|
Post by Ace on Oct 23, 2007 21:00:22 GMT -5
17th Annual Gotham Awards Unveil Nominees for Year's Best Independent FilmsMonday October 22, 2007 By: IFP Kicking off the film awards season, IFP, the nation's largest membership organization of independent filmmakers, today announced the nominees for the 17th Annual Gotham Awards. The awards will be presented at Steiner Studios in New York on Tuesday, November 27, 2007. Garnering three separate nominations - the most this year - is Great World of Sound, Craig Zobel's directorial debut which was nominated for Best Feature, Breakthrough Director and Breakthrough Actor. Three films received two nominations each: Day Night Day Night directed by Julia Loktev (Breakthrough Director and Breakthrough Actor), Into the Wild, directed by Sean Penn (Best Feature and Breakthrough Actor), and Margot at the Wedding, directed by Noah Baumbach (Best Feature and Best Ensemble Cast). A total of 28 films received nominations in six categories: Best Feature, Best Documentary, Breakthrough Director, Breakthrough Actor, Best Ensemble Cast, and Best Film Not Playing at a Theater Near You. Presented by IFP, the Gotham Awards provide a critical spotlight and important boost to breakthrough independent films, such as last year's Best Feature winner Half Nelson, which went on to garner numerous critics' awards and an Oscar® nomination for its star, Ryan Gosling. "2007 was an incredibly strong year for independent film," said Michelle Byrd, executive director of IFP. "Ranging from the small gems produced on micro-budgets to extraordinary films from specialty divisions, the nominees all share the type of creative vision and risk-taking that are a hallmark of independent film." In addition to the competitive awards, the 17th Annual Gotham Awards will also present Gotham Tributes to six individuals in recognition of their influential work in the film industry: Actor Javier Bardem (No Country For Old Men, Love in the Time of Cholera), film critic Roger Ebert, production designer Mark Friedberg (Across the Universe, The Darjeeling Limited), New York's Honorable Mayor Michael Bloomberg, director Mira Nair (The Namesake, Monsoon Wedding, Mississippi Masala) and Jonathan Sehring, President of IFC Entertainment and creator of IFC Center. To celebrate New York City's role as the world capital of independent film, the 17th Annual Gotham Awards will be held for the first time at Brooklyn's Steiner Studios, a symbol of New York's growing film production prowess. Selecting this year's nominees were 19 critics, journalists, and film programmers (see list below). Final award recipients will be determined by separate juries of writers, directors, actors, producers and others directly involved in making films. The recipient of The Best Film Not Playing at a Theater Near You award will be determined by the editors of Filmmaker magazine, a publication of IFP. The nominating committees for the Gotham Awards announced above are as follows: Nominating Committee for Best Feature and Best Ensemble Cast: Noah Cowan, Co-Director, Toronto International Film Festival Cynthia Fuchs, Film Critic, PopMatters, Common Sense Media Owen Gleiberman, Film Critic, Entertainment Weekly Dennis Lim, Film Journalist and Editorial Director, The Museum of the Moving Image Nominating Committee for Breakthrough Director and Breakthrough Actor: Florence Almozini, Curator, BAMcinématek Robert Koehler, Film Critic, Variety Nathan Lee, Film Critic, Village Voice Rajendra Roy, Chief Curator, Department of Film and Media, Museum of Modern Art Nominating Committee for Best Documentary: Nicole Guillemet, Programming & Documentary Producing Consultant Mary Kerr, Executive Director, The Flaherty Seminars Andrew O'Hehir, Senior Writer, Salon.com Matt Zoller Seitz, Film Critic, The New York Times, and publisher, The House Next Door Nominating Committee for Best Film Not Playing at a Theater Near You: Josh Siegel, Assistant Curator, Department of Film and Media, Museum of Modern Art Members of the editorial staff of Filmmaker Magazine: Scott Macaulay (Editor-in-Chief), Mary Glucksman, Jason Guerrasio, Brandon Harris, Ray Pride, Alicia Van Couvering
|
|
|
Post by Ace on Nov 7, 2007 20:49:19 GMT -5
|
|
|
Post by Ace on Nov 28, 2007 19:26:43 GMT -5
Seraphim falls is being released on Blue ray DVD on Dec 24th in The UK and Germany . There's no mention on any site though of it's release in the U.S. on Region 1. Strange.
|
|
|
Post by Ace on Mar 25, 2008 14:15:53 GMT -5
Anthony Mann & The Western RenaissanceApril 2008 by Peter Wild If you were asked to name the greatest ever western, it’s possible you might say The Searchers, John Ford’s complex and ambiguous deconstruction of everything John Wayne had accomplished up to that point. Perhaps you’d plumb for High Noon or The Man Who Shot Liberty Valance or Stagecoach. Or maybe you’d choose one of a handful of Clint Eastwood westerns, The Outlaw Josey Wales, say, or The Good, The Bad & The Ugly or Unforgiven. Or how about The Magnificent Seven, Red River and Once Upon a Time in the West? They’re all great movies, to be sure. None of them would be out of place in a list of the top ten all-time best Westerns. It’s arguable, though, that you wouldn’t choose one of the half dozen westerns directed by Anthony Mann in the 1950s. There were a handful of collaborations with James Stewart – movies like Winchester ’73, Bend of the River, The Naked Spur, The Far Country and The Man From Laramie – movies that are, these days, remembered more specifically for the fact that they demonstrate how interesting James Stewart became as a character actor in the years following the Second World War (each of the characters Stewart played in the Mann westerns themselves a far cry from the George Bailey beloved of Stewart fans the world over). Ditto The Tin Star – a movie Mann directed starring Henry Fonda and Anthony Perkins – and Man of the West starring Gary Cooper, films largely regarded by posterity as stations in the career of their respective name star. Singularly none of these films could be regarded as ‘greatest Western ever’ material – but cumulatively they form a body of work that repays considered attention, especially now that the Western appears to be resurrecting itself (for what surely must be the umpteenth time) in the wake of the likes of The Proposition, 3.10 to Yuma, Seraphim Falls and The Assassination of Jesse James by the Coward Robert Ford. So what is it about Anthony Mann films of particular interest and what the hell does that have to do with these recent modern westerns? Well, first of all, Mann was the first person to bring a noir sensibility to the western. Noir was what Mann knew, having cut his directorial chops, as it were, on a brace of what are regarded as classics in the 40s (Desperate, Rail-roaded, T-Men and Raw Deal are all worth a look) – and noir informs what Mann brought to the western: stylised violence. Whether it’s Robert Ryan and James Stewart in The Naked Spur (Stewart in particular here prefiguring much of his later work with Hitchcock) or Jack Lord and Gary Cooper in Man of the West, audiences were treated, in some ways for the first time, to violence that looked as if it caused the protagonists no small measure of actual pain. But there’s more to it than that. Before Martin Scorsese (who cites Mann as an enormous influence on his work) and, perhaps more presciently, before Sam Peckinpah, Anthony Mann was constructing movies in which it wasn’t always possible to separate the good guy from the bad guy. Think about James Stewart’s paranoid bounty hunter in The Naked Spur or his remorseful former outlaw in Bend of the River, Gary Cooper’s history of criminal violence in Man of the West, Henry Fonda’s disdained former lawman in The Tin Star – all of these men come with baggage and the baggage muddies expectations. These men might be capable of heroics, but they will never feel like heroes. They’re too guilty or ashamed or just downright beaten by life to kick back and pat themselves on the back for a job well done. And that’s not all. Mann introduced what we’d no doubt label a sort of arthouse mentality to standard mainstream cinematic fare, using the props at hand to involve the audience in a way that was groundbreaking (at least within the confines of a western). You can see this in the way Mann constantly directs things at the camera lens and by implication at the audience, such as the body falling in Border Incident or the double-barreled shotgun in Winchester ’73. Style informs Mann’s every shot in such a way as to unconsciously lead the viewer by the hand, as far as foreshadowing expectation is concerned. In The Devil’s Doorway, for example, returning Civil War hero Lance Frame is shot from a low angle in a highly shadowed frame, diminishing the hero and undermining what the audience thinks of him. Mann was also fond of patriarchal (or matriarchal) characters who inform the action of the piece in much the same way as a Greek chorus. Donald Crisp in The Man From Laramie and Lee J Cobb in Man of the West are probably the best two examples. Each offer wisdom and experience as a result of their age – but each are tragically flawed, inspiring a fatal lack of confidence in their charges and directly or indirectly influencing much of what follows. Mann’s patriarchal characters are predicated by responsibility, doing what they do for family or land or respect – frequently spawning conflict in themselves and others to disastrous effect (in The Furies, for example, Walter Huston’s patriarch and Blanche Yurka’s matriarch come head to head in a shotgun mountain siege that ends badly for all concerned). And, of course, alongside all of this there’s another thing about Anthony Mann westerns you should never forget: they always looked beautiful. There were times when he could out-Ford John Ford when it came to a beautiful vista shot. The only difference between the look of a Mann western and the look of a Ford western is that the Mann western’s beauty is tempered by what you know of man’s inhumanity to man. Yes, the world is beautiful, Mann says, but that doesn’t make man beautiful. Quite the opposite. The beauty of the world is a counter-point to what goes on and what goes on is ugly in the extreme. But what about the modern westerns? Do they really owe a debt to Mann? Certainly as far as something like The Proposition is concerned, that’s out-and-out Peckinpah, surely? I’d argue it’s more Mann than Peckinpah myself. Peckinpah is like Tarantino. He’s a director of extremes. He wants to take you, the viewer, on a ride. See how far you’re prepared to go. Mann is more interested in taking his characters on a ride, is far more interested in the psychology of the rider than any presupposed cinematic taboos. Which is partially why the deeply psychological The Proposition is far more Mann than Peckinpah. But there’s more to it than that. Think about the plot of the film: Guy Pearce stars as an outlaw (so, one would think a bad guy) given a chance to save his brother’s life by bringing his elder (psychotic) brother to justice. Which places a tick in the ambivalent ‘are they good / are they bad?’ box, whilst at the same time creating a situation that one would think has to be resolved by violence. The Proposition also features a classic Mann archetype in the form of Ray Winstone, who features as the local law enforcement, as weak a patriarch as Mann ever conjured. Take another example: Seraphim Falls, an absolutely classic modern western that appears to have more or less slipped beneath the box office radar, despite the fact that it’s just about everything you would want from a film, western or otherwise. Within seconds of opening, the film has one of its central protagonists, Gideon (a career best Pierce Brosnan) shot in the arm and rolling down a mountainside as a small posse led by Liam Neeson’s Morsman Carver give chase. The counterpoint is established: outlaw, possibly, and law enforcement, possibly – but of course it isn’t as simple as that. Although cast from war and capable of terrific atrocity (carving the intestines out of man and beast alike at various points in the film), Gideon is a complex and haunted individual; Liam Neeson on the other hand is coolly officious in his manner and treatment of both his men and his quarry. But these roles shift and change as the film progresses and you learn more of what drives each man. 3.10 to Yuma, James Mangold’s reimagining of Delmer Daves’ 1957 adaptation of Elmore Leonard’s novel goes one step further, pitting the always-watchable Christian Bale (as a crippled Civil War vet shacked up with an unhappy wife and a contemptuous son) against Russell Crowe (who appears to be enjoying something of a renaissance himself with this and the equally excellent American Gangster), a ruthless villain on the run from the law with his gang following his 22nd robbery. Any notion of Bale as the hero is quickly compromised when he aligns himself with the Southern Pacific Railroad who want to take his land and a vicious Indian slaughtering bounty hunter played by Peter Fonda. Ambiguous compromise, less than clear cut motivation, the remorseless overtones of Greek tragedy – they’re all here and they’re all taken straight from the rule book set down by Anthony Mann almost fifty years previously. Even The Assassination of Jesse James by the Coward Robert Ford, is suitably Mann-ian in that it sets out (from the title down) to debunk a popular myth and show things how they really were (something that Sam Fuller aimed to do in 1948 with I Shot Jesse James only to have his hands tied by the studio, people at that time preferring the rosy tint to reality). So. You could do worse than check out any of these recent westerns. They’re all worth a view but I’d recommend Seraphim Falls and The Proposition in particular as movies any seasoned film buff should be ashamed not to have caught yet. When you have checked these out, though, it strikes me that you’d be well-served by checking out the source of much of their pleasures: any western directed by Anthony Mann, the long-neglected, forgotten king of the movie western. www.moviemail-online.co.uk/scripts/media_view.pl?id=344&type=Articles
|
|
|
Post by Ace on Apr 21, 2008 14:02:21 GMT -5
|
|
|
Post by brosnangirl on Apr 23, 2008 10:07:32 GMT -5
I saw the movie last weekend ,i bought it on dvd . I like it
|
|
|
Post by londonstreet on May 10, 2008 4:45:58 GMT -5
Seraphim Falls opens in Italy May 9th. (well it's faster than the US-Italy Matador date ) Oh yes it opened yesterday and guess in how many cities?........five, five theatres in the all Country. I wonder why they bothered to give it an Italian title
|
|
|
Post by Ace on May 10, 2008 14:16:42 GMT -5
Are they bothering with dubbing, because I can't see how it would be worth the expense just for 5 theaters - but then there is DVD.
|
|
|
Post by londonstreet on May 11, 2008 8:40:37 GMT -5
Yes, it's been dubbed. Pierce has the same dubber as he had as Bond. I think you got the point, Ace, with such a delay and a so narrow release, I'm starting to believe that theatres are just some kind of "free" advertising for DVD.
|
|
|
Post by Ace on May 24, 2008 16:39:55 GMT -5
www.taurusworldstuntawards.com/index.php?cmd=cmdShowNomineesBEST SPECIALTY STUNT 1. Ghost Rider Motorcycle rider takes off to catch a van and has two head-on near misses with semi trucks. Driver finishes with a long nose wheelie into 90 degree stop Nominees: Robert Jones, Shea Adams 2. Live Free or Die Hard Stuntman jumps on fence as a car hits fence. The fence is cabled on to the car as stuntman rides the car through alley. As fence collides with dumpster stuntman is ratcheted off to a wall. Nominee: Ralf Koch 3. Pathfinder Stunt man jumps from a higher vantage point and bulldogs the rider who in turn falls with his horse. Nominees: Jeffrey C. Robinson, Greg Hanson “Digger” 4. Seraphim Falls Performer was in rapids to 160’ waterfall. He was attached by a cable to helicopter flying backwards above. When he dropped over falls, cable was tripped by the pilot, releasing performer to free fall down waterfall with completely slack cable into mist before being stopped by bungee. No CGI or green screen was used.
Nominees: Mark Vanselow, Craig Hosking - WINNER5. Wild Hogs Motorcycle rider grabs a handful of throttle and slips off the back of the bike sliding across the ground. Motorcycle keeps going and crashes. Nominee: Erik Stabenau
|
|
|
Post by judithmoose on Mar 18, 2009 12:59:23 GMT -5
Prayers and good wishes to Liam Neeson, his children and the Redgrave family. If you've yet to hear, his wife Natasha Richardson has been in an accident and is what's being described as gravely ill and in most of the media's case - brain dead. Despite the fact that People, Entertainment Weekly and other publications have declared her dead, she's still hanging on and is in ICU at Lenox Hill Hospital. God willing, she'll pull through this and those magazine covers will make interesting conversation pieces in 20 years as she tries explaining them to her grandchildren.
|
|
|
Post by Ace on Mar 18, 2009 14:59:15 GMT -5
Judith, I pray so.
She's such a vibrant, talented, classy beautiful lady with such a young family. She's from showbiz royalty but the quality of her work stands on it's own, I've been a fan a long time.
I do wish the media would stop tripping over themselves to be the first to give the scoop and just wait for the family's statement.
|
|
|
Post by judithmoose on Mar 18, 2009 19:05:58 GMT -5
Unfortunately, it turns out that will not be the case. She's gone. The entertainment industry, her fans, her friends and family have suffered a great loss today. She was a lovely woman who will be missed.
|
|
|
Post by Ace on Mar 18, 2009 19:06:46 GMT -5
Tragically, I just heard on NY1, the family has released a statement on Natasha's death. Heartbreaking.
|
|
|
Post by judithmoose on Mar 18, 2009 19:10:57 GMT -5
Released by Rogers & Cowan on behalf of the family - "Liam Neeson, his sons, and the entire family are shocked and devastated by the tragic death of their beloved Natasha. They are profoundly grateful for the support, love and prayers of everyone, and ask for privacy during this very difficult time."
|
|
|
Post by celtic0at0heart on Mar 18, 2009 19:26:07 GMT -5
Thats terrible! =[ Its never easy to loose a loved one, no matter the circumstances or how many times youve dont it.
Come out Virginia, don't let me wait You Catholic girls start much too late aw But sooner or later it comes down to fate I might as well be the one
well, They showed you a statue, told you to pray They built you a temple and locked you away Aw, but they never told you the price that you pay For things that you might have done..... Only the good die young thats what i said only the good die young Only the good die young
You might have heard I run with a dangerous crowd We ain't too pretty we ain't too proud We might be laughing a bit too loud aw But that never hurt no one
So come on Virginia show me a sign Send up a signal I'll throw you the line The stained-glass curtain you're hiding behind Never lets in the sun Darlin' only the good die young woah i tell ya Only the good die young Only the good die young
You got a nice white dress and a party on your confirmation You got a brand new soul mmmm, And a cross of gold But Virginia they didn't give you quite enough information You didn't count on me When you were counting on your rosary (oh woah woah)
They say there's a heaven for those who will wait Some say it's better but I say it ain't I'd rather laugh with the sinners than cry with the saints the Sinners are much more fun...
you know that only the good die young oh woah baby i tell ya only the good die young, Only the good die young
You say your mother told you all that I could give you was a reputation Aww She never cared for me But did she ever say a prayer for me? oh woah woah
Come out come out come out virgina dont let me wait, You catholic girls start much too late Sooner or later it comes down to fate I might as well be the one, You know that only the good die young
I'm telling you baby You know that only the good die young Only the good die young Only the gooooooooooooooood Only the good die young Only the gooooooooooooooood Only the good die young Ooooooooooooooooooooooooo ooooooooooo oooooooooo...
Only the good die young Only the good die young
|
|
|
Post by eaz35173 on Feb 14, 2014 18:46:44 GMT -5
From FB... Edan Didak December 2005. — with Edan A. Didak and Pierce Brosnan.
|
|