Lucy Lang, Executive Director, Institute For Innovation In Prosecution at John Jay College of Criminal Justice, takes a look at courtroom scenes from a variety of television shows and movies and breaks down how accurate they really are. WIRED Videos
Annie Onishi, general surgery resident at Columbia University, takes a look at more emergency room and operating room scenes from a variety of television shows and movies and breaks down how accurate they really are.
Remake, a nonprofit organization that uses original documentary footage to educate consumers about the fashion industry’s treatment of women and impact on the environment, today launched a short film, “10 Ways to Dress Like a Sustainable Pro,” featuring models from Role Models Management, an ethical agency and platform for models with interests and titles such as public health worker, doula, skateboarder, vegan activist and editor in chief.
Ayesha Barenblat, Remake’s founder, hopes the film will light a fire under the fast-fashion jeans and viscose jumpsuits of the ranks of less woke shoppers and spark the desire to consume more consciously. She knows that’s easier said than done.
“You come up against the reality that making the right choices are expensive and time-consuming,” said Barenblat, noting that many consumers continue to associate sustainable apparel with dull, crunchy or unattainably expensive clothing. “How do you make sustainability accessible to the everyday girl, so she knows that sustainable fashion can be stylish, attainable and inclusive.
“There’s so many misleading eco-conscious claims, and so much greenwashing,” Barenblat said, adding that some statistics and data points have become evangelized by the industry in spite of a lack of science-based, peer-reviewed research. “Fashion is the world’s second-biggest polluter. How
Film Directing Handbook was developed to meet the needs of film students to become familiar with the vocabulary of film studies and the technique of cinema. The user can either read the complete document or search out a particular topic of interest. -125 pages of interactive presentation -163 photos and illustrated technical explanations -53 movie clip examples from masterpieces of cinema from 1925 until present time -Tips from greatest directors of all times Content:  scale, triangle principle, line of interest, camera angles, dialogue scenes, entrances & exits, physical movements, plan-sequence, rhythm, rate, framing, cinematography, miss-en-scene, sound, editing… Mehrdad Khameneh
“Where have you been?” Kate Hudson asked friend and jewelry designer Jennifer Meyer as Meyer walked through the doors of The Butcher’s Daughter’s private back patio in Venice in Los Angeles on Thursday night.
“At your party,” exclaimed Meyer, who had been inside the vegan eatery. The event was being held to celebrate Hudson’s fashion brand, HappyxNature.
“The collection gets better and better,” said Meyer. “And look how cute you look.” Hudson had on the “skyglow” jumpsuit, retailing at $ 298 and made with recycled polyester. The entire line — dresses, jumpsuits, sweaters — was made in collaboration with Repreve, a provider of fiber created from recycled plastic bottles.
“At this point, there isn’t one thing that’s in design that doesn’t have an eco element to it,” shared Hudson, who collaborates with designer Michele Manz, former head of Alberta Ferretti whose résumé includes creating for John Varvatos, Converse, 7 For All Mankind and Current/Elliott. “Everything is conscious and yet we’re selling a $ 78 dress. Or, something that would normally be a $ 450 dress, we’re selling at $ 250. A lot of it is 100 percent recycled.
“I have to be honest, it’s not easy,” she said of producing sustainable fashion. “There are some things that are
Jordan Peele’s horror masterpiece Us has been dubbed the best film of 2019 and we are here for it.
On Tuesday (Dec. 10) The African-American Film Critics Association announced that the cinematic thriller had won a total of three awards for Best Film, Best Actress, and Best Director. The film, which starred Lupita Nyong’o, Winston Duke, Shahidi WrightJoseph, Evan Alex, Madison Curry and Elisabeth Moss definitely raised the bar for the genre of horror and the box office agrees after the film raked in more than $ 255 million globally. The AAFCA notes that it was his influence in changing the face of horror that made them their first choice.
“Jordan Peele continued to raise the bar in horror specifically and film overall,” AAFCA president/co-founder Gil Robertson said in a statement to Deadline. “With ‘Us,’ he once again upended the horror genre. His centering of a Black nuclear family determined to survive in a complex storyline in a genre where Black family units have historically been unseen is extraordinary.”
This year’s win echoes Peele’s domination of the AAFCA awards, two years ago the “Last OG” creator swept up the Best Film award for his critically acclaimed horror, Get Out, which took home statues for best picture, director, screenplay and actor for star Daniel Kaluuya. His creative approach to bring Black stories and folklore to the forefront in such a groundbreaking way is another reason the AAFCA notes that solidified their choice.
”[Jordan Peele] continues to push previously set boundaries with bold storylines that bring a refreshing perspective to cinema overall and the genre specifically. The film’s $ 255 million global gross is yet another example that inclusive filmmaking resonates big at the box office and it also resonated critically with our members who awarded the film with our highest honors.”
The AAFCA awards announcement follows the release of the 2020 Golden Globes nominations on Monday, which faced criticism after both Us and Ava Duvarney’s Netflix series was noticeably absent. The snub, however, did not stop Us star Lupita Nyong’o from celebrating her nominations via Twitter. Nyong’o tweeted that she was “feeling the love” as she tweeted a photo of herself with Us co-star Winston Duke on set.
The real-life journalist portrayed in the upcoming Clint Eastwood film, “Richard Jewell,” is being defended by her former colleagues and the newspaper where she worked, who say she is unfairly depicted in the movie as a woman who traded sex for stories.
Rumored to have been lost, Antrum appears as a cursed film from the 1970s. Viewers are warned to proceed with caution. It’s said to be a story about a young boy and girl who enter the forest to save the soul of their recently deceased pet. They journey to The Antrum, the very spot the devil landed after being cast out of heaven. There, the children begin to dig a hole to hell.
Wyatt Knox, Special Projects Director at the Team O’Neil Rally School, takes a look at driving scenes from a variety of television shows and movies and breaks down how accurate they really are. WIRED Videos
Director and personal friend Richard Lowenstein charts the highs and lows of the INXS frontman, and how a serious head injury ultimately changed the singer’s life irrevocably. Rough cut (no reporter narration).
After nearly four years since the TV series ended, “Downton Abbey” is back with its first feature film.
The film’s London premiere on Monday brought together some fan-favorite cast members, including Michelle Dockery dressed in a gold Galvan dress, Elizabeth McGovern in a hot pink Zac Posen dress and Laura Carmichael in a black Monse look.
The “Downton Abbey” film is said to continue the events of the TV series, following the lives of the aristocratic Crawley family and its servant staff in the early 20th century. The film begins with a visit from King George V and Queen Mary to the Downton Abbey estate.
While the picture brings back many of the TV show’s favorites, actresses Lily James and Rosamund Pike will not appear in the upcoming film. The film is set to release in the U.S. on Sept. 20.
Click through the above gallery to see red carpet photos from the “Downton Abbey” London film premiere.
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BRIGITTE ON CAMERA: Miu Miu will present its 18th short film as part of the Women’s Tales series in Venice on Sept. 1 during the city’s International Film Festival.
Dubbed “Brigitte,” the latest installment of the series focuses on photographer and longtime Miu Miu and Prada collaborator Brigitte Lacombe, offering insight into her creative process at work.
Set in a hydraulic factory in London, the short film is directed by Scottish filmmaker Lynne Ramsay, whose most recent feature “You Were Never Really Here” starring Joaquin Phoenix won the Best Screenplay and Best Actor awards at the Cannes Film Festival in 2017.
In the short film, which is shot in a deep monochrome mood, Lacombe discusses her life and ideas with Ramsay, while people close to the photographer make an appearance, including her sister Marian.
Approached by Ramsay with the idea of a documentary, Lacombe said she “absolutely wanted to be a part of it. And I always saw this as a collaboration.…I knew I wanted at the end to turn the camera on Lynne.”
“I hate having my photo taken. Brigitte [Lacombe] was the first person who captured me,” echoed Ramsay, who originally trained as a stills photographer. “She cast a magic spell. I wondered:
“Our favorite look is not here because it’s with Cate Blanchett,” says Brian Wolk during a walk-through of his new Wolk Morais collection designed with Claude Morais, at the duo’s Hollywood bungalow home-studio.
The designers’ love affair with Los Angeles continues with their eighth collection — spring 2020 — debuting in a short film format, and inspired by a mood board full of old Hollywood screen and wardrobe test images starring Marilyn Monroe, Audrey Hepburn, Sharon Tate, Marlon Brando and more.
“We’ve been using Los Angeles as our muse, backdrop and scenic inspiration and we felt it was time to speak the language of the city,” says Wolk, referencing previous collections, one shown at Hollywood’s historic Yamashiro Japanese restaurant, another inspired by California’s mid-century “California Cool” art movement, another by its private school-going “teenage bourgeoisie.” “Also, it was really fun to cast…we got to call all of our crazy eccentric friends and get them to participate,” he said of the short film’s lineup of Lydia Hearst, Moon Unit Zappa, Aimee Garcia, Rebecca Walker, Monica Abanonu and more.
While many may associate Los Angeles fashion with streetwear or rock ‘n’ roll, the Wolk Morais designers have been zeroing in on tailoring as a specialty,
MILAN — Changes are brewing at the Fashion Film Festival Milano — and one significant step is that Giorgio Armani will be the president of the jury for the sixth edition of the cultural event. Also, for the first time, the festival won’t take place during Milan Fashion Week but is scheduled Nov. 6 to 10 at the Anteo Palazzo Del Cinema theater in the heart of city’s Brera district.
“Giorgio Armani immediately accepted our invitation with great enthusiasm. He was definitely the first to create a strong link between fashion and cinema and he is also so representative of the city of Milan that we thought he would have been the perfect godfather of the festival’s new format,” said Fashion Film Festival Milano founder Constanza Cavalli Etro, who decided to disassociate the festival from the fashion week schedule to bring more attention to the event.
The festival, organized with the patronage of Milan’s Municipality, will award 17 winners competing in two different categories: Established Talent and New Talent. Headed by Armani, the jury will include photographer Cass Bird; Osklen’s founder Oskar Metsavaht; model and human right activist Waris Dirie; Self Service editor in chief Ezra Petronio; actress Cristiana Capotondi; Pirelli HangarBicocca artistic director
The Oscar-winning U.S. actress brings her new drama, “After the Wedding” to the 54th Karlovy Vary International Film Festival – and wins a ‘Crystal Globe for Outstanding Artistic Contribution to World Cinema’. Rough cut (no reporter narration).
On the red carpet at the premiere for “Descendants 2” in Los Angeles, Booboo Stewart talks with Access Hollywood about what he hopes fans will take away from the film. Plus, what was his favorite song to perform in the movie?
“Descendants 2” premieres on July 21 at 8/7c on Disney Channel, ABC, Freeform, Disney XD and Lifetime.
Young fans come out in force as the Oscar-winning composer of iconic film scores for ‘The Lion King,’ ‘The Dark Knight,’ ‘Pirates of Caribbean,’ ‘Gladiator’ and countless others launches a symphonic concert tour.
Kanye West‘s Yeezy Season 2 fashion line was formally introduced to the world via a silent film that not only showed off the Chicago superstar’s creative vision, but also the work that goes on behind the scenes. Although the line has been teased since last month, the film gives fans a first peek at the exclusive creations.
The silent film was posted on the recently ressurected Yeezy.Supply site, and it is exactly what one could expect from a Kanye West production. The lack of sound makes the images flashing on screen compelling. The film shows the workers furiously stitching and putting together the line under West’s stern supervision.
There’s no forwarding or rewinding of the film, so once you hit up the page you have to commit.
You can watch Kanye West’s reveal of the Yeezy Season 2 fashion line here.
BALENCIAGA ACT: Mytheresa.com has teamed with Balenciaga to poke fun at the glamour, exaggeration — and irony — endemic in the industry with a short film to be released on Sunday.
“Une Incroyable Excuse,” is a two-minute short featuring three young French Ladies Who Lunch, and the shocking discovery one of them makes when she opens her handbag to look for her car keys. The short, written and directed by Danny Sangra and filmed on location at Caviar Kaspia in Paris, is the e-tailer’s first fashion film project. The film makes its debut on Showstudio.com on Sunday, and will be posted later in the week on the Mytheresa.com Web site.
The three main characters wear exclusive looks from the Balenciaga fall runway collection, which are available to buy on Mytheresa.com.
Justin O’Shea, the site’s buying director, said one of his favorite movie lines is “Why so serious?” spoken by Heath Ledger’s Joker character in “The Dark Knight,” and he wanted to create something with a sense of humor. “The line has probably never been referenced in a fashion quote,” said O’Shea.
He added: “The idea of this industry being fun is something I feel strongly about, and that was the starting point behind the
Tom Hiddleston, Joan Collins, Geena Davis and other stars walk the red carpet at the BFI Luminous Gala in London, an auction event to raise funds to preserve Britain’s film archive. Edward Baran reports.
An old Entertainment Tonight clip featuring Ryan Gosling and Rachel McAdams doing press for The Notebook resurfaced online today. In the interview, Gosling confessed that he actually did a screen test with Britney Spears before McAdams ultimately won the part. “I hadn’t seen her really since she was about 12,” the actor said about his former fellow Mouseketeer. “She’s really good, actually.”
While it’s nearly impossible to imagine Spears kissing Gosling during a South Carolina rainstorm, there are several instances in Hollywood history where similarly iconic roles almost went to someone else. Sarah Jessica Parker may be synonymous with Carrie Bradshaw, but the lead role of Sex and the City was actually offered to another actress before Parker. Ditto with Forrest Gump and Elle Woods. Here, a look at some of the other close casting calls in Hollywood.
In Brick Mansions, parkour co-founder David Belle shows off his wall-climbing, window-jumping, rail-surfing action skills. So why isn’t Belle the new Bruce Lee? This should be the greatest genre in cinema history. Angry Nerd blames the French. WIRED Videos – The Scene
Following Cabin Fever and Hostel, The Green Inferno is the latest film in Eli Roth’s travel trilogy. The director explains what inspired his new cannibalistic horror movie, and how he achieved a realistic look and feel while shooting on set in the Amazon.
MERCHANT IVORY: Musician Florence Welch recently wore a bespoke silver skirt by designer Sophie Merchant on the Pyramid stage at Glastonbury. “We share a love of beautiful clothing,” Merchant said at her spring presentation, noting she, Welch and stylist Aldene Johnson have been collaborating for some years.
Merchant showcased her Merchant Archive collection, inspired by British sculptor Barbara Hepworth, in a moody short film by Olivia Beasley, screened at the new Soho House in London’s Dean Street. Its protagonists are depicted building a house on a beach, recalling Hepworth’s colony of artists in St Ives. Silhouettes such as silk shirtdresses with cone sleeves were designed with “roundness” to echo Hepworth’s sculptures, Merchant said. In addition to the screening, three actual looks were on display, including a circular skirt of scuba wool featuring a graphic seascape in ivory raffia and a suit of jade silk.
PUTTIN’ ON THE RITZ?: Could Zoe Cassavetes have directed a film for the Ritz relaunch?
Word has it the director of “Broken English” has shot a film involving fashion people and designers for the reopening of Paris’ mythic, five-star hotel.
A spokeswoman for the Ritz Paris had no comment.
There’s a lot of anticipation for the reopening — the hotel is officially taking reservations from March 14 — billed as the biggest refurbishment in the history of the 117-year-old establishment.
Cassavetes, the daughter of actor and filmmaker John Cassavetes and Gena Rowlands, is very much plugged into the fashion world. Her fashion credentials include being a muse of Marc Jacobs, participating in Miu Miu’s “Women’s Tales” — and being a front-row regular at fashion shows.
RELATED STORY: Chanel to Open Spa at the Ritz>>
Dries Van Noten, Gucci, Kenzo, Missoni, L’Oréal, Chloé, Salvatore Ferragamo, Etro and Valentino are just a few of the international labels that will participate in the upcoming Milan Fashion Festival, running Sept. 20-22.
Conceived and directed by Kean Etro’s wife, the Argentinian Constanza Cavalli Etro, the event, at its second edition, will be held at a new location, the city’s historical Anteo Spaziocinema theater. More than 200 short films, selected among the 600 that have been submitted, will be screened during the three-day event. The screening schedule will include films by already established directors and upcoming talents.
“Here, big names help new ones,” said Cavalli Etro. “The fact that big brands and film directors take part to the project next to new names helps the festival and upcoming talents to get the right visibility.”
A jury, including photographer Rankin, Vogue Italia’s editor in chief Franca Sozzani and producer Lisa Immordino Vreeland, among others, will assign 13 different awards to the film directors participating.
In addition, starting from Tuesday, anyone will be able to vote their favorite fashion film on the Fashion Film Festival’s Web site.
Also, microfashion films of 15 seconds, fitting social network’s standards, will be shown in one of the theater’s rooms.
This season, Milan Fashion Festival also teamed up with Paramount, which
Magical. It’s a word typically saved for the most resplendent fashion reviews. But in the case of Chloe Gosselin’s fashion week party, it is simply the only word that will do — after all, it was held at David Copperfield’s apartment.
The fete, cohosted by the shoe designer and her magician fiancé, was held in celebration of Gosselin’s first fashion film. “All my shoes are named after poisonous flowers, so since the beginning I’ve had the idea of doing something with danger in it,” she said of the film, which centers around a femme fatale. “We built the whole story around that. The whole thing was a family affair. The model is one of my best friends, and the director is my friend. We just shot it last month in L.A.”
After watching the film, which played on loop in a makeshift theater toward the apartment’s entrance, guests, including Leigh Lezark, Natalie Joos, Sarah Easley and Yumi Lambert distracted themselves with Copperfield’s veritable museum of antique magic machines — fortune tellers, strength machines, et al. “I imagine that at the end of the night everything comes alive,” said one marveled partygoer as another complimented the magician on his vast collection of collectibles. “Just
In 2008, with digital photography on the rise, the Polaroid Corporation ceased production of all Polaroid instant film, the item that had made the company a household name. There begins the story of the international grassroots campaign to save the beloved, threatened format. TIME ZERO beautifully relates the history of this iconic American product, while capturing the passion of instant film fans around the world and the lengths to which they are going to save it from oblivion.
Sam Smith will serenade a star-studded crowd at the L.A. County Museum of Art’s fifth Art + Film Gala on Nov. 7. Co-chaired by Leonardo DiCaprio and Eva Chow and presented by Gucci, the gala will honor artist James Turrell and film director Alejandro Gonzaléz Iñárritu.
Past performers have included Culture Club, Sting, Florence + the Machine and Stevie Wonder. The British Grammy-winner has just recorded the theme song for the next James Bond movie, “Spectre.” The song, called “Writing’s on the Wall,” will be released Sept. 25 ahead of the film’s Oct. 26 U.K. premiere.
The Catalina Wine Mixer – the legendary scene from Will Ferrell’s “Step Brothers” flick – is coming to life, and it’s going to be just like the movie, right down to a helicopter landing. The film company has given a Santa Catalina Island…
In 1972, the director spent two days in a Watts church filming Franklin recording her historic gospel album. But he forgot to sync the sound. Now, after 43 years, the film is finally ready to be seen — if Franklin’s lawsuit doesnt stop it.
This year’s Venice Film Festival (La Biennale di Venezia) shines the spotlight on romance. But it’s not about your typical, run of the mill love stories, more like passion with a twist. Whether it is a group’s love of mountain climbing, as in Everest, or the devotion child soldiers bestow on their commandant in Beasts of No Nation, or even a futuristic view of attraction as a virus in Equals, love always seems to come at a price here on the Lido.
No film explores that more deeply, and darkly, than Michael Rowe’s Early Winter, screening in the Venice Days program. Rowe’s lead characters are two functioning people, complete with their own flaws and very human set of mistakes, yet when David (Paul Doucet) and Maya (Suzanne Clément) come together, they bring out the worst in each other, and themselves. Or perhaps that’s just how all couples are, once the fairy tale of romance wears off and day to day life sets in…
Discovering the filmmaker behind the work is what I love most about what I do. In person, Rowe is a kind, honest and thoughtful man. In fact, I expected someone different, darker perhaps, more angry. But that’s the thing about human beings, we’re not just one thing, one personality throughout; we are a blend of many moods, many thoughts and conflicting ideas. It is what makes life, and cinema, so interesting.
I’ll preface this by saying that I watched it when I was five but your film reminds me of Scenes from a Marriage, by Ingmar Bergman… That film has always stayed with me, my parents made me watch it.
Michael Rowe: I hadn’t thought of Bergman, I love Bergman. That’s a wonderful film, terrifying.
Your film is terrifying too. Two people who need each other but are so damaging to one another. Who have been your filmmaking influences?
Rowe: Influences in general are Bergman, of course, and Cassavetes, Roy Andersson, Catherine Breillat, there are others but those are my main ones. And in literature Raymond Carver is a big influence.
What is your background?
Rowe: I’m from a small town two hours from Melbourne, in Southern Australia. In filmmaking terms I consider myself Mexican, I don’t consider myself Australian. I’ve lived in Mexico for twenty-two years. Filmmakers like Carlos Reygadas, Amat Escalante, who is a good friend, Fernando Eimbcke, I think we influence each other in our work. And Michel Franco.
How did you direct in French?
Rowe: I do have some notions, I can understand the language, I studied four years of French, years ago. I wrote the dialogue in English and then sat down with the actors and with their help, translated it into French.
Why did you make your female character, Maya so unlikable, she’s quite a horrible person. Why not make him that way?
Rowe: Because that’s the way she was. I don’t think about politics when I’m writing, it comes from somewhere else. And I think that if you have two people in a film, it’s about those two people it’s not about all women all men. I think we undergo a tyranny in the world of culture, this pseudo sociological analysis and criticism that we’re subjected to. Everything has to be able to be analyzed and be politically correct from a Marxists, feminist, socialist POV. No, I mean, people are bad — men and women — and people are good — men and women — and most of us are good and bad, in different contexts.
It is also about the situation. She’s trapped in a way…
Rowe: Yeah, she has a horrible life, she’s with this guy who is not the love of her life, and she’s got these kids and she lives a long way from home. She does her best, and she doesn’t have a particularly easy personality — it’s real life.
Was she difficult to write?
Rowe: All writing is difficult for me. It’s the part I hate. Because you are on your own, you’re completely in the dark, you’re six months away from knowing if it works or not. You can’t ask advice of anyone because no one knows. It’s a difficult and lonely process. I don’t like it but it’s the only process that’s important. The most creative process by a hundred percent, compared to directing which is also nice, it’s much nicer you have people around you. It’s much more social, I love it. Writing I suffer through it a lot but want to tell my version of truth. I want to be honest in what I film and I can’t be honest if I’m filming something that I didn’t write. It’s very important to me to really be the creator. I think the heavy creative work is in the writing.
How did you find your two lead actors?
Rowe: I cast Paul [Doucet] and he brought tears to my eyes in the casting, in a scene with no dialogue. He’s awesome. I knew he was in. There was another actress attached to the film and she couldn’t confirm dates. First of all we had to push the whole shoot by ten months because she was having a baby, and said a month after the birth she would be ready to shoot. We waited and after those ten months when she couldn’t confirm dates again I thought, we’re not going to use her. I sat down with Paul, we create together, when I film it’s just the actors and me, and I said, “who do we have in Canada that could pull off this role?” And Paul said Suzanne Clément and I said, “totally!” as soon as he said it, I thought it would be amazing. I think that sometimes things happen the way they’re meant to happen. We had to wait ten months in order to get Suzanne, that’s fine. That’s what we had to do. I would have waited two years. She’s the best possible actress for the role.
How do you feel about cinema as a means to help us understand the world?
Rowe: I believe it should. I like to try to do that in my films. How to understand ourselves, how to understand the world, I think it has that potential and I think that’s always what I’m aiming for.
Although you say you’re not into being politically correct, what are some themes or subjects you won’t touch in your films?
Rowe: I don’t like violence and I won’t do that kind of a film.
So you won’t be making the next Transformers?
Rowe: No, I don’t know…
You would make a very different Transformers, it would be a bit Kafka-esque.
Rowe: It would be so interesting! If they would give me Transformers I would do something really cool. But yeah, I don’t like violence. Sometimes I’d like to do comedy just because I would be so much nicer to myself during the six months of writing. It would have to be a very serious comedy. What I’m interested in is finding out how we can live our lives in the best way possible. Trying to get light moments in there, but I don’t think I can do that in a comedy. And I don’t know if my natural temper is that way.
The world isn’t much of a comedy these days…
Rowe: That’s the thing, it’s a little heavy and it’s not gonna get much better in the next twenty years… It’s not a moment for that. Comedies distract you and make life a bit more bearable but I don’t like looking away from problems. Comedies don’t teach. You laugh and then you go home and the problems are still there.
Is there a film you remember watching as a child?
Rowe: I remember seeing E.T. in a cinema when I was about 11 or 12 and I remember thinking that was the best imaginable possible film ever.
Three words that describe you?
Rowe: What a difficult question! Gentle, I wanna say, and if I reduce it to a single word it will lose — someone-who-feels-other-people’s-pain-very-intensely — “empathetic” is the actual word but it’s not the same thing… And loving.
Images courtesy of Venice Days, Giornate degli autori, used with permission.
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VH1‘s upcoming 1990’s Hip-Hop flick,The Breaks, isn’t set to make its debut until this winter, but the network rolled out a brief teaser clip to get viewers primed and ready. The movie features performances from The Wire alumni Wood Harris and Mack Wilds, along with Wu-Tang Clan star, Method Man.
The Breaks is based on author Dan Charnas’ The Big Payback book, which broke down some behind-the-scenes happenings of the music industry. VH1’s trailer is only 15 seconds long, but it should give viewers a good sense of what they can expect in the old-school lookback.
More from VH1:
“The Breaks” reunites two Wire favorites Wood Harris (Remember The Titans, Paid in Full) and Mack Wilds (90210). Our cast is led by Afton Williamson (Banshee, Pariah, Man on a Ledge) and newcomers David Call (Gossip Girl) along with Antoine Harris (HBO’s series Ballers and Starz’s Power), Evan Handler (Californication, Sex & The City), Russell Hornsby (Grimm, Lincoln Height) and rapper Method Man. Based on the book by journalist Dan Charnas’ entitled “The Big Payback,” a narrative history of the hip-hop business, “The Breaks” is written, directed and executive produced by Seith Mann (The Wire, The Walking Dead, Homeland) and is scored and executive music produced by the legendary, DJ Premier.
So what are you waiting on? Check out VH1’s The Breaks teaser in the clip below.
Like many, I can get obsessive about film music. But long gone are Erich Wolfgang Korngold, Henry Mancini, even John Barry and the astounding Jerry Goldsmith. We just lost the often excellent James Horner. Meanwhile, John Williams is kinda busy with some little Disney project with lightsabers in it. And upstarts like Anne Dudley, Danny Elfman, Herbie Hancock and Hans Zimmer have become established elders. Thus do I scan the horizon for fresh talent.
Currently my ear has landed upon Giona Ostinelli, a Swiss composer working in Hollywood, a mere 29 years old but with an impressive 25 feature films to his credit, plus assorted short films (over 30 during just nine months studying at USC!) and new-media projects. You can hear Giona’s work this week in POD, a horror shocker by director Mickey Keating, opening in 10 cities and via VOD. While POD — POD on VOD, that’s catchy — showcases Giona’s gift for eerie tension-building, it wasn’t until I visited his studio that the delightful diversity of the young composer’s palette was revealed. He began by screening and playing his upbeat, aw-shucks, orchestral opening for Arnold Grossman’s The Boat Builder (starring Christopher Lloyd) — and I was like, wait, you’re the same guy? You’re not about just one screechy-spooky note?
“With POD, for the ending, I wrote this piece for a choir,” explains Giona of his efficient 2 1/2-week process of scoring the horror, “and Mickey didn’t know what was going to happen. I didn’t know either, because I got to the end of the movie, and I was sick and tired of hearing my sounds, I wanted something different! So I said, ‘how about a choir?’ I sent it to Mickey, I said, ‘Mickey, you’re allowed to hate me for what I’ve done with the ending — because it’s totally different from the rest.’ So I sent it to him, and he was like, ‘that’s an awesome surprise!’ He didn’t expect it, and it worked great.”
Indeed, viewing POD — which is not unlike a meaner, scarier, extended X-Files episode (two siblings check on their brother in a secluded Maine house: and what they find ain’t pretty) — one does not sit around thinking “choir” — and right away, that’s the aura of Giona: an innovator. He seems to have “surprise” coded into his DNA. I ask about scoring horror — does the director impose certain obligatory stings and so forth?
“He always invites me to his place,” says Giona of Mickey, “to his editing bay, and then he shows me the film. He’s like, ‘Here’s my idea, roughly, how it is — just take it, and surprise me!’ So I was working on it, and he has these flashbacks, and I was like, ‘Why don’t we try to do something cool?’ I know that sound design is going to cover that, to a certain extent — but when I watch a film, and I see that type of thing, I would like it to be pressing! (Giona makes a disturbing mouth noise) So I was like, why not take the chance and do it?”
Mickey Keating and Giona Ostinelli
This attitude serves Giona well — he takes the chance and does it — and he and I enthuse over our love of Dave Grusin’s winning score for The Goonies: which, it turns out, inspired us both to rush headlong toward the arts. Heh.
“I remember, when I was a kid, saying, ‘I want to do this!'” gushes Giona. “I started playing drums when I was five, piano when I was almost nine, doing choir when I was 16, playing in many bands — metal bands, rock bands, blues bands, jazz trio — you can see in the types of films I do, I always do different genres. (laughs) I always wanted to do film music, but growing up in Switzerland, it’s not a career choice. In Switzerland you either become a banker, a lawyer, or a doctor.”
Or Jung, I add (though that job application proves fairly stringent).
“Or a watchmaker!” adds Giona’s concert-pianist partner — and we all grin knowingly: watches — how 20th-century!
I elicit a laugh from Giona by imitating the beloved Danny Elfman style (conveniently: “Oompa-Loompa, Oompa-Loompa…”), and he admits he’s a big soundtrack buff, raving up Thomas Newman: “His sounds are so amazing,” he says, emphasizing Saving Mr. Banks, “but for some reason, I love tons of his scores, but that one! Thomas Newman, you listen to him, it’s very simple, and it sounds great. Then you go to Hans Zimmer, he has 200 tracks, it sounds great — a completely different style.”
Giona is practically gasping as he enthuses: “I like listening to scores, and I buy so many! How did they get this sound?!”
Giona Ostinelli’s Soundcloud
On cue, Mickey shows up to join his composer (see videos for the guys in action), and the two rave up their partnership on POD but also Ritual (2013) and the forthcoming Darling (2015). “We’ve known each other for so long,” says the world-weary 25-year-old, “that the whole process is really creative. I feel like so much of the process of working with composers and editors, there’s this learning curve. But me and Giona can just riff back and forth.”
“And also, the cool thing about Mickey,” adds Giona, “not many people do this, but working with Mickey is like family. It’s always the same editor, same sound designer, same cinematographer, and we all know each other. It’s so cool! You feel part of a family, and you’re not afraid to experiment.”
“Yeah, it’s great,” agrees Mickey. “And I mean, it really helps create a process. It doesn’t seem so formal. The movies are all sort of hand-made and home-grown, and that’s what’s exciting about them.”
“I’m finishing Darling, and Mickey’s finishing editing Carnage Park,” chimes in Giona, contrasting both the visuals and sounds of the former (lensed in New York), and the latter (lensed in the California desert).
“What’s great about it is they’re such different films,” adds Mickey. “Darling‘s so weird, but classical and ambient, and Carnage Park‘s like a Peckinpah western with the sensibilities of Texas Chainsaw Massacre and stuff. So they’re all different subgenres of horror, and it’s so cool to be able to have somebody who can just do it all!” Mickey gestures to his friend, Giona.
“I’m sure that if I wouldn’t try to push myself,” sums up Giona, “to do drama, to do comedies, dark comedies, trying to do a romantic film or Christmas film–“
“Two Christmas films,” I remind him.
“–two Christmas films. If I wouldn’t try to push myself, and go to places that I’m afraid of, that I’m not comfortable in, then I wouldn’t be so good even in the horror genre. But because I always try to explore as much as possible, then everything becomes useful.”
POD is now playing in select theaters, and on VOD.
Master P has made another major move in casting his 2016 anticipated release of his biopic The King of The South. He recently obtained Queen Latifah for his movie last week. Here is an AllHipHop.com exclusive staement:
Wendell Pierce, New Orleans Native, superstar actor has signed on to play
the young Percy Miller grandfather in The King of The South bio film. Wendell Pierece has an amazing resume starting in The Wire, Malcolm X, Selma, and Ray just to name a few. With the addition of Wendell Piece and Queen Latifah King of The South fans are excited for the new Master P bio film. Moviegoers are on the Internet praising the theatrical release of the most influential hip hop business pioneer. #KOSMOVIE is highly anticipated, a new trending topic on Twitter and Facebook. Fans will be in for a real treat, as this rags to riches Master P real life story, the true definition to the American dream, written by top Hollywood writers Parde Bridget, Wayne Conley and Percy Miller. The recreation of young Percy Miller’s life and the rise of the Ice Cream Man, No Limit empire, how one man with his last $ 500, turn down a million dollar record contract to go on to sell over 75 million records on his own independent label.Unlike other artists, Master P owned the masters of his music, he created grass-root marketing techniques in selling his product, becoming a marketing genius. Even though he was raised in the murder capital, Calliope Projects of New Orleans, Louisiana, not only did he have street smarts but he had book smarts, he studied business at the University of Houston. He opened a mom and pop record store where he became an expert on the marketing and retail perspective. He later turned his No Limit record store into No Limit Records, the label. At a time when the music industry was run by corporate White America, Master P broke the color barrier by showing the industry that a Black man could be more than just an entertainer. While most artists were looking for record deals, the Ice Cream Man was creating his own avenue in the hip hop world by negotiating an unprecedented distribution deal where he was able to sign other artists and build other business entities, all while being one of the top hip hop artists in the world. Master P proved that with determination and perseverance, you could be successful without changing who you are. While most music company presidents and ceos dressed up in suit and ties, Master P‘s attire was made up of baseball caps and sneakers, but his business sense and ability to negotiate deals made him comparable to some of the elite Wall Street executives.
OH, DOWN IN MEXICO: David Beckham is teaming with Belstaff once again on a short film set to be released on Sept. 22, following the brand’s show at London Fashion Week.
Beckham appears with Harvey Keitel, Katherine Waterston, Cathy Moriarty in “Outlaws,” which was filmed on location in Mexico, with Liv Tyler as the executive producer.
“I always love to challenge myself,” said Beckham. “Filming ‘Outlaws’ in the Mexican desert with Belstaff and the Legs team — not to mention working alongside Harvey, Cathy, and Katherine — was an adventure I will never forget.”
Written and directed by Geremy Jasper, the film has a surreal atmosphere and was produced by Belstaff Films and Legs, a division of Milk Media.
The film follows a mysterious drifter and motorcycle stuntman who is haunted by memories of a beautiful trapeze artist — and hunted by a maniacal director seeking revenge.
The trailer will be released on Monday on the Belstaff brand site, while a wrap party will take place during New York Fashion Week on September 17. The global premiere and party will take place following Belstaff’s show on Monday, Sept. 21.
The brand has an ongoing relationship with Beckham who has appeared in its ad campaigns, and who has
Rage Against The Machine have announced the release of Live At Finsbury Park, a new concert film. Filmed at London’s Finsbury Park on June 6, 2010 in front of 40,000 fans, the free event was the result of a successful Facebook campaign launched by Jon Morter and his then wife Tracy, which saw fans buy the band’s 1992 track “Killing In The Name.” RTT – Music Webcam Performers Wanted – Earn $ 100,000 per year!
Cp3 Filmworks makes exclusive statement to AllHipHop.com, about the upcoming biopic movie King Of The South:
The actress, talk show host and rapper lands a major role to play the mother of the young Percy Miller aka Master P rags to riches story. The film is based on Master P’s overcoming poverty and finding a way out the ghetto for his family through his music.
Flavor Unit executive Shakim Compere says, “This is a great role for Queen Latifah. Master P has an amazing story and has broke a lot of barriers in hip-hop, paving the way for artists to make real money and run their own businesses in the music industry. We have so much respect for what he’s done in the game, we want to help make sure that his story is told authentically with A-list talent.” The King of The South is the latest theatrical endeavor for Latifah who most recently starred in Lifetime’s Steel Magnolia‘s reboot. Her Flavor Unit also struck in overall deal with BET and Centric to revive VH1’s scripted series Single Ladies.
King of The South is written by Parde Bridget, Wayne Conley and Percy Miller, produced by CP3 Filmworks. The recreation of young Percy Millers’s life and the rise of the Ice Cream Man, No Limit empire, how one man with his last $ 500, turn down a million-dollar record contract to go on to sell over 75 million records on his own independent label.
Fans got a first taste of Arcade Fire's "The Reflektor Tapes" — the rock band's first feature-length film — through a teaser trailer last month. Now, the film has not only confirmed a festival debut at TIFF, but it's theatrical release has been pushed up to start sooner, so Arcade Fire followers can jump right in. The band dropped a new, fuller, artier trailer today (Aug. 11) with even more footage from concerts, … News, reviews, interviews and more for top artists and albums – MSN Music
ADULT ENTERTAINMENT NEWS UPDATE:Gabby Love’s top pick! Click and enjoy!
While not all leaders of the LGBT community agree with this sentiment, it has generated an important conversation about representation and what happens when our stories move from the margins to the mainstream.
In response to the controversy, the hilarious parody above tackles the film’s trailer head on and provides some important comedic context to this debate. Not only does the clip, which begins by noting that it has been “approved for white middle class audiences,” offer commentary about the identities represented, but it mashes up the reel with some clips from director Roland Emmerich’s other blockbuster smash hits like “Day After Tomorrow” and “Godzilla.”
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Aretha Franklin, Janis Joplin and Arcade Fire are all subjects of films set to show at the Toronto Film Festival, which begins on September 10 and runs for 11 days. Franklin’s film, Amazing Grace, was shot in 1972 by Sydney Pollack to document her live double album of the same name at the New Temple Missionary Baptist Church in Los Angeles. RTT – Music Webcam Performers Wanted – Earn $ 100,000 per year!
Station to Station took over the Barbican Centre in London for 30 days this summer (June 27 – July 26) with a continuously evolving living exhibition. Each day of Station to Station: A 30 Day Happening, a new 15-second film was posted to @stntostn and these were brought together to create this complete 7.5 minute film. More at: www.stationtostation.com/30-dayfilm WIRED Videos – The Scene
IN THE BAG: Cath Kidston, the British accessories, clothing and homeware brand known for its vintage-inspired prints, has shot a film to tout the upcoming back to school season — and its new collection of school bags.
The short film spotlights British bloggers Katie Ellison of Mummy Daddy Me; Kat Molesworth of Housewife Confidential, and Kathryn Sharman of Kat Got The Cream, who are all shot with their children as if preparing for the first day back at school, while toting Cath Kidston’s fall bag collection, dubbed Bags to School. For the back-to-school season, the label has worked up designs with playful prints of robots, ballerinas and sausage dogs. Prices for the bags start at 24 pounds or $ 37 for a race car drawstring backpack and rise to 30 pounds or $ 46 for a rose print satchel backpack.
Sam Washington directed the film, with production by El Carousel. Sue Chidler, marketing director of Cath Kidston, said the firm had decided to create the collection and film “to capture the first day of school as one of the big emotional periods that parents go through,” she said. “We wanted to connect with our customers in a unique way and be a part of this…journey
In July-August 1987, after 100 shows around the world on The Bridge Tour, Billy Joel accepted the Kremlin’s invitation to the U.S.S.R. for six fully-staged rock shows in Moscow and Leningrad, fulfilling a long-time desire to perform in Russia. During their stay, Billy and his family, along with musicians, staff, and a huge press entourage spent their days interacting with the Russian people, forging true bonds of friendship wherever they went. For the first time A Matter Of Trust – The Bridge To Russia: A Documentary presents an expanded version of what fans saw and heard over a quarter-century ago. The brand-new 90-minute film takes a fresh look at the groundbreaking trip, painstakingly incorporating some of the documentary material from 1988, both released and unreleased. But the heart and soul of this new film comprises up-to-date interviews with nearly 20 U.S. and Russian participants, including Billy, Christie Brinkley, band musicians, crew, and many others. There is a passion and intimacy to their interviews that underscores the historical significance of what these fellow travelers all witnessed, and the warmth that the Russian people showered on them. Billy has always considered that going to Russia was the most important thing he’d ever done as a performer. The freedom and excitement of his presence permanently affected the country and played a role in the ultimate dissolution of the U.S.S.R. in 1991. This new deluxe box set A Matter Of Trust – The Bridge To Russia also includes newly commissioned essays and previously unseen photography.
Aug 04 – Antonio Banderas and other Hollywood stars share the red carpet with the 33 Chilean miners they portray in “The 33” at the Santiago premeire of the film that tells the story of their unlikely survival five years ago. John Russell reports.
There is a lot of dismay and anger over the new film Stonewall. The reasons are many but they center on the appropriation of the story of that pivotal night and the ways in which Hollywood deforms truth for commercial ends. Many are furious to see the tale told from the viewpoint of a white suburban male, and that the telling of a riot initiated by transgender women of color now sees them shunted aside, while the history, and the honor, is colonized by gay white men.
In short: Truth is sanitized — revised to comport with a preset idea of how it was Way Back When. It’s the same process by which the 60s are extolled as an era of “peace love and flowers.” The 60s did, indeed, have an aspect of that ideal. (I saw it. I was there.) But the Summer of Love in 1967 was brief. More to the point, it was a decade in which leaders were gunned down, (e.g., JFK, MLK and RFK), and where heads were busted by cops and hardhats. Yet as imagined through the rosy lens of hindsight, platitudes trump the hard-nosed reality of an era when a nation was being torn apart by a second civil war.
As an activist/writer, I’m familiar with the wrath of revisionists upset at seeing their cozy assumptions punctured. And it makes sense: careers are built on ‘owning’ a socially approved angle on a profitable commodity, such as being a 60s radical, or vanguard 70s “gay activist.” But the actuality of such eras is far different from reductionist simplicities and certainties translated into easy generalizations.
Years ago, I published a memoir about my life in radical “gay lib” culture. It was hailed as a fascinating, no-holds barred tale of the 70s — the highs and lows of a gorgeous, luminous time. But while it was a journey into an unusual underground scene which, at its best, was shining and radiant, and which inspired Harvey Milk, there was, also, an ugly underbelly of drug addiction, manipulation, sordid and psychotic depravity, running in tandem with the visionary beauty.
Perhaps there’s always light in striking contrast to dark? I don’t know. I do know that a few pc thought police were outraged that I’d suggested the cosmic force of gay light was infested with, and ultimately demolished by, centrifugal and progressive damage as the 70s spun across the threshold of AIDS fueled by age, penury, the burdens of addiction and trying to sustain a dream while living a marginal existence.
A porno critic (?!?) savaged my book. So did a self-anointed cultural critic who lived in SF until 1976, but never joined the ‘radical gay lib movement.’ Having been a bystander when it counted, he now shared his outrage…. in an anonymous review.
My point isn’t that people with no first-hand knowledge present themselves as well-informed. My point is that history requires honest accounting of what made an era great, as well as the human failings (or mounting pressures), which combine to make it brief. The undertow and turmoil are as relevant as that which propels a revolutionary movement into self-actualization.
The film, Stonewall panders to those who want history sanitized and don’t mind shunting aside challenging realities for the Pablum of easily-digested maxims. The loss is that any such view erases complex and thought-provoking paradoxes of how marginalized outsiders work through their demons as they progress towards maturity. But ignoring that fidelity to how things actually are, and exalting the mundane, robs any recounting or film of its chance at validity or greatness.
The trajectory of LGBT history was neither smooth nor easy. And those in the vanguard were often troubled. But how could it be otherwise for people brought up to be self-hating and called ‘sick?’ Correcting that lie took years of effort by heroes, such as Frank Kameny. But one hallmark of wholeness is in the courage to face the diverse, contradictory and, sometimes, self-canceling aspects of our Past. That is how we grow. And evolve.
As for Stonewall — the event — we now know that gay white men didn’t assert a leading role; it was transgender women of color like Miss Major Griffin-Gracy, Sylvia Rivera and Marsha P. Johnson. As such, the effort to evade that fact not only deprives the film of accuracy, it repeats the damage inflicted by a culture, which wants history presented in bite-sized pieces instead of the often wrenching, painful and contradictory ways in which Life actually occurred. But value and integrity require facing facts as they are, not in how we’d like them to be to promote facile group-think.
Or so say I.
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MCQUEEN ON FILM: Sunday might have marked the close of the “Alexander McQueen: Savage Beauty” exhibition at London’s Victoria and Albert Museum, but the designer’s archive is getting another lease of life, thanks to Nick Knight’s ShowStudio Web site.
Knight, together with filmmaker Younji Ku and art director Jon Emmony, has created a montage of ShowStudio’s archive footage of the late Lee Alexander McQueen’s creations, for a film called “Lee Alexander McQueen, 1969-2010.” Knight has taken footage of some of McQueen’s most striking looks — among them a red feathered dress from his spring 2001 show, and a sculptural houndstooth outfit from his fall 2009 collection — and has heightened the looks’ impact by distorting the footage and embellishing it with 3-D animation.
The latest project adds to “Unseen McQueen,” a ShowStudio film that features footage of McQueen’s collaborators talking about working with the designer, whose release coincided with the “Savage Beauty” opening in March. The new film is currently live on the showstudio.com Web site.
One of Hollywood’s greatest power couples is at it again. A decade after Brad Pitt and Angelina Jolie fell in love while starring in “Mr. & Mrs. Smith,” they’re lighting up the big screen in a new film.
Alt-J is one of the top festival acts in the alternative music game, and for a new feature-length film, fans can catch a one-of-a-kind live undersell show. Out Sept. 2, Artists Den Presents alt-J will premiere in over 400 theaters across the United States’ biggest markets. News, reviews, interviews and more for top artists and albums – MSN Music
ADULT ENTERTAINMENT NEWS UPDATE:Gabby Love’s top pick! Click and enjoy!