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Adriana, a screenwriting student, posed in front of the camera with dedication and sympathy. Capture: Turó Park, Barcelona.
Dorothy Parker (née Rothschild; August 22, 1893 – June 7, 1967) was an American poet, writer, critic, and satirist. Her writing was published in magazines like Vanity Fair and The New Yorker and she was a member of the Algonquin Round Table in New York. She also was nominated for two Academy Awards for her screenwriting. Eventually her left-wing politics got her on the Hollywood blacklist.
She died of heart disease at age 73, her remains were cremated but not claimed by her executor. The urn was then kept for years in her Manhattan attorney's office. Parker's estate was left to the NAACP (National Association for the Advancement Of Colored People) The NAACP claimed her cremains in 1988 and constructed a memorial garden at their Baltimore, Maryland headquarters. In 2020 the NAACP office relocated and Parker's family requested the urn be brought back to New York. On August 22, 2020, Parker's 127th birthday, her ashes were buried in her family's plot at Woodlawn Cemetery.
Parker's epitaph was chosen by her family from the last four lines of her 1925 poem "Epitaph for a Darling Lady"
Leave for her a red young rose,
Go your way, and save your pity;
She is happy, for she knows
That her dust is very pretty.
Parker’s name is encircled by carved evening primrose which is a reference to her 1929 poem “The Evening Primrose”:
Screenplay by Sy Richardson and Dario Scardapane, executive producer and creator of the NBC drama "TRAUMA."
AND BECAUSE I UNEARTHED THIS FROM THE VAULT RECENTLY:
POSSE great PRESSBOOK w/ (6) 8x10 stills, A SPECIAL BACKGROUNDER, "BLACKS IN THE OLD WEST," and MORE!
Press kits were sent out by the studios to promote the film. They contain a pressbook, sheets with synopsis of the film, credits, etc.
THIS ONE ALSO CONTAINS A BACKGROUNDER,
"BLACKS IN THE OLD WEST,"
Sketches of the African-American experience on the American frontier.
By the Creators of "Posse"
which talks about the "Buffalo Soldiers" and other anomalies of Western lore.
A Mario Van Peebles Film
A Gramercy Pictures Release
2/01/93
The "POSSE" movie script, written by Sy Richardson and Dario Scardapane, executive producer and creator of the NBC drama "TRAUMA." The script was not signed by cast members.
It was actually used in production.
For serious students of screenwriting, this is a great textbook, the first script by a truly gifted writer.
BONUS:
Authentic movie press kit for the 1993 Gramercy Pictures film starring MARIO VAN PEEBLES, STEPHEN BALDWIN and a whole bunch of other fine actors listed below.
It is directed by MARIO VAN PEEBLES.
The presskit also contains 8"x10" black and white glossy photos from the film. These usually feature the cast and key scenes from the film.
Quantity of stills: 6 stills.
Date: 1993.
Stars: MARIO VAN PEEBLES, STEPHEN BALDWIN.
This article is about 1993 western film, Posse: en.wikipedia.org/wiki/Posse_(1993_film)
Directed by
Mario Van Peebles
Produced by
Preston Holmes
Jim Steele
Written by
Sy Richardson
Dario Scardapane
Starring
Stephen Baldwin
Big Daddy Kane
Tiny Lister
Tone Loc
Blair Underwood
Mario Van Peebles
Billy Zane
Faizon Love
Studio:
PolyGram Filmed Entertainment - Working Title Films
Distributed by Gramercy Pictures
Release date(s), May 14, 1993 (U.S.)
Running time, 111 min.
More details about POSSE:
Posse is a 1993 Western film directed by and starring Mario Van Peebles. Featuring a large ensemble cast of mostly African-American actors, the film is about a posse of black soldiers and one ostracized white soldier, who are all betrayed by a corrupt colonel. The title of the film refers to a group of people who are summoned to help law enforcement officers. The story starts with the group escaping with a cache of gold, and continues with their leader Jesse Lee (Van Peebles) taking revenge on the men who killed his preacher father. The film was followed by a sequel in 1997 entitled Los Locos: Posse Rides Again.
Interesting Barnes and Noble Selections 📖 📚
The last book on screenwriting you’ll ever need!
It is delightful and interesting if you love movies. It is also surprisingly relevant to the art and skill of giving a good presentation or a good talk.
An excerpt from "the next chapter", a documentary film. I worked on the direction and the screenwriting. It was the Thesis project for the Seminar of Creative Documentaries (2007).
This film is an essay on death, life and memories.
Submission for Columbia University MFA in Film.
See more: fikaslot.blogspot.com/ or www.vimeo.com/4822906
Adriana, a screenwriting student, posed in front of the camera with dedication and sympathy. Capture: Turó Park, Barcelona.
"Let's say there was a burning building and you could rush in and you could save only one thing: either the last known copy of Shakespeare's plays or some anonymous human being. What would you do?"
– asks the economics-minded Shelden Flender, a character in Woody Allen's Bullets over Broadway
Me? I'd first enquire about the works of Woody Allen, winner of the most Oscars for screenwriting. Mr. Allen, if you happen to read this and want to surpass the popular perception of the greatness of Shakespeare, invent more words. Start with florgermarger.
Adriana, a screenwriting student, posed in front of the camera with dedication and sympathy. Capture: Turó Park, Barcelona.
“A fine work of art - music, dance, painting, story - has the power to silence the chatter in the mind and lift us to another place.”
― Robert McKee, Story: Style, Structure, Substance, and the Principles of Screenwriting
Art of Suzanne Paddock www.suzannevpaddock.com/
Outside of photography, my other passion is writing. I write all different kinds of things but lately I've been concentrating my efforts on screenplays. This is a script I wrote, that I photographed on my ottoman before I took it to my screenwriting group meeting.
Texture by Skeletal Mess
My friend Grisha wants to become a director. Before the war between Russia and Ukraine, he managed to study for two years at the screenwriting faculty in Moscow. When the war started, he and his family had to move to Israel to avoid joining the Russian army and participating in this bad situation. I met him at a volunteer club. The irony of fate – from one war to another. When Hamas attacked Israel, we were all very confused. People in my neighborhood organized a volunteer club, and they immediately brought clothes and essentials for the army. Sadly, Israel was not prepared for the Hamas attack. Reservists woke up in the morning, read the news, and left for military units without taking anything with them. The army wasn’t ready for such a large number of soldiers gathering to defend the country. So, we collected new items and sent them to the army. Someone was always heading to the base to deliver items from the list. Now Grisha and I are friends. He plans to apply to Warsaw for a directing program. But for now, we can always call each other and ask, "Want to go for a walk?"
"And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon thee."
('Jules Winnfield' by Diamond Select Toys / Sculpted by Gentle Giant Studios)
N COLD BLOOD
Here’s an icy image to cool down your hot summer day.
I collaborated on this image with the amazing Jeff Glen Babineau back in 2018. I happened to be out at my cottage when the ice caps began washing up on the shore, so Jeff and I rushed to create this image before the ice melted away. My feet nearly froze as I tried out different poses and concepts. Ultimately, I ended up choosing a pose that is strikingly similar to thisprevious photo I shot in 2011. I guess at the end of the day, I like what I like! 😛
I’m doing rewrites of my feature film script right now… “rewrite" being a figurative term for me gazing blankly out the window and staring at dozens of cue cards stuck along what that looks some sort of elaborate crime board.
They say writing your second draft is the hardest part of screenwriting because you have to make sense of what you ultimately want to say with your film. And well... I can definitely attest to that!
It feels unproductive and discouraging to say the least. And I have to coax my brain to the task every day because every bone in my body is urging me to run away. So it’s been nice to make a creative escape in the form of my photography.
What do you do when you need inspiration? Where do you go to bring yourself back to your work?
Shelbie has expanded her horizons, is now on various internet outlet selling sex tapes, personalized videos, things of that nature.
I’ve got another friend, starting a screenwriting competition.
Another friend, considering pivoting from therapy to life coaching.
Another friend, looking to get into teaching photo workshops.
Folks sure do seem to have to work harder just to get the food from the store to their mouths.
Shelbie’s in France, mind you, this isn’t just a US thing…everything’s getting harder, feels like. Certainly, as I get older, even getting up is harder…but I mean societally, too.
Heavy times, but this was a fine photo session, loved that outfit, this is the most recent Shelbie session, hopefully it won’t be too long before I see her again, this was a great rooftop session…I really need to commit to making that a Photo Spot…I’m thinking of getting a fake hedge backdrop…before it gets too hard to find them, or I can’t afford them, or I’ve got three jobs and no time to take pictures!
Without an audience, any action one takes is but a rehearsal for the true performance. On the silver screen, I lived my roles, but I lived FOR my fans; those who valued my toil were payment enough. The fateful day I sought vengeance for my cinematic legacy, by removing Ms. Lorna Dane from this earth, I sacrificed that audience, knowing full-well I would effectively be renouncing my stardom with such a feat.
Nevertheless, the risk was worth the reward. Had the reproduction of my classic film “The Terror” not been halted, my greatest achievement would have been made a relic, merely regarded as a framework of the new. I made the unspoken vow to my late father: I would never be made a has-been. If he were looking upon my life’s work now, I would hope he could appreciate the way I have adapted. It is true, I am no longer a face of respectable filmmaking, rather criminal activity. Now, my followers and admirers are found in fellow, lesser villains.
Much like screenwriting, Gotham’s demons are born from one of two places: Pure, personal inspiration, or a feeble attempt to leech off of established success. I am of the first, but use the latter to my advantage. Harry Sims, alias Mr. Camera, has since evolved into a true ally of mine, though he began his unlawful career with no more than a gimmick and a wish to prove his prowess as a thief. I took him under my wing, intrigued by his eye for a perfectly-arranged crime scene. His appetite for the artistry of it all grew, same as mine, yet he was rather… prone to tainting the image, shall we say, when left to his own devices.
Ergo, it came as no surprise when he returned to me in a frenzy one evening, after informing me a day prior of a job he had been “discreetly assigned to” by a mystery client. I had just completed my own task of pilfering a Gotham museum that had long withheld props from my older films, when Sims teetered around the corner into the alleyway in which I was making my getaway. His lens was fogged from exertion, his cape’s hem frayed and splashed with sullied water from the pavement. He skidded to a clumsy halt, as I turned to exchange our successes.
Myself: Sims! Back so soon? I do hope your excursion was as fruitful as my own. Hardly any heroes in the crowd to deal with this go-around; only had to mangle one leg belonging to a most disagreeable employee who did not approve of the repossession of my belongings…
Sims (feverishly): Cool beans, couldn’t be happier. Now would you stuff your thesaurus and HELP ME GET AWAY FROM THAT MANIAC?!?
Myself (peering down the shadowed, empty street beyond him): To which unseen pursuer do you refer? Craddock giving you a hard time?
Sims (shaky): Oh-ho, you think this a real kicker don’t you? Come on, we need to stay on the move!
Myself (trailing Sims): Kindly elaborate.
Sims: That side-gig I agreed to? I wish I could take it ALLLL back. You know what my client wanted me for? Photographic evidence of his wife, eh… seeing someone… like… you know…
Myself: I’m familiar with the circumstances, Sims.
Sims: Yeah, so anyway, I go and trail her to some side of town that I think I remember, but I can’t put my finger on it, until I get a good look at the house she’s going to, and the guy who OWNS the house, and at the same time HE spots ME because darn-it-all, I left the flash on again. … It was MITCHELL! Condiment King!
Myself: … I’m positively a-quiver.
Sims: I know, I know, usually he’s all ketchup and no Sriracha, but I tell you, you’ve never seen him like this; you didn’t see the look in his eye when he started after me! I swear he was fixing to flay me alive! Every time I think I’ve shook him, I catch a glimpse of him sprinting after me from behind a car or building. And he’s got this thing with hi-
*Speak of the devil, Mitchell Mayo’s laughably-undeniable likeness materializes from the shadows and blocks our route. Sims lets out a “yipe” like a small dog as Mayo draws nearer, leveling what appears to be a modified gatling gun at our chests.*
Mayo (in the voice of a man on the verge of insanity): I want those pictures, Mr. Camera. I would’ve gladly taken ‘em off you in a polite manner, if you’d given yourself up a while back, but you had to go and RUN. You’ll sorely vinai-REGRET-te that!
Sims: “Vinai-regret-te”? Like, the salad dressi-?
Mayo (no longer simply “on the verge”): IT’S HARD THINKING UP oRiGiNaL cOnDiMeNt pUnZ, YOU SNIVELING LUMMOX, oKaYyY???
*Sims all but audibly soils himself.*
Mayo (swiveling to me with a mad twitch in his left eye): And yOuUu! I knew this sap would come crawling to you! Don’t even think about budging one blob of mud. See, this bad-boy I’m packing? It fires Carolina Reapers, already the hottest pepper in the world, home-grown and genetically-modified by yours truly to explode on sudden impact. It’ll eat through you like, well… Like me, through a hot-dog-eating contest! GeT iT?? AHAHAHAHAHHAAA-
Sims had really done it this time, riling up one of the most demented miscreants the city had to offer, who in addition seemed to be wielding a weapon of unquantifiable danger to even one as powerful as myself. I give pause, knowing this spot we are now in calls for not my hulking strength as Clayface, but instead the agreeable charms of Basil Karlo. I recall Mayo being out of earshot at the time I had dismissed him as a viable threat, meaning I have substantial room to work with in terms of my demeanor, even if it was too late to beneficially alter my appearance. I only hope Sims will play along, seeing as the both of us have not the time to collude.
Myself (adopting a tone of false sympathy): Mr. Mayo, I assure you, I am equally as outraged at Mr. Camera’s actions. REALLY, Sims… Tailing a reputable mastermind of crime such as Condiment King, as though you were a lowly private investigator. You aught to show greater courtesy to one so esteemed.
Sims: W-whaah? Karlo, are y-
Mayo: LeT tHe MaN tAlK!
Myself: I say, Sims, return the evidence to Mr. Mayo this minute! I am aghast at this behavior.
Sims: My c-client will be just as angry with me as-
Myself: To blazes with them! Mr. Mayo commands enough respect to not be challenged by the likes of you!
Both Mayo and Sims are at this point questioning how well they know me, of course, but when Sims and I walk away from this ordeal NOT disintegrated by fruit-matter, he will thank me.
Mayo (as Sims glumly begins removing from his person the photos he had snapped earlier): Wellll! This is a nice change in pace, isn’t it Sims? Looks like some villains out there actually take me seriously, as they should, if they know what’s good for ‘em!
Just as this heated circumstance seems to have already subsided, the clank of metal boots echoes from the opposite direction of Mayo’s entrance. A man in the shoddily-welded armor of a knight, toting a firearm in each palm, enters the scene. I cannot help but note he has them fixed unmistakably on me.
??? (Australian): Remeember me, ol’ friend of moin? ‘Eard you were in th’ neighbor’ood.
Mayo (puffing out his chest): And who would YOU be, to interrupt my business!?
Swagman: SWAGMAN, the goy who’s missin’ an arm because of a certain shapeshiftah who stands before us. *He knocks on his left arm to reveal a makeshift prosthetic.*
It was coming back to me now. He HAD been one of the buffoons present, when I had infiltrated Task Force X’s ranks in search of a runaway identity. Either he had been released from duty for his wounds sustained, or he managed to carve a bomb out of his neck simply to escape and fulfill this vendetta against me; a level of determination I found quite troubling. Swagman was surely not ill-prepared for a fight with me. It appeared my act was not yet complete.
Myself (in a Southern drawl): Well now hey son, seems you caught me dead-to-raghts.
Swagman: … Wot?
Myself: You gawt me! I have been gen-u-ine-ly tracked by you, sir, with no plans up my sleyve to git owt of such a quandary. I can respect such gumption.
Sims: Karlo, why are you ta- *I reposition my eye to the side of my head and give Sims a silencing stare to cut him short*
Swagman: You’re… you’re not Karlo… *aims weapons at Sims and Mayo* One of you! You’re ‘im, or you would know where ee’s hoiding! I won’t eenswers, now!
Mayo: That IS him!
Sims (thankfully catching on): I don’t know the guy, cross my heart!
Myself: You got him, pardner! I know when my goose is cooked, jest please tell my darlin’ wahfe I died with dignitay.
Swagman (jolting about like a carnival ride, unsure on whom to set his sights): Oll of you, shut it! Oi can’t think straight!
??? (from Mayo’s direction): What do we have here? A bunch of squabbling inmates, thought they could make parole on MY watch? Not a chance.
Mayo: Oh for pickles’ sake, ANOTHER guy?!?
Swagman: “Pickles’ sayk”? Blimey thet’s bad.
The newcomer is Lyle Bolton, Lock-Up. A madman hellbent on confining supervillains in the most inhumane ways possible. He has no shortage of tools and gadgets to help bring in even the toughest of evildoers. Luckily, I recall coming across his file at Arkham once, and one little gem I noticed therein would be most auspicious to resolving Sims’ and my predicament.
Myself (falling to my knees at Sims’ feet, with a trembling, adolescent voice): Dad, I don’t want to go to prison again! Please, why do you make me break the law with you? I can’t do this!
Sims (with Mayo, Swagman and Bolton all staring at us): Uh… er, quit whining boy! You’ll do as you’re told! I’ll make a man of you yet!
As I had hoped, this moving scene hits home with Bolton.
Bolton (curling down with his chin on his knees, rocking on his heels): Your father… makes you? No… no Father, I don’t want to eat my dinner in the basement again! Please, not the chains!
Swagman: Fother? What’re you on abowt?? WHO IS CLAYFACE??
Mayo (all his fury depleted by this point): I’m so lost.
I motion to Sims that our chance to flee is at hand, when a bullet ricochets off the dumpster behind Swagman. We all crane our necks to the rooftops. In the darkness, a head of flowing scarlet-red hair and the glinting muzzles of two handguns is all that greets us.
The redhead: Lost, huh? From where I’m standing, you’re all only six feet directly above where you belong.
Sims: OH COME ON, where did she come from? Is this a scripted grade-school pageant with CUES??
Batwoman. A vigilante with a fraction of the moral code most heroes native to Gotham assume. Perfectly comfortable with killing, but as with most crime-fighters, susceptible to naive taunting.
Myself (in a gruff voice befitting low-ranking, rented muscle): You think you’re so tough lady? You ain’t puttin’ me in the ground, not tonight or any other!
Batwoman takes the bait. She fires a grappling cable into the wall behind me just as I expertly position myself between her path and Sims. She zip-lines a solid kick into my abdomen, and I allow Sims and myself to rocket down the alley, just as planned. Mayo attempts to aim his weapon, but two shots from Batwoman’s pistols crack the canister. The outburst of noxious and spicy fumes flings Mayo in a glorious arc, straight through a window of the adjacent building. Batwoman ducks a swing from Bolton’s baton, the blow inadvertently denting Swagman’s helmet, making him stumble away and trip into a trashcan.
Myself (helping Sims up): Quickly, whilst she engages those halfwits, let us make haste!
Our flight persists through several more alleys, until the clamor of the battle I incited is no more, and we find ourselves in a vacant construction lot. We seat ourselves and take long breaths of relief.
Sims: Gotta hand it to you, that was quick thinking, getting Batwoman to “take us out” first. She would’ve just shot us if you hadn’t challenged her like that. That’s heroes for you, huh? They always make the cocky thugs suffer first.
Myself: Indeed. And fortunately for our purposes, Lock-Up had not dealt with some deep-rooted paternal issues. Dr. Crane would surely have a field day examining his fascination with bondage.
We both wearily yet jovially celebrate our expertly-crafted escape, and I rejoice that I still retain an adoring audience. But lo, just then my gaze falls upon yet another figure in our midst. Cape furling in the night breeze like disturbed pitch-black waters. Pupil-less eyes narrowed; their piercing white, a mirror to a guilty soul. They belong to the first person I should have expected to see tonight, if not for the distraction of my previous encounters. The Batman has sought out his prey, as always.
Sims scrambles to his feet and begins to dart away. I remain seated, sagging in defeat. A whirling batarang slices through a chain, bearing an immense load of dirt high above my head. Just as my essence will diffuse when exposed to water, a high concentration of earthen material introduced to my absorbent body will render me immobile. The Batman knows this. I do not attempt to counter his assault. I shut my eyes as I am buried under the plummeting mound. Sims won’t make it far either.
There would be no sense in trying to free myself. The Bat already has a plan in mind for my resistance. I find no audience him any longer, as I did in earlier years. He’s only a jaded critic now. I cannot dazzle him with tricks or my many masks.
He’s seen all my performances.
National Creativity Day Is May 30
National Creativity Day was founded by Hal Croasmun and Screenwriting U “to celebrate the imaginative spirits everywhere and to encourage them to keep creating.” It is a day to nurture your creativity, to be imaginative, and to support the creativity of others. There are all types of creative people, such as artists, writers, photographers, musicians, and filmmakers. But one doesn't need to be an expert in a field in order to be creative—those who just dabble in creative pursuits can benefit from doing so.
Kurt Vonnegut once wrote: “The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven’s sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possible can. You will get an enormous reward. You will have created something.”
On National Creativity Day, this sentiment is embraced, and we set out to harness our creative energies and create!
How to Observe
Spend the day supporting the creativity of others and and encouraging others to continue being creative. Nurture your own creativity and learn strategies to enhance it. You could read an article such as “25 Ways to Be More Creative”, which goes over author and psychologist Keith Sawyer’s eight steps to be more creative, from his book Zig Zag: The Surprising Path to Greater Creativity. You could read that book or another book of his on the topic, Explaining Creativity: The Science of Human Innovation.
There are an almost limitless amount of creative things you could do or things you could do to help get you into a creative mood:
Write a priority list with your hopes and goals, or make a vision board.
Join a book club.
Meditate.
Avoid technology for the day and connect and engage with the things around you. Say "hello" to people you pass on the street, and notice birds, trees, flowers, and the beauty that can be found everywhere.
Organize. Start with something small like organizing a drawer or a closet, and then expand to a whole room.
Call a friend.
Write in your personal journal or diary, or start one if you don't have one. Journaling helps you understand and reflect on your inner thoughts.
Pick a topic and do some free-writing. Write a poem or a short story. Begin writing a novel or screenplay. Write a letter to a friend. Write a letter to your past self, or write a letter to your future self and put it in a time capsule.
Begin learning how to play a new instrument or play an instrument you already know.
Start a band. Get your old band back together. Sing in the shower. Sing in the car. Sing some karaoke.
Take a walk and get into nature.
Read poetry in public.
Join a theater group.
Take dance lessons or go dancing.
Host a comedy show.
Do some visual art such as drawing, painting, sculpting, collaging, photography, or videography. Draw in a sketchbook or use an adult coloring book.
Visit a museum or art gallery, or travel around a city looking at murals.
Do some sewing, needle-pointing, knitting, pottery, or candle making.
Make some new recipes.
Plant a garden.
Play a board game.
Or, do as Emmit is doing: Constructing with Legos!
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Last week we went to see this film. It was brilliant, the special effects were amazing. I like Eddie Redmayne, he does geeky very well! He was brill in Theory of Everything too. I should have stood in the suitcase for a pic but I forgot my wand on this occasion!
* Fantastic Beasts and Where to Find Them is a 2016 British fantasy film directed by David Yates and distributed by Warner Bros. Pictures. A prequel of the Harry Potter film series, the film was produced and written by J. K. Rowling, in her screenwriting debut, and inspired by her book of the same name. The film stars Eddie Redmayne as Newt Scamander with Katherine Waterston, Dan Fogler, Alison Sudol, Ezra Miller, Samantha Morton, Jon Voight, Carmen Ejogo, Ron Perlman and Colin Farrell in supporting roles. It is the first instalment in the Fantastic Beasts series, and the ninth overall in J. K. Rowling's Wizarding World.
Principal photography began at Warner Bros. Studios, Leavesden on 17 August 2015. Fantastic Beasts and Where to Find Them premiered in New York City on 10 November 2016 and was released worldwide on 18 November 2016 in 3D, IMAX 4K Laser and other large format theatres. It received generally positive reviews from critics and has grossed over $500 million worldwide. From Wikipedia
German postcard by Edgar Medien AG, no. 6.689. Image: Buena Vista / Miramax. Rosario Dawson in Sin City (Frank Miller, Quentin Tarantino (special guest director), Robert Rodriguez, 2005). Caption: Shall we go to me?
Sin City (2005), also known as Frank Miller's Sin City, is an American Neo-Noir film produced and directed by Frank Miller and Robert Rodriguez, with Quentin Tarantino as "special guest director". The live-action film is based on Frank Miller's graphic novel series of the same name that won the Eisner Award.
Interweaving multiple storylines from the series' history,Sin City (2005) paints the picture of the ultimate town without pity through the eyes of its roughest characters. Much of this violent Neo-Noir is based on the first, third, and fourth books in creator Miller's original comic series. The Hard Goodbye is about ex-convict Marv (Mickey Rourke) who embarks on a rampage in search of his one-time sweetheart's killer. The Big Fat Kill follows photographer Dwight (Clive Owen), who gets caught in a street war between a group of prostitutes and a group of mercenaries, the police, and the mob. That Yellow Bastard focuses on an aging police officer (Bruce Willis) who protects a young woman (Jessica Alba) from a grotesquely disfigured serial killer. The intro and outro of the film are based on the short story 'The Customer is Always Right' which is collected in Booze, Broads & Bullets, the sixth book in the comic series. Three directors received credit for Sin City: Miller, Rodriguez, and Quentin Tarantino, the last for directing the drive-to-the-pits scene in which Dwight talks with a dead Jack Rafferty (Benicio del Toro). Miller and Rodriguez worked as a team directing the rest of the film.
Sin City (2005) stars an ensemble cast led by Jessica Alba, Benicio del Toro, Brittany Murphy, Clive Owen, Mickey Rourke, Bruce Willis, and Elijah Wood, and featuring Alexis Bledel, Michael Clarke Duncan, Rosario Dawson, Carla Gugino, Rutger Hauer, Jaime King, Michael Madsen, Nick Stahl, and Makenzie Vega among others. Several of the scenes were shot before any actor had signed on; as a result, several stand-ins were used before the actual actors were digitally added into the film during post-production. Rodriguez, an aficionado of cinematic technology, has used similar techniques in the past. The film was noted throughout production for Rodriguez's plan to stay faithful to the source material, unlike most other comic book adaptations. Rodriguez stated that he considered the film to be "less of an adaptation than a translation". As a result, there is no screenwriting in the credits; simply "Based on the graphic novels by Frank Miller".
Sin City (2005) opened to wide critical and commercial success, gathering particular recognition for the film's unique color processing which rendered most of the film in black and white while retaining or adding color for selected objects. The film was screened at the 2005 Cannes Film Festival in competition and won the Technical Grand Prize for the film's "visual shaping". Jeremy Wheeler at AllMovie: "As far as comic adaptations go, Sin City is an unprecedented book-to-screen translation that's locked, loaded, and rip-roaring ready to introduce movie audiences to the mad genius that is Frank Miller. " Roger Ebert awarded the film 4/4 stars, describing it as "a visualization of the pulp noir imagination, uncompromising and extreme. Yes, and brilliant" and "This isn't an adaptation of a comic book, it's like a comic book brought to life and pumped with steroids. It contains characters who occupy stories, but to describe the characters and summarize the stories would be like replacing the weather with a weather map." The New York Times critic Manohla Dargis gave credit for Rodriguez's "scrupulous care and obvious love for its genre influences", but noted that "it's a shame the movie is kind of a bore" because the director's vision seems to prevail on the intensity of reading a graphic novel. Sin City grossed $29.1 million on its opening weekend, defeating fellow opener Beauty Shop by more than twice its opening take. The film saw a sharp decline in its second weekend, dropping over 50%. Ultimately, the film ended its North American run with a gross of $74.1 million against its $40 million negative cost. Overseas, the film grossed $84.6 million, for a worldwide total from theater receipts of $158.7 million. A sequel, Sin City: A Dame to Kill For, was released in 2014, also directed by Miller and Rodriguez. It was a critical and financial failure.
Sources: Roger Ebert, Jeremy Wheeler (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
The most beautiful women in TV and Movie History now become Barbie Collector Dolls created by acclaimed re-paint Artist Donna Brinkley.
Victoria Leigh Blum (born October 15, 1955), professionally recognized as Tanya Roberts, is an American actress best known for her role as Julie Rogers on the fifth and final season of Charlie's Angels (1980–1981) and as Midge Pinciotti on That '70s Show (1998–2001).
She starred in the films The Beastmaster, A View to a Kill, and Sheena. Roberts was groomed as a Hollywood sex symbol during the early 1980s.
Blum was born in The Bronx of Irish and Jewish descent. Her father was an fountain pen salesman. Her parents divorced when she was a teenager.[1] She lived with her mother in Toronto for several years, where she started formulating a photo portfolio and laying plans for a career. At age 15, she abandoned her studies to marry and lived for a while hitch-hiking across the United States, until her mother-in-law annulled the union.
She returned to New York City and became a fashion and cover model. After meeting a psychology student, Barry Roberts (while waiting in line for a movie), she proposed to him in a subway station and they were soon married. While Barry pursued a career as a screenwriter, she began to study at the Actors Studio with Lee Strasberg and Uta Hagen under the name Tanya Roberts.
Her career began as a model in TV ads for Ultra Brite, Clairol and Cool Ray sunglasses. She played serious roles in the Off-Broadway productions, Picnic and Antigone. She also supported herself as an Arthur Murray dance instructor. Her film debut was the 1975 thriller, Forced Entry. This was followed in 1976 by The Yum-Yum Girls, a comedy.
In 1977, as her husband was securing his own screenwriting career, the couple moved to Hollywood. The following year, Roberts participated in the drama, Fingers. Roles in the 1979 cult-movie, Tourist Trap, Racket and California Dreaming followed. Roberts was featured in several television pilots that were never picked up: Zuma Beach (a 1978 comedy); Pleasure Cove (1979); and Waikiki (1980).
In 1980, Roberts was chosen from some two-thousand candidates to replace Shelley Hack in the television series, Charlie's Angels. Roberts played the sultry Julie Rogers, a streetwise fighter who used her fists more than her gun. Before the season's premiere, Roberts on a issue of People Magazine with the headline: "Is the Jiggle Up?: In the Wake Low Ratings, Will Tanya Roberts Save Charlie's Angels from Rerun Heaven?"
Nevertheless, the series moved around constantly on its schedule and soon fell to an extreme low in the ratings. So not as People had predicted, Tanya Roberts didn't help save Charlie's Angels from cancellation. However producers of the show reported if Roberts had entered the show the previous season the series would've been back for a sixth season. Today Roberts has been cited as a likeable beauty to that of former Charlie's Angels star Farrah Fawcett.
[2] She was featured on the February 9, 1981 cover of People Magazine magazine to distance herself from her Charlie's Angels image. Afterward she was offered more ambitious projects.[3][4]
[edit] Post-Angels
In 1982, Roberts played Kiri in The Beastmaster. She was featured in a nude pictorial in Playboy to help promote the movie, appearing on that issue's October 1982 cover. In 1983, Roberts filmed the Italian-made adventure fantasy film Hearts and Armour (also known as Paladini-storia d'armi e d'amori and Paladins—the story of love and arms), based on the medieval novel, Orlando Furioso. She played the role of Velda, a buxom secretary to private detective, Mike Hammer, in the television movie, Murder Me, Murder You. The two-part pilot spawned the syndicated television series, Mickey Spillane's Mike Hammer. She declined to continue the role in the Mike Hammer series so she could work on her next project, Sheena: Queen of the Jungle. The movie was a box office and critical disaster, garnering her a nomination for "Worst Actress" at the Razzie Awards.
Her subsequent appearance as Bond girl, Stacey Sutton, a well-educated and articulate geologist, in A View to a Kill (1985), which provided her a number of scenes with Roger Moore's James Bond. She again found herself nominated by the critics for a Razzie Award.[5] Later films in the 1980s included Night Eyes, an erotic thriller; Body Slam (1987), an action movie set in the professional wrestling world; and Purgatory, a movie about a woman wrongfully imprisoned in Africa.
[edit] 1990s–present
In 1991, Roberts starred in the erotic thriller, Inner Sanctum (1991), alongside Margaux Hemingway. In 1992, she played Kay Egan in Sins of Desire. She appeared on the cable TV series, Hot Line, in 1994; and in the video game, The Pandora Directive, in 1996.
In 1998, she took the role of Midge Pinciotti on the successful, long-running television sitcom, That '70s Show. Roberts claimed to E! True Hollywood Story that she left the series in 2001 because her husband, Barry Roberts, had become terminally ill. Barry Roberts died in 2006. In 2008, Tanya Roberts wrote the foreword to the book, The Q Guide to Charlie's Angels.
Tim thinks on Film Freak’s last words to him about a ‘production assistant’ wishing him to ‘taste the flames’ as he had. His thoughts were cut short however as the man in the Aquaman costume cried out,
“Are you just going to stand there?! The building’s burning down!!” Snapping back to reality, Tim nodded,
“Right…just…give me a minute…” Tim looked around quickly as a flaming piece of wood nearly landed on his shoulder. Beginning to run around the room, using his domino mask to analyze the various walls. Each one was reinforced, none of the items on his utility belt could possibly make a dent.
“This is hopeless!” The woman dressed as Wonder Woman screamed as the elderly homeless man dressed as Green Lantern put his hand on hers. He clearly was disabled, Tim could tell with one look as his legs were severely underused, however the ‘Green Lantern’ attempted to calm ‘Wonder Woman’ down with,
“I know this boy.” Tim froze, waiting for the old man to continue, “He’s Robin…the Boy Wonder…he’ll save us. He works with Batman, they do the impossible.”
“Unless he can tear apart the walls with his bare hands we’re completely screwed…hey hands off…” ‘Aquaman’ said as ‘Flash’ finally recovered and began to assault Tim. However, Robin was ready for this as he grabbed the man from the back of his neck and the middle of his back before tossing him into the fireplace in one fluid motion. Having a moment of realization, Tim quickly ran up to the fireplace before dragging the once again unconscious ‘Flash’ out and looking up.
“We can get out this way!” Tim called back to the hostages. The fire raging harder than before, Tim made sure that every costumed hostage was at the fireplace before retrieving his grappling gun. Before aiming it at the top of the chimney however, he noticed the ‘Green Lantern’ was still sitting at the table. Pointing to ‘Aquaman’, Tim said, “You. Pick him up and bring him over here.” ‘Aquaman’ rolled his eyes before walking over to ‘Green Lantern’. Tim first grabbed the woman dressed as Wonder Woman around the waist before firing his grappling gun out of the burning building. First testing to see that it had connected with a solid object by tugging on the cord, Tim and ‘Wonder Woman’ ascended out of the faux house. Setting her down gently on the rooftop, Tim turned back and fired his grappling hook back down to connect with the ‘Flash’s shoe. Dragging the mind controlled man up by his foot, Tim set him down next to ‘Wonder Woman’, who began to scream as the flames reached the rooftop.
“C’mon man, hurry this up!” ‘Aquaman’ cried out, ‘Green Lantern’ in his hands.
“Let me get him up here first!” Tim called down.
“No way! Get me out of here!” ‘Aquaman’ yelled again, setting ‘Green Lantern’ down as he did. Tim, filled with anger, answered,
“Fine.” Before shooting his grappling hook into the ‘Aquaman’s shoulder. The man cried out in pain as Tim began hoisting him up. Just as he began to pull ‘Aquaman’ out of the chimney, Tim felt the ‘Flash’ moving behind him. The brainwashed celebrity, who Tim had not identified yet beneath the Flash costume and mind control device, punched him in the arm. Letting out a cry of pain while simultaneously kicking the ‘Flash’ in the shin and holding on to ‘Aquaman’ with all of his might, Tim attempted to maintain his composure. However, the amount of sweat accumulating on his face as well as the amount of smoke in the air meant one thing: the structural integrity of the small set was nearly at its end. Tim landed a punch that sent ‘Flash’ tumbling off of the roof, effectively saving him and finally knocking him out cold upon hitting the ground. After doing so, he lifted ‘Aquaman’ out of the chimney just as it collapsed in on itself. Flaming bricks, albeit fake bricks, all landed on the ‘Green Lantern’ below. Tim felt his lungs constrict the way they did anytime he and Bruce had done the inevitable: they let someone die. While sharing Bruce’s philosophies on the value of life, Tim was always more shaken by the death of innocent civilians than the death of a criminal. The ‘Green Lantern’ still had a smile on his face although he was long gone in a crumpled heap under flaming rubble. Breathing heavily, Tim turned to ‘Aquaman’ and ‘Wonder Woman’, saying, “We need to get off this rooftop now.” Even through ‘Aquaman’s stubborn and childish attitude, he remained silent and grim as he performed a flip off of the rooftop to land perfectly on the ground. Tim was taken aback by this impressive physical feat as he helped ‘Wonder Woman’ around the flames and onto the ground just as the roof of the set caved in. Still thinking about the old man in the Green Lantern costume as the structure went up in flames, ‘Wonder Woman’ said,
“Thank you, Robin.” Tim turned to her, ‘Aquaman’, and the ‘Flash’ as he nodded,
“All in a days work.” Even a half hearted smile was impossible, although it became even more complicated as ‘Aquaman’ quickly threw a punch that knocked ‘Wonder Woman’ clean out. Tim reached for his staff before realizing in the chaos he had dropped in in the burning set. Raising his fists to ‘Aquaman’, Tim asked, “Why’d you do that?” ‘Aquaman’ smiled as he removed his wig, revealing jet black hair as he explained,
“Sorry kid, you picked the short straw this time.”
“You’re Film Freak?” Tim asked. The man laughed,
“No…no…no…the name’s Jaret Row, I’m here to make sure Film Freak reaches his climax,” Tim looked at Jaret funny as the man stumbled back on his words, “I mean…he thinks you’ve gone too far. I’m going to bring you to him.” Shaking his head, Tim said,
“Unlikely.” But just as he began to spring into action, a stage light crashed over Tim’s head from behind. As he collapsed to the ground, vision blurring, he looked up to see a pale man in a white shirt with dress pants. His hair was styled as if he was a movie star of the 1920s, and he wore a lanyard with the name WESTON on the key card.
“Actually, very likely, Robin,” Film Freak said as he stood over his fallen foe, “You see, I’ve decided to take on screenwriting duties as well, and I’ve made some extensive rewrites. It’s time for you to witness your end…now.” Just as Film Freak finished, his henchman Jaret quickly stomped on Tim’s face, knocking him out as well.
French postcard. Image: Miramax. Photos: Rico Torres. French poster for Sin City (Frank Miller, Quentin Tarantino (special guest director), Robert Rodriguez, 2005).
Sin City (2005), also known as Frank Miller's Sin City, is an American Neo-Noir film produced and directed by Frank Miller and Robert Rodriguez, with Quentin Tarantino as "special guest director". The live-action film is based on Frank Miller's graphic novel series of the same name that won the Eisner Award.
Interweaving multiple storylines from the series' history,Sin City (2005) paints the picture of the ultimate town without pity through the eyes of its roughest characters. Much of this violent Neo-Noir is based on the first, third, and fourth books in creator Miller's original comic series. The Hard Goodbye is about ex-convict Marv (Mickey Rourke) who embarks on a rampage in search of his one-time sweetheart's killer. The Big Fat Kill follows photographer Dwight (Clive Owen), who gets caught in a street war between a group of prostitutes and a group of mercenaries, the police, and the mob. That Yellow Bastard focuses on an aging police officer (Bruce Willis) who protects a young woman (Jessica Alba) from a grotesquely disfigured serial killer. The intro and outro of the film are based on the short story 'The Customer is Always Right' which is collected in Booze, Broads & Bullets, the sixth book in the comic series. Three directors received credit for Sin City: Miller, Rodriguez, and Quentin Tarantino, the last for directing the drive-to-the-pits scene in which Dwight talks with a dead Jack Rafferty (Benicio del Toro). Miller and Rodriguez worked as a team directing the rest of the film.
Sin City (2005) stars an ensemble cast led by Jessica Alba, Benicio del Toro, Brittany Murphy, Clive Owen, Mickey Rourke, Bruce Willis, and Elijah Wood, and featuring Alexis Bledel, Michael Clarke Duncan, Rosario Dawson, Carla Gugino, Rutger Hauer, Jaime King, Michael Madsen, Nick Stahl, and Makenzie Vega among others. Several of the scenes were shot before any actor had signed on; as a result, several stand-ins were used before the actual actors were digitally added into the film during post-production. Rodriguez, an aficionado of cinematic technology, has used similar techniques in the past. The film was noted throughout production for Rodriguez's plan to stay faithful to the source material, unlike most other comic book adaptations. Rodriguez stated that he considered the film to be "less of an adaptation than a translation". As a result, there is no screenwriting in the credits; simply "Based on the graphic novels by Frank Miller".
Sin City (2005) opened to wide critical and commercial success, gathering particular recognition for the film's unique color processing which rendered most of the film in black and white while retaining or adding color for selected objects. The film was screened at the 2005 Cannes Film Festival in competition and won the Technical Grand Prize for the film's "visual shaping". Jeremy Wheeler at AllMovie: "As far as comic adaptations go, Sin City is an unprecedented book-to-screen translation that's locked, loaded, and rip-roaring ready to introduce movie audiences to the mad genius that is Frank Miller. " Roger Ebert awarded the film 4/4 stars, describing it as "a visualization of the pulp noir imagination, uncompromising and extreme. Yes, and brilliant" and "This isn't an adaptation of a comic book, it's like a comic book brought to life and pumped with steroids. It contains characters who occupy stories, but to describe the characters and summarize the stories would be like replacing the weather with a weather map." The New York Times critic Manohla Dargis gave credit for Rodriguez's "scrupulous care and obvious love for its genre influences", but noted that "it's a shame the movie is kind of a bore" because the director's vision seems to prevail on the intensity of reading a graphic novel. Sin City grossed $29.1 million on its opening weekend, defeating fellow opener Beauty Shop by more than twice its opening take. The film saw a sharp decline in its second weekend, dropping over 50%. Ultimately, the film ended its North American run with a gross of $74.1 million against its $40 million negative cost. Overseas, the film grossed $84.6 million, for a worldwide total from theater receipts of $158.7 million. A sequel, Sin City: A Dame to Kill For, was released in 2014, also directed by Miller and Rodriguez. It was a critical and financial failure.
Sources: Roger Ebert, Jeremy Wheeler (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by Edgar Medien, no. 7.592. Image: Miramax. Photo: Rico Torres. Mickey Rourke in Sin City (Frank Miller, Quentin Tarantino (special guest director), Robert Rodriguez, 2005).
Sin City (2005), also known as Frank Miller's Sin City, is an American Neo-Noir film produced and directed by Frank Miller and Robert Rodriguez, with Quentin Tarantino as "special guest director". The live-action film is based on Frank Miller's graphic novel series of the same name that won the Eisner Award.
Interweaving multiple storylines from the series' history,Sin City (2005) paints the picture of the ultimate town without pity through the eyes of its roughest characters. Much of this violent Neo-Noir is based on the first, third, and fourth books in creator Miller's original comic series. The Hard Goodbye is about ex-convict Marv (Mickey Rourke) who embarks on a rampage in search of his one-time sweetheart's killer. The Big Fat Kill follows photographer Dwight (Clive Owen), who gets caught in a street war between a group of prostitutes and a group of mercenaries, the police, and the mob. That Yellow Bastard focuses on an aging police officer (Bruce Willis) who protects a young woman (Jessica Alba) from a grotesquely disfigured serial killer. The intro and outro of the film are based on the short story 'The Customer is Always Right' which is collected in Booze, Broads & Bullets, the sixth book in the comic series. Three directors received credit for Sin City: Miller, Rodriguez, and Quentin Tarantino, the last for directing the drive-to-the-pits scene in which Dwight talks with a dead Jack Rafferty (Benicio del Toro). Miller and Rodriguez worked as a team directing the rest of the film.
Sin City (2005) stars an ensemble cast led by Jessica Alba, Benicio del Toro, Brittany Murphy, Clive Owen, Mickey Rourke, Bruce Willis, and Elijah Wood, and featuring Alexis Bledel, Michael Clarke Duncan, Rosario Dawson, Carla Gugino, Rutger Hauer, Jaime King, Michael Madsen, Nick Stahl, and Makenzie Vega among others. Several of the scenes were shot before any actor had signed on; as a result, several stand-ins were used before the actual actors were digitally added into the film during post-production. Rodriguez, an aficionado of cinematic technology, has used similar techniques in the past. The film was noted throughout production for Rodriguez's plan to stay faithful to the source material, unlike most other comic book adaptations. Rodriguez stated that he considered the film to be "less of an adaptation than a translation". As a result, there is no screenwriting in the credits; simply "Based on the graphic novels by Frank Miller".
Sin City (2005) opened to wide critical and commercial success, gathering particular recognition for the film's unique color processing which rendered most of the film in black and white while retaining or adding color for selected objects. The film was screened at the 2005 Cannes Film Festival in competition and won the Technical Grand Prize for the film's "visual shaping". Jeremy Wheeler at AllMovie: "As far as comic adaptations go, Sin City is an unprecedented book-to-screen translation that's locked, loaded, and rip-roaring ready to introduce movie audiences to the mad genius that is Frank Miller. " Roger Ebert awarded the film 4/4 stars, describing it as "a visualization of the pulp noir imagination, uncompromising and extreme. Yes, and brilliant" and "This isn't an adaptation of a comic book, it's like a comic book brought to life and pumped with steroids. It contains characters who occupy stories, but to describe the characters and summarize the stories would be like replacing the weather with a weather map." The New York Times critic Manohla Dargis gave credit for Rodriguez's "scrupulous care and obvious love for its genre influences", but noted that "it's a shame the movie is kind of a bore" because the director's vision seems to prevail on the intensity of reading a graphic novel. Sin City grossed $29.1 million on its opening weekend, defeating fellow opener Beauty Shop by more than twice its opening take. The film saw a sharp decline in its second weekend, dropping over 50%. Ultimately, the film ended its North American run with a gross of $74.1 million against its $40 million negative cost. Overseas, the film grossed $84.6 million, for a worldwide total from theater receipts of $158.7 million. A sequel, Sin City: A Dame to Kill For, was released in 2014, also directed by Miller and Rodriguez. It was a critical and financial failure.
Sources: Roger Ebert, Jeremy Wheeler (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Angelina Jolie Pitt ( née Voight; born June 4, 1975) is an American actress, filmmaker and humanitarian. She has received an Academy Award, two Screen Actors Guild Awards, and three Golden Globe Awards, and has been cited as Hollywood's highest-paid actress. Jolie made her screen debut as a child alongside her father, Jon Voight, in Lookin' to Get Out (1982). Her film career began in earnest a decade later with the low-budget production Cyborg 2 (1993), followed by her first leading role in a major film, Hackers (1995). She starred in the critically acclaimed biographical cable films George Wallace (1997) and Gia (1998), and won an Academy Award for Best Supporting Actress for her performance in the drama Girl, Interrupted (1999). Jolie's starring role as the video game heroine Lara Croft in Lara Croft: Tomb Raider (2001) established her as a leading Hollywood actress. She continued her successful action-star career with Mr. & Mrs. Smith (2005), Wanted (2008), and Salt (2010), and received critical acclaim for her performances in the dramas A Mighty Heart (2007) and Changeling (2008), which earned her a nomination for an Academy Award for Best Actress. Beginning in the 2010s, she expanded her career into directing, screenwriting, and producing, starting with the wartime dramas In the Land of Blood and Honey (2011) and Unbroken (2014). Her biggest commercial success came with the fantasy picture Maleficent (2014).
“INTO THE JAWS OF HELL FOR JUSTICE...”
I based this badge upon the ones worn by the Space Rangers, from the early ‘90s U.S television series of the same name.
I sculpted it in plasticene, moulded it in rubber, and generally cast it in FastCast plastic, though this particular copy I made in one of the hard casting plasters, just because I was doing a pour with it and the mould was handy.
Found out later that the badges worn on the uniforms had different lettering to the one featured in the title sequence, no doubt because the streamlined lettering used in the logo was easier to read than the ‘spacefont’ used on the props.
Set in 2104 on the frontier Earth colony world of Avalon, the 1993 television series “Space Rangers” was one of a number of attempts to blend the genres of police procedural and space based, futuristic science fiction.
The live action space based shows are generally not as successful as the contemporary or near future genre crossovers which pursue crimefighting in a genre context (which often have the advantage of featuring superpowered meta-humans) such as “Angel” or “Alien Nation”.
Mostly the space based cop shows come and go in the flash of a titanium badge, like the British “Star Cops” (1987, nine episodes) or Gerry Anderson’s “Space Precinct” (1994, 24 episodes). Anime shows of this sub genre tend to have somewhat longer space legs, no doubt due to the lower overall production costs. Exceptions to the rule are the multi-tasked space dramas like the various “Star Trek” incarnations, where the mission statement includes but is not limited to patrolling and police like duties, including some of the older shows like “Rocky Jones, Space Ranger” (1954, 39 episodes). “Captain Video And His Video Rangers” (1949- 1955) broke all the rules with a phenomenal 1,537 episodes!
The 1993 “Space Rangers” only managed a bare six episodes of varying quality, and essentially was totally eclipsed by the far better resourced “Deep Space Nine” and “Babylon Five”.
Still, I kind of liked its crew of constantly fatrigued, overworked and underpaid rangers, scraping by with obsolete equipment (and some of the team!) held together with duct tape and fencing wire. And then there were the totally fearsome “Banshees”, buggy space predators whose very mention made brave folks pee their spacesuits.
The ranger’s slingship #377, “Tin Lizzie” was a wicked looking lass, matched by it’s space-corseted (!) arse booting sheila pilot, Jojo (Marjorie Monaghan- before she joined the Mars Resistance in B-5). Everyone else in the crew generally wore tricked up overalls, with amusing cargo pockets made out of netting, which would probably be the last possible be-damned snagging fabric you’d want to wear in combat.
Cary-Hiroyuki Tagawa got to play a hero for a change, as the warrior-monk Zylyn and it was fun seeing Linda Hunt as the tough Commander of Fort Hope.
Star Trek fans will have noticed Clint Howard playing the chief scientist; he was the ‘child’ alien Balok in the Classic Trek episode “The Corbomite Maneuver”, and later appeared in “Deep Space Nine” and “Enterprise”.
Jeff Kaake, who played the standard ironic anti-authority, rule breaking team leader, Cap’n Boone, later landed a recurring role in “Melrose Place” and now does screenwriting and producing. Jack McGee, the cybernetically handed engineer ‘Doc’ continues a solid career of playing character one-offs in series television and movies. Fort Hope’s unpleasant career 2IC, charged with implementing death by a thousand budget cuts to the long suffering frontline troops. was played by Gottfried John, a German actor who appears in many of Werner Fassbinder’s films, also played Juilius Caesar in an Asterix movie and a Russian general in “Goldeneye”.
I call “Space Rangers” a cop show, but it’s also very much a space western, an awful, brain-strangling cliche that can go ‘orribly wrong, usually when mutated into a one-off ‘themed’ episode in, say, “Original Battlestar Galactica” or “Lost In Space”. I’ve seen it done, very very right, of course, in “Firefly”, though the crew there were lawbreakers, admittedly in a universe where the “Law is an ass!”
Angelina Jolie Pitt ( née Voight; born June 4, 1975) is an American actress, filmmaker and humanitarian. She has received an Academy Award, two Screen Actors Guild Awards, and three Golden Globe Awards, and has been cited as Hollywood's highest-paid actress. Jolie made her screen debut as a child alongside her father, Jon Voight, in Lookin' to Get Out (1982). Her film career began in earnest a decade later with the low-budget production Cyborg 2 (1993), followed by her first leading role in a major film, Hackers (1995). She starred in the critically acclaimed biographical cable films George Wallace (1997) and Gia (1998), and won an Academy Award for Best Supporting Actress for her performance in the drama Girl, Interrupted (1999). Jolie's starring role as the video game heroine Lara Croft in Lara Croft: Tomb Raider (2001) established her as a leading Hollywood actress. She continued her successful action-star career with Mr. & Mrs. Smith (2005), Wanted (2008), and Salt (2010), and received critical acclaim for her performances in the dramas A Mighty Heart (2007) and Changeling (2008), which earned her a nomination for an Academy Award for Best Actress. Beginning in the 2010s, she expanded her career into directing, screenwriting, and producing, starting with the wartime dramas In the Land of Blood and Honey (2011) and Unbroken (2014). Her biggest commercial success came with the fantasy picture Maleficent (2014).
German postcard by Edgar Medien AG, no. 7.688. Image: Buena Vista / Miramax. Jessica Alba in Sin City (Frank Miller, Quentin Tarantino (special guest director), Robert Rodriguez, 2005). Caption: I wanna strip for you baby!
Sin City (2005), also known as Frank Miller's Sin City, is an American Neo-Noir film produced and directed by Frank Miller and Robert Rodriguez, with Quentin Tarantino as "special guest director". The live-action film is based on Frank Miller's graphic novel series of the same name that won the Eisner Award.
Interweaving multiple storylines from the series' history,Sin City (2005) paints the picture of the ultimate town without pity through the eyes of its roughest characters. Much of this violent Neo-Noir is based on the first, third, and fourth books in creator Miller's original comic series. The Hard Goodbye is about ex-convict Marv (Mickey Rourke) who embarks on a rampage in search of his one-time sweetheart's killer. The Big Fat Kill follows photographer Dwight (Clive Owen), who gets caught in a street war between a group of prostitutes and a group of mercenaries, the police, and the mob. That Yellow Bastard focuses on an aging police officer (Bruce Willis) who protects a young woman (Jessica Alba) from a grotesquely disfigured serial killer. The intro and outro of the film are based on the short story 'The Customer is Always Right' which is collected in Booze, Broads & Bullets, the sixth book in the comic series. Three directors received credit for Sin City: Miller, Rodriguez, and Quentin Tarantino, the last for directing the drive-to-the-pits scene in which Dwight talks with a dead Jack Rafferty (Benicio del Toro). Miller and Rodriguez worked as a team directing the rest of the film.
Sin City (2005) stars an ensemble cast led by Jessica Alba, Benicio del Toro, Brittany Murphy, Clive Owen, Mickey Rourke, Bruce Willis, and Elijah Wood, and featuring Alexis Bledel, Michael Clarke Duncan, Rosario Dawson, Carla Gugino, Rutger Hauer, Jaime King, Michael Madsen, Nick Stahl, and Makenzie Vega among others. Several of the scenes were shot before any actor had signed on; as a result, several stand-ins were used before the actual actors were digitally added into the film during post-production. Rodriguez, an aficionado of cinematic technology, has used similar techniques in the past. The film was noted throughout production for Rodriguez's plan to stay faithful to the source material, unlike most other comic book adaptations. Rodriguez stated that he considered the film to be "less of an adaptation than a translation". As a result, there is no screenwriting in the credits; simply "Based on the graphic novels by Frank Miller".
Sin City (2005) opened to wide critical and commercial success, gathering particular recognition for the film's unique color processing which rendered most of the film in black and white while retaining or adding color for selected objects. The film was screened at the 2005 Cannes Film Festival in competition and won the Technical Grand Prize for the film's "visual shaping". Jeremy Wheeler at AllMovie: "As far as comic adaptations go, Sin City is an unprecedented book-to-screen translation that's locked, loaded, and rip-roaring ready to introduce movie audiences to the mad genius that is Frank Miller. " Roger Ebert awarded the film 4/4 stars, describing it as "a visualization of the pulp noir imagination, uncompromising and extreme. Yes, and brilliant" and "This isn't an adaptation of a comic book, it's like a comic book brought to life and pumped with steroids. It contains characters who occupy stories, but to describe the characters and summarize the stories would be like replacing the weather with a weather map." The New York Times critic Manohla Dargis gave credit for Rodriguez's "scrupulous care and obvious love for its genre influences", but noted that "it's a shame the movie is kind of a bore" because the director's vision seems to prevail on the intensity of reading a graphic novel. Sin City grossed $29.1 million on its opening weekend, defeating fellow opener Beauty Shop by more than twice its opening take. The film saw a sharp decline in its second weekend, dropping over 50%. Ultimately, the film ended its North American run with a gross of $74.1 million against its $40 million negative cost. Overseas, the film grossed $84.6 million, for a worldwide total from theater receipts of $158.7 million. A sequel, Sin City: A Dame to Kill For, was released in 2014, also directed by Miller and Rodriguez. It was a critical and financial failure.
Sources: Roger Ebert, Jeremy Wheeler (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by Edgar Medien AG, no. 7.687. Image: Buena Vista / Miramax. Bruce Willis in Sin City (Frank Miller, Quentin Tarantino (special guest director), Robert Rodriguez, 2005). Caption: Your stupid talk really gets on my nerves!
Sin City (2005), also known as Frank Miller's Sin City, is an American Neo-Noir film produced and directed by Frank Miller and Robert Rodriguez, with Quentin Tarantino as "special guest director". The live-action film is based on Frank Miller's graphic novel series of the same name that won the Eisner Award.
Interweaving multiple storylines from the series' history,Sin City (2005) paints the picture of the ultimate town without pity through the eyes of its roughest characters. Much of this violent Neo-Noir is based on the first, third, and fourth books in creator Miller's original comic series. The Hard Goodbye is about ex-convict Marv (Mickey Rourke) who embarks on a rampage in search of his one-time sweetheart's killer. The Big Fat Kill follows photographer Dwight (Clive Owen), who gets caught in a street war between a group of prostitutes and a group of mercenaries, the police, and the mob. That Yellow Bastard focuses on an aging police officer (Bruce Willis) who protects a young woman (Jessica Alba) from a grotesquely disfigured serial killer. The intro and outro of the film are based on the short story 'The Customer is Always Right' which is collected in Booze, Broads & Bullets, the sixth book in the comic series. Three directors received credit for Sin City: Miller, Rodriguez, and Quentin Tarantino, the last for directing the drive-to-the-pits scene in which Dwight talks with a dead Jack Rafferty (Benicio del Toro). Miller and Rodriguez worked as a team directing the rest of the film.
Sin City (2005) stars an ensemble cast led by Jessica Alba, Benicio del Toro, Brittany Murphy, Clive Owen, Mickey Rourke, Bruce Willis, and Elijah Wood, and featuring Alexis Bledel, Michael Clarke Duncan, Rosario Dawson, Carla Gugino, Rutger Hauer, Jaime King, Michael Madsen, Nick Stahl, and Makenzie Vega among others. Several of the scenes were shot before any actor had signed on; as a result, several stand-ins were used before the actual actors were digitally added into the film during post-production. Rodriguez, an aficionado of cinematic technology, has used similar techniques in the past. The film was noted throughout production for Rodriguez's plan to stay faithful to the source material, unlike most other comic book adaptations. Rodriguez stated that he considered the film to be "less of an adaptation than a translation". As a result, there is no screenwriting in the credits; simply "Based on the graphic novels by Frank Miller".
Sin City (2005) opened to wide critical and commercial success, gathering particular recognition for the film's unique color processing which rendered most of the film in black and white while retaining or adding color for selected objects. The film was screened at the 2005 Cannes Film Festival in competition and won the Technical Grand Prize for the film's "visual shaping". Jeremy Wheeler at AllMovie: "As far as comic adaptations go, Sin City is an unprecedented book-to-screen translation that's locked, loaded, and rip-roaring ready to introduce movie audiences to the mad genius that is Frank Miller. " Roger Ebert awarded the film 4/4 stars, describing it as "a visualization of the pulp noir imagination, uncompromising and extreme. Yes, and brilliant" and "This isn't an adaptation of a comic book, it's like a comic book brought to life and pumped with steroids. It contains characters who occupy stories, but to describe the characters and summarize the stories would be like replacing the weather with a weather map." The New York Times critic Manohla Dargis gave credit for Rodriguez's "scrupulous care and obvious love for its genre influences", but noted that "it's a shame the movie is kind of a bore" because the director's vision seems to prevail on the intensity of reading a graphic novel. Sin City grossed $29.1 million on its opening weekend, defeating fellow opener Beauty Shop by more than twice its opening take. The film saw a sharp decline in its second weekend, dropping over 50%. Ultimately, the film ended its North American run with a gross of $74.1 million against its $40 million negative cost. Overseas, the film grossed $84.6 million, for a worldwide total from theater receipts of $158.7 million. A sequel, Sin City: A Dame to Kill For, was released in 2014, also directed by Miller and Rodriguez. It was a critical and financial failure.
Sources: Roger Ebert, Jeremy Wheeler (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
My friend Grisha wants to become a director. Before the war between Russia and Ukraine, he managed to study for two years at the screenwriting faculty in Moscow. When the war started, he and his family had to move to Israel to avoid joining the Russian army and participating in this bad situation. I met him at a volunteer club. The irony of fate – from one war to another. When Hamas attacked Israel, we were all very confused. People in my neighborhood organized a volunteer club, and they immediately brought clothes and essentials for the army. Sadly, Israel was not prepared for the Hamas attack. Reservists woke up in the morning, read the news, and left for military units without taking anything with them. The army wasn’t ready for such a large number of soldiers gathering to defend the country. So, we collected new items and sent them to the army. Someone was always heading to the base to deliver items from the list. Now Grisha and I are friends. He plans to apply to Warsaw for a directing program. But for now, we can always call each other and ask, "Want to go for a walk?"
This weekend we will have two group screenings of The Room!
A bona fide classic of midnight cinema, Tommy Wiseau's misguided masterpiece subverts the rules of filmmaking with a boundless enthusiasm that renders such mundanities as acting, screenwriting, and cinematography utterly irrelevant. You will never see a football the same way again.
Feb 15th 7pm SLT
Feb 16th 12pm SLT
IYKYK! Also if you've not seen it, it's so...incredibly bad. There will be gifts at the door! Gestures, framed posters, SPOONS!
Original poster by Dan Robinson, you can find, his awesome art HERE.
Our 2nd independent film ‘2 Below 0’ has made its way onto Amazon Prime Video. Set in 1979, it follows the travels of author Rusty Whitaker after being left at the alter. He relocates to the middle of nowhere in the dead of winter & begins to write within his 16-foot trailer. From that point forward, all heck breaks loose involving snowballs flying, a mannequin & a local gang of 3. Filmed with director Tim Cash, ‘2 Below 0’ follows their first film, ‘The Astronot’.
Angelina Jolie Pitt ( née Voight; born June 4, 1975) is an American actress, filmmaker and humanitarian. She has received an Academy Award, two Screen Actors Guild Awards, and three Golden Globe Awards, and has been cited as Hollywood's highest-paid actress. Jolie made her screen debut as a child alongside her father, Jon Voight, in Lookin' to Get Out (1982). Her film career began in earnest a decade later with the low-budget production Cyborg 2 (1993), followed by her first leading role in a major film, Hackers (1995). She starred in the critically acclaimed biographical cable films George Wallace (1997) and Gia (1998), and won an Academy Award for Best Supporting Actress for her performance in the drama Girl, Interrupted (1999). Jolie's starring role as the video game heroine Lara Croft in Lara Croft: Tomb Raider (2001) established her as a leading Hollywood actress. She continued her successful action-star career with Mr. & Mrs. Smith (2005), Wanted (2008), and Salt (2010), and received critical acclaim for her performances in the dramas A Mighty Heart (2007) and Changeling (2008), which earned her a nomination for an Academy Award for Best Actress. Beginning in the 2010s, she expanded her career into directing, screenwriting, and producing, starting with the wartime dramas In the Land of Blood and Honey (2011) and Unbroken (2014). Her biggest commercial success came with the fantasy picture Maleficent (2014).
The most beautiful women in TV and Movie History now become Barbie Collector Dolls created by acclaimed re-paint Artist Donna Brinkley.
Victoria Leigh Blum (born October 15, 1955), professionally recognized as Tanya Roberts, is an American actress best known for her role as Julie Rogers on the fifth and final season of Charlie's Angels (1980–1981) and as Midge Pinciotti on That '70s Show (1998–2001).
She starred in the films The Beastmaster, A View to a Kill, and Sheena. Roberts was groomed as a Hollywood sex symbol during the early 1980s.
Blum was born in The Bronx of Irish and Jewish descent. Her father was an fountain pen salesman. Her parents divorced when she was a teenager.[1] She lived with her mother in Toronto for several years, where she started formulating a photo portfolio and laying plans for a career. At age 15, she abandoned her studies to marry and lived for a while hitch-hiking across the United States, until her mother-in-law annulled the union.
She returned to New York City and became a fashion and cover model. After meeting a psychology student, Barry Roberts (while waiting in line for a movie), she proposed to him in a subway station and they were soon married. While Barry pursued a career as a screenwriter, she began to study at the Actors Studio with Lee Strasberg and Uta Hagen under the name Tanya Roberts.
Her career began as a model in TV ads for Ultra Brite, Clairol and Cool Ray sunglasses. She played serious roles in the Off-Broadway productions, Picnic and Antigone. She also supported herself as an Arthur Murray dance instructor. Her film debut was the 1975 thriller, Forced Entry. This was followed in 1976 by The Yum-Yum Girls, a comedy.
In 1977, as her husband was securing his own screenwriting career, the couple moved to Hollywood. The following year, Roberts participated in the drama, Fingers. Roles in the 1979 cult-movie, Tourist Trap, Racket and California Dreaming followed. Roberts was featured in several television pilots that were never picked up: Zuma Beach (a 1978 comedy); Pleasure Cove (1979); and Waikiki (1980).
In 1980, Roberts was chosen from some two-thousand candidates to replace Shelley Hack in the television series, Charlie's Angels. Roberts played the sultry Julie Rogers, a streetwise fighter who used her fists more than her gun. Before the season's premiere, Roberts on a issue of People Magazine with the headline: "Is the Jiggle Up?: In the Wake Low Ratings, Will Tanya Roberts Save Charlie's Angels from Rerun Heaven?"
Nevertheless, the series moved around constantly on its schedule and soon fell to an extreme low in the ratings. So not as People had predicted, Tanya Roberts didn't help save Charlie's Angels from cancellation. However producers of the show reported if Roberts had entered the show the previous season the series would've been back for a sixth season. Today Roberts has been cited as a likeable beauty to that of former Charlie's Angels star Farrah Fawcett.
[2] She was featured on the February 9, 1981 cover of People Magazine magazine to distance herself from her Charlie's Angels image. Afterward she was offered more ambitious projects.[3][4]
[edit] Post-Angels
In 1982, Roberts played Kiri in The Beastmaster. She was featured in a nude pictorial in Playboy to help promote the movie, appearing on that issue's October 1982 cover. In 1983, Roberts filmed the Italian-made adventure fantasy film Hearts and Armour (also known as Paladini-storia d'armi e d'amori and Paladins—the story of love and arms), based on the medieval novel, Orlando Furioso. She played the role of Velda, a buxom secretary to private detective, Mike Hammer, in the television movie, Murder Me, Murder You. The two-part pilot spawned the syndicated television series, Mickey Spillane's Mike Hammer. She declined to continue the role in the Mike Hammer series so she could work on her next project, Sheena: Queen of the Jungle. The movie was a box office and critical disaster, garnering her a nomination for "Worst Actress" at the Razzie Awards.
Her subsequent appearance as Bond girl, Stacey Sutton, a well-educated and articulate geologist, in A View to a Kill (1985), which provided her a number of scenes with Roger Moore's James Bond. She again found herself nominated by the critics for a Razzie Award.[5] Later films in the 1980s included Night Eyes, an erotic thriller; Body Slam (1987), an action movie set in the professional wrestling world; and Purgatory, a movie about a woman wrongfully imprisoned in Africa.
[edit] 1990s–present
In 1991, Roberts starred in the erotic thriller, Inner Sanctum (1991), alongside Margaux Hemingway. In 1992, she played Kay Egan in Sins of Desire. She appeared on the cable TV series, Hot Line, in 1994; and in the video game, The Pandora Directive, in 1996.
In 1998, she took the role of Midge Pinciotti on the successful, long-running television sitcom, That '70s Show. Roberts claimed to E! True Hollywood Story that she left the series in 2001 because her husband, Barry Roberts, had become terminally ill. Barry Roberts died in 2006. In 2008, Tanya Roberts wrote the foreword to the book, The Q Guide to Charlie's Angels.
Angelina Jolie Pitt ( née Voight; born June 4, 1975) is an American actress, filmmaker and humanitarian. She has received an Academy Award, two Screen Actors Guild Awards, and three Golden Globe Awards, and has been cited as Hollywood's highest-paid actress. Jolie made her screen debut as a child alongside her father, Jon Voight, in Lookin' to Get Out (1982). Her film career began in earnest a decade later with the low-budget production Cyborg 2 (1993), followed by her first leading role in a major film, Hackers (1995). She starred in the critically acclaimed biographical cable films George Wallace (1997) and Gia (1998), and won an Academy Award for Best Supporting Actress for her performance in the drama Girl, Interrupted (1999). Jolie's starring role as the video game heroine Lara Croft in Lara Croft: Tomb Raider (2001) established her as a leading Hollywood actress. She continued her successful action-star career with Mr. & Mrs. Smith (2005), Wanted (2008), and Salt (2010), and received critical acclaim for her performances in the dramas A Mighty Heart (2007) and Changeling (2008), which earned her a nomination for an Academy Award for Best Actress. Beginning in the 2010s, she expanded her career into directing, screenwriting, and producing, starting with the wartime dramas In the Land of Blood and Honey (2011) and Unbroken (2014). Her biggest commercial success came with the fantasy picture Maleficent (2014).
German postcard by Edgar Medien AG, no. 7.692. Image: Buena Vista / Miramax. Benicio Del Toro in Sin City (Frank Miller, Quentin Tarantino (special guest director), Robert Rodriguez, 2005). Caption: The other one is already dead!
Sin City (2005), also known as Frank Miller's Sin City, is an American Neo-Noir film produced and directed by Frank Miller and Robert Rodriguez, with Quentin Tarantino as "special guest director". The live-action film is based on Frank Miller's graphic novel series of the same name that won the Eisner Award.
Interweaving multiple storylines from the series' history,Sin City (2005) paints the picture of the ultimate town without pity through the eyes of its roughest characters. Much of this violent Neo-Noir is based on the first, third, and fourth books in creator Miller's original comic series. The Hard Goodbye is about ex-convict Marv (Mickey Rourke) who embarks on a rampage in search of his one-time sweetheart's killer. The Big Fat Kill follows photographer Dwight (Clive Owen), who gets caught in a street war between a group of prostitutes and a group of mercenaries, the police, and the mob. That Yellow Bastard focuses on an aging police officer (Bruce Willis) who protects a young woman (Jessica Alba) from a grotesquely disfigured serial killer. The intro and outro of the film are based on the short story 'The Customer is Always Right' which is collected in Booze, Broads & Bullets, the sixth book in the comic series. Three directors received credit for Sin City: Miller, Rodriguez, and Quentin Tarantino, the last for directing the drive-to-the-pits scene in which Dwight talks with a dead Jack Rafferty (Benicio del Toro). Miller and Rodriguez worked as a team directing the rest of the film.
Sin City (2005) stars an ensemble cast led by Jessica Alba, Benicio del Toro, Brittany Murphy, Clive Owen, Mickey Rourke, Bruce Willis, and Elijah Wood, and featuring Alexis Bledel, Michael Clarke Duncan, Rosario Dawson, Carla Gugino, Rutger Hauer, Jaime King, Michael Madsen, Nick Stahl, and Makenzie Vega among others. Several of the scenes were shot before any actor had signed on; as a result, several stand-ins were used before the actual actors were digitally added into the film during post-production. Rodriguez, an aficionado of cinematic technology, has used similar techniques in the past. The film was noted throughout production for Rodriguez's plan to stay faithful to the source material, unlike most other comic book adaptations. Rodriguez stated that he considered the film to be "less of an adaptation than a translation". As a result, there is no screenwriting in the credits; simply "Based on the graphic novels by Frank Miller".
Sin City (2005) opened to wide critical and commercial success, gathering particular recognition for the film's unique color processing which rendered most of the film in black and white while retaining or adding color for selected objects. The film was screened at the 2005 Cannes Film Festival in competition and won the Technical Grand Prize for the film's "visual shaping". Jeremy Wheeler at AllMovie: "As far as comic adaptations go, Sin City is an unprecedented book-to-screen translation that's locked, loaded, and rip-roaring ready to introduce movie audiences to the mad genius that is Frank Miller. " Roger Ebert awarded the film 4/4 stars, describing it as "a visualization of the pulp noir imagination, uncompromising and extreme. Yes, and brilliant" and "This isn't an adaptation of a comic book, it's like a comic book brought to life and pumped with steroids. It contains characters who occupy stories, but to describe the characters and summarize the stories would be like replacing the weather with a weather map." The New York Times critic Manohla Dargis gave credit for Rodriguez's "scrupulous care and obvious love for its genre influences", but noted that "it's a shame the movie is kind of a bore" because the director's vision seems to prevail on the intensity of reading a graphic novel. Sin City grossed $29.1 million on its opening weekend, defeating fellow opener Beauty Shop by more than twice its opening take. The film saw a sharp decline in its second weekend, dropping over 50%. Ultimately, the film ended its North American run with a gross of $74.1 million against its $40 million negative cost. Overseas, the film grossed $84.6 million, for a worldwide total from theater receipts of $158.7 million. A sequel, Sin City: A Dame to Kill For, was released in 2014, also directed by Miller and Rodriguez. It was a critical and financial failure.
Sources: Roger Ebert, Jeremy Wheeler (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
entitled "first draft"
released 10/5
The design is for the writers, whether they write novels, screenplays, or short stories. If you're a writer, like Ernest Hemingway, you know that your first draft is going to be $hit.
Buy it here:
orangemoonapparel.com/store/oma.cgi/oma.orangemoonapp.687...
... won an Oscar for her performance portraying Elizabeth I in the movie Shakespeare in Love. This is a delight of a movie with all sorts of unusual perks thrown in. I would have to categorize it as a Docudromedy. The foundation of the story is documentary in nature, as is the set and costume design. There is abundant drama and the movie is rife with comedy. Judy's performance alone is worth the admission or rental price.
Colin Firfth is the bad guy and that's a new one on me. Gwyneth Paltrow won an Oscar also for her portrayal of the object of Shakespeare's boundless affections.
One of the screenwriters was quoted as saying once he finally understood that Shakespeare was simply a writer of his time, he realized the man, like himself, was always broke and horny and that made his screenwriting easy. The movie does not lack for horny but all in good taste, except that Shakespeare's fingernails are always black from writing ink. I don't know about Gwyneth, but that was a turn-off for me.
I watched this on DVD at home. I'm sure it's also available at Netflix, Blockbuster, Hastings, Amazon and possibly even Wall-Mart.
Wikipedia has everything you would ever want to know about this movie and were afraid to ask ...
Built in 1895 and located at 514 North 4th Street, this Queen Anne house was the boyhood home of William Inge. It was placed on the National Register of Historic Places in 2018.
William Inge is regarded as one of the most famous 20th century playwrights. Inge’s play “Come Back Little Sheba," brought him to New York in 1948. From there he continued his success with “Picnic,” “Bus Stop,” and “Dark at the Top of the Stairs” – all four plays were made into successful movies. And all four plays echoed his childhood as they were set in small Midwest towns and much of the dialogue in these plays comes from young Inge listening to his mother chat on the family’s front porch with neighbors or school teachers that the Inge’s boarded. “Picnic,” in fact, was developed from an earlier play of his entitled “Front Porch.” Inge won an Academy Award for his screenwriting of “Splendor in the Grass.” “Picnic” won Inge a Pulitzer Prize as well as a Drama Critics Circle Award. The Inge family lived in this home between 1917 and 1950.
Information from the KHRI: khri.kansasgis.org/
Independence is the county seat of Montgomery County in southeastern Kansas just north of Bartlesville, Oklahoma.
German postcard by Kunst und Bild, Berlin, no. A 443. Photo: Panorama Film. Adrian Hoven in Der Dorfmonarch/
The village monarch (Joe Stöckel, 1950).
Austrian actor Adrian Hoven (1922-1981) was the athletic and dynamic Sonnyboy of the German cinema in the 1950s, who would become one of the stars of Rainer Werner Fassbinder's films in the 1970s. As a writer, producer and director he made horror and erotica with SM overtones.
Adrian Hoven was born as Wilhelm Arpad Hofkirchner in Wöllersdorf, Niederösterreich (Austria) in 1922. He was discovered during WW II by director Helmut Weiss and made his debut in the Heinz Rühmann comedy Quax in Afrika/Quax in Africa (Helmut Weiss, 1943-1947). After the war he decided to go to an acting school. He started to work on the Berlin stages, but again Weiss gave him a break in the cinema, the part of a cadet in Herzkönig/King of Hearts (Helmut Weiss, 1947). After the circus drama Tromba (Helmut Weiss, 1949), Hoven decided to concentrate solely on films. It would be the start of a successful career with more than 100 films. As the young hero or lover he seemed to excell in every genre; in melodramas like Dr. Holl/Affairs of Dr. Holl (Rolf Hansen, 1951), in comedies like Die unentschuldigte Stunde/The Unexcused Hour (Willi Forst, 1957), in romances like Mädchenjahre einer Königin/The Story of Vickie (Ernst Marischka, 1954) and ...wie einst Lili Marleen/Like Once Lili Marleen (Paul Verhoeven, 1956), but also in war films like Canaris/Canaris: Master Spy (Alfred Weidenmann, 1954) and Rommel ruft Kairo/Rommel Calls Cairo (Wolfgang Schleif, 1959). With his black hair and blue eyes he looked as dashing in a dinner jacket as in a uniform.
In 1965 Adrian Hoven founded with Pier A. Caminneci the production company Aquila Film Enterprises and made his first film as a director, writer and producer, the psycho thriller Der Mörder mit dem Seidenschal/The Murder With the Silk Scarf (Adrian Hoven, 1966) starring Carl Möhner. The film was not a box office success so he switched to more commercial genres like horror and erotica. He produced the SM fantasy Necronomicon/Geträumte Sünden/Succubus (Jesus Franco, 1966), which became an international cult hit. He also occasionally tried his hand at screenwriting under the nom de plume of Percy Parker. As an actor he could be seen in European thrillers and horror exploitation, including Avec la peau des autres/With the Lives of Others (Jacques Deray, 1966) starring Lino Ventura, Rote Lippen, Sadisterotica/Two Undercover Angels (Jesus Franco, 1969), and Hexen bis aufs Blut gequält/Mark of the Devil (Michael Armstrong, 1970) starring Herbert Lom and Udo Kier.
More challenging was Adrian Hoven's work for the Neue Deutsche Film. He played a transvestite in Schatten der Engel/Shadow of Angels (Daniel Schmid, 1976) and he worked for several prestigious (TV-)films by the great director Rainer Werner Fassbinder: Welt am Draht/World on Wires (1973) with Klaus Löwitsch, Martha (1974) featuring Margit Carstensen, Faustrecht der Freiheit/Fox and His Friends (1975) as the father of Peter Chatel, Angst vor der Angst/Fear of Fear (1975), Satansbraten/Satan's Brew (1976), Despair (1978) starring Dirk Bogarde, the 15-hour TV Mini-Series Berlin Alexanderplatz (1980) and Lili Marleen (1981) with Hanna Schygulla. He also worked as a TV host. His son Percy Hoven works as an actor and TV presenter too. Adrian Hoven died in 1981 in Tegernsee, Germany. he was 58. His final film was the carnival drama Looping - Der lange Traum vom kurzen Glück/Looping (Walter Bockmayer, Rolf Bührmann. 1981) with Hans Christian Blech.
Sources: Hal Erickson (AllMovie), Stephanie D'heil (Steffi-Line), Wikipedia (German) and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by Edgar Medien AG, no. 7.690. Image: Buena Vista / Miramax. Clive Owen in Sin City (Frank Miller, Quentin Tarantino (special guest director), Robert Rodriguez, 2005). Caption: For you I will kill baby!
Sin City (2005), also known as Frank Miller's Sin City, is an American Neo-Noir film produced and directed by Frank Miller and Robert Rodriguez, with Quentin Tarantino as "special guest director". The live-action film is based on Frank Miller's graphic novel series of the same name that won the Eisner Award.
Interweaving multiple storylines from the series' history,Sin City (2005) paints the picture of the ultimate town without pity through the eyes of its roughest characters. Much of this violent Neo-Noir is based on the first, third, and fourth books in creator Miller's original comic series. The Hard Goodbye is about ex-convict Marv (Mickey Rourke) who embarks on a rampage in search of his one-time sweetheart's killer. The Big Fat Kill follows photographer Dwight (Clive Owen), who gets caught in a street war between a group of prostitutes and a group of mercenaries, the police, and the mob. That Yellow Bastard focuses on an aging police officer (Bruce Willis) who protects a young woman (Jessica Alba) from a grotesquely disfigured serial killer. The intro and outro of the film are based on the short story 'The Customer is Always Right' which is collected in Booze, Broads & Bullets, the sixth book in the comic series. Three directors received credit for Sin City: Miller, Rodriguez, and Quentin Tarantino, the last for directing the drive-to-the-pits scene in which Dwight talks with a dead Jack Rafferty (Benicio del Toro). Miller and Rodriguez worked as a team directing the rest of the film.
Sin City (2005) stars an ensemble cast led by Jessica Alba, Benicio del Toro, Brittany Murphy, Clive Owen, Mickey Rourke, Bruce Willis, and Elijah Wood, and featuring Alexis Bledel, Michael Clarke Duncan, Rosario Dawson, Carla Gugino, Rutger Hauer, Jaime King, Michael Madsen, Nick Stahl, and Makenzie Vega among others. Several of the scenes were shot before any actor had signed on; as a result, several stand-ins were used before the actual actors were digitally added into the film during post-production. Rodriguez, an aficionado of cinematic technology, has used similar techniques in the past. The film was noted throughout production for Rodriguez's plan to stay faithful to the source material, unlike most other comic book adaptations. Rodriguez stated that he considered the film to be "less of an adaptation than a translation". As a result, there is no screenwriting in the credits; simply "Based on the graphic novels by Frank Miller".
Sin City (2005) opened to wide critical and commercial success, gathering particular recognition for the film's unique color processing which rendered most of the film in black and white while retaining or adding color for selected objects. The film was screened at the 2005 Cannes Film Festival in competition and won the Technical Grand Prize for the film's "visual shaping". Jeremy Wheeler at AllMovie: "As far as comic adaptations go, Sin City is an unprecedented book-to-screen translation that's locked, loaded, and rip-roaring ready to introduce movie audiences to the mad genius that is Frank Miller. " Roger Ebert awarded the film 4/4 stars, describing it as "a visualization of the pulp noir imagination, uncompromising and extreme. Yes, and brilliant" and "This isn't an adaptation of a comic book, it's like a comic book brought to life and pumped with steroids. It contains characters who occupy stories, but to describe the characters and summarize the stories would be like replacing the weather with a weather map." The New York Times critic Manohla Dargis gave credit for Rodriguez's "scrupulous care and obvious love for its genre influences", but noted that "it's a shame the movie is kind of a bore" because the director's vision seems to prevail on the intensity of reading a graphic novel. Sin City grossed $29.1 million on its opening weekend, defeating fellow opener Beauty Shop by more than twice its opening take. The film saw a sharp decline in its second weekend, dropping over 50%. Ultimately, the film ended its North American run with a gross of $74.1 million against its $40 million negative cost. Overseas, the film grossed $84.6 million, for a worldwide total from theater receipts of $158.7 million. A sequel, Sin City: A Dame to Kill For, was released in 2014, also directed by Miller and Rodriguez. It was a critical and financial failure.
Sources: Roger Ebert, Jeremy Wheeler (AllMovie), Wikipedia, and IMDb.
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German collectors card by Helmstedter Margarinewerk GMBH, Helmstedt. Photo: Panorama / Königfilm / Hochreiter. Adrian Hoven in Heimat, Deine Sterne/Home, your stars (Hermann Kugelstadt, 1951). Gift by Didier Hanson.
Austrian actor Adrian Hoven (1922-1981) was the athletic and dynamic Sonnyboy of the German cinema in the 1950s, who would become one of the stars of Rainer Werner Fassbinder's films in the 1970s. As a writer, producer and director he made horror and erotica with SM overtones.
Adrian Hoven was born as Wilhelm Arpad Hofkirchner in Wöllersdorf, Niederösterreich (Austria) in 1922. He was discovered during WW II by director Helmut Weiss and made his debut in the Heinz Rühmann comedy Quax in Afrika/Quax in Africa (Helmut Weiss, 1943-1947). After the war he decided to go to an acting school. He started to work on the Berlin stages, but again Weiss gave him a break in the cinema, the part of a cadet in Herzkönig/King of Hearts (Helmut Weiss, 1947). After the circus drama Tromba (Helmut Weiss, 1949), Hoven decided to concentrate solely on films. It would be the start of a successful career with more than 100 films. As the young hero or lover he seemed to excell in every genre; in melodramas like Dr. Holl/Affairs of Dr. Holl (Rolf Hansen, 1951), in comedies like Die unentschuldigte Stunde/The Unexcused Hour (Willi Forst, 1957), in romances like Mädchenjahre einer Königin/The Story of Vickie (Ernst Marischka, 1954) and ...wie einst Lili Marleen/Like Once Lili Marleen (Paul Verhoeven, 1956), but also in war films like Canaris/Canaris: Master Spy (Alfred Weidenmann, 1954) and Rommel ruft Kairo/Rommel Calls Cairo (Wolfgang Schleif, 1959). With his black hair and blue eyes he looked as dashing in a dinner jacket as in a uniform.
In 1965 Adrian Hoven founded with Pier A. Caminneci the production company Aquila Film Enterprises and made his first film as a director, writer and producer, the psycho thriller Der Mörder mit dem Seidenschal/The Murder With the Silk Scarf (Adrian Hoven, 1966) starring Carl Möhner. The film was not a box office success so he switched to more commercial genres like horror and erotica. He produced the SM fantasy Necronomicon/Geträumte Sünden/Succubus (Jesus Franco, 1966), which became an international cult hit. He also occasionally tried his hand at screenwriting under the nom de plume of Percy Parker. As an actor he could be seen in European thrillers and horror exploitation, including Avec la peau des autres/With the Lives of Others (Jacques Deray, 1966) starring Lino Ventura, Rote Lippen, Sadisterotica/Two Undercover Angels (Jesus Franco, 1969), and Hexen bis aufs Blut gequält/Mark of the Devil (Michael Armstrong, 1970) starring Herbert Lom and Udo Kier.
More challenging was Adrian Hoven's work for the Neue Deutsche Film. He played a transvestite in Schatten der Engel/Shadow of Angels (Daniel Schmid, 1976) and he worked for several prestigious (TV-)films by the great director Rainer Werner Fassbinder: Welt am Draht/World on Wires (1973) with Klaus Löwitsch, Martha (1974) featuring Margit Carstensen, Faustrecht der Freiheit/Fox and His Friends (1975) as the father of Peter Chatel, Angst vor der Angst/Fear of Fear (1975), Satansbraten/Satan's Brew (1976), Despair (1978) starring Dirk Bogarde, the 15-hour TV Mini-Series Berlin Alexanderplatz (1980) and Lili Marleen (1981) with Hanna Schygulla. He also worked as a TV host. His son Percy Hoven works as an actor and TV presenter too. Adrian Hoven died in 1981 in Tegernsee, Germany. he was 58. His final film was the carnival drama Looping - Der lange Traum vom kurzen Glück/Looping (Walter Bockmayer, Rolf Bührmann. 1981) with Hans Christian Blech.
Sources: Hal Erickson (AllMovie), Stephanie D'heil (Steffi-Line), Wikipedia (German) and IMDb.
And, please check out our blog European Film Star Postcards.
Angelina Jolie Pitt ( née Voight; born June 4, 1975) is an American actress, filmmaker and humanitarian. She has received an Academy Award, two Screen Actors Guild Awards, and three Golden Globe Awards, and has been cited as Hollywood's highest-paid actress. Jolie made her screen debut as a child alongside her father, Jon Voight, in Lookin' to Get Out (1982). Her film career began in earnest a decade later with the low-budget production Cyborg 2 (1993), followed by her first leading role in a major film, Hackers (1995). She starred in the critically acclaimed biographical cable films George Wallace (1997) and Gia (1998), and won an Academy Award for Best Supporting Actress for her performance in the drama Girl, Interrupted (1999). Jolie's starring role as the video game heroine Lara Croft in Lara Croft: Tomb Raider (2001) established her as a leading Hollywood actress. She continued her successful action-star career with Mr. & Mrs. Smith (2005), Wanted (2008), and Salt (2010), and received critical acclaim for her performances in the dramas A Mighty Heart (2007) and Changeling (2008), which earned her a nomination for an Academy Award for Best Actress. Beginning in the 2010s, she expanded her career into directing, screenwriting, and producing, starting with the wartime dramas In the Land of Blood and Honey (2011) and Unbroken (2014). Her biggest commercial success came with the fantasy picture Maleficent (2014).
German postcard by Kolibri-Verlag G.m.b.H., Minden/Westf.no. 651. Photo: Kolibri / Neubarth.
Austrian actor Adrian Hoven (1922-1981) was the athletic and dynamic Sonnyboy of the German cinema in the 1950s, who would become one of the stars of Rainer Werner Fassbinder's films in the 1970s. As a writer, producer and director he made horror and erotica with SM overtones.
Adrian Hoven was born as Wilhelm Arpad Hofkirchner in Wöllersdorf, Niederösterreich (Austria) in 1922. He was discovered during WW II by director Helmut Weiss and made his debut in the Heinz Rühmann comedy Quax in Afrika/Quax in Africa (Helmut Weiss, 1943-1947). After the war he decided to go to an acting school. He started to work on the Berlin stages, but again Weiss gave him a break in the cinema, the part of a cadet in Herzkönig/King of Hearts (Helmut Weiss, 1947). After the circus drama Tromba (Helmut Weiss, 1949), Hoven decided to concentrate solely on films. It would be the start of a successful career with more than 100 films. As the young hero or lover he seemed to excell in every genre; in melodramas like Dr. Holl/Affairs of Dr. Holl (Rolf Hansen, 1951), in comedies like Die unentschuldigte Stunde/The Unexcused Hour (Willi Forst, 1957), in romances like Mädchenjahre einer Königin/The Story of Vickie (Ernst Marischka, 1954) and ...wie einst Lili Marleen/Like Once Lili Marleen (Paul Verhoeven, 1956), but also in war films like Canaris/Canaris: Master Spy (Alfred Weidenmann, 1954) and Rommel ruft Kairo/Rommel Calls Cairo (Wolfgang Schleif, 1959). With his black hair and blue eyes he looked as dashing in a dinner jacket as in a uniform.
In 1965 Adrian Hoven founded with Pier A. Caminneci the production company Aquila Film Enterprises and made his first film as a director, writer and producer, the psycho thriller Der Mörder mit dem Seidenschal/The Murder With the Silk Scarf (Adrian Hoven, 1966) starring Carl Möhner. The film was not a box office success so he switched to more commercial genres like horror and erotica. He produced the SM fantasy Necronomicon/Geträumte Sünden/Succubus (Jesus Franco, 1966), which became an international cult hit. He also occasionally tried his hand at screenwriting under the nom de plume of Percy Parker. As an actor he could be seen in European thrillers and horror exploitation, including Avec la peau des autres/With the Lives of Others (Jacques Deray, 1966) starring Lino Ventura, Rote Lippen, Sadisterotica/Two Undercover Angels (Jesus Franco, 1969), and Hexen bis aufs Blut gequält/Mark of the Devil (Michael Armstrong, 1970) starring Herbert Lom and Udo Kier.
More challenging was Adrian Hoven's work for the Neue Deutsche Film. He played a transvestite in Schatten der Engel/Shadow of Angels (Daniel Schmid, 1976) and he worked for several prestigious (TV-)films by the great director Rainer Werner Fassbinder: Welt am Draht/World on Wires (1973) with Klaus Löwitsch, Martha (1974) featuring Margit Carstensen, Faustrecht der Freiheit/Fox and His Friends (1975) as the father of Peter Chatel, Angst vor der Angst/Fear of Fear (1975), Satansbraten/Satan's Brew (1976), Despair (1978) starring Dirk Bogarde, the 15-hour TV Mini-Series Berlin Alexanderplatz (1980) and Lili Marleen (1981) with Hanna Schygulla. He also worked as a TV host. His son Percy Hoven works as an actor and TV presenter too. Adrian Hoven died in 1981 in Tegernsee, Germany. he was 58. His final film was the carnival drama Looping - Der lange Traum vom kurzen Glück/Looping (Walter Bockmayer, Rolf Bührmann. 1981) with Hans Christian Blech.
Sources: Hal Erickson (AllMovie), Stephanie D'heil (Steffi-Line), Wikipedia (German) and IMDb.
And, please check out our blog European Film Star Postcards.