide
Producer John Kassab, in character, on the set of Like Lambs.
Photographed by Johanna B Kelly, the film's Australian production designer.
.
Los Angeles-based Australian producer John Kassab is completing his first narrative feature, Like Lambs, with the help of some Hollywood tech wizards.
Visual effects maestro Douglas Trumble, sound designers Wylie Stateman, Richard King and Per Hallberg and editor Joe Hutshing (whose credits include Oliver Stone.s W. and Savages and Cameron Crowe.s upcoming Aloha) have mentored Kassab.
The feature debut of Us writer-director Ted Marcus, the film follows students at an elite boarding school who take a stand against government corruption and demand radical action when the over- leveraged Us economy implodes.
The cast includes Liam Aiken (Ned Rifle, The Killer Inside Me), Connor Paolo (Mystic River, Gossip Girl, Revenge), Justin Chon (Twilight, 21 and Over), Chanelle Peloso (TV.s Incredible Crew, Zapped) and Godfrey (Louie, Soul Plane, Zoolander...
Photographed by Johanna B Kelly, the film's Australian production designer.
.
Los Angeles-based Australian producer John Kassab is completing his first narrative feature, Like Lambs, with the help of some Hollywood tech wizards.
Visual effects maestro Douglas Trumble, sound designers Wylie Stateman, Richard King and Per Hallberg and editor Joe Hutshing (whose credits include Oliver Stone.s W. and Savages and Cameron Crowe.s upcoming Aloha) have mentored Kassab.
The feature debut of Us writer-director Ted Marcus, the film follows students at an elite boarding school who take a stand against government corruption and demand radical action when the over- leveraged Us economy implodes.
The cast includes Liam Aiken (Ned Rifle, The Killer Inside Me), Connor Paolo (Mystic River, Gossip Girl, Revenge), Justin Chon (Twilight, 21 and Over), Chanelle Peloso (TV.s Incredible Crew, Zapped) and Godfrey (Louie, Soul Plane, Zoolander...
- 3/25/2015
- by Don Groves
- IF.com.au
Now this is a list that could result in a lot of fascinating dissection and thanks to HitFix it comes to our attention almost three years after it was originally released back in 2012, celebrating the Motion Picture Editors Guild's 75th anniversary. Over at HitFix, Kris Tapley asks, "Is this news to anyone elsec" Um, yes, I find it immensely interesting and a perfect starting point for anyone looking to further explore the art of film editing. In an accompanying article we get the particulars concerning what films were eligible and how films were to be considered: In our Jan-feb 12 issue, we asked Guild members to vote on what they consider to be the Best Edited Films of all time. Any feature-length film from any country in the world was eligible. And by "Best Edited," we explained, we didn't just mean picture; sound, music and mixing were to be considered as well.
- 2/4/2015
- by Brad Brevet
- Rope of Silicon
A random bit of researching on a Tuesday night led me to something I didn't know existed: The Motion Picture Editors Guild's list of the 75 best-edited films of all time. It was a feature in part celebrating the Guild's 75th anniversary in 2012. Is this news to anyone else? I confess to having missed it entirely. Naturally, I had to dig in. What was immediately striking to me about the list — which was decided upon by the Guild membership and, per instruction, was considered in terms of picture and sound editorial as opposed to just the former — was the most popular decade ranking. Naturally, the 1970s led with 17 mentions, but right on its heels was the 1990s. I wouldn't have expected that but I happen to agree with the assessment. Thelma Schoonmaker's work on "Raging Bull" came out on top, an objectively difficult choice to dispute, really. It was so transformative,...
- 2/4/2015
- by Kristopher Tapley
- Hitfix
We already knew we’d have to wait for Cameron Crowe’s latest, still-untitled romantic comedy drama, which had been dated for December in the Us and March over here. Now the film has been pushed back further, earning a May 29, 2015 slot in the States.The film, which Crowe originally developed as Deep Tiki, finds Bradley Cooper as a military contractor working on a satellite project in Hawaii who reconnects with an old flame (Rachel McAdams). At the same time, he falls for the air force officer (Emma Stone) assigned to monitor his work. Romance and Hawaiian mysticism flare, while the cast also boasts Bill Murray, John Krasinski, Danny McBride and Alec Baldwin.Crowe and editor Joe Hutshing have been busy getting the film into shape and it would seem the Sony brass has decided it should move from the competitive December awards slot and into a spring/summer release.
- 7/21/2014
- EmpireOnline
Blu-ray and DVD Release Date: July 3, 2012
Price: DVD $14.98, Blu-ray/DVD Combo $19.99
Studio: Universal
Tom Cruise if Ron Kovic in Born on the Fourth of July.
Tom Cruise (Mission: Impossible – Ghost Protocol) delivers an Oscar-nominated performance in Oliver Stone’s (Platoon) acclaimed 1989 biographical war drama Born on the Fourth of July. concerning one man’s experiences during and after the Vietnam War.
Based on a true story, the film follows Long Island-born Ron Kovic (Cruise) from a zealous teen who eagerly volunteers for the Vietnam War, to an embittered veteran paralyzed from the mid-chest down. Deeply in love with his country, Kovic returns to an environment vastly different from the one he left, and he struggles before emerging as a new voice for the disenchanted.
Co-starring Raymond Barry (Falling Down), Caroline Kava (Year of the Dragon) and Kyra Sedgwick (Gamer), the movie was nominated for eight Academy Awards and went on...
Price: DVD $14.98, Blu-ray/DVD Combo $19.99
Studio: Universal
Tom Cruise if Ron Kovic in Born on the Fourth of July.
Tom Cruise (Mission: Impossible – Ghost Protocol) delivers an Oscar-nominated performance in Oliver Stone’s (Platoon) acclaimed 1989 biographical war drama Born on the Fourth of July. concerning one man’s experiences during and after the Vietnam War.
Based on a true story, the film follows Long Island-born Ron Kovic (Cruise) from a zealous teen who eagerly volunteers for the Vietnam War, to an embittered veteran paralyzed from the mid-chest down. Deeply in love with his country, Kovic returns to an environment vastly different from the one he left, and he struggles before emerging as a new voice for the disenchanted.
Co-starring Raymond Barry (Falling Down), Caroline Kava (Year of the Dragon) and Kyra Sedgwick (Gamer), the movie was nominated for eight Academy Awards and went on...
- 4/11/2012
- by Laurence
- Disc Dish
Winner of two Academy Awards®, including Best Director, and four Golden Globes®, including Best Picture, the award-winning classic Born on the Fourth of July will be available on July 3, 2012 on Blu-ray. Combo Pack with DVD and Digital Copy featuring perfect hi-def picture and sound. Born on the Fourth of July stars Tom Cruise (Mission: Impossible . Ghost Protocol, Minority Report) who delivers a riveting and unforgettable portrayal of Vietnam veteran Ron Kovic in Oliver Stone.s (Savages, Platoon) Academy Award®-winning masterpiece.
Based on a true story, the acclaimed film follows Kovic from a zealous teen who eagerly volunteered for the Vietnam War, to an embittered veteran paralyzed from the mid-chest down. Deeply in love with his country, Kovic returned to an environment vastly different from the one he left, and struggled before emerging as a brave new voice for the disenchanted. Also starring Kyra Sedgwick (.The Closer.) and Willem Dafoe...
Based on a true story, the acclaimed film follows Kovic from a zealous teen who eagerly volunteered for the Vietnam War, to an embittered veteran paralyzed from the mid-chest down. Deeply in love with his country, Kovic returned to an environment vastly different from the one he left, and struggled before emerging as a brave new voice for the disenchanted. Also starring Kyra Sedgwick (.The Closer.) and Willem Dafoe...
- 4/10/2012
- by Michelle McCue
- WeAreMovieGeeks.com
By Sean O’Connell
Hollywoodnews.com: Once the frenzy surrounding the Toronto International Film Festival draws to a close, I’m going to do a comprehensive piece on the “unknowns,” the Oscar hopefuls that have yet to glide across our radars. I’ll turn my attention to Clint Eastwood’s “J. Edgar,” Stephen Daldry’s “Extremely Loud and Incredibly Close,” Phyllida Lloyd’s “The Iron Lady” and Steven Spielberg’s “War Horse,” for sure.
And then there’s Cameron Crowe’s “We Bought a Zoo,” which I’m starting to expect has the potential to make a bigger splash than maybe we think at this early stage of the race.
Crowe’s “Elizabethtown” didn’t live up to his standards, and it helps us forget that he’s responsible for such powerful and engaging films as “Say Anything,” “Almost Famous” and “Jerry Maguire.” That last one — which earned Cuba Gooding Jr....
Hollywoodnews.com: Once the frenzy surrounding the Toronto International Film Festival draws to a close, I’m going to do a comprehensive piece on the “unknowns,” the Oscar hopefuls that have yet to glide across our radars. I’ll turn my attention to Clint Eastwood’s “J. Edgar,” Stephen Daldry’s “Extremely Loud and Incredibly Close,” Phyllida Lloyd’s “The Iron Lady” and Steven Spielberg’s “War Horse,” for sure.
And then there’s Cameron Crowe’s “We Bought a Zoo,” which I’m starting to expect has the potential to make a bigger splash than maybe we think at this early stage of the race.
Crowe’s “Elizabethtown” didn’t live up to his standards, and it helps us forget that he’s responsible for such powerful and engaging films as “Say Anything,” “Almost Famous” and “Jerry Maguire.” That last one — which earned Cuba Gooding Jr....
- 9/14/2011
- by Sean O'Connell
- Hollywoodnews.com
Director/Writer: Nancy Meyers DVD and Blu-ray release date: May 10 2010 Studio: Universal Pictures UK No of discs: 1 Region: 2 Price: From £12.99 Running Time: 116/120 mins Certificate: 15 Starring: Meryl Streep, Steve Martin, Alec Baldwin, John Krasinski, Lake Bell Nancy Meyers (The Holiday, Something's Got To Give) once again explores romantic complexities but this time between a divorced couple who find one drunken night and the excitement of an affair, rekindles their flame. After her last child has moved out, Jane (Meryl Streep) feels empty and needs something to fill the void. After contemplating plastic surgery, she finally decides to build the kitchen and extension she has always dreamed of, featuring a one sink bathroom to avoid the depressing concept of “his n' hers” sinks and what they symbolise. All her friends seem to be dating and warn her about the on-line story of a woman who hadn't “done it” in so long her...
- 5/12/2010
- by Uprising
- t5m.com
Not content with Alice in Wonderland for your Johnny Depp fix? Looking for more than a little Salt to give you a taste of Angelina Jolie? Then you’ve come to the right place my friend, because shooting has begun on what is being described as a “romantic thriller”, The Tourist, starring both aforementioned A-List sex symbols and due for theatrical release next year! Check out the official press release below:
On 23 February 2010 principal photography began on Gk Films’ romantic thriller “The Tourist,” directed by Florian Henckel von Donnersmarck, starring Angelina Jolie and Johnny Depp. “The Tourist” is being produced by Academy-Award-winner Graham King and will shoot in Paris and Venice. Sony Pictures will distribute the film.
“The Tourist” is written by Academy Award® winning screenwriters Julian Fellowes (“Gosford Park,” “The Young Victoria”) and Christopher McQuarrie (“Valkyrie”), and Jeffrey Nachmanoff (“The Day After Tomorrow”) and revolves around Frank (Depp), an...
On 23 February 2010 principal photography began on Gk Films’ romantic thriller “The Tourist,” directed by Florian Henckel von Donnersmarck, starring Angelina Jolie and Johnny Depp. “The Tourist” is being produced by Academy-Award-winner Graham King and will shoot in Paris and Venice. Sony Pictures will distribute the film.
“The Tourist” is written by Academy Award® winning screenwriters Julian Fellowes (“Gosford Park,” “The Young Victoria”) and Christopher McQuarrie (“Valkyrie”), and Jeffrey Nachmanoff (“The Day After Tomorrow”) and revolves around Frank (Depp), an...
- 2/26/2010
- by Craig Sharp
- FilmShaft.com
The American Cinema Editors have released their nominations for the 2010 Ace Eddie Awards and sci-fi films dominated the Feature Film category.
Winners will be revealed on Feb. 14th at the Beverly Hilton Hotel. And there's a strong chance that the winner of the Ace Eddie will also win the Oscar for Best Editing.
Here are the nominees for the 60th Annual Ace Eddie Awards:
Best Edited Feature Film (Dramatic):
Avatar
Stephen Rivkin, A.C.E., John Refoua, A.C.E. &
James Cameron, A.C.E.
District 9
Julian Clarke
The Hurt Locker
Bob Murawski & Chris Innis
Star Trek
Maryann Brandon, A.C.E. & Mary Jo Markey, A.C.E.
Up in the Air
Dana Glauberman, A.C.E.
Best Edited Feature Film (Comedy Or Musical):
500 Days of Summer
Alan Edward Bell
The Hangover
Debra Neil-Fisher, A.C.E.
Julie & Julia
Richard Marks, A.C.E.
A Serious Man...
Winners will be revealed on Feb. 14th at the Beverly Hilton Hotel. And there's a strong chance that the winner of the Ace Eddie will also win the Oscar for Best Editing.
Here are the nominees for the 60th Annual Ace Eddie Awards:
Best Edited Feature Film (Dramatic):
Avatar
Stephen Rivkin, A.C.E., John Refoua, A.C.E. &
James Cameron, A.C.E.
District 9
Julian Clarke
The Hurt Locker
Bob Murawski & Chris Innis
Star Trek
Maryann Brandon, A.C.E. & Mary Jo Markey, A.C.E.
Up in the Air
Dana Glauberman, A.C.E.
Best Edited Feature Film (Comedy Or Musical):
500 Days of Summer
Alan Edward Bell
The Hangover
Debra Neil-Fisher, A.C.E.
Julie & Julia
Richard Marks, A.C.E.
A Serious Man...
- 1/12/2010
- by Manny
- Manny the Movie Guy
Here are the nominees for the American Cinema Editors' 60th Annual Ace Eddie Awards announced Monday evening. The winners will be announced Feb. 14 in a ceremony at the Beverly Hilton Hotel: Best Edited Feature Film (Dramatic): Avatar Stephen Rivkin, A.C.E., John Refoua, A.C.E. & James Cameron, A.C.E. District 9 Julian Clarke The Hurt Locker Bob Murawski & Chris Innis Star Trek Maryann Brandon, A.C.E. & Mary Jo Markey, A.C.E. Up in the Air Dana Glauberman, A.C.E. Best Edited Feature Film (Comedy Or Musical): 500 Days of Summer Alan Edward Bell The Hangover Debra Neil-Fisher, A.C.E. Julie & Julia Richard Marks, A.C.E. A Serious Man Roderick Jaynes It's Complicated Joe Hutshing, A.C.E. & David Moritz Best Edited Animated [...]...
- 1/12/2010
- by Nikki Finke
- Deadline Hollywood
Stellar times for Star Trek….a Writers Guild nomination, a Producers Guild nomination and now this! But where are those Inglorious Basterds among the editors? One of the most interesting noms among the Ace’s lists is in the Documentary category – This Is It. Almost all but forgotten, except for those full-page Fyc ads of the Jackson rehearsal documentary in Variety. I’d love to see it as the big surprise Best Picture nominee on nomination morning. No film has won the Academy Award for Best Picture without also having received an Ace editing nom since “Ordinary People” in 1981.
60th annual Ace Eddie Awards nominees are….
Feature film (dramatic):
Avatar, Stephen Rivkin, John Refua & James Cameron District 9, Julian Clarke The Hurt Locker, Bob Murawski & Chris Innis Star Trek, Maryann Brandon & Mary Jo Markey Up in the Air, Dana Glauberman
Feature film (comedy or musical):
500 Days of Summer,...
60th annual Ace Eddie Awards nominees are….
Feature film (dramatic):
Avatar, Stephen Rivkin, John Refua & James Cameron District 9, Julian Clarke The Hurt Locker, Bob Murawski & Chris Innis Star Trek, Maryann Brandon & Mary Jo Markey Up in the Air, Dana Glauberman
Feature film (comedy or musical):
500 Days of Summer,...
- 1/12/2010
- by Michelle
- WeAreMovieGeeks.com
Variety apparently broke the embargo so we can announce the Ace Eddie nominees. From incontention: Drama Avatar-Stephen Rivkin, John Refoua, James Cameron The Hurt Locker-Bob Murawski...
- 1/12/2010
- by Sasha Stone
- AwardsDaily.com
As the nominations were unveiled Tuesday morning for the American Cinema Editors' 60th annual Ace Eddie Awards, this year's awards season is looking more and more like a Hollywood version of Comic-Con.
Just like the Art Directors Guild, the editors organization nominated "Avatar," "District 9" and "Star Trek."
Those three movies will compete for best edited dramatic feature film along with "The Hurt Locker" and "Up in the Air."
Two Meryl Streep vehicles -- "Julie & Julia" and "It's Complicated" -- were nominated in the best comedy or musical category along with "(500) Days of Summer," "The Hangover" and "A Serious Man."
For best animated film, the contenders are "Coraline," "Fantastic Mr. Fox" and "Up."
"This Is It," the Michael Jackson documentary, scored a slot in Ace's best documentary race alongside "The Cove" and "Food, Inc."
An honorary society of motion picture editors founded in 1950, Ace's noms usually point toward Oscar victory...
Just like the Art Directors Guild, the editors organization nominated "Avatar," "District 9" and "Star Trek."
Those three movies will compete for best edited dramatic feature film along with "The Hurt Locker" and "Up in the Air."
Two Meryl Streep vehicles -- "Julie & Julia" and "It's Complicated" -- were nominated in the best comedy or musical category along with "(500) Days of Summer," "The Hangover" and "A Serious Man."
For best animated film, the contenders are "Coraline," "Fantastic Mr. Fox" and "Up."
"This Is It," the Michael Jackson documentary, scored a slot in Ace's best documentary race alongside "The Cove" and "Food, Inc."
An honorary society of motion picture editors founded in 1950, Ace's noms usually point toward Oscar victory...
- 1/11/2010
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
Cinematographer Stephen Goldblatt, editor Joe Hutshing, composer Mark Isham and production designer Dante Ferretti will be honored Oct. 22 at the Hollywood Awards gala ceremony at the Beverly Hilton.
Goldblatt, who received Academy Award nominations for Batman Forever and The Prince of Tides, will receive the Hollywood Cinematographer of the Year Award. Goldblatt recently lensed director Mike Nichols' upcoming Charlie Wilson's War.
Hutshing, who won Oscars for Born on the Fourth of July and JFK, will be recognized with the Hollywood Editor of the Year Award. He is editing Robert Redford's Lions for Lambs.
The Hollywood Composer of the Year Award will go to Isham, who received an Oscar nomination for A River Runs Through It. This year, he is composing for Lions for Lambs.
Ferretti will be honored with the Hollywood Production Designer of the Year Award. He received an Oscar for his work on Martin Scorsese's The Aviator, and he is production designing Tim Burton's Sweeney Todd: The Demon Barber of Fleet Street....
Goldblatt, who received Academy Award nominations for Batman Forever and The Prince of Tides, will receive the Hollywood Cinematographer of the Year Award. Goldblatt recently lensed director Mike Nichols' upcoming Charlie Wilson's War.
Hutshing, who won Oscars for Born on the Fourth of July and JFK, will be recognized with the Hollywood Editor of the Year Award. He is editing Robert Redford's Lions for Lambs.
The Hollywood Composer of the Year Award will go to Isham, who received an Oscar nomination for A River Runs Through It. This year, he is composing for Lions for Lambs.
Ferretti will be honored with the Hollywood Production Designer of the Year Award. He received an Oscar for his work on Martin Scorsese's The Aviator, and he is production designing Tim Burton's Sweeney Todd: The Demon Barber of Fleet Street....
- 8/15/2007
- The Hollywood Reporter - Movie News
"Meet Joe Dud", er, "Meet Joe Black", an otherworldly romantic saga starring Brad Pitt and Anthony Hopkins, plods with such lifeless sluggishness that its 2-hour, 58-minute duration seems more like seven weeks and seven days.
Topped with appealing stars and awash with lavish production values, this Universal release's problem is not with the fixings, but with the bottling.
Under director Martin Brest's maudlin, heavy hand, "Joe Black" has no fizz, only fizzle. With Pitt's golden presence, it will likely open to sparkling numbers, but negative reaction to the movie should quickly bury "Joe Black".
Running the gamut of demographics, from teenage girl fans of Pitt to aficionados of classic-style romances, word-of-mouth (including reviews as incendiary as this one) will put the nails in this film's commercial coffin. As an allegory about death, "Joe" is a stiff; as a romantic comedy, it's mirthless; and as a spectacle, it's a drudge.
Based loosely on both the stage and screen entity "Death Takes a Holiday", Pitt stars as an enigmatic outsider, named Joe Black who seeks out a very wealthy champion of business, Parrish (Hopkins) on the cusp of the guy's 65th birthday. It's a particularly heady and unnerving time for Parrish, who, naturally, reassesses his life, both professional and personal. Black comes to him in the form of voices, and in a matter of urgency: Parrish is experiencing physical signs of an impending heart attack and he must confront his own mortality. Appearing at his door and giving him a new lease on life is Joe Black, the personification of death. Fearing his imminent demise, Parrish lets Joe Stick around and help him impart his wisdom to future generations and, thusly, Joe grants him a reprieve.
Swathed around this layered and multigeneric plot line are big-think sentiments and laudable notions: wealth doesn't buy happiness, seize the day, don't settle for less, etc. Unfortunately, these thematics are trumpeted so relentlessly, ladled out in such repetitive heaps that they mush together as merely irritating sermons. The multidimensional story is so dourly executed that it's as if the Swedish Film Institute had suddenly taken over a Frank Capra project and sucked the life's blood from it. Not all the tuxedos in closetdom, not all the violins in all the symphonies, not all the rays of golden-time lensing can belie the fact that "Joe Black"'s essence is embodied in such a desultory, grim script.
Usually when one espies four screenwriting credits, one shudders at the possibilities for alternate sensibilities or atonal inconsistencies; in this case, we fear that the screenwriting credits did not accurately include hundreds more who may deserve credit, including, perhaps, the entire senior partnership of a corporate law firm, so painstakingly dotted is every dramatic "i" and so listlessly crossed is every comedic "t." The viewer who does not understand a plot or thematic point in one scene (falling asleep would be an excuse), however, should not have to worry -- there will be six or seven subsequent scenes that detail the same stuff. While the jokes are not that original, they are repeated in mathematical variation, reincarnated in all their permutations. Most woefully, the dialogue is of such a snitty, overvarnished and gratingly crude nature that what little polish "Joe Black" might radiate is mitigated by such witty repasts as "I don't give a shit", with such finery being immediately bow-tied with swelling violin music.
Pitt's performance is somewhat entertaining, particularly in the film's early parts when he studiously emits a Robert Redford circa 1975 turn, including the Redford-ish flourish of clumsily munching food while serving up casual iconoclasm.
Unfortunately, Pitt abandons the Redford turn and the remainder of his performance seems otherwise inspired: it's so somnambulistic that one guesses he either based it on rewatching " Star Trek" TV classics or has embraced herbal supplements big-time. It's astonishingly uncharismatic and scattered. Joe Black comes off as a confused house pet. In Pitt's defense, this quadri-penned screenplay (Ron Osborn, Jeff Reno, Kevin Wade, Bo Goldman) is so turgid and stolid that character personalities are merely stereotypical, broad caricatures. There is virtually no idiosyncrasy in the writing, other than the cloying ingredient that Joe Black favors peanut butter as his favorite food. Peanut butter jokes (where he gobbles it in inappropriate settings) soon become stale.
Still, there are unexpected flourishes from Pitt, most memorably a hospital scene where Pitt converses with an old Jamaican woman in Jamaican. His quasi-voodoo is uproarious: imagine if Jimmy Cliff had spent 20 years in Belfast and acquired a bit of a brogue.
What's really good about Pitt's participation, though, is that he looks really terrific in a tux, and, quite sagely, director Brest makes ample use of that excellency. It's hard to recall a film, past or present, in which the star made more, well, star entrances -- appearing midscene from behind curtains, mounting stairwells, entering boardrooms, etc. -- than this one. As if these visual treats were not enough, "Joe Black" is always heightened by the ever-eager string work and oboe-ish cadenzas. But often these technical flourishes fall flat: "Joe Black"'s big love scene between Pitt and Claire Forlani is so florid and gooishly golden that one's mind wanders, wondering where the usually omnipresent peanut butter might be when it is clearly needed.
Other performers fare better than the beleaguered Pitt. Hopkins' spry performance as the man of mettle millionaire is a high point, while for the most part, the other players suffer from the wafer-dimensioned writing. As the sensitive daughter, Forlani's performance -- consisting largely of piercing her eyebrows -- lacks appeal. Among supporting suits, Jeffrey Tambor is well-cast as Hopkins' suck-up son-in-law, convincing as an oily and insincere user, while Jake Weber is appropriately smarmy as a household snake-in-the-grass.
Under Brest's overripe wand, the technical contributions are well-executed but, alas, only serve to muddle and distend the story line. Given the tediously dowdy screenwriting, the lavish technical contributions are akin to putting a cummerbund on a pair of bib overalls.
Still, highest praise to production designer Dante Ferretti for capturing the humor in the ostentation; in particular, his re-creation of an overblow party setting is so hilarious in its hideousness that should Guber and Peters ever team to head a studio again, they might put him on permanent party-planning retainer.
Indeed, "Joe Black"'s pumped-up fireworks/party finale, with enough gunpowder to fuel every Chamber of Commerce's Fourth of July blast, is emblematic of "Joe Black" -- bombastic but empty.
MEET JOE BLACK
Universal Pictures
A City Light Films production
A Martin Brest film
Producer-director: Martin Brest
Screenwriters: Ron Osborn, Jeff Reno, Kevin Wade, Bo Goldman
Executive producer: Ronald L. Schwary
Director of photography: Emmanuel Lubezki
Production designer: Dante Ferretti
Editors: Joe Hutshing, Michael Tronick
Co-producer: David Wally
Music: Thomas Newman
Costume designers: Aude Bronson-Howard, David C. Robinson
Casting: Juliet Taylor, Ellen Lewis
Associate producer: Celia Costas
Sound mixer: Danny Michael
Color/stereo
Cast:
Joe Black: Brad Pitt
William Parrish: Anthony Hopkins
Susan Parrish: Claire Forlani
Drew: Jake Weber
Allison: Marcia Gay Harden
Quince: Jeffrey Tambor
Running time -- 178 minutes
MPAA rating: PG-13...
Topped with appealing stars and awash with lavish production values, this Universal release's problem is not with the fixings, but with the bottling.
Under director Martin Brest's maudlin, heavy hand, "Joe Black" has no fizz, only fizzle. With Pitt's golden presence, it will likely open to sparkling numbers, but negative reaction to the movie should quickly bury "Joe Black".
Running the gamut of demographics, from teenage girl fans of Pitt to aficionados of classic-style romances, word-of-mouth (including reviews as incendiary as this one) will put the nails in this film's commercial coffin. As an allegory about death, "Joe" is a stiff; as a romantic comedy, it's mirthless; and as a spectacle, it's a drudge.
Based loosely on both the stage and screen entity "Death Takes a Holiday", Pitt stars as an enigmatic outsider, named Joe Black who seeks out a very wealthy champion of business, Parrish (Hopkins) on the cusp of the guy's 65th birthday. It's a particularly heady and unnerving time for Parrish, who, naturally, reassesses his life, both professional and personal. Black comes to him in the form of voices, and in a matter of urgency: Parrish is experiencing physical signs of an impending heart attack and he must confront his own mortality. Appearing at his door and giving him a new lease on life is Joe Black, the personification of death. Fearing his imminent demise, Parrish lets Joe Stick around and help him impart his wisdom to future generations and, thusly, Joe grants him a reprieve.
Swathed around this layered and multigeneric plot line are big-think sentiments and laudable notions: wealth doesn't buy happiness, seize the day, don't settle for less, etc. Unfortunately, these thematics are trumpeted so relentlessly, ladled out in such repetitive heaps that they mush together as merely irritating sermons. The multidimensional story is so dourly executed that it's as if the Swedish Film Institute had suddenly taken over a Frank Capra project and sucked the life's blood from it. Not all the tuxedos in closetdom, not all the violins in all the symphonies, not all the rays of golden-time lensing can belie the fact that "Joe Black"'s essence is embodied in such a desultory, grim script.
Usually when one espies four screenwriting credits, one shudders at the possibilities for alternate sensibilities or atonal inconsistencies; in this case, we fear that the screenwriting credits did not accurately include hundreds more who may deserve credit, including, perhaps, the entire senior partnership of a corporate law firm, so painstakingly dotted is every dramatic "i" and so listlessly crossed is every comedic "t." The viewer who does not understand a plot or thematic point in one scene (falling asleep would be an excuse), however, should not have to worry -- there will be six or seven subsequent scenes that detail the same stuff. While the jokes are not that original, they are repeated in mathematical variation, reincarnated in all their permutations. Most woefully, the dialogue is of such a snitty, overvarnished and gratingly crude nature that what little polish "Joe Black" might radiate is mitigated by such witty repasts as "I don't give a shit", with such finery being immediately bow-tied with swelling violin music.
Pitt's performance is somewhat entertaining, particularly in the film's early parts when he studiously emits a Robert Redford circa 1975 turn, including the Redford-ish flourish of clumsily munching food while serving up casual iconoclasm.
Unfortunately, Pitt abandons the Redford turn and the remainder of his performance seems otherwise inspired: it's so somnambulistic that one guesses he either based it on rewatching " Star Trek" TV classics or has embraced herbal supplements big-time. It's astonishingly uncharismatic and scattered. Joe Black comes off as a confused house pet. In Pitt's defense, this quadri-penned screenplay (Ron Osborn, Jeff Reno, Kevin Wade, Bo Goldman) is so turgid and stolid that character personalities are merely stereotypical, broad caricatures. There is virtually no idiosyncrasy in the writing, other than the cloying ingredient that Joe Black favors peanut butter as his favorite food. Peanut butter jokes (where he gobbles it in inappropriate settings) soon become stale.
Still, there are unexpected flourishes from Pitt, most memorably a hospital scene where Pitt converses with an old Jamaican woman in Jamaican. His quasi-voodoo is uproarious: imagine if Jimmy Cliff had spent 20 years in Belfast and acquired a bit of a brogue.
What's really good about Pitt's participation, though, is that he looks really terrific in a tux, and, quite sagely, director Brest makes ample use of that excellency. It's hard to recall a film, past or present, in which the star made more, well, star entrances -- appearing midscene from behind curtains, mounting stairwells, entering boardrooms, etc. -- than this one. As if these visual treats were not enough, "Joe Black" is always heightened by the ever-eager string work and oboe-ish cadenzas. But often these technical flourishes fall flat: "Joe Black"'s big love scene between Pitt and Claire Forlani is so florid and gooishly golden that one's mind wanders, wondering where the usually omnipresent peanut butter might be when it is clearly needed.
Other performers fare better than the beleaguered Pitt. Hopkins' spry performance as the man of mettle millionaire is a high point, while for the most part, the other players suffer from the wafer-dimensioned writing. As the sensitive daughter, Forlani's performance -- consisting largely of piercing her eyebrows -- lacks appeal. Among supporting suits, Jeffrey Tambor is well-cast as Hopkins' suck-up son-in-law, convincing as an oily and insincere user, while Jake Weber is appropriately smarmy as a household snake-in-the-grass.
Under Brest's overripe wand, the technical contributions are well-executed but, alas, only serve to muddle and distend the story line. Given the tediously dowdy screenwriting, the lavish technical contributions are akin to putting a cummerbund on a pair of bib overalls.
Still, highest praise to production designer Dante Ferretti for capturing the humor in the ostentation; in particular, his re-creation of an overblow party setting is so hilarious in its hideousness that should Guber and Peters ever team to head a studio again, they might put him on permanent party-planning retainer.
Indeed, "Joe Black"'s pumped-up fireworks/party finale, with enough gunpowder to fuel every Chamber of Commerce's Fourth of July blast, is emblematic of "Joe Black" -- bombastic but empty.
MEET JOE BLACK
Universal Pictures
A City Light Films production
A Martin Brest film
Producer-director: Martin Brest
Screenwriters: Ron Osborn, Jeff Reno, Kevin Wade, Bo Goldman
Executive producer: Ronald L. Schwary
Director of photography: Emmanuel Lubezki
Production designer: Dante Ferretti
Editors: Joe Hutshing, Michael Tronick
Co-producer: David Wally
Music: Thomas Newman
Costume designers: Aude Bronson-Howard, David C. Robinson
Casting: Juliet Taylor, Ellen Lewis
Associate producer: Celia Costas
Sound mixer: Danny Michael
Color/stereo
Cast:
Joe Black: Brad Pitt
William Parrish: Anthony Hopkins
Susan Parrish: Claire Forlani
Drew: Jake Weber
Allison: Marcia Gay Harden
Quince: Jeffrey Tambor
Running time -- 178 minutes
MPAA rating: PG-13...
- 11/9/1998
- The Hollywood Reporter - Movie News
A good defense lawyer only needs to cast a reasonable doubt to get his client off the hook, we Kennedy followers have learned, and 1960s slugger Oliver Stone proves he's a masterful litigant in this gumbo-filled historical reconstruction of John F. Kennedy's assassination.
Essentially, it's not about Kennedy but rather the tale of New Orleans D.A. Jim Garrison who -- not believing the Warren Commission's Report that a lone gunman, Lee Harvey Oswald, shot down JFK -- launched a widespread investigation, eventually prosecuting one New Orleans citizen Clay Shaw for the crime. In Garrison's eye, Shaw was a cog in a murderous conspiracy hatched by the CIA, the defense industry, Southern rednecks, Cuban refugees and all sorts of goose hunters.
If any cause or special interest group wanted to hire a filmmaker to document the rightness of their issue, Stone would be unbeatable. In this view of nimble bombast, it's not doubtful that Stone could spin a masterful cinematic web linking John Sununu's resignation with the collapse of Pan Am. Aesthetically, ''JFK'' is crafty, super-skilled filmmaking: propaganda every bit as cinematically splendid as Frank Capra's ''Why We Fight'' or Leni Riefenstahl's ''Triumph of the Will.''
Dignifying D.A. Garrison, who even in the jambalaya of this country's screwiest state was considered a Loose Cannon, is the savvy casting of good-old-reliable, salt-of-the-earth Kevin Costner. As the obsessed litigant, Costner evens sucks on a pipe, avuncularly a la the great wise man of the era, Walter Cronkite.
Opposing this judicious breadwinner are the wide array of ''conspirators, '' shrewdly chosen among Hollywood's finest nutcase players -- prominently Joe Pesci as a hypertensive co-conspirator and Donald Sutherland as a slithery CIA op. Down the French Quarter line, you've also got died-blonde Tommy Lee Jones as gay Clay Shaw and Ed Asner as a swaggering redneck. Before we even present the facts, ladies and gentlemen of the jury, which side would you trust: gray-suited Kevin or Joe Pesci and the boys.
In the film, Garrison quotes Adolf Hitler as saying the bigger the lie, the more people are likely to believe it; paraphrasing that cynicism, the bigger the movie the more likely people are going to believe it, especially in this post-literate age where college kids only know JFK as the president who got laid a lot. And screenwriters Stone and Zachary Sklar present the ''facts'' in a stentorian wave of shrewd and sometimes dubious juxtapositions (aided and abetted by muted trumpet and stacatto of the snares).
The narrative movement is thus: Garrison espouses theory, interrogates slimeball who lies to him, followed by flashback to ''reality'' shot in black-and-white showing Garrison's suppositions are correct.
Indeed, Stone's savvy, documentary-style black-and-white footage casts an aura of truth over this theoretical treatise. Stone has built his case, starting with documentary clips of Dwight Eisenhower's warning of the terrors of the ''military industrial complex, '' through a winning montage of Camelot (the energy of the New Frontier; the disastrous Bay of Pigs, the Cuban Missile Crisis, the triumph of ''Ich Bin Ein Berliner'' speech, to Dallas.
Throughout, Stone stretches one thread: the CIA and military industrial complex, furious at Kennedy for not providing air support in the Bay of Pigs and fearing his pulling out of Vietnam, hatched a plot.
At its most questionable, a voice-over enumerates the military/industrial types who would benefit from JFK's death -- while panning over the likes of the Joint Chiefs and LBJ. While Oliver Stone has certainly stirred up the waters, with good conscience and, in JFK's own parlance, ''with vigah, '' most people are likely to regard ''JFK'' as BS.
JFK
Warner Bros.
In Association with Le Studio Canal Plus, Regency Enterprises and Alcor Films
An Ixtlan Corp. and an A. Kitman Ho Production
Producers A. Kitman Ho, Oliver Stone
Director Oliver Stone
Screenwriters Oliver Stone, Zachary Sklar
Executive producer Arnon Milchan
Director of photography Robert Richardson
Production designer Victor Kempster
Co-producer Clayton Townsend
Editors Joe Hutshing, Pietro Scalia
Music John Williams
Costume designer Marlene Stewart
Casting Risa Bramon Garcia, Billy Hopkins, Heidi Levitt
Based on the books ''On the Trail of the Assassins'' by Jim Garrison and ''Crossfire: The Plot That Killed Kennedy'' by Jim Marrs
Color/Stereo
Cast:
Jim Garrison Kevin Costner
Liz Garrison Sissy Spacek
David Ferrie Joe Pesci
Clay Shaw Tommy Lee Jones
Lee Harvey Oswald Gary Oldman
Bill Broussard Michael Rooker
Lou Ivon Jay O. Sanders
Susie Cox Laurie Metcalf
Jack Martin Jack Lemmon
Sen. Long Walter Mattheu
Dean Andrews John Candy
Guy Bannister Ed Asner
Willie O'Keefe Kevin Bacon
Earl Warren Jim Garrison
Running time -- 188 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
Essentially, it's not about Kennedy but rather the tale of New Orleans D.A. Jim Garrison who -- not believing the Warren Commission's Report that a lone gunman, Lee Harvey Oswald, shot down JFK -- launched a widespread investigation, eventually prosecuting one New Orleans citizen Clay Shaw for the crime. In Garrison's eye, Shaw was a cog in a murderous conspiracy hatched by the CIA, the defense industry, Southern rednecks, Cuban refugees and all sorts of goose hunters.
If any cause or special interest group wanted to hire a filmmaker to document the rightness of their issue, Stone would be unbeatable. In this view of nimble bombast, it's not doubtful that Stone could spin a masterful cinematic web linking John Sununu's resignation with the collapse of Pan Am. Aesthetically, ''JFK'' is crafty, super-skilled filmmaking: propaganda every bit as cinematically splendid as Frank Capra's ''Why We Fight'' or Leni Riefenstahl's ''Triumph of the Will.''
Dignifying D.A. Garrison, who even in the jambalaya of this country's screwiest state was considered a Loose Cannon, is the savvy casting of good-old-reliable, salt-of-the-earth Kevin Costner. As the obsessed litigant, Costner evens sucks on a pipe, avuncularly a la the great wise man of the era, Walter Cronkite.
Opposing this judicious breadwinner are the wide array of ''conspirators, '' shrewdly chosen among Hollywood's finest nutcase players -- prominently Joe Pesci as a hypertensive co-conspirator and Donald Sutherland as a slithery CIA op. Down the French Quarter line, you've also got died-blonde Tommy Lee Jones as gay Clay Shaw and Ed Asner as a swaggering redneck. Before we even present the facts, ladies and gentlemen of the jury, which side would you trust: gray-suited Kevin or Joe Pesci and the boys.
In the film, Garrison quotes Adolf Hitler as saying the bigger the lie, the more people are likely to believe it; paraphrasing that cynicism, the bigger the movie the more likely people are going to believe it, especially in this post-literate age where college kids only know JFK as the president who got laid a lot. And screenwriters Stone and Zachary Sklar present the ''facts'' in a stentorian wave of shrewd and sometimes dubious juxtapositions (aided and abetted by muted trumpet and stacatto of the snares).
The narrative movement is thus: Garrison espouses theory, interrogates slimeball who lies to him, followed by flashback to ''reality'' shot in black-and-white showing Garrison's suppositions are correct.
Indeed, Stone's savvy, documentary-style black-and-white footage casts an aura of truth over this theoretical treatise. Stone has built his case, starting with documentary clips of Dwight Eisenhower's warning of the terrors of the ''military industrial complex, '' through a winning montage of Camelot (the energy of the New Frontier; the disastrous Bay of Pigs, the Cuban Missile Crisis, the triumph of ''Ich Bin Ein Berliner'' speech, to Dallas.
Throughout, Stone stretches one thread: the CIA and military industrial complex, furious at Kennedy for not providing air support in the Bay of Pigs and fearing his pulling out of Vietnam, hatched a plot.
At its most questionable, a voice-over enumerates the military/industrial types who would benefit from JFK's death -- while panning over the likes of the Joint Chiefs and LBJ. While Oliver Stone has certainly stirred up the waters, with good conscience and, in JFK's own parlance, ''with vigah, '' most people are likely to regard ''JFK'' as BS.
JFK
Warner Bros.
In Association with Le Studio Canal Plus, Regency Enterprises and Alcor Films
An Ixtlan Corp. and an A. Kitman Ho Production
Producers A. Kitman Ho, Oliver Stone
Director Oliver Stone
Screenwriters Oliver Stone, Zachary Sklar
Executive producer Arnon Milchan
Director of photography Robert Richardson
Production designer Victor Kempster
Co-producer Clayton Townsend
Editors Joe Hutshing, Pietro Scalia
Music John Williams
Costume designer Marlene Stewart
Casting Risa Bramon Garcia, Billy Hopkins, Heidi Levitt
Based on the books ''On the Trail of the Assassins'' by Jim Garrison and ''Crossfire: The Plot That Killed Kennedy'' by Jim Marrs
Color/Stereo
Cast:
Jim Garrison Kevin Costner
Liz Garrison Sissy Spacek
David Ferrie Joe Pesci
Clay Shaw Tommy Lee Jones
Lee Harvey Oswald Gary Oldman
Bill Broussard Michael Rooker
Lou Ivon Jay O. Sanders
Susie Cox Laurie Metcalf
Jack Martin Jack Lemmon
Sen. Long Walter Mattheu
Dean Andrews John Candy
Guy Bannister Ed Asner
Willie O'Keefe Kevin Bacon
Earl Warren Jim Garrison
Running time -- 188 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
- 12/16/1991
- The Hollywood Reporter - Movie News
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