The inaugural season of CBC and HBO Max series “Sort Of” leads both the television and overall 2022 Canadian Screen Award nominations with 13 nods. CBC’s “Pretty Hard Cases” and CTV Sci-Fi Channel’s “Wynonna Earp” with 11 each, and CBC’s “Coroner” and “Kim’s Convenience” with 10 each are the other leading television nominees.
The Academy of Canadian Cinema and Television revealed on Tuesday 145 nominations across television, film and digital media categories. In film, Shasha Nakhai and Rich Williamson’s “Scarborough” and Danis Goulet’s “Night Raiders” top the nominations with 11 each, while Michael McGowan’s “All My Puny Sorrows” has eight and Bretten Hannam’s “Wildhood” and Ivan Grbovic’s “Drunken Birds” six each.
“21 Black Futures” and “For the Record” lead the digital media nominations with eight each, followed by “The Communist’s Daughter” with six.
Beth Janson, CEO, Academy of Canadian Cinema and Television, said: “We are so fortunate to...
The Academy of Canadian Cinema and Television revealed on Tuesday 145 nominations across television, film and digital media categories. In film, Shasha Nakhai and Rich Williamson’s “Scarborough” and Danis Goulet’s “Night Raiders” top the nominations with 11 each, while Michael McGowan’s “All My Puny Sorrows” has eight and Bretten Hannam’s “Wildhood” and Ivan Grbovic’s “Drunken Birds” six each.
“21 Black Futures” and “For the Record” lead the digital media nominations with eight each, followed by “The Communist’s Daughter” with six.
Beth Janson, CEO, Academy of Canadian Cinema and Television, said: “We are so fortunate to...
- 2/15/2022
- by Naman Ramachandran
- Variety Film + TV
After spending decades proving beyond a shadow of a doubt that he was far more than just James Bond, seven-time 007 Sean Connery decided it was safe to dust off the persona for The Rock (1996), playing former Special Air Service spy John Mason. This brilliantly batshit Michael Bay action adventure extravaganza, which has aged like a fine Coppola wine, also made a Hollywood superstar out of Nicolas Cage, then a recent Oscar darling known more for offbeat character work than beating up baddies.
In the grand 1990s tradition, this riveting testosterone fest basically boils down to “Die Hard on Alcatraz.” And there’s nothing wrong with that. Deranged three-time Purple Heart winning Brigadier General Frank Hummel (Ed Harris) leads a cadre of his fellow special ops marines-turned-terrorists in stealing an arsenal of 50 Vx poison gas rocket warheads and, from a perch at de-commissioned military prison Alcatraz, threatening the city of San...
In the grand 1990s tradition, this riveting testosterone fest basically boils down to “Die Hard on Alcatraz.” And there’s nothing wrong with that. Deranged three-time Purple Heart winning Brigadier General Frank Hummel (Ed Harris) leads a cadre of his fellow special ops marines-turned-terrorists in stealing an arsenal of 50 Vx poison gas rocket warheads and, from a perch at de-commissioned military prison Alcatraz, threatening the city of San...
- 11/9/2020
- by Alex Kirschenbaum
- Trailers from Hell
The casting directors of “Once Upon a Time … in Hollywood,” “Knives Out,” “Jojo Rabbit” and “Marriage Story” were among the winners at the 35th annual Artios Awards, held Thursday at ceremonies in Los Angeles, New York and London.
Other winners in the eight feature-film categories were the casting directors on “The Last Black Man in San Francisco,” “Skin in the Game,” “Star Wars: The Rise of Skywalker,” “The Lion King” and “Toy Story 4,” the last two of which tied in the animation category.
Television winners included the casting directors for the first seasons of “Russian Doll” and “Pose,” as well as those on the miniseries “When They See Us,” the reality program “Queer Eye” and the continuing series “The Marvelous Mrs. Maisel” and “Game of Thrones.”
Also Read: SAG Awards Crown 'Parasite,' Give the Oscar Race a Shot of Uncertainty
Awards were also given out in short film and theater categories.
Other winners in the eight feature-film categories were the casting directors on “The Last Black Man in San Francisco,” “Skin in the Game,” “Star Wars: The Rise of Skywalker,” “The Lion King” and “Toy Story 4,” the last two of which tied in the animation category.
Television winners included the casting directors for the first seasons of “Russian Doll” and “Pose,” as well as those on the miniseries “When They See Us,” the reality program “Queer Eye” and the continuing series “The Marvelous Mrs. Maisel” and “Game of Thrones.”
Also Read: SAG Awards Crown 'Parasite,' Give the Oscar Race a Shot of Uncertainty
Awards were also given out in short film and theater categories.
- 1/31/2020
- by Steve Pond
- The Wrap
If the wrong actors are cast, the wrong movie gets made. It’s as simple as that. Unfortunately, putting the right actor in the right part is anything but simple. As Los Angeles casting director Heidi Levitt states, “finding the right actor is skilled alchemy and no one can just Google it”. Sometimes though, it seems the right part falls to the right actor, regardless of who the first choice was. In a handful of these cosmic accidents, icons are born. Below are listed some of the most iconic film roles of all time and the actors originally slated to play
Eight Iconic Film Roles Slated for Others...
Eight Iconic Film Roles Slated for Others...
- 10/27/2019
- by Robert Barger
- TVovermind.com
Specialty film sales agent Asian Shadows has picked up international rights to “Coming Home Again” by Wayne Wang, one of Asia’s most celebrated directors. The film, which tackles food, family and mortality, will premiere as a special presentation at the Toronto Intl. Film Festival in September.
Based on a short story of the same name published in The New Yorker by bestselling Korean-American novelist Lee Chang-rae, “Coming Home Again” charts the emotions of what is to be the last New Year’s Eve dinner together for an Asian American family whose mother has terminal cancer.
“’Coming Home Again’ is a universal film that touched us by its delicate portrait of a son-mother relationship, by its detailed attention to food, traditions and family roots, and [Wang’s] masterful mise-en-scène,” said Maria Ruggieri, head of sales and acquisitions at Asian Shadows. “Watching the film has been a coming home again for us, bringing...
Based on a short story of the same name published in The New Yorker by bestselling Korean-American novelist Lee Chang-rae, “Coming Home Again” charts the emotions of what is to be the last New Year’s Eve dinner together for an Asian American family whose mother has terminal cancer.
“’Coming Home Again’ is a universal film that touched us by its delicate portrait of a son-mother relationship, by its detailed attention to food, traditions and family roots, and [Wang’s] masterful mise-en-scène,” said Maria Ruggieri, head of sales and acquisitions at Asian Shadows. “Watching the film has been a coming home again for us, bringing...
- 7/24/2019
- by Patrick Frater
- Variety Film + TV
Market heads also unveil more participants in expanded industry programming.
Afm top brass have announced that LocationEXPO, launched in 2017, has expanded and will run from November 3-6 and feature more than 60 Film commissions, government agencies, production facilities and services.
LocationEXPO will take place in a dedicated exhibition space within the Loews Hotel, when participants will include the Asian Film Commissions Network, Panama Film Commission, Korea Film Commissions & Industry Network, Film Fiji, and The Royal Film Commission – Jordan, among others.
Additionally, Afm unveil more speakers and participants for its expanded programming of conferences, roundtables, workshops, and spotlight events.
Joining The...
Afm top brass have announced that LocationEXPO, launched in 2017, has expanded and will run from November 3-6 and feature more than 60 Film commissions, government agencies, production facilities and services.
LocationEXPO will take place in a dedicated exhibition space within the Loews Hotel, when participants will include the Asian Film Commissions Network, Panama Film Commission, Korea Film Commissions & Industry Network, Film Fiji, and The Royal Film Commission – Jordan, among others.
Additionally, Afm unveil more speakers and participants for its expanded programming of conferences, roundtables, workshops, and spotlight events.
Joining The...
- 10/24/2018
- by Jeremy Kay
- ScreenDaily
Leslie Hope, who played Jack Bauer's wife on the first season of 24, has chosen the indie romantic comedy The Swearing Jar as her feature directorial debut.
Hope will direct the indie film from a screenplay adapted by actress Kate Hewlett (The Girlfriend Experience) from her theatrical play. Casting is currently underway through Heidi Levitt Casting in Los Angeles.
The Swearing Jar will be produced by Jane Loughman of Monkeys & Parrots and Kyle Bornais and Tony Wosk of Farpoint Films. Shooting is scheduled for later this year in Toronto, in Hope's native Canada.
The story follows Carey, a musician...
Hope will direct the indie film from a screenplay adapted by actress Kate Hewlett (The Girlfriend Experience) from her theatrical play. Casting is currently underway through Heidi Levitt Casting in Los Angeles.
The Swearing Jar will be produced by Jane Loughman of Monkeys & Parrots and Kyle Bornais and Tony Wosk of Farpoint Films. Shooting is scheduled for later this year in Toronto, in Hope's native Canada.
The story follows Carey, a musician...
- 4/9/2018
- by Etan Vlessing
- The Hollywood Reporter - Movie News
Leslie Hope, who played Jack Bauer's wife on the first season of <em>24, </em>has chosen the indie romantic comedy <em>The Swearing Jar</em> as her feature directorial debut.
Hope will direct the indie film from a screenplay adapted by actress Kate Hewlett (<em>The Girlfriend Experience</em>) from her theatrical play. Casting is currently underway through Heidi Levitt Casting in Los Angeles.
<em>The Swearing Jar </em>will be produced by Jane Loughman of Monkeys & Parrots and Kyle Bornais and Tony Wosk of Farpoint Films. Shooting is scheduled for later this year in Toronto, in Hope's native Canada.
The story follows Carey, a ...
Hope will direct the indie film from a screenplay adapted by actress Kate Hewlett (<em>The Girlfriend Experience</em>) from her theatrical play. Casting is currently underway through Heidi Levitt Casting in Los Angeles.
<em>The Swearing Jar </em>will be produced by Jane Loughman of Monkeys & Parrots and Kyle Bornais and Tony Wosk of Farpoint Films. Shooting is scheduled for later this year in Toronto, in Hope's native Canada.
The story follows Carey, a ...
Casting directors remain the only job in the opening titles that doesn’t have its own Oscar category, but there’s reason to believe that will change. Already recognized by the Emmys, casting directors have made tremendous strides since they unionized in 2005 and negotiated their first contract with studios. In 2013, the guild earned its own Academy branch and received three seats at the Academy’s Board of Governors’ table. Last year, Lynn Stalmaster (“The Graduate,” “West Side Story”) received an honorary Oscar at the Governors Awards, becoming the first-ever casting director to receive an Academy Award.
So: Let’s imagine for a moment casting directors had their own Oscar category in 2017: What are the best-cast films of the year?
IndieWire asked 15 of the top casting directors to nominate films worthy of casting recognition this year. We often think of the best films in terms of their expressive cinematography, enveloping production design,...
So: Let’s imagine for a moment casting directors had their own Oscar category in 2017: What are the best-cast films of the year?
IndieWire asked 15 of the top casting directors to nominate films worthy of casting recognition this year. We often think of the best films in terms of their expressive cinematography, enveloping production design,...
- 12/4/2017
- by Chris O'Falt
- Indiewire
The American Film Institute Conservatory has a new dean in producer Richard Gladstein, and he shamelessly chased down the job.
Gladstein — president of Film Colony, producer of Best Picture Oscar nominees “Finding Neverland” and “The Cider House Rules,” as well as a bevy of Quentin Tarantino movies — comes to a Los Feliz hillside campus that is still bruised after two fractious years under the last dean, Jan Schuette, who last November agreed to step down at the end of June.
No one is more surprised than Gladstein at how much he wanted the gig. He put in a long stint with Harvey Weinstein at Miramax Films, where he started as head of production in 1993. “Oddly it was the same day that Disney bought the company,” he said. “So my first-day press conference with Jeffrey Katzenberg was my initiation. The AFI feels akin to that. The place is bursting with creativity,...
Gladstein — president of Film Colony, producer of Best Picture Oscar nominees “Finding Neverland” and “The Cider House Rules,” as well as a bevy of Quentin Tarantino movies — comes to a Los Feliz hillside campus that is still bruised after two fractious years under the last dean, Jan Schuette, who last November agreed to step down at the end of June.
No one is more surprised than Gladstein at how much he wanted the gig. He put in a long stint with Harvey Weinstein at Miramax Films, where he started as head of production in 1993. “Oddly it was the same day that Disney bought the company,” he said. “So my first-day press conference with Jeffrey Katzenberg was my initiation. The AFI feels akin to that. The place is bursting with creativity,...
- 5/5/2017
- by Anne Thompson
- Thompson on Hollywood
The American Film Institute Conservatory has a new dean in producer Richard Gladstein, and he shamelessly chased down the job.
Gladstein — president of Film Colony, producer of Best Picture Oscar nominees “Finding Neverland” and “The Cider House Rules,” as well as a bevy of Quentin Tarantino movies — comes to a Los Feliz hillside campus that is still bruised after two fractious years under the last dean, Jan Schuette, who last November agreed to step down at the end of June.
No one is more surprised than Gladstein at how much he wanted the gig. He put in a long stint with Harvey Weinstein at Miramax Films, where he started as head of production in 1993. “Oddly it was the same day that Disney bought the company,” he said. “So my first-day press conference with Jeffrey Katzenberg was my initiation. The AFI feels akin to that. The place is bursting with creativity,...
Gladstein — president of Film Colony, producer of Best Picture Oscar nominees “Finding Neverland” and “The Cider House Rules,” as well as a bevy of Quentin Tarantino movies — comes to a Los Feliz hillside campus that is still bruised after two fractious years under the last dean, Jan Schuette, who last November agreed to step down at the end of June.
No one is more surprised than Gladstein at how much he wanted the gig. He put in a long stint with Harvey Weinstein at Miramax Films, where he started as head of production in 1993. “Oddly it was the same day that Disney bought the company,” he said. “So my first-day press conference with Jeffrey Katzenberg was my initiation. The AFI feels akin to that. The place is bursting with creativity,...
- 5/5/2017
- by Anne Thompson
- Indiewire
Casting directors have a strange distinction in the awards world: Their guild has an Academy branch, but it’s the only one without its own Oscar category. Imagine for a moment that they did. What are the best-cast films of 2016?
IndieWire asked 13 of the top casting directors to nominate films worthy of casting recognition this year. There were a few restrictions worth noting. Although casting directors often get early sneak peeks at films, many noted there are some films they still hadn’t seen. In particular, many are anxious to find out what legendary casting director Ellen Lewis has cooked up for Martin Scorsese’s “Silence.” The other restriction, which was imposed as responses came in: They couldn’t all write about “Moonlight.” (We’ll dig further into the casting of that film in another article.)
Read More: Casting Directors and the Academy: Why Lynn Stalmaster’s Honorary Oscar Matters...
IndieWire asked 13 of the top casting directors to nominate films worthy of casting recognition this year. There were a few restrictions worth noting. Although casting directors often get early sneak peeks at films, many noted there are some films they still hadn’t seen. In particular, many are anxious to find out what legendary casting director Ellen Lewis has cooked up for Martin Scorsese’s “Silence.” The other restriction, which was imposed as responses came in: They couldn’t all write about “Moonlight.” (We’ll dig further into the casting of that film in another article.)
Read More: Casting Directors and the Academy: Why Lynn Stalmaster’s Honorary Oscar Matters...
- 11/23/2016
- by Chris O'Falt
- Indiewire
La-based nonprofit Film Independent has selected six directors for its 15th annual Directing Lab. In this eight-week program under creative advisors Daniel Barnz, Catherine Hardwicke and James Ponsoldt, filmmakers will workshop and shoot short scenes from their scripts. The focus will be on working with actors in the rehearsal process. Film Independent provides fellows, free of charge, with digital camera and lighting packages and stipends to shoot their scenes, with access to casting directors, cinematographers and editors for collaboration. Other industry advisors include leading directing teacher, Joan Scheckel, and casting director, Heidi Levitt. Upon completion, fellows receive year-round support including eligibility for grants and awards, access to Film Independent’s annual film education offerings and a pass to the Los Angeles Film Festival. Previous Directing Lab fellows include Ana Lily Amirpour, who went on to direct the Indie Spirit nominee "A Girl...
- 2/3/2015
- by Ryan Lattanzio
- Thompson on Hollywood
To find talent for a new play in development for the past year, casting has been outsourced at the Center Theatre Group. Kimber Lee’s Idaho-set drama, “different words for the same thing,” has a dozen intertwining characters of varying ages, which makes finding appropriate actors a challenge. Having lost longtime casting director Erika Sellin last summer, Ctg was juggling 20 shows across three theaters with a four-person casting office before Neel Keller brought in film casting director Heidi Levitt as a consultant. “Casting is usually done strictly in-house,” Keller, an associate artistic director at Ctg, told Backstage. “We’ve always had a full-time casting staff, but occasionally we’ve brought someone like Heidi or Joanne DeNaut [casting director at South Coast Repertory] in to help.” The challenge with Lee’s play, Keller explained, is that “every single [casting] decision you make has ripples. As soon as you settle on one person, it sets more specificity for the...
- 2/26/2014
- backstage.com
"Casting By," the critically acclaimed documentary about the role of the casting director in the movie-making process, makes its Hollywood debut this weekend at Arena Cinema. To celebrate, the filmmakers have scheduled Q&As with some of the industry's top CDs to follow this weekend's screenings: Nov. 15, 7:45 p.m.: Deb Aquila; Wally Nicita; Robin Lippin; Cathy Sandrich Nov. 16, noon: Gary Zuckerbrod, Marci Liroff Nov. 16, 2 p.m.: Richard Hicks; Jane Jenkins Nov. 16, 7:45 p.m.: Barbara McCarthy, April Webster Nov. 17, noon: Deb Zane; Roger Mussenden; John Papsidera; Julie Hutchinson; Deb Barylski Nov. 17, 2 p.m.: Ronna Kress, Heidi Levitt Nov. 17, 7 p.m.: Risa Bramon Garcia; Caroline Liem For updates and ticket information, visit arenascreen.com...
- 11/13/2013
- backstage.com
The Casting Society of America tonight announced the winners of the 28th Annual Artios Awards for outstanding achievement in casting. The Big Budget Feature Drama award went to Kerry Barden and Paul Schnee for The Help. Mindy Marin and Kara Lipson (Associate) received the Big Budget Feature Comedy award for Crazy, Stupid Love. There was a tie for Television Series Drama. The honor was shared by Mark Saks and John Andrews (Associate) for The Good Wife and Judy Henderson, Craig Fincannon (Location Casting), Lisa Mae Fincannon (Location Casting) for Homeland. Nicole Sullivan hosted the ceremony at the Beverly Hilton Hotel. The New York ceremony was canceled due to Hurricane Sandy. Here is the complete list of winners: Big Budget Feature – Drama The Help, Kerry Barden, Paul Schnee Big Budget Feature – Comedy Crazy, Stupid, Love, Mindy Marin, Kara Lipson (Associate) Feature – Studio or Independent – Drama My Week With Marilyn, Deborah Aquila,...
- 10/30/2012
- by THE DEADLINE TEAM
- Deadline TV
AFI Fest 2012 presented by Audi, a program of the American Film Institute, today announced the remaining sections and films that will screen in the festival.s World Cinema, Breakthrough, Midnight and Shorts programs. AFI Fest, which annually presents the best of world cinema in the movie capital of the world, will take place November 1 through 8 at the historic Grauman.s Chinese Theatre, the Chinese 6 Theatres, the Egyptian Theatre and the Hollywood Roosevelt Hotel.
World Cinema showcases the most anticipated and prize-winning international films of the year, Breakthrough highlights work discovered only through the submission process and Midnight.s selections are always haunting. Both World Cinema and Breakthrough feature a number of films making their North American or U.S. Premieres, including The Angels. Share, Greatest Hits, Laurence Anyways, Nairobi Half Life, Pieta, White Elephant and Zaytoun.
Two of the shorts in competition are from AFI Conservatory.s recent class of...
World Cinema showcases the most anticipated and prize-winning international films of the year, Breakthrough highlights work discovered only through the submission process and Midnight.s selections are always haunting. Both World Cinema and Breakthrough feature a number of films making their North American or U.S. Premieres, including The Angels. Share, Greatest Hits, Laurence Anyways, Nairobi Half Life, Pieta, White Elephant and Zaytoun.
Two of the shorts in competition are from AFI Conservatory.s recent class of...
- 10/16/2012
- by Melissa Thompson
- WeAreMovieGeeks.com
The Academy of Motion Picture Arts and Sciences brings you the Oscars (yep, that's why they're called Academy Awards), and on Friday, the organization announced that it was prepared to invite 176 new folks to its fold.
In a list posted on its website, the Academy deemed Matthew McConaughey, Jean Dujardin, Terrence Malick, Jonah Hill, Berenice Bejo, Jessica Chastain, Octavia Spencer and a host of other film luminaries worthy of inclusion in its nearly 6,000-member army.
The Academy has drawn the ire of critics who bemoan its overwhelmingly male, white population. A Los Angeles Times investigation found that of all Academy members, 94 percent are Caucasian and 77 percent are male. A mere 2 percent are black, with Latinos constituting an even smaller portion. Only 14 percent of members are under the age of 50.
Full members of the Academy select and vote on Oscars nominees. The organization was started in 1927 and is now governed by a 43-person board.
In a list posted on its website, the Academy deemed Matthew McConaughey, Jean Dujardin, Terrence Malick, Jonah Hill, Berenice Bejo, Jessica Chastain, Octavia Spencer and a host of other film luminaries worthy of inclusion in its nearly 6,000-member army.
The Academy has drawn the ire of critics who bemoan its overwhelmingly male, white population. A Los Angeles Times investigation found that of all Academy members, 94 percent are Caucasian and 77 percent are male. A mere 2 percent are black, with Latinos constituting an even smaller portion. Only 14 percent of members are under the age of 50.
Full members of the Academy select and vote on Oscars nominees. The organization was started in 1927 and is now governed by a 43-person board.
- 6/29/2012
- by The Huffington Post
- Huffington Post
The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 176 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitation will be the only additions in 2012 to the Academy.s roster of members.
.These film professionals represent some of the most talented, most passionate contributors to our industry,. said Academy President Tom Sherak. .I.m glad to recognize that by calling each of them a fellow Academy member..
Voting membership in the organization has now held steady at just under 6,000 members since 2003.
The 2012 invitees are:
Actors
Simon Baker . .Margin Call,. .L.A. Confidential.
Sean Bean . .Flightplan,. .The Lord of the Rings: The Fellowship of the Ring.
Bérénice Bejo . .The Artist,. .Oss 117: Cairo, Nest of Spies.
Tom Berenger . .Inception,. .Platoon.
Demián Bichir . .A Better Life,. .Che.
Jessica Chastain . .The Help,. .The Tree of Life.
Clifton Collins,...
.These film professionals represent some of the most talented, most passionate contributors to our industry,. said Academy President Tom Sherak. .I.m glad to recognize that by calling each of them a fellow Academy member..
Voting membership in the organization has now held steady at just under 6,000 members since 2003.
The 2012 invitees are:
Actors
Simon Baker . .Margin Call,. .L.A. Confidential.
Sean Bean . .Flightplan,. .The Lord of the Rings: The Fellowship of the Ring.
Bérénice Bejo . .The Artist,. .Oss 117: Cairo, Nest of Spies.
Tom Berenger . .Inception,. .Platoon.
Demián Bichir . .A Better Life,. .Che.
Jessica Chastain . .The Help,. .The Tree of Life.
Clifton Collins,...
- 6/29/2012
- by Michelle McCue
- WeAreMovieGeeks.com
The Academy of Motion Picture Arts and Sciences extended their 2012 membership invitations today to 176 lucky actors, directors, cinematographers, and other members of the filmmaking industry.
Terrence Malick, who somehow wasn’t already a member, received an invitation, as did fellow directors Rodrigo Garcia and Asghar Farhadi.
For actors, Melissa McCarthy’s invitation continues her incredible post-Bridesmaids rise. In addition, actors Jonah Hill, Matthew McConaughey, Andy Serkis, Jessica Chastain, and Octavia Spencer were all invited to be members, among others.
Voting membership in the organization has now held steady at just under 6,000 members since 2003, according to the Academy’s website.
Terrence Malick, who somehow wasn’t already a member, received an invitation, as did fellow directors Rodrigo Garcia and Asghar Farhadi.
For actors, Melissa McCarthy’s invitation continues her incredible post-Bridesmaids rise. In addition, actors Jonah Hill, Matthew McConaughey, Andy Serkis, Jessica Chastain, and Octavia Spencer were all invited to be members, among others.
Voting membership in the organization has now held steady at just under 6,000 members since 2003, according to the Academy’s website.
- 6/29/2012
- by Erin Strecker
- EW - Inside Movies
HollywoodNews.com: The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 176 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitation will be the only additions in 2012 to the Academy’s roster of members.
“These film professionals represent some of the most talented, most passionate contributors to our industry,” said Academy President Tom Sherak. “I’m glad to recognize that by calling each of them a fellow Academy member.”
Voting membership in the organization has now held steady at just under 6,000 members since 2003.
The 2012 invitees are:
Actors
Simon Baker – “Margin Call,” “L.A. Confidential”
Sean Bean – “Flightplan,” “The Lord of the Rings: The Fellowship of the Ring”
Bérénice Bejo – “The Artist,” “Oss 117: Cairo, Nest of Spies”
Tom Berenger – “Inception,” “Platoon”
Demián Bichir – “A Better Life,” “Che”
Jessica Chastain – “The Help,” “The Tree of Life”
Clifton Collins,...
“These film professionals represent some of the most talented, most passionate contributors to our industry,” said Academy President Tom Sherak. “I’m glad to recognize that by calling each of them a fellow Academy member.”
Voting membership in the organization has now held steady at just under 6,000 members since 2003.
The 2012 invitees are:
Actors
Simon Baker – “Margin Call,” “L.A. Confidential”
Sean Bean – “Flightplan,” “The Lord of the Rings: The Fellowship of the Ring”
Bérénice Bejo – “The Artist,” “Oss 117: Cairo, Nest of Spies”
Tom Berenger – “Inception,” “Platoon”
Demián Bichir – “A Better Life,” “Che”
Jessica Chastain – “The Help,” “The Tree of Life”
Clifton Collins,...
- 6/29/2012
- by Josh Abraham
- Hollywoodnews.com
The Weinstein Company is presenting a free screening of the Oscar-nominated film "The Artist." You and a guest are invited to attend a screening on Thursday, Feb. 9 at 7:30 p.m. at the DGA Theater #1 (7920 W. Sunset Blvd., Los Angeles). The screening will be immediately followed by a Q&A with actress Missi Pyle, director of photography Guillaume Schiffman, executive producer Richard Middleton, executive producer Antoine De Cazotte, casting director Heidi Levitt, and location manager Caleb Duffy.To attend, please email TheArtistEvent@gmail.com and indicate if you plan on bringing a guest. You will not receive a confirmation email, but your name will be on a list at the door. Free parking is available.Please arrive at least 30 minutes early. Screenings are overbooked to compensate for no-shows. RSVPs do not guarantee seating.
- 2/8/2012
- by help@backstage.com ()
- backstage.com
The Weinstein Company invites you to a free screening of "The Artist," followed by a Q&A with executive producer Richard Middleton and casting director Heidi Levitt,Monday, January 23, 20127:30 pmTHE Egyptian THEATER6712 Hollywood Blvd.Hollywood, CA 90028To RSVP, email: TheArtistLosAngeles@gmail.comHollywood 1927. George Valentin (Jean Dujardin) is a silent movie superstar. The advent of the talkies will sound the death knell for his career and see him fall into oblivion. For young extra Peppy Miller (Berenice Bejo), it seems the sky's the limit - major movie stardom awaits. "The Artist" tells the story of their interlinked destinies.
- 1/20/2012
- by help@backstage.com ()
- backstage.com
On paper, "The Artist" sounds like a risky proposition: a black-and-white silent movie starring two French actors who are virtually unknown in the United States. When casting director Heidi Levitt described the idea to her family, they were less than impressed. "They were like, 'Really?' Rolling their eyes," Levitt recalls with a chuckle. "But I thought, 'Isn't this cool?' Ironically, I feel like this is the movie I've done most recently that I think is really going to open in big theaters. I was thrilled with what it was. It was totally different from anything I had seen."When Levitt signed on, the two central roles—charismatic silent-film actor George Valentin and idealistic wannabe starlet Peppy Miller—were already filled. Filmmaker Michel Hazanavicius penned the script with French stars Jean Dujardin (who won the best actor award at this year's Cannes Film Festival for his turn in "The Artist") and Bérénice Bejo in.
- 11/15/2011
- by help@backstage.com (Sarah Kuhn)
- backstage.com
Magnolia Pictures has acquired U.S. theatrical rights to Mark Pellington’s Sundance film “I Melt with You,” starring Thomas Jane, Rob Lowe, Jeremy Piven, Christian McKay, Carla Gugino and Sasha Grey.
Jane, Lowe, Piven and McKay are four friends on a drug- and rock n’ roll-fueled trip together in Big Sur.
Written by Glenn Porter, the film was produced by Pellington, Norm Reiss and Rob Cowan, and executive produced by Aaron Gilbert, Heidi Levitt and Neil Labute.
Jane, Lowe, Piven and McKay are four friends on a drug- and rock n’ roll-fueled trip together in Big Sur.
Written by Glenn Porter, the film was produced by Pellington, Norm Reiss and Rob Cowan, and executive produced by Aaron Gilbert, Heidi Levitt and Neil Labute.
- 1/26/2011
- by admin
- Moving Pictures Network
Magnolia Pictures has acquired U.S. theatrical rights to Mark Pellington’s Sundance film “I Melt with You,” starring Thomas Jane, Rob Lowe, Jeremy Piven, Christian McKay, Carla Gugino and Sasha Grey.
Jane, Lowe, Piven and McKay are four friends on a drug- and rock n’ roll-fueled trip together in Big Sur.
Written by Glenn Porter, the film was produced by Pellington, Norm Reiss and Rob Cowan, and executive produced by Aaron Gilbert, Heidi Levitt and Neil Labute.
Jane, Lowe, Piven and McKay are four friends on a drug- and rock n’ roll-fueled trip together in Big Sur.
Written by Glenn Porter, the film was produced by Pellington, Norm Reiss and Rob Cowan, and executive produced by Aaron Gilbert, Heidi Levitt and Neil Labute.
- 1/26/2011
- by admin
- Moving Pictures Magazine
Park City, Ut – January 26, 2011 – The Wagner/Cuban Company's Magnolia Pictures announced today they have acquired Us theatrical rights to Mark Pellington’s I Melt With You, a kinetic and visceral ensemble film starring Thomas Jane, Rob Lowe, Jeremy Piven, Christian McKay, Carla Gugino and Sasha Grey. Jane, Lowe, Piven and McKay give bravura, unhinged performances as four friends on a drug and rock n’ roll fueled trip together in Big Sur. Pellington explores themes of masculinity and friendship with a groundbreaking visual style and dizzying post-punk soundtrack. Written by Glenn Porter, the film was produced by Pellington, Norm Reiss and Rob Cowan, and executive produced by Aaron Gilbert, Heidi Levitt and Neil Labute. “Mark Pellington has made a maverick, stylish and powerful film that resonates for days after viewing,” said Magnolia Svp Tom Quinn. “Thomas Jane, Rob Lowe, Jeremy Piven and Christian McKay give some of the best performances of...
- 1/26/2011
- by MIKE FLEMING
- Deadline
Lisa Soltau was living in Seattle when her friend Bonnie Gillespie sent her a book she had written called "Casting Qs," a compilation of interviews with casting directors. "I read it and I absolutely loved all the aspects of the job," says Soltau. "I loved the entertainment industry and movies and television. The process of casting sounded wonderful."She called one of the two casting offices in Seattle and ended up working as an intern there for about six months. But the CD told her she should move to New York or Los Angeles if she really wanted to pursue a career in casting. "I picked L.A. because I had lived there once for about three years and I thought it would be easier to acclimate there," Soltau says. "Plus I wanted to work on 'Six Feet Under,' which was airing at the time.
- 10/20/2010
- backstage.com
Playwright Tony Kushner, producer Marcy Carsey, and casting director Ellen Chenoweth will be honored by the Casting Society of America at this year's Artios Awards. The nominees for this year's awards—to be presented Nov. 1 in dual ceremonies at the Hyatt Regency Century Plaza Hotel in Los Angeles and the American Airlines Theatre in New York—were announced today. Kushner, Carsey, and Chenoweth will be presented with special awards. The complete list of nominees follows.Big budget feature, drama"Avatar," Margery Simkin and Mali Finn (initial casting)"Inglourious Basterds," Johanna Ray and Jenny Jue"Nine," Francine Maisler"Sherlock Holmes," Reg Poerscout-Edgerton"Shutter Island," Ellen Lewis and Carolyn Pickman (location casting)Big budget feature, comedy"Couples Retreat," Sarah Halley Finn and Randi Hiller"Date Night," Donna Isaacson"Julie and Julia," Francine Maisler"The Proposal," Amanda Mackey Johnson, Cathy Sandrich Gelfond, and Angela Peri (location casting)"Valentine's Day," Deborah Aquila and Tricia WoodFeature,...
- 9/15/2010
- backstage.com
I'm not sure if there have been cross overs from porn to mainstream cinema, but it appears that for one actress in particular, working in both worlds might be a valid option. Catherine Breillat had Rocco, and now, both Steven Soderbergh and Mark Pellington will have employed the services of Sasha Gray, the adult film star with some gnarly film titles in her filmography. So the The Girlfriend Experience will not have been a "token" experience after all. THR reports that Gray, along with Zander Eckhouse, Abhi Sinha and Arielle Kebbel (The Uninvited), will act alongside Thomas Jane, Rob Lowe, Jeremy Piven (and Christian McKay according to The Playlist) in a pic I liken to Mike Figgis' experimental work. Last week, The Playlist gave a fairly hands on explanation of what the director of Arlington Road and Henry Poole Is Here will attempt to do with the project. I Melt With You...
- 7/29/2010
- IONCINEMA.com
Sasha Grey, the adult-film star who toplined Steven Soderbergh's "The Girlfriend Experience," is in negotiations to join the cast of "I Melt With You," the low-budget drama being directed by Mark Pellington.
Grey, along with Zander Eckhouse, Abhi Sinha and Arielle Kebbel, are joining Thomas Jane, Rob Lowe and Jeremy Piven in the drama, which Pellington wrote with Glen Porter.
The character drama follows a group of college buddies (Jane, Lowe and Piven) who, now as adults, look within themselves and find emptiness when they have their annual summer reunion. They resurrect a pact they vowed to live, die and kill by.
Grey will play a character named Raven, described as a free spirit who helps one of the men realize that nirvana can only be achieved by death.
Eckhouse plays Grey's idealistic writer boyfriend. Sinha is a medical student, and Kebbel is a young hostess.
The movie shoots in Northern California next month.
Grey, along with Zander Eckhouse, Abhi Sinha and Arielle Kebbel, are joining Thomas Jane, Rob Lowe and Jeremy Piven in the drama, which Pellington wrote with Glen Porter.
The character drama follows a group of college buddies (Jane, Lowe and Piven) who, now as adults, look within themselves and find emptiness when they have their annual summer reunion. They resurrect a pact they vowed to live, die and kill by.
Grey will play a character named Raven, described as a free spirit who helps one of the men realize that nirvana can only be achieved by death.
Eckhouse plays Grey's idealistic writer boyfriend. Sinha is a medical student, and Kebbel is a young hostess.
The movie shoots in Northern California next month.
- 7/28/2010
- by By Borys Kit
- The Hollywood Reporter - Movie News
Earlier we wrote about the upcoming Mark Pellington’s thriller I Melt With You, so you already know that Jeremy Piven and Thomas Jane have signed on to star in it.
Today, we’re here to announce that Rob Lowe will also be the part of the project that will follow “middle-aged guys dealing with their problems.”
I Melt With You is a project based on a Glenn Porter script that is (again) based on a story by Porter and Pellington which follows “the interconnecting lives of four men and focuses on the pain of the modern male psyche, deals with mortality, aging and friendship.”
At this moment not much is known about the whole project, but we learned that Lowe will play a doctor “struggling with deep personal loss and a growing drug addiction.”
Lowe is the third of a reported four central roles in the film, so we...
Today, we’re here to announce that Rob Lowe will also be the part of the project that will follow “middle-aged guys dealing with their problems.”
I Melt With You is a project based on a Glenn Porter script that is (again) based on a story by Porter and Pellington which follows “the interconnecting lives of four men and focuses on the pain of the modern male psyche, deals with mortality, aging and friendship.”
At this moment not much is known about the whole project, but we learned that Lowe will play a doctor “struggling with deep personal loss and a growing drug addiction.”
Lowe is the third of a reported four central roles in the film, so we...
- 7/25/2010
- by Fiona
- Filmofilia
Exclusive: Thomas Jane and Jeremy Piven are set to star in I Melt With You, an ensemble thriller that will be directed by Mark Pellington. Production will begin in early August in Northern California. The thriller follows the interconnecting lives of four men. Glenn Porter wrote the script from a story he hatched with Pellington, who last directed Henry Poole Is Here and U2 3D. Rob Cowan and Norm Reiss are producing. Pellington and Porter will be exec producers with Neil Labute, Heidi Levitt, Aaron Gilbert and Jane. The pic, packaged by UTA, is privately financed and the budget is under [...]...
- 7/14/2010
- by MIKE FLEMING
- Deadline
Fern Champion on Cameron DiazWe were working at New Line, casting 1994's "The Mask." The story that everybody knows now is that Anna Nicole Smith was the first choice because the men at New Line thought she was stunning. Didn't say she could walk and talk, but she was stunning. We needed someone to talk. The good news is Anna Nicole opted to do "Naked Gun 33 1/3." Oh, too bad. So Fern's back to the drawing board. I'm at my wit's end, because we had gone through all the top models and all the top actors, and nobody was pleasing New Line co-ceo Bob Shaye, executive producer Mike De Luca, and director and executive producer Chuck Russell.I called my girlfriend at the talent agency upstairs at the New Line building, and I said, "Is there anybody we haven't seen?" She said, "I have to tell you something: There's one gal; she hasn't done any acting.
- 7/7/2010
- backstage.com
By Heidi Levitt
The race is on to Sunday, March 7.
As we get ready for the Academy Awards, the nominated are feeling on top of the world. Everyone is still a winner and the recognition is extraordinary.
Every actor started his or her journey with a wish to perform, to give voice and spirit to an extraordinary character.
As Meryl Streep so beautifully stated at the Golden Globes, it was not that she herself is extraordinary (who are you kidding, Meryl?) but, more importa...
The race is on to Sunday, March 7.
As we get ready for the Academy Awards, the nominated are feeling on top of the world. Everyone is still a winner and the recognition is extraordinary.
Every actor started his or her journey with a wish to perform, to give voice and spirit to an extraordinary character.
As Meryl Streep so beautifully stated at the Golden Globes, it was not that she herself is extraordinary (who are you kidding, Meryl?) but, more importa...
- 3/3/2010
- by Lisa Horowitz
- The Wrap
By Heidi Levitt
Last week, my husband giggled with electric delight as he installed a 46-inch flat fcreen and sound system equipped with a sub-woofer. He declared that our family room was now our home theater and went straight to the computer to start ordering up the Netflix.
I am thinking to myself, ‘Who cares? I don't actually want a home theater. I want to go to the movies, the theater, the Wiltern … Why don't we build a proscenium stage in the living room and have the children put on plays?
Well the point is, storytelling has moved from the family hearth to the...
Last week, my husband giggled with electric delight as he installed a 46-inch flat fcreen and sound system equipped with a sub-woofer. He declared that our family room was now our home theater and went straight to the computer to start ordering up the Netflix.
I am thinking to myself, ‘Who cares? I don't actually want a home theater. I want to go to the movies, the theater, the Wiltern … Why don't we build a proscenium stage in the living room and have the children put on plays?
Well the point is, storytelling has moved from the family hearth to the...
- 2/5/2010
- by Lew Harris
- The Wrap
By Heidi Levitt
Here's the craziest thing about casting.
It's not that I've met so many incredible actors at the very beginning of their careers and been able to see how much they have grown professionally. It's not that actors simply don't remember to staple their headshots to their resumes. And it's certainly not that actors don't look anything like their photos.
It’s that actors don’t get that they need to be their own advocates.
The craziest thing about casting is how many amazingly talented people there are in this town who are still not working. Still not breaking ...
Here's the craziest thing about casting.
It's not that I've met so many incredible actors at the very beginning of their careers and been able to see how much they have grown professionally. It's not that actors simply don't remember to staple their headshots to their resumes. And it's certainly not that actors don't look anything like their photos.
It’s that actors don’t get that they need to be their own advocates.
The craziest thing about casting is how many amazingly talented people there are in this town who are still not working. Still not breaking ...
- 1/25/2010
- by Lisa Horowitz
- The Wrap
After apprenticing with some of the most prolific casting directors in the business, Brett Greenstein and Collin Daniel decided to join forces and strike out on their own. Five years later, the duo, based in Los Angeles, boasts a wide array of credits, ranging from the family-friendly comedies "10 Things I Hate About You" and "Rita Rocks" to the much-hyped "Melrose Place" reboot. The partnership works, says Greenstein, because they both like to have fun and are "even-keeled, mild-tempered people." Adds Daniel, "At the end of the day, we're just casting a TV show; we're not saving the world here."Career PathBrett Greenstein: I was working at a film production company and I was being groomed for a development-executive job. We were prepping a movie, "Nurse Betty," and I came to the realization that what I loved most about making these movies is the casting process. I thought that was the...
- 1/21/2010
- backstage.com
NEW YORK -- Lyle Lovett and Harry Dean Stanton are traveling with Justin Timberlake and Jeff Bridges on "The Open Road".
Stanton will play the grandfather of Timberlake's character, a young man trying to reconcile with his father (Bridges) as he heads home to his ill mother's bedside. Lovett will play a Memphis bartender who lends a helpful ear to Timberlake.
Writer-director Michael Meredith ("Three Days of Rain") is shooting the project in Louisiana and other Southern locales. Kate Mara and Mary Steenburgen also star.
Perfect Weekend's Justin Moore-Lewy and Charlie Mason are producing with Meredith, Jordan Foley, Laurie Foxx and David Schiff.
Odd Lot principals Deborah Del Prete and Gigi Pritzker are executive producing with Heidi Levitt, Scott MacFarland, Jason Hewitt and director Wim Wenders.
Lovett ("Walk Hard") is repped by Paradigm and Ken Levitan of Vector Management. Stanton ("Alpha Dog") is repped by Bresler, Kelly & Associates.
Stanton will play the grandfather of Timberlake's character, a young man trying to reconcile with his father (Bridges) as he heads home to his ill mother's bedside. Lovett will play a Memphis bartender who lends a helpful ear to Timberlake.
Writer-director Michael Meredith ("Three Days of Rain") is shooting the project in Louisiana and other Southern locales. Kate Mara and Mary Steenburgen also star.
Perfect Weekend's Justin Moore-Lewy and Charlie Mason are producing with Meredith, Jordan Foley, Laurie Foxx and David Schiff.
Odd Lot principals Deborah Del Prete and Gigi Pritzker are executive producing with Heidi Levitt, Scott MacFarland, Jason Hewitt and director Wim Wenders.
Lovett ("Walk Hard") is repped by Paradigm and Ken Levitan of Vector Management. Stanton ("Alpha Dog") is repped by Bresler, Kelly & Associates.
- 3/24/2008
- The Hollywood Reporter - Movie News
Taken from Shakespeare's "Hamlet" ("To sleep: perchance to dream. ... For in that sleep of death, what dreams may come ..."), the title of Vincent Ward's remarkable film starring Robin Williams as a dead man is the first sign proclaiming its seriousness -- the first inkling one is not in for another "Hook", "Jack" or "Flubber".
Indeed, what grosses may come will depend on distributor PolyGram's tricky marketing of this afterlife fantasy, which is more challenging dramatically and artistically than "Ghost" but, sadly, less involving on a gut level. A visual feast not to be passed up and bound to pack an emotional punch for many viewers, particularly women, "What Dreams May Come" has the aura of a theatrical hit and should successfully haunt the marketplace before ascending to ancillary Elysian fields.
Departing significantly from Richard Matheson's 1978 novel, the screenplay credited to Ron Bass posits Williams as Chris Nielsen, a doctor who dies and goes to a heaven where "thoughts are real," leaving behind his true love and wife Annie (Annabella Sciorra). There he meets other spirit beings and eventually has to employ a "tracker" to find Annie's tortured soul in a hell she creates when she commits suicide.
Matheson's original, semiautobiographical book may have lacked action and filmworthy epiphanic moments, but it presented a compelling life-after-death scenario that centered mostly on the incredible journey of self-discovery made by a deceased screen and TV writer. Ward and Bass jettison most of the novel's first half and make Chris and Annie's lives marred by disaster, when their teenage son (Josh Paddock) and daughter Jessica Brooks Grant) die in a traffic accident.
In crisp, short scenes of earthly reality alternating with more lyrical attempts to show the dreamy, intangible environment of the beyond, "Dreams" more or less follows Chris' odyssey to save Annie, along with his and her memories and dreams of memories. Got that? It gets much more complicated. Much of Chris' story takes place in the Painted World: the couple's dream house in a spectacular mountain setting, based on Annie's art in real life.
Inspired by Monet, Van Gogh and 19th century German Romanticists, the filmmakers create many beautiful images. The special effects in such sequences as Annie painting a jacaranda tree -- which appears in Chris' heaven and then withers and dies -- are stunning. Other visions, however, are an uneasy mixture of Dante and Disney, with paradise in some ways portrayed as just another big amusement park/art gallery in the sky -- where everyone can fly like, er, Peter Pan and be reunited with old pets (sniff).
Chris must be first be horribly killed and meet ghostly Albert (Cuba Gooding Jr.), who informs him: "You didn't disappear. You just died." Somewhat troublesome for the movie, however, life-after-life-on-Earth still entails too many rules and expository dialogue. When duty calls Albert away, Chris is shown Marie's World -- a mighty golden city perched on the edge of a mighty abyss -- by the radiant etheric denizen Leona (Rosalind Chao). "It's all in your mind" is the catchall phrase of eternity.
In both heaven and hell, the immediate environment reflects the thoughts and moods of the characters, while characters such as Albert, Leona and the Tracker (Max Von Sydow) are not who they appear to be. When Annie takes her own life, soulmate Chris goes against those pesky rules and tries to reunite with her, and the film offers more wondrous sights such as the borderland to hell where the victims of shipwrecks reside.
In addition to the complex structure and its get-out-your-guidebooks metaphysical nature, the film is also somewhat tripped up by Williams' predictable performance. Meanwhile, Gooding and Chao -- the former distorted in many scenes with eerie effects -- are both worthy guides for the audience, and Sciorra is excellent in one of her best roles.
"Dreams" is a technical knockout, another expensive art film in the same league as "Brazil" and "Toys". Hosannas to all involved, particularly production designer Eugenio Zanetti, director of photography Eduardo Serra, costume designer Yvonne Blake and the many digital artists and animators listed on the seemingly endless closing credits.
WHAT DREAMS MAY COME
PolyGram Filmed Entertainment
An Interscope Communications productions
in association with Metafilmics
Credits: Director: Vincent Ward; Screenwriter: Ron Bass; Based on the novel by: Richard Matheson; Producers: Stephen Simon, Barnet Bain; Executive producers: Ted Field, Scott Kroopf, Erica Huggins, Ron Bass; Director of photography: Eduardo Serra; Production designer: Eugenio Zanetti; Editors: David Brenner, Maysie Hoy; Costume designer: Yvonne Blake; Music: Michael Kamen; Casting: Heidi Levitt. Cast: Chris: Robin Williams; Annie: Annabella Sciorra; Albert: Cuba Gooding Jr.; The Tracker: Max Von Sydow; Marie: Jessica Brooks Grant; Ian: Josh Paddock; Leona: Rosalind Chao. MPAA rating: PG-13. Color/stereo. Running time -- 113 minutes.
Indeed, what grosses may come will depend on distributor PolyGram's tricky marketing of this afterlife fantasy, which is more challenging dramatically and artistically than "Ghost" but, sadly, less involving on a gut level. A visual feast not to be passed up and bound to pack an emotional punch for many viewers, particularly women, "What Dreams May Come" has the aura of a theatrical hit and should successfully haunt the marketplace before ascending to ancillary Elysian fields.
Departing significantly from Richard Matheson's 1978 novel, the screenplay credited to Ron Bass posits Williams as Chris Nielsen, a doctor who dies and goes to a heaven where "thoughts are real," leaving behind his true love and wife Annie (Annabella Sciorra). There he meets other spirit beings and eventually has to employ a "tracker" to find Annie's tortured soul in a hell she creates when she commits suicide.
Matheson's original, semiautobiographical book may have lacked action and filmworthy epiphanic moments, but it presented a compelling life-after-death scenario that centered mostly on the incredible journey of self-discovery made by a deceased screen and TV writer. Ward and Bass jettison most of the novel's first half and make Chris and Annie's lives marred by disaster, when their teenage son (Josh Paddock) and daughter Jessica Brooks Grant) die in a traffic accident.
In crisp, short scenes of earthly reality alternating with more lyrical attempts to show the dreamy, intangible environment of the beyond, "Dreams" more or less follows Chris' odyssey to save Annie, along with his and her memories and dreams of memories. Got that? It gets much more complicated. Much of Chris' story takes place in the Painted World: the couple's dream house in a spectacular mountain setting, based on Annie's art in real life.
Inspired by Monet, Van Gogh and 19th century German Romanticists, the filmmakers create many beautiful images. The special effects in such sequences as Annie painting a jacaranda tree -- which appears in Chris' heaven and then withers and dies -- are stunning. Other visions, however, are an uneasy mixture of Dante and Disney, with paradise in some ways portrayed as just another big amusement park/art gallery in the sky -- where everyone can fly like, er, Peter Pan and be reunited with old pets (sniff).
Chris must be first be horribly killed and meet ghostly Albert (Cuba Gooding Jr.), who informs him: "You didn't disappear. You just died." Somewhat troublesome for the movie, however, life-after-life-on-Earth still entails too many rules and expository dialogue. When duty calls Albert away, Chris is shown Marie's World -- a mighty golden city perched on the edge of a mighty abyss -- by the radiant etheric denizen Leona (Rosalind Chao). "It's all in your mind" is the catchall phrase of eternity.
In both heaven and hell, the immediate environment reflects the thoughts and moods of the characters, while characters such as Albert, Leona and the Tracker (Max Von Sydow) are not who they appear to be. When Annie takes her own life, soulmate Chris goes against those pesky rules and tries to reunite with her, and the film offers more wondrous sights such as the borderland to hell where the victims of shipwrecks reside.
In addition to the complex structure and its get-out-your-guidebooks metaphysical nature, the film is also somewhat tripped up by Williams' predictable performance. Meanwhile, Gooding and Chao -- the former distorted in many scenes with eerie effects -- are both worthy guides for the audience, and Sciorra is excellent in one of her best roles.
"Dreams" is a technical knockout, another expensive art film in the same league as "Brazil" and "Toys". Hosannas to all involved, particularly production designer Eugenio Zanetti, director of photography Eduardo Serra, costume designer Yvonne Blake and the many digital artists and animators listed on the seemingly endless closing credits.
WHAT DREAMS MAY COME
PolyGram Filmed Entertainment
An Interscope Communications productions
in association with Metafilmics
Credits: Director: Vincent Ward; Screenwriter: Ron Bass; Based on the novel by: Richard Matheson; Producers: Stephen Simon, Barnet Bain; Executive producers: Ted Field, Scott Kroopf, Erica Huggins, Ron Bass; Director of photography: Eduardo Serra; Production designer: Eugenio Zanetti; Editors: David Brenner, Maysie Hoy; Costume designer: Yvonne Blake; Music: Michael Kamen; Casting: Heidi Levitt. Cast: Chris: Robin Williams; Annie: Annabella Sciorra; Albert: Cuba Gooding Jr.; The Tracker: Max Von Sydow; Marie: Jessica Brooks Grant; Ian: Josh Paddock; Leona: Rosalind Chao. MPAA rating: PG-13. Color/stereo. Running time -- 113 minutes.
- 9/29/1998
- The Hollywood Reporter - Movie News
"Lulu on the Bridge" is "LaLa" on the beach here at the 51st Cannes International Film Festival. An indecipherable indie starring Harvey Keitel as a wounded jazz player, "Lulu" is likely to leave no one gaga, even on the art house circuit.
When the opening shot is of Keitel standing at a urinal taking a whiz, you know you're going to be in for some overwrought filmmaking, even by the lax and pretentious standards of the independent film oeuvre. Written and directed by Paul Auster, who previously teamed with Wayne Wang and Keitel on Miramax's sly and supple story about a streetcorner cigar store, this offering is, unfortunately, all smoke and little flavor.
A mixed blend of philosophizing, psychologizing and mystifying, "Lulu" follows the uneven trajectory of alto sax jazzman, Izzy (Keitel), who is struck by a random bullet one night while whaling away at a session. The bullet has rendered his left lung unworkable -- with no lung capacity, Izzy's career as a saxophonist has ended. In its initial development, "Lulu" charts his recovery as he copes with his essentially life-ending predicament.
Unfortunately, this psychological charting is largely a series of billowing blather, a cadenza of platitudes -- "I'm much younger than I was", "I'm finally connecting", etc. -- that obscures rather than amplifies Izzy's plight. Even worse, Auster goes off on all sorts of distended dramatic riffs, most of them so overwritten and structurally cute that one surmises that this screenplay went through rigorous development at a university writing lab.
While the film's structure stretches for philosophizing, the plotting and narrative flow are characterized by huge open gaps and flip philosophical discourses, and the visual direction is similarly undisciplined. Auster gropes for meaning in his shots -- lingering, say, on the Statue of Liberty after an otherwise desultory camera movement.
In short, "Lulu" is all puff and piffle -- its characters drawn in shorthand and its philosophizing written in gruelingly tedious longhand. In particular, a philosophical discussion about a turd is so pretentious and sophomoric that one supposes this film was penned by a graduate student.
As the wounded saxophonist, Keitel brings a credible weariness to his role, while Mira Sorvino is well-cast as an actress/waitress who meets him under mysterious circumstances. Willem Dafoe does an amusing serpentine turn as some sort of thug/inquisitor, while Vanessa Redgrave oozes presence as a dithery director.
Technical contributions are solid, particularly Alik Sakharov's dark and shaded compositions; however, Graeme Revell's dour score drains "Lulu" of even the little life it has as a human story.
LULU ON THE BRIDGE
Capitol Films presents
a Paul Auster film
CREDITS:
Producers: Peter Newman, Greg Johnson, Amy J. Kaufman
Screenwriter-director: Paul Auster
Executive producers: Sharon Harel, Jane Barclay, Ira Deutchman
Director of photography: Alik Sakharov
Editor: Tim Squyres
Production designer: Kalina Ivanov
Costume designer: Adelle Lutz
Music: Graeme Revell
Katmandu CD music by: John Lurie and the Lounge Lizards
Music supervisor: Susan Jacobs
Sound mixer: Michael Barosky
Casting: Heidi Levitt, Ann Goulder
CAST:
Izzy Maurer: Harvey Keitel
Celia Burns: Mira Sorvino
Dr. Van Horn: Willem Dafoe
Hannah: Gina Gershon
Philip Kleinman: Mandy Patinkin
Catherine Moore: Vanessa Redgrave
Tyrone Lord: Don Byron
Dave Reilly: Richard Edson
Pierre: Victor Argo
Running Time: 103 minutes...
When the opening shot is of Keitel standing at a urinal taking a whiz, you know you're going to be in for some overwrought filmmaking, even by the lax and pretentious standards of the independent film oeuvre. Written and directed by Paul Auster, who previously teamed with Wayne Wang and Keitel on Miramax's sly and supple story about a streetcorner cigar store, this offering is, unfortunately, all smoke and little flavor.
A mixed blend of philosophizing, psychologizing and mystifying, "Lulu" follows the uneven trajectory of alto sax jazzman, Izzy (Keitel), who is struck by a random bullet one night while whaling away at a session. The bullet has rendered his left lung unworkable -- with no lung capacity, Izzy's career as a saxophonist has ended. In its initial development, "Lulu" charts his recovery as he copes with his essentially life-ending predicament.
Unfortunately, this psychological charting is largely a series of billowing blather, a cadenza of platitudes -- "I'm much younger than I was", "I'm finally connecting", etc. -- that obscures rather than amplifies Izzy's plight. Even worse, Auster goes off on all sorts of distended dramatic riffs, most of them so overwritten and structurally cute that one surmises that this screenplay went through rigorous development at a university writing lab.
While the film's structure stretches for philosophizing, the plotting and narrative flow are characterized by huge open gaps and flip philosophical discourses, and the visual direction is similarly undisciplined. Auster gropes for meaning in his shots -- lingering, say, on the Statue of Liberty after an otherwise desultory camera movement.
In short, "Lulu" is all puff and piffle -- its characters drawn in shorthand and its philosophizing written in gruelingly tedious longhand. In particular, a philosophical discussion about a turd is so pretentious and sophomoric that one supposes this film was penned by a graduate student.
As the wounded saxophonist, Keitel brings a credible weariness to his role, while Mira Sorvino is well-cast as an actress/waitress who meets him under mysterious circumstances. Willem Dafoe does an amusing serpentine turn as some sort of thug/inquisitor, while Vanessa Redgrave oozes presence as a dithery director.
Technical contributions are solid, particularly Alik Sakharov's dark and shaded compositions; however, Graeme Revell's dour score drains "Lulu" of even the little life it has as a human story.
LULU ON THE BRIDGE
Capitol Films presents
a Paul Auster film
CREDITS:
Producers: Peter Newman, Greg Johnson, Amy J. Kaufman
Screenwriter-director: Paul Auster
Executive producers: Sharon Harel, Jane Barclay, Ira Deutchman
Director of photography: Alik Sakharov
Editor: Tim Squyres
Production designer: Kalina Ivanov
Costume designer: Adelle Lutz
Music: Graeme Revell
Katmandu CD music by: John Lurie and the Lounge Lizards
Music supervisor: Susan Jacobs
Sound mixer: Michael Barosky
Casting: Heidi Levitt, Ann Goulder
CAST:
Izzy Maurer: Harvey Keitel
Celia Burns: Mira Sorvino
Dr. Van Horn: Willem Dafoe
Hannah: Gina Gershon
Philip Kleinman: Mandy Patinkin
Catherine Moore: Vanessa Redgrave
Tyrone Lord: Don Byron
Dave Reilly: Richard Edson
Pierre: Victor Argo
Running Time: 103 minutes...
- 5/15/1998
- The Hollywood Reporter - Movie News
A creamy, rich Southern Gothic with a molasses-sweet matriarch wreaking psychological havoc, "Hush" is a scrumptious morsel that oozes with perverted textures. Starring Jessica Lange as the domineering woman and Gwyneth Paltrow as her unlucky daughter-in-law, this Sony release may find its most gracious hospitality as a video rental -- the kind of old-style, Crawford/de Havilland-ish dish modern women may snuggle up to on a cold, snowy night in front of the tube.
Usually, when the lady of the manor has bats in her belfry, her abode is an expressionistic dungeon. Not so in this smart and smooth generic time piece. In "Hush", Lange stars as Martha, an aptly named woman whose genteel charms seem to epitomize Southern womanhood. Martha lives alone on the estate her husband left her, a sprawling and sumptuous horse farm that is set back just on the outskirts of town. Despite her radiance, Martha is a barren woman in many ways. She pines for the return of her son, Jackson (Johnathon Schaech), now living in New York and she fills the void in her days with domestic niceties.
The Christmas/New Year's respite brings Jackson back to the "farm," along with his live-in girlfriend, Helen (Paltrow). Mom's a bit strict in an old-fashioned Catholic sense and ultra-traditional, he warns. But once the initial awkwardness subsides, Helen is taken in by the thoughtfulness and charm of this doting Dixie woman.
If Hitchcock were still able to conjure about a blonde with all the vanilla extract he so perversely admired, Lange would fulfill beyond his sickest dreams the potential for venality that such a beautiful delicacy could wreak. In a psychological thriller of this sort, the story is only as strong as the villain, and Lange is marvelously lethal. She conjures up a corrosively gorgeous performance, alternating maternal wisdom, neighborly gentility and outright debauchery. Lange cuts a gracious and scary figure, mixing her throaty laugh with nervous finger twirls through the ends of her hair and furtive deep drags on her cigarette. One can only surmise what deep-dish dessert this woman might serve up to an unsuspecting guest.
Although Lange's performance is the centerpiece, praise goes to Gwyneth Paltrow for her flinty performance as the straightforward daughter-in-law/wife who, ultimately, must prove a worthy foe. Schaech is well-cast as the patrician Jackson who must prove his mettle as well as exorcise some childhood demons.
Fittingly, it's the psychological depictions that are the strong suit of Jonathan Darby and Jane Rusconi's screenplay -- ultimately the mother-in-law-vs.-wife battle over the male caught in the middle of the triangle. Unfortunately, the plotting itself is a bit anemic when compared with the inner juices that are presented. But, it's the textures here, rather than the narrative substance, that are the film's essence.
Aesthetically and compositionally, "Hush" is a full-bodied treat. Under Darby's richly evocative direction, the story swells and pulsates with throbbing clarity. Swathed in a splendid array of creamy/fleshy tones, "Hush" marvelously hints at the sickness such an overripe family setting possesses. Deserving special praise is cinematographer Andrew Dunn for conveying the sense of decay with his vibrant hues. Similarly, production designers Thomas A. Walsh and Michael Johnston have visualized a family setting that beneath its splendid surfaces lurks rot of all sorts. Most eloquently, composer Christopher Young's subdued score, rife with underswells of reeds and piano, clues us to the fragile mental state of the lady of the house.
Filmed in Virginia's horse country, the scrumptiously beautiful setting is a stunning backdrop for this latest variation on an age-old genre.
HUSH
Sony Releasing
TriStar
A Douglas Zwick production
Producer: Douglas Zwick
Director: Jonathan Darby
Screenwriters: Jonathan Darby, Jane Rusconi
Story: Jonathan Darby
Director of photography: Andrew Dunn
Co-producer: Ginny Nugent
Production designers: Thomas A. Walsh,
Michael Johnston
Editors: Dane Rae, Lynzee Klingman,
Robert Leighton
Costume designer: Ann Roth
Music: Chrisopher Young
Casting: Heidi Levitt, Billy Hopkins
Sound mixer: Jay Meagher
Color/stereo
Cast:
Martha: Jessica Lange
Helen: Gwyneth Paltrow
Jackson: Johnathon Schaech
Alice Baring: Nina Foch
Lisa: Debi Mazar
Sister O'Shaughnessy: Kaiulani Lee
Gavin: David Thornton
Dr. Hill: Hal Holbrook
Running time -- 88 minutes
MPAA rating: PG-13...
Usually, when the lady of the manor has bats in her belfry, her abode is an expressionistic dungeon. Not so in this smart and smooth generic time piece. In "Hush", Lange stars as Martha, an aptly named woman whose genteel charms seem to epitomize Southern womanhood. Martha lives alone on the estate her husband left her, a sprawling and sumptuous horse farm that is set back just on the outskirts of town. Despite her radiance, Martha is a barren woman in many ways. She pines for the return of her son, Jackson (Johnathon Schaech), now living in New York and she fills the void in her days with domestic niceties.
The Christmas/New Year's respite brings Jackson back to the "farm," along with his live-in girlfriend, Helen (Paltrow). Mom's a bit strict in an old-fashioned Catholic sense and ultra-traditional, he warns. But once the initial awkwardness subsides, Helen is taken in by the thoughtfulness and charm of this doting Dixie woman.
If Hitchcock were still able to conjure about a blonde with all the vanilla extract he so perversely admired, Lange would fulfill beyond his sickest dreams the potential for venality that such a beautiful delicacy could wreak. In a psychological thriller of this sort, the story is only as strong as the villain, and Lange is marvelously lethal. She conjures up a corrosively gorgeous performance, alternating maternal wisdom, neighborly gentility and outright debauchery. Lange cuts a gracious and scary figure, mixing her throaty laugh with nervous finger twirls through the ends of her hair and furtive deep drags on her cigarette. One can only surmise what deep-dish dessert this woman might serve up to an unsuspecting guest.
Although Lange's performance is the centerpiece, praise goes to Gwyneth Paltrow for her flinty performance as the straightforward daughter-in-law/wife who, ultimately, must prove a worthy foe. Schaech is well-cast as the patrician Jackson who must prove his mettle as well as exorcise some childhood demons.
Fittingly, it's the psychological depictions that are the strong suit of Jonathan Darby and Jane Rusconi's screenplay -- ultimately the mother-in-law-vs.-wife battle over the male caught in the middle of the triangle. Unfortunately, the plotting itself is a bit anemic when compared with the inner juices that are presented. But, it's the textures here, rather than the narrative substance, that are the film's essence.
Aesthetically and compositionally, "Hush" is a full-bodied treat. Under Darby's richly evocative direction, the story swells and pulsates with throbbing clarity. Swathed in a splendid array of creamy/fleshy tones, "Hush" marvelously hints at the sickness such an overripe family setting possesses. Deserving special praise is cinematographer Andrew Dunn for conveying the sense of decay with his vibrant hues. Similarly, production designers Thomas A. Walsh and Michael Johnston have visualized a family setting that beneath its splendid surfaces lurks rot of all sorts. Most eloquently, composer Christopher Young's subdued score, rife with underswells of reeds and piano, clues us to the fragile mental state of the lady of the house.
Filmed in Virginia's horse country, the scrumptiously beautiful setting is a stunning backdrop for this latest variation on an age-old genre.
HUSH
Sony Releasing
TriStar
A Douglas Zwick production
Producer: Douglas Zwick
Director: Jonathan Darby
Screenwriters: Jonathan Darby, Jane Rusconi
Story: Jonathan Darby
Director of photography: Andrew Dunn
Co-producer: Ginny Nugent
Production designers: Thomas A. Walsh,
Michael Johnston
Editors: Dane Rae, Lynzee Klingman,
Robert Leighton
Costume designer: Ann Roth
Music: Chrisopher Young
Casting: Heidi Levitt, Billy Hopkins
Sound mixer: Jay Meagher
Color/stereo
Cast:
Martha: Jessica Lange
Helen: Gwyneth Paltrow
Jackson: Johnathon Schaech
Alice Baring: Nina Foch
Lisa: Debi Mazar
Sister O'Shaughnessy: Kaiulani Lee
Gavin: David Thornton
Dr. Hill: Hal Holbrook
Running time -- 88 minutes
MPAA rating: PG-13...
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